conference program conference 18 – february 15 city // 2017 college art association the annual conference

CONFERENCE PROGRAM CAA 2017 ANNUAL CONFERENCE NEW YORK, NY Contents

5 Welcome CAA Board, Sta!, and Committees 7 BOARD OF DIRECTORS 7 STAFF 8 COMMITTEE MEMBERS 2016"17 General Information 11 MEMBERSHIP 11 REGISTRATION AND CHECK#IN 13 INFORMATION FOR SPEAKERS 14 MUSEUM LISTINGS 15 CONFERENCE SERVICES 16 NEW YORK HILTON MIDTOWN MAPS Sessions 21 NEW SESSION TYPES 21 PROGRAM SCHEDULE 36, 48 Poster Sessions 66 SEPC Lounge 68 ARTspace 70 Media Lounge 73 Participant Index Meetings 81 AFFILIATED SOCIETY BUSINESS MEETINGS 82 CAA ELECTIONS, CONVOCATION, AND ANNUAL BUSINESS MEETING 82 CAA COMMITTEE, TASK FORCE, AND JURY MEETINGS Events 84 SPECIAL EVENTS 89 REUNIONS AND RECEPTIONS 91 NOON FORUMS Careers 92 PROFESSIONAL DEVELOPMENT WORKSHOPS 95 CAREER SERVICES 96 MENTORING APPOINTMENTS Book and Trade Fair 96 FAIR INFORMATION 97 EXHIBITOR SESSIONS 98 EXHIBITOR INDEX 100 BOOK AND TRADE FAIR MAPS 103 CAA Past Presidents 104 myNYC: CAA Sta!’s Favorite Places 106 Advertiser Index 107 ADVERTISEMENTS

Save the date! 106th Annual Conference // , CA // February 21–24, 2018

A SPECIAL THANKS TO OUR CONFERENCE SPONSORS:

The Conference Program is published in conjunction with the 105th Annual Conference of the College Art Association. The Program is produced on a very abbreviated schedule in October, and session information is subject to change before the conference. For more information and the most up-to-date chronological schedule of sessions, meetings, and events, see the conference website (conference. collegeart.org) or the CAA 2017 app.

The conference will be held at the New York Hilton Midtown, 1335 Avenue of the Americas, New York, NY 10019, from February 15 to 18, 2017. Unless otherwise noted, all activities will take place at this location. CAA is not responsible for lost or stolen property.

By registering for the CAA conference, attendees grant CAA the right to take video images and photographs of attendees in connection with Join the conversation! the conference. Attendees authorize CAA to use and publish the images in print and/or electronically. Attendees agree that CAA may use such photographs with or without attendee name #myCAA and for any lawful purpose, including publicity, illustration, advertising, and web content. #CAA2017 Thank you! We thank all the volunteers and sta! members who made the conference possible and extend our special thanks to the CAA Annual Conference Instagram // @collegeartassociation Committee responsible for the 2017 program. We would also like to thank the Samuel H. Kress YouTube // youtube.com/user/caanyc Foundation for its support of the Travel Fellowship for International Scholars and the members of Facebook // collegeartassociation the selection jury for the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards (Alfred J. Acres, Twitter // @collegeart Georgetown University; Cynthia Hahn, ; and Joan A. Holladay, University of Texas).

Design: Ellen Nygaard Printing: Kent Associates Cover: Allison Walters Image Credits for Program artwork: CAA is graciously indebted to Oregon-based artist Julia Oldham for allowing us to use her work, “The Loneliest Place,” in our 2017 conference materials. “The Loneliest Place” appeared in the spring 2016 Art Journal and tells in a graphic narrative Download the conference app in the app store! the story of a woman and her dog’s travels into a black hole. The ink drawings that comprise this work depict love’s altered state through the time- space continuum. Oldham’s work can be found at juliaoldham.com.

2 college art association // 2017 3 Welcome

As you know, CAA is the world’s largest professional association for visual artists and art historians. We serve as an advocate and resource for individuals and institutions, nationally and internationally.

Our members have told us that the Annual Conference is one of the most important reasons why they join. You appreciate the opportunity to present new scholarship or learn from others in the "eld. Additionally, you relish the opportunity to connect with visual artists and art historians.

As we retool CAA for the twenty-"rst century, our goal is to assure our programs meet your professional needs. A central theme of this year’s Annual Conference is “myCAA”—a program designed to seek your input to guide us as we grow the organization in the future. We have already begun incorporating key changes—including your suggestions—from last year’s Task Force on the Annual Conference which Suzanne chaired as vice president for Annual Conference.

For 2017, you will notice these changes to the conference:

Each session is now ninety minutes in length. This will allow more people to participate in sessions, and you can attend more sessions covering more topics. This results in a 40% increase in the number of sessions and participants.

The range of session topics this year is staggering, as the Annual Conference Committee has worked to create a conference that o!ers nearly every point of view. Just a quick perusal of the schedule reveals that sessions span thousands of years and diverse cultures. The conference addresses virtually every subject, genre, media, and artistic practice known.

We have added a series of “composed sessions,” made up of individual papers that are organized around related themes and designed to spark new conversations.

We have created a series of Lunch Time Forums, with a nonacademic focus, of interest to artists and art historians alike.

We are o!ering more professional-development workshops and panels of interest to the design community.

We are bringing new voices to the conference, as we have accepted more submissions by graduate students and visual artists.

We have organized the Saturday Symposia, a day-long series of panels addressing the themes of museums, design, international art history, and interventions in the future of art history.

Additionally, in 2017 there are more opportunities to visual artists and the general public. For example, the sessions in ARTspace, Media Lounge, and ARTexchange will be free and open to the public. We are also o!ering a day of programming for visual artists in Brooklyn on the Tuesday before the Annual Conference itself begins.

We want to reiterate how important this organization is to the advancement of scholarly pursuits and art making. Our focus on professional development, education, and advocacy is critical. As we collectively support the $eld, we help de$ne the culture of the society we inhabit.

Sincerely,

Suzanne Preston Blier Hunter O’Hanian President Executive Director and Chief Executive O#cer

4 college art association new york city // 2017 5 caa board, sta!, and committees

BOARD OF DIRECTORS STAFF OFFICERS EXECUTIVE OFFICE Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Hunter O’Hanian, Executive Director and Chief Executive O#cer Arts and Professor of African and African American Studies, Vanessa Jalet, Executive Liaison Harvard University President MEMBERSHIP Doreen Davis, Manager of Member Services DeWitt Godfrey, Department of Art History, Colgate University, Denise Williams, Membership Communications Coordinator Past President Mike Iadarola, Member Services Assistant Doralynn Pines, The Metropolitan Museum of Art (ret.) Dounia Bendris, Membership Specialist Vice President for External A!airs Kayleigh Butcher, Membership Specialist Jade Randall, Membership Specialist Jim Hopfensperger, Professor, Frostic School of Art, Western Sarah Stengel, Membership Specialist Michigan University Vice President for Committees PUBLICATIONS Betty Leigh Hutcheson, Director of Publications N. Elizabeth Schlatter, University of Richmond Museums Joe Hannan, Editorial Director Vice President for Annual Conference Sarah Zabrodski, Editorial Manager Gail Feigenbaum, Associate Director, The Getty Research Institute Alyssa Pavley, Associate Editor for Digital Publications Vice President for Publications Alan Gilbert, Editor Deidre Thompson, Publications Department Assistant Roberto Tejada, University of Houston Saadia Lawton, Resources for Academic Art Museum Professionals Secretary Project Coordinator John Hyland, Jr., Media Advisory Partners LLC Treasurer PROGRAMS Ti!any Dugan, Director of Programs Je!rey P. Cunard, Partner, Debevoise & Plimpton LLP Paul Ski!, Assistant Director of Annual Conference Counsel Janet Landay, CAA-Getty International Program and Fair Use Initiative Hunter O’Hanian, College Art Association Katie Apsey, Manager of Programs Executive Director and Chief Executive O"cer Henone Girma, Programs Assistant

BOARD MEMBERS COMMUNICATIONS AND MARKETING Dina Bangdel, Virginia Commonwealth University in Qatar Nicholas Obourn, Director of Communications and Marketing Helen C. Frederick, George Mason University Christopher Howard, Editor Carma Gorman, The University of Texas at Austin Michael Horton, Web and Digital Manager Jawshing Arthur Liou, Indiana University Vivian Woo, Communications and Marketing Manager Gunalan Nadarajan, University of Michigan Allison Walters, Graphic Designer Chika Okeke-Agulu, Princeton University Anne-Imelda Radice, American Folk Art Museum FINANCE Teresa López, Chief Financial O#cer John Richardson, Wayne State University Fernando Zelaya, Controller Andrew Schulz, Pennsylvania State University Shabab Rahman, Accounts Receivable David C. Terry, New York Foundation for the Arts Anuradha Vikram, Otis College of Art and Design PHILANTHROPY Rachel Weiss, School of the Art Institute of Chicago Anna Cline, Development Manager Andrés Mario Zervigón, Rutgers, The State University of New Jersey INFORMATION TECHNOLOGY Michael Goodman, Director of Information Technology Eric Ervin, Database Manager Wayne Lok, Systems Administrator

ADMINISTRATION Roberta Lawson, O#ce Coordinator

new york city // 2017 7 COMMITTEE MEMBERS 2016"17 Committee on Diversity Practices CAA STAFF LIAISON: Sarah Zabrodski Services to Artists Committee CHAIR: Christine Young-Kyung Hahn, Kalamazoo College CAA BOARD LIAISONS: Dina Bangdel, Virginia CHAIR: Niku Kashef, California State University, Northridge Ann Albritton, Ringling College of Art and Design Commonwealth University in Qatar; and Woodbury University ANNUAL CONFERENCE COMMITTEE Mariola Alvarez, Washington College Helen C. Frederick, George Mason University Jan Christian Bernabe, Center for Art and Thought VICE PRESIDENT FOR THE ANNUAL CONFERENCE: Christopher Bennett, University of Louisiana David J. Brown, Independent Curator and Museum Consultant N. Elizabeth Schlatter, University of Richmond Museums Kim Blodgett, Westminster Schools International Committee Carissa Carman, Indiana University Bloomington ANNUAL CONFERENCE PROGRAM CHAIR: Judith Rodenbeck, Amanda Cachia, University of California, San Diego CHAIR: Rosemary O’Neill, , Zoë Charlton, American University University of California, Riverside Radha Dalal, Virginia Commonwealth University in Qatar The New School Darren Douglas Floyd, Rhodes College Francesca Fiorani, University of Virginia Lisandra Estevez, Winston-Salem State University Alexandra Chang, New York University Asian/Paci"c/ Joan Giroux, Columbia College Chicago Niku Kashef, California State University, Northridge and Julie L. McGee, University of Delaware American Institute Stacy Miller, Parsons School of Design, The New School Woodbury University Barbara Mendoza, Solano Community College Martina Droth, Yale Center for British Art Alice Mizrachi, Artist and Educator Julia Morrisroe, University of Florida Raél Jero Salley, University of Cape Town Jennifer Gri#ths, American Academy in Rome Gabriel Phipps, Indiana University Andrea Pappas, Santa Clara University Edith Wolfe, Tulane University Les Joynes, University of the Arts London Steve Rossi, Parsons School of Design, The New School Anuradha Vikram, Otis College of Art and Design CAA STAFF LIAISON: Hunter O’Hanian Elisa Mandell, California State University, Fullerton CAA STAFF LIAISONS: Alyssa Pavley, Hunter O’Hanian 2017 REGIONAL REPRESENTATIVES: Eva Diaz, ; CAA BOARD LIAISONS: Chika Okeke-Agulu, Princeton University; Fernando Luis Martinez Nespral, University of Buenos Aires CAA BOARD LIAISONS: Guna Nadarajan, University of Michigan; Andrew Uroskie, Stony Brook University Roberto Tejada, University of Houston Abayomi Ola, Spelman College Chika Okeke-Agulu, Princeton University; David C. Terry, New CAA STAFF LIAISON: Ti!any Dugan Miriam Paeslack, University at Bu!alo State University of New York York Foundation for the Arts CAA BOARD LIAISONS: DeWitt Godfrey, Colgate University; Committee on Intellectual Property Judy Peter, University of Johannesburg Jim Hopfensperger, Western Michigan University; CHAIR: Anne Collins Goodyear, Bowdoin College Museum of Art Sarah Smith, Glasgow School of Art Student and Emerging Professionals Committee N. Elizabeth Schlatter, University of Richmond Museums; Susan Bielstein, University of Chicago Press CAA STAFF LIAISON: Janet Landay CHAIR: Megan Koza Mitchell, Prospect New Orleans Rachel Weiss, School of The Art Institute of Chicago; Nathan Budo!, University of Puerto Rico CAA BOARD LIAISONS: Dina Bangdel, Virginia Commonwealth Rachel Kreiter, Emory University Andrés Mario Zervigón, Rutgers, The State University of Mary DelMonico, DelMonico Books/Prestel University in Qatar; Jawshing Arthur Liou, Indiana University; Sooyon Lee, Cornell University New Jersey Amy Ogata, University of Southern California Roberto Tejada, University of Houston; David C. Terry, Brittany Lockard, Wichita State University Elizabeth Varner, National Art Museum of Sport, Indiana University New York Foundation for the Arts Tamryn McDermott, University of Missouri, Columbia CAA STAFF LIAISONS: Betty Leigh Hutcheson, Janet Landay Lauren Puzier, Sotheby’s Institute of Art PROFESSIONAL INTERESTS, PRACTICES, CAA BOARD LIAISONS: Je!rey P. Cunard, Debevoise & Plimpton Museum Committee Annie Storr, Brandeis University AND STANDARDS COMMITTEES LLP; Carma Gorman, The University of Texas at Austin; CHAIR: Je!rey Abt, Wayne State University Jenny Tang, Yale University Doralynn Pines, The Metropolitan Museum of Art (ret.); Jill Deupi, Lowe Art Museum, University of Miami Amanda S. Wright, University of Southern California (Jim Hopfensperger, Western Michigan University, Vice President Andrew Schulz, Pennsylvania State University Laura Flusche, Museum of Design Atlanta CAA STAFF LIAISON: Teresa López for Committees, serves as an ex o#cio member of all ten Judy Hoos Fox, c2-curatorsquared CAA BOARD LIAISONS: Dina Bangdel, Virginia Commonwealth PIPS Committees.) Committee on Women in the Arts Ivan Gaskell, Bard Graduate Center University in Qatar; Doralynn Pines, The Metropolitan Museum Antoinette (Toni) Guglielmo, Getty Leadership Institute at Committee on Design CHAIR: Donna Moran, Pratt Institute of Art (ret.); Anuradha Vikram, Otis College of Art and Design Andy Campbell, Rice University Claremont Graduate University CHAIR: Forthcoming; will be announced February 2017 Jenn Dierdorf, AIR Gallery, The Feminist Art Project Anne Manning, Nelson-Atkins Museum of Art Helen Armstrong, North Carolina State University Christine Filippone, Millersville University of Pennsylvania Leslee Katrina Michelsen, Museum of Islamic Art, Doha, Qatar Audrey Bennett, Rensselaer Polytechnic Institute PUBLICATIONS COMMITTEE AND BOARDS Alyssa Fridgen, Independent Curator Elizabeth Rodini, Johns Hopkins University Holly Cline, Radford University CAA’s comprehensive coverage of the visual arts in The Art Bulletin, Johanna Gosse, Scholar Celka Straughn, Spencer Museum of Art, University of Kansas Federico Freschi, University of Johannesburg Art Journal, caa.reviews, and Art Journal Open could not exist Heather Belnap Jensen, Brigham Young University CAA STAFF LIAISONS: Betty Leigh Hutcheson, Saadia N. Lawton Chris Garvin, University of Georgia without the dedication, expertise, and hard work of many CAA Caitlin Margaret Kelly, Power Plant Gallery, Duke University CAA BOARD LIAISONS: Gail Feigenbaum, Getty Research Institute; Matthew Gaynor, Kansas State University members. We thank the following individuals for helping CAA to Cecilia Mandrile, University of New Haven Anne-Imelda Radice, The Folk Art Museum; N. Elizabeth Elizabeth Gu!ey, State University of New York at Purchase maintain the highest standards in scholarly journal publishing Jennifer Rissler, San Francisco Art Institute Schlatter, University of Richmond Museums David Howarth, Zayed University, Dubai during the past year. Laura E. Sapelly, Pennsylvania State University Zach Kaiser, Michigan State University Miriam Schaer, Columbia College Chicago Professional Practices Committee Sarah Lawrence, Parsons School of Design, The New School Publications Committee Jean Shin, Pratt Institute CHAIR: Bruce Mackh, Michigan State University Yelena McLane, Florida State University CHAIR: Gail Feigenbaum, Getty Research Institute, Vice President CAA STAFF LIAISON: Vanessa Jalet Susan Altman, Middlesex County College Victoria Pass, Salisbury University for Publications CAA BOARD LIAISONS: Dina Bangdel, Virginia Commonwealth Tom Berding, Michigan State University David Raizman, Drexel University Kirk Ambrose, University of Colorado Boulder (June 2016) University in Qatar; Helen C. Frederick, George Mason University Michael Bowdidge, Transart Institute, Glasgow Bess Williamson, School of the Art Institute of Chicago Paul Catanese, Columbia College Chicago Nina Athanassoglou-Kallmyer, University of Delaware, The Art Dan Wong, New York City College of Technology, Education Committee Michael Grillo, University of Maine Bulletin Editor-in-Chief The City University of New York Sarah Betzer, University of Virginia CHAIR: Richard D. Lubben, Lane Community College Eunice Howe, University of Southern California CAA STAFF LIAISON: Nicholas Obourn Rebecca M. Brown, Johns Hopkins University Denise Amy Baxter, University of North Texas Meghan Kirkwood, North Dakota State University CAA BOARD LIAISON: Carma Gorman, The University of S. Hollis Clayson, Northwestern University (June 2016) Katherine Brown, Walsh University Walter Meyer, Santa Monica College Texas at Austin David Getsy, School of the Art Institute of Chicago, The Art Bulletin Judy Bullington, Belmont University Ellen Mueller, West Virginia Wesleyan College Editorial-Board Chair (June 2016) Dana Byrd, Bowdoin College Greg Shelnutt, Clemson University Susan Higman Larsen, Detroit Institute of Arts and Johns Hopkins Rebecca Easby, Trinity Washington University Katherine Sullivan, Hope College University (June 2016) Johanna Ruth Epstein, Independent Art Historian and Critic Joe A. Thomas, Kennesaw State University Tirza True Latimer, California College of the Arts, Art Journal Andrew Hairstans, Auburn University at Montgomery Jonathan F. Walz, Independent Curator Editorial-Board and Chair Kathleen Holko, Bruce Museum CAA STAFF LIAISON: Hunter O’Hanian Saloni Mathur, University of California, Los Angeles (June 2016) Anne Norcross, Kendall College of Art and Design of CAA BOARD LIAISONS: Andrew Schulz, Pennsylvania State Doralynn Pines, The Metropolitan Museum of Art (ret.) Ferris State University University; Anuradha Vikram, Otis College of Art and Design Christopher Ulivo, Santa Barbara City College

8 college art association new york city // 2017 9 David Raskin, School of the Art Institute of Chicago, caa.reviews caa.reviews Editorial Board Editor-in-Chief and Chair David Raskin, School of the Art Institute of Chicago, Editor-in-Chief general information Lane Relyea, Northwestern University, Art Journal Editor-in-Chief Amy Ballmer, Fashion Institute of Technology, Librarian and (June 2016) Technical Advisor MEMBERSHIP Emily Shapiro, Archives of American Art, Smithsonian Institution Juliet Bellow, American University, Editor Designate Gloria Hwang Sutton, Northeastern University Meredith Cohen, University of California, Los Angeles myCAA CAA STAFF LIAISONS: Joe Hannan, Betty Leigh Hutcheson Suzanne Hudson, University of Southern California As a CAA member you are an important part of the largest CAA MEMBERSHIP ONSITE CAA BOARD LIAISONS: Roberto Tejada, University of Houston; Andrei O. Pop, University of Chicago international visual arts association. Here, you can connect with During the conference learn more about your CAA member Rachel Weiss, School of the Art Institute of Chicago; Tanya Sheehan, Colby College (June 2016) a vital community of artists, scholars, and other professionals. For bene"ts at the Second Floor Promenade registration area at Andrés Mario Zervigón, Rutgers, The State University over a century, CAA has served the interests of its members and the New York Hilton Midtown during the following hours: of New Jersey caa.reviews Council of Field Editors the "eld at large. CAA members are part of an exclusive network Gwen Allen, San Francisco State University that provides access to targeted career services, the latest art- The Art Bulletin Editorial Board Juliet Bellow, American University world news, and the best original writing on art, research in art ONSITE MEMBERSHIP HOURS Nina Athanassoglou-Kallmyer, University of Delaware, Susan Best, Queensland College of Art, Gri#th University history, and critical reviews. Editor-in-Chief Phillip Bloom, Indiana University Tuesday 5:00–7:00 PM Kirk Ambrose, University of Colorado Boulder, Past Editor Karen L. Carter, Ferris State University When you attend CAA’s Annual Conference, you have the oppor- Wednesday–Friday 8:00 AM–7:00 PM Sarah Betzer, University of Virginia, Chair Eddie Chambers, University of Texas at Austin tunity to interact with others in an ever-expanding professional network, participate in compelling sessions covering the full Rita Freed, Museum of Fine Arts, Megan Cifarelli, Manhattanville College Saturday 8:30 AM–2:30 PM David Getsy, School of the Art Institute of Chicago, Chair Carol Clark, Amherst College range of art history and visual culture, and hone your skills in (June 2016) Emine Fetvaci, Boston University professional development workshops, mentoring sessions, and We look forward to seeing you! Glenn Peers, University of Texas at Austin Tatiana Flores Rutgers, The State University of New Jersey portfolio reviews. Jonathan M. Reynolds, , Columbia University (June 2016) For a list of membership bene"ts, and to join, rejoin, or renew Michael J. Schre$er, University of Notre Dame Andrew Finegold, University of Illinois at Chicago your membership online, please visit: collegeart.org/membership. Nancy Um, Binghamton University, State University of New York, Pamela Fletcher, Bowdoin College Reviews Editor Lisa Florman, The Ohio State University Laura Weigert, Rutgers, The State University of New Jersey Craig Hanson, Calvin College (June 2016) Natilee Harren, University of Houston School of Art REGISTRATION AND CHECK#IN Art Journal Editorial Board Anne Heath, Hope College Rebecca M. Brown, Johns Hopkins University, Editor-in-Chief Suzanne Hudson, University of Southern California MEMBERSHIP AND REGISTRATION RATES 2017: Juan Vicente Aliaga, Universitat Politècnica de València Pamela Jones, University of Massachusetts Boston Michael Corris, Southern Methodist University, Reviews Editor Elizabeth Merrill, Max Planck Institute for the History of MEMBERSHIP ONSITE SINGLE-TIME- (2016) Science, REGISTRATION SLOT TICKET Tatiana E. Flores, Rutgers, The State University of New Jersey Iris Moon, Pratt Institute Talinn Grigor, Brandeis University Kevin Murphy, Vanderbilt University Amelia G. Jones, University of Southern California Kristo!er Neville, University of California, Riverside (June 2016) Janet L. Kraynak, Columbia University Diana Ng, University of Michigan (June 2016) Discount Member Prices Tirza True Latimer, California College of the Arts, Chair Alpesh Kantilal Patel, Florida International University CAA STUDENT MEMBER $60 $160 $15 Catherine Lord, Independent Artist (June 2016) Andrei Pop, University of Chicago CAA RETIRED MEMBER $80 $195 $15 Saloni Mathur, University of California, Los Angeles Susan Richmond, Georgia State University PART-TIME FACULTY/ $90 $195 $15 (June 2016), Chair Tomoko Sakomura, Swarthmore College (June 2016) INDEPENDENT Lane Relyea, Northwestern University, Past Editor Tamara Sears, Rutgers, The State University of New Jersey (June 2016) Eve Straussman-P%anzer, Detroit Institute of the Arts Regular Member Prices Derek Conrad Murray, University of California, Santa Cruz Angela Vanhaelen, McGill University BASIC MEMBER $125 $495 $20 Hillary Robinson, Middlesex University London (June 2016) Edward Vazquez, Middlebury College PREMIUM $195 $295 $20 Gloria Hwang Sutton, Northeastern University, Art Journal Open Jason Weems, University of California, Riverside (June 2016) Web Editor Helen Westgeest, Leiden University Donor Circle Member Prices Kirsten J. Swenson, University of Massachusetts Lowell, Linda Wolk-Simon, Bellarmine Museum of Art, Fair"eld University SUSTAINING $300 $295 $20 Reviews Editor (November 2016) PATRON $600 $295 $20 LIFE $5,000 $295 $20

NONMEMBER $595 $35

10 college art association new york city // 2017 11 REGISTRATION BENEFITS CHECK#IN AND REGISTRATION AREAS INFORMATION FOR SPEAKERS SPEAKER READY ROOM Full conference registrants receive a conference badge, Confer- Second Floor Promenade, New York Hilton Midtown CHANGES FOR 2017 At the conference, the Speaker Ready Room will be available for ence Program, conference tote, a PDF download of the digital Information and Membership session participants to gather before their sessions and review/ publication Abstracts 2017, and online access to the Directory of We want you to be aware of three important changes this year: combine PowerPoint presentations or organize themselves Onsite Registration Attendees. Pre-purchased special-events tickets may be picked up All conference sessions are ninety minutes long. while preparing for their session. You are welcome to run at check-in. Purchase of single-time-slot/single-day, special event, and Book through your session, go over session-speci"c procedures or All conference participants (chairs, speakers, discussants, and Trade Fair tickets, and Abstracts 2017 downloads timing with your speakers, or strategize with your co-chairs in Badges: A conference badge entitles full conference registrants moderators, etc.) must be current individual CAA members this room with minimal distractions. The Speaker Ready Room Check-in for early, complimentary, exhibitor, and press access to all sessions and the Book and Trade Fair, and free admis- through February 18, 2017, regardless of a#liated society is located on the New York Hilton Midtown’s Concourse Level in registrants (Tuesday night only) sion to select area museums. Please wear your badge at all times. membership, institutional a#liation, or invited status. Concourse B. There is a $50 charge to replace a lost badge. All conference participants are required to register for the Third Floor West Promenade, New York Hilton Midtown conference or purchase a single-session ticket onsite for The Speaker Ready Room is also the site of the optional session Directory of Attendees: All full conference registrants can search Check-in for early, complimentary, exhibitor, and press their session. orientation meetings that are held each morning between the Directory of Attendees online (you must be logged into registrants (Wednesday through Saturday only) 7:30 and 8:30 AM during the conference. An AV technician will your Individual Member Account online to view the Directory). be available at these meetings to assist you and answer any It contains the name, address, a#liation, email address, and By registering for the CAA conference, attendees grant CAA the MEMBERSHIP REQUIREMENT questions you may have about the AV equipment. phone number of all early registrants who chose to be included. right to take video images and photographs of attendees in All conference participants, regardless of role within connection with the conference. Attendees authorize CAA to use their session and regardless of their membership in a The Speaker Ready Room will be closed from 12:00 to 1:30 PM Abstracts 2017: The PDF download of Abstracts 2017 is free for con- and publish the images in print and/or electronically. Attendees CAA committee or A&liated Society, must be current each day of the conference for lunch. CAA is not responsible ference registrants. Non-registrants may purchase the download agree that CAA may use such photographs with or without individual CAA members through February 18, 2017. for speaker notes, computers, or personal belongings left onsite for $35. attendee name and for any lawful purpose, including publicity, Institutional membership DOES NOT qualify as individual unattended in the room. illustration, advertising, and web content. membership. Speakers must be active members to be ONSITE REGISTRATION included in conference listings. Onsite registration will take place on the Second Floor Promenade INSTITUTIONAL REGISTRATION at the New York Hilton Midtown. CAA institutional members at the Department/ REGISTRATION REQUIREMENT Museum and Academic/Corporate levels were able to register All conference participants, regardless of their role within their faculty, sta!, and students during early registration only. If their session, must register for the conference. CAA ONSITE REGISTRATION HOURS your institution is interested in becoming an institutional level encourages full conference registration to take advantage of Tuesday 5:00–7:00 PM member in 2017, please contact CAA member services at the sessions and events, but at the very least, each participant [email protected] or 212-691-1051, ext. 1. This bene"t must purchase a single-session ticket onsite to participate in Wednesday–Friday 8:00 AM–7:00 PM is not transferable among departments, libraries, or museums their session. Speakers must have a conference badge or within a college or university. CAA does not extend this o!er to single-session ticket to attend their session. Sunday 8:30 AM–2:30 PM institutions with membership to Journal Subscribers serviced directly by Routledge, Taylor & Francis. CAA has lowered the price of single-session tickets to Onsite registration fees may be paid by MasterCard, Visa, accommodate anyone who may not be able to a!ord full American Express, or Discover credit card; by check drawn from a conference registration (to $15/$20 per ticket). Single-session US bank (payable to College Art Association); or in cash. There are tickets are sold onsite during the conference. All speakers no refunds on Annual Conference registration. Registration is not purchasing tickets should plan to do so at least 1.5 hours transferable. There is a $30 fee for returned checks. before their session’s start to leave enough time to get through registration lines and prepare for their session. Please note SINGLE#TIME#SLOT REGISTRATION that only those who register for the full conference will receive conference publications, badge, and tote. Single-time-slot tickets are available for ninety-minute sessions and may be purchased onsite during registration hours. You may enter any session during the time period for which you purchase a single-time-slot ticket. Arrive early, as the lines for single-time- slot tickets are often long. Additionally, single-day passes will be available onsite; check at registration booths for details and pricing.

12 college art association new york city // 2017 13 MUSEUM LISTINGS The Museum of Arts and Design CONFERENCE SERVICES Quiet Room 2 Columbus Circle CAA has made the Concourse C room available as a quiet For the duration of the conference, present your CAA conference Hours: Daily 10:00 AM–5:30 PM Internet Access room throughout the conference. This room is available for all badge for free admission. CAA is grateful to all the institutions The New York Hilton Midtown provides complimentary conference attendees as a quiet place to await the next session or On view in February: Voulkos: The Breakthrough Years; that have opened their doors to CAA conference attendees. wireless service in the main lobby. In all guest rooms, the rate interview or to sit for a few minutes away from the energy of the Lauren Kalman: But if the Crime Is Beautiful . . . ; and For additional information and more detailed transportation is $14.99/24 hours. Annual Conference. Please refrain from cell phone or technology Françoise Grossen Selects directions, please visit the conference.collegeart.org website, use and conversations when in this space to allow others peace download the CAA 2017 app, or visit the institution’s website. Business Center and quiet. The quiet room will be available from 8:00 AM to The Museum of the City of New York 5:00 PM Wednesday and Saturday, and from 8:00 AM to 7:00 PM The New York Hilton Midtown’s full-service business center, 1220 Fifth Avenue at 103rd Street Thursday and Friday. American Folk Art Museum located on the second %oor, provides copy services, faxing, Hours: Daily 10:00 AM–6:00 PM 2 Lincoln Square shipping, and computer access for email. Business hours are (Columbus Avenue between West 65th and 66th Streets) On view in February: New York at Its Core; Gay Gotham; Mastering Monday through Friday, 7:00 AM–7:00 PM, and Saturday and Lactation Room Hours: (Special extended hours for CAA conference attendees) the Metropolis: New York and Zoning, 1916–2016 Sunday, 9:00 AM–5:00 PM. After hours, the business center is fully A room has been set aside for conference participants with Tuesday–Saturday 10:00 AM–7:30 PM; Sunday 12:00–6:30 PM; automated, and can be accessed by registered guests by using lactation needs. Please contact Katie Apsey, manager of programs, Closed Monday New Museum their guest room keys. in the Speaker Ready Room (Concourse B) to receive room information and arrange access. On view in February: Securing the Shadow: Posthumous 235 Bowery Portraiture in America Hours: Wednesday–Sunday 11:00 AM–6:00 PM; Child Care Thursday until 9:00 PM Hotels maintain a list of licensed, bonded agencies o!ering onsite Special Accommodations child-care services. CAA does not provide child care and you must CAA is committed to providing access to all individuals attending El Museo del Barrio On view in February: Raymond Pettibon: A Pen of All Work make your own arrangements. Contact your hotel’s concierge for the conference. Special accommodations (e.g., sign-language 1230 Fifth Avenue additional information. interpretation, large-type print materials, transportation) were Hours: Wednesday–Saturday 11:00 AM–6:00 PM; Rubin Museum of Art made in advance of the conference by contacting Paul Ski! or the Sundays 12:00–5:00 PM 150 West 17th Street Food and Beverage Programs department. Hours: Monday and Thursday 11:00 AM–5:00 PM; Wednesday Hilton New York Midtown has many dining options. Herb N’ The Frick Collection 11:00 AM–9:00 PM; Friday 11:00 AM–10:00 PM; Saturday and Kitchen, the Hilton’s new concept restaurant, is open daily from 1 East 70th Street Sunday 11:00 AM–6:00 PM; Closed Tuesday 6:00 AM to 1:00 AM for co!ee and light fare with a breakfast bu!et Hours: Tuesday–Saturday 10:00 AM–6:00 PM; On view in February: Gateway to Himalayan Art; Nepalese Seasons: served daily from 6:30 AM to 11:00 AM. For wine, cocktails, and Sunday 11:00 AM–5:00 PM Rain and Ritual; and Sacred Spaces: Himalayan Wind and the Tibetan light fare, visit the Lobby Lounge, which is open daily from noon On view in February: Pierre Gouthière: Virtuoso Gilder Buddhist Shrine Room to midnight, or Bridges Bar, which is open Monday to Saturday at the French Court from 5:30 PM to 2:00 AM. For a unique venue or late-night entertainment, Minus5° Ice Bar is open Sunday to Thursday from Leslie-Lohman Museum of Gay and Lesbian Art 11:00 AM to 12:30 AM or Friday and Saturday from 11:00 AM to 26 Wooster Street 2:00 AM (children welcome until 8:00 PM). Hours: Tuesday–Sunday 12:00–6:00 PM; Thursday 12:00–8:00 PM

The Metropolitan Museum of Art: The Met Breuer 945 Madison Avenue Hours: Tuesday–Thursday 10:00 AM–5:30 PM; Friday and Saturday 10:00 AM–9:00 PM; Sunday 10:00 AM–5:30 PM; Closed Monday

The Metropolitan Museum of Art: The Met Cloisters 99 Margaret Corbin Drive, Fort Tryon Park Hours: Open seven days a week 10:00 AM–4:45 PM

The Metropolitan Museum of Art: The Met Fifth Avenue 1000 Fifth Avenue Hours: Sunday–Thursday 10:00 AM–5:30 PM; Friday and Saturday 10:00 AM–9:00 PM On view in February: Max Beckmann in New York; Selections from the Collection of Je"erson R. Burdick; and City of Memory: William Chappel’s Views of Early 19th-Century New York

14 college art association new york city // 2017 15 NEW YORK HILTON MIDTOWN MAPS NEW YORK HILTON MIDTOWN // CONCOURSE LEVEL NEW YORK HILTON MIDTOWN // SECOND FLOOR

SECOND FLOOR

ELECTRICIAN ESCALATORS ESCALATORS ESCALATORS TO CONCOURSE AMERICAS HALL 3RD DN DN UP UP 3RD LOBBY LOBBY FLOOR UP UP DN DN FLOOR RHINELANDER GALLERY PROMENADE BEEKMAN LOADING DOCK NORTH EAST CORRIDOR SERVICE ELEVATOR

JAPAN COAT BANQUET TRAVEL CHECK STORAGE CONCOURSE A BUREAU ROOM SERVICE

3,000-LB. ELEVATORS SUTTON CAPACITY NORTH RHINELANDER GALLERY CENTER GUEST CORRIDOR

MAIL FREIGHT ROOM ELEVATOR BUSINESS BRYANT MORGAN CENTER MADISON CLINTON GIBSON PACKAGE CONCOURSE CONCOURSE CONCOURSE CONCOURSE CENTER SUTTON E D C B CENTER

SERVICE CORRIDOR

ELEC. CLOSET

ELEC. SUTTON ELEVATOR CLOSET RHINELANDER SOUTH GALLERY SOUTH MURRAY HILL NASSAU GRAMERCY WEST EAST PREFUNCTION AREA STAIRCASE WEST EAST WEST EAST FROM A/V

LOBBY OPERATIONS REGENT

SOUTH CORRIDOR

CONCOURSE CONCOURSE G CONCOURSE F H EXHIBITS 8 FT. X 10 FT. 10 FT. X 10 FT. FLOOR SURFACE FLOOR LOAD OFFICE SPACE OFFICE Rhinelander Gallery 92 50 Carpet 120–175 lbs/sq ft

“Bryant” Type Suite (Total of 5 Rooms) 8 each 3 each Carpet 120 lbs/sq ft

Murray Hill Suite 22 15 Carpet 120 lbs/sq ft

Gramercy Suite 26 17 Carpet 120 lbs/sq ft

Nassau Suite 13 13 Carpet 120 lbs/sq ft

Sutton Complex 63 63 Carpet 120 lbs/sq ft

South Corridor 24 N/A Carpet 100 lbs/sq ft

East Corridor 15 15 Carpet 100 lbs/sq ft ROOM NAME DIMENSIONS AREA MAX. CEILING THEATER CLASSROOM CLASSROOM BANQUET CONFERENCE U-SHAPE HOLLOW RECEPTION HEIGHT* 3 PER 6 FT. 2 PER 6 FT. SQUARE Concourse A 55 ft x 38 ft x 8 ft 1,867 ft2 9.5 ft 192 112 74 150 60 48 60 140 6 Concourse B 44 ft x 19 ft x 8 ft 763 ft2 9.5 ft 78 42 28 40 32 30 34 40

Concourse C 39 ft x 22 ft x 8 ft 725 ft2 9.5 ft 60 30 20 40 28 24 28 40

Concourse D 38 ft x 21 ft x 8 ft 702 ft2 9.5 ft 56 30 20 40 28 24 28 40

Concourse E 44 ft x 21 ft x 8 ft 846 ft2 9.5 ft 80 42 28 50 34 27 34 40

Concourse F 27 ft x 21 ft x 8 ft 493 ft2 9.5 ft 40 24 16 30 18 14 18 50

Concourse G 27 ft x 42 ft x 8 ft 1,026 ft2 9.5 ft 100 63 42 80 36 32 36 100

Concourse H 27 ft x 19 ft x 8 ft 458 ft2 9.5 ft 40 24 16 30 18 14 18 30

*Ceiling height differs based on chandelier and lighting fixtures. 5

16 college art association new york city // 2017 17 NEW YORK HILTON MIDTOWN // THIRD FLOOR NEW YORK HILTON MIDTOWN // FOURTH FLOOR

THIRD FLOOR FOURTH FLOOR

TO ESCALATOR TO RHINELANDER ESCALATOR PROMENADE ESCALATOR AMERICAS DN 2ND HALL I & II UP 2ND UP DN UP FLOOR OPEN OPEN FLOOR DN RENDEZVOUS TO CHANDELIER TO BELOW BELOW TRIANON NEW YORK HUDSON MIDTOWN HARLEM HOLLAND AMERICAS HALL FOYER WEST PROMENADE EAST PROMENADE SERVICE LINCOLN ELEVATORS EAST SERVICE GRAND GRAND BALLROOM ELEVATORS PETIT BALLROOM EAST FOYER ROTUNDA TRIANON WEST PREFUNCTION AREA SERVICE BANQUET & FREIGHT FOYER BANQUET ELEVATORS AREA SERVICE BAR PANTRY CONRAD HILTON SUITE HILTON BOARDROOM GREEN MERCURY BALLROOM TRIANON WEST GRAND EAST BALLROOM BALCONY BALLROOM GRAND BALLROOM EAST BALCONY WEST SERVICE ELEVATORS

FOYER HYDRAULIC STAGE LIFT

STAGE DRESSING DRESSING ROOM ROOM STAGE

MAX. CEILING CLASSROOM CLASSROOM HOLLOW ROOM NAME DIMENSIONS AREA HEIGHT* THEATER 3 PER 6 FT. 2 PER 6 FT. BANQUET CONFERENCE U-SHAPE SQUARE RECEPTION

3rd Floor Promenade 41 ft x 376 ft x 11 ft 12,962 ft2 11 ft N/A N/A N/A N/A N/A N/A N/A 1,364

Grand Ballroom and Foyer 155 ft x 205 ft x 24 ft 25,202 ft2 N/A 2,300 1,440 960 2,600 N/A N/A N/A 2,800

Grand Ballroom East & West 106 ft x 205 ft x 24 ft 18,624 ft2 24 ft 1,800 1,008 672 1,560 N/A 210 240 1,960

Grand Ballroom East 106 ft x 145 ft x 24 ft 12,111 ft2 24 ft 1,400 630 420 960 N/A 138 150 1,274

Grand Ballroom West 89 ft x 76 ft x 24 ft 6,507 ft2 24 ft 665 297 198 570 N/A 75 90 684 MAX. CEILING CLASSROOM CLASSROOM HOLLOW ROOM NAME DIMENSIONS AREA HEIGHT* THEATER 3 PER 6 FT. 2 PER 6 FT. BANQUET CONFERENCE U-SHAPE SQUARE RECEPTION Grand Ballroom East & East Foyer 155 ft x 145 ft x 24 ft 16,723 ft2 24 ft 1,560 909 606 1,330 N/A N/A N/A 1,760 Green 27 ft x 22 ft x 8 ft 515 ft2 10 ft 50 18 12 40 18 18 22 40 Grand Ballroom West & West Foyer 138 ft x 76 ft x 24 ft 8,494 ft2 24 ft N/A 432 288 720 N/A N/A N/A 894 Conrad Hilton Suite 19 ft x 20 ft x 8 ft 352 ft2 10 ft N/A N/A N/A N/A 8 N/A N/A N/A Grand Ballroom Foyer 49 ft x 141 ft x 10 ft 6,582 ft2 10 ft N/A N/A N/A 440 N/A N/A N/A 692 Lincoln 26 ft x 30 ft x 8 ft 739 ft2 10 ft 70 36 24 40 28 24 28 50 Grand Ballroom East Foyer 49 ft x 98 ft x 10 ft 4,596 ft2 10 ft N/A N/A N/A 370 N/A N/A N/A 483 New York 22 ft x 51 ft x 8 ft 1,005 ft2 10 ft 104 45 30 50 46 42 46 75 Grand Ballroom West Foyer 49 ft x 43 ft x 10 ft 1,987 ft2 10 ft N/A N/A N/A 140 N/A N/A N/A 209 Hudson 22 ft x 25 ft x 8 ft 495 ft2 10 ft 48 27 18 20 22 15 22 40 Balcony (East & West) 96 ft x 209 ft x 9 ft 6,350 ft2 N/A 300 N/A N/A 436 N/A N/A N/A 668 Midtown 22 ft x 25 ft x 8 ft 496 ft2 10 ft 48 27 18 20 22 15 22 40 Mercury Ballroom 79 ft x 49 ft x 22 ft 3,639 ft2 22 ft 408 216 144 350 66 57 72 383 Harlem 22 ft x 25 ft x 8 ft 497 ft2 10 ft 48 27 18 20 22 15 22 40 Rotunda 54 ft x 47 ft x 8 ft 1,824 ft2 10 ft 90 42 28 N/A N/A N/A N/A 165 Holland 22 ft x 25 ft x 8 ft 496 ft2 10 ft 48 27 18 20 22 15 22 40 Trianon Ballroom 101 ft x 68 ft x 24 ft 6,351 ft2 24 ft 515 294 196 486 70 63 81 668 East 25 ft x 25 ft x 8 ft 593 ft2 10 ft 60 36 24 40 28 22 28 50 Petit Trianon 54 ft x 59 ft x 11 ft 2,156 ft2 11 ft 140 108 72 110 36 30 42 200 Hilton Boardroom 24 ft x 34 ft x 8 ft 535 ft2 10 ft N/A N/A N/A N/A 16 N/A N/A N/A Rendezvous Trianon 69 ft x 42 ft x 11 ft 2,613 ft2 11 ft 280 174 116 180 63 54 66 250

*Ceiling height differs based on chandelier and lighting fixtures. *Ceiling height differs based on chandelier and lighting fixtures. 8 9

18 college art association new york city // 2017 19 sessions WEDNESDAY

All sessions will be held at the New York Hilton Midtown unless otherwise noted. Schedule is subject to change. For the most up-to-date information, download the CAA 2017 app or visit the conference website.

NEW SESSION TYPES

Composed Sessions Composed Session Composed sessions are comprised of three to four individual Corpses of Art: New Critical Models papers, grouped according to related themes and/or subject Gramercy A/West, 2nd Floor areas. These assembled sessions have been organized and Does “Art Doctored” Equal “Art Neutered”? formatted by the individual participants. Like all conference Clive Cazeaux, Cardi! Metropolitan University sessions, they are ninety minutes in length. Art and Boredom: Deleuze on Meat and Vegetables Saturday Symposia Sessions Jonathan Macagba, Stony Brook University A day-long series of panels on speci"c subjects of importance Corpse of Art: IRWIN’s “Lifelike” Malevich to the membership are highlighted on Saturday. The topics Milena Tomic, OCAD University included in the 2017 conference are: Museums; The Design Field; International Art History; and Interventions in the Future What Time for the Periphery? of Art History. Foteini Vlachou, Instituto de História Contemporânea, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa PROGRAM SCHEDULE Composed Session Energy Exchange: Creative Problem Solving WEDNESDAY, FEBRUARY 15 Regent Parlor, 2nd Floor 8:30–10:00 AM Synaptic Leaps: Energy Interchange in Contemporary Printmaking Alternative Art Histories of the World Deborah Cornell, Boston University Madison Suite, 2nd Floor Once You Know, You Can’t Unknow: Creative Problem CHAIRS: Nikolas Drosos, Independent Scholar; Kate Cowcher, Solving in Computationalist Culture Stanford University Zachary Kaiser, Michigan State University From Chang’an to Athens: Wang Ziyun (1897–1990), The E#cacy of Painting in the Landscape Imagination He Zhenghuang (1914–1994), and Global Art History in Sandy Litch!eld, University of Massachusetts Amherst Twentieth-Century China Emotional Location: A Re$ection on the Digitally Jin Xu, University of Chicago Rendered Surface Debating the Westernness of Global Art History in the 1930s: Barbara Rauch, OCAD University Ananda Coomaraswamy and Meyer Schapiro C. Oliver O’Donnell, Kunsthistorisches Institut in Euratom at Sixty: Art and Atomic Energy Florenz–Max Planck-Institut Clinton Suite, 2nd Floor On How Pietro Bardi Inserted Brazilian Art into the CHAIR: Catherine Jolivette, Missouri State University Western Canon Atomic Form: Klein’s Nuclear Blue, Cocteau’s Uranium Blues Camila Maroja, Colgate University Brian R. Jacobson, University of Toronto Chernobyl and the Post-Colonial Landscape: Contemporary Art, Ethnography, and the Western Museum: Contemporary Imaginations Perspectives from Britain Hanna Chuchvaha, University of Alberta Beekman Parlor, 2nd Floor CHAIR: Richard Hylton, University for the Creative Arts Nuclear Utopias: Visibility and Indexicality, from Hiroshima to Fukushima El Hadji Sy: “Decolonizing” Western Collections of Katherine Guinness, North Carolina State University Ethnography through Contemporary Art Scholar-Activism Carol Ann Dixon, University of She#eld Flagship: Reading Romuald Hazoumè’s “La Bouche Du Roi” at the British Museum Richard Hylton, University for the Creative Arts

20 college art association see caa 2017 app for program updates new york city // 2017 21 Negotiated Spaces: Gabriel Orozco and the Grid “So near and yet so foreign”: Negotiating Touristic

WEDNESDAY, FEBRUARY 15 WEDNESDAY, FEBRUARY 15 WEDNESDAY Benjamin Cli"ord, Institute of Fine Arts, New York University Experience through Design 8:30–10:00 AM Nassau Suite East/West, 2nd Floor 10:30 AM–12:00 PM Space Invaders: Border Crossing in Daniel Halter’s Heartland CHAIR: Sara Desvernine Reed, Virginia Commonwealth Andrew J. Hennlich, Western Michigan University Expanding Modernism: Printmaking in America, 1940–60 University Art in the Age of Financial Crisis Sutton Parlor North, 2nd Floor Trianon Ballroom, 3rd Floor The Tropicana: Designing Cosmopolitan Cubanidad CHAIR: Christina Weyl, Independent Scholar Composed Session CHAIRS: Marisa Lerer, College; Conor McGarrigle, Erica Morawski, Smith College Pedagogy I: Fundamentals Dublin Institute of Technology ART: What Pollock Learned from Hayter Petit Trianon, 3rd Floor To and From Ticul: Uses of the Maya Pot in California Design, Elizabeth L. Langhorne, Central Connecticut State University Artist as Owner not Guarantor Science, and Counterculture Problem-Finding and Meaning-Making: An Examination Amy Whitaker, New York University Inventive by Design: Harry Bertoia’s Experimental Monotypes of the Advanced Placement Studio Art Concentration Process Robert J. Kett, San Francisco Museum of of the 1940s Normalizing Deviance and the Construction of THE MARKET Amy Charleroy, Teachers College, Columbia University How to See Japan: Japan Tourist Bureau Images for Western Sydney Skelton Simon, Stanford University Mark Curran, Institute of Art, Design & Technology Teaching Histories of Art and Design . . . Together Tourists of the 1930s Collaboration and Narrative in Abstract Expressionist Currency, Art, and Economic Crisis Susan Funkenstein, University of Michigan Dori Gri#n, Ohio University School of Art + Design Printmaking: Revenge by Willem de Kooning and Elena Shtromberg, University of Utah Transforming Not Transferring Content to Create an From Hotels to Home: Designing Ghana’s Tourism Industry Harold Rosenberg Artistic Interventions in Finance Online Art History I Survey Course through Asanti Textiles Jennifer Field, Institute of Fine Arts, New York University Derek Curry, State University of New York Bu!alo; Ingrid Steiner, Gnomon School of Visual E!ects, Allison Joan Martino, University of Michigan Jennifer Gradecki, Michigan State University Games & Animation Arriving and Departing from American Sāmoa Composed Session Expert Consensus on Teaching the Art History Survey: Kelema Lee Moses, Occidental College Figuration in the Global Early Modern Renaissance Society of America (RSA) A Delphi Study Trianon Ballroom, 3rd Floor Early Modern Senses and Spaces Josh Yavelberg, George Mason University Text and Image Intersections from Latin America Rise of Shiism in Iran and the Art of Figurative Representation Sutton Parlor South, 2nd Floor Morgan Suite, 2nd Floor Chad Kia, Independent Scholar CHAIR: David Karmon, College of Holy Cross Picturing Social Movements from Emancipation to CHAIR: Idurre Alonso, The Getty Research Institute Toeput and the Codex Maggi The Sensory Experience of Ottoman Tombs Black Lives Matter In Between: Experimental Poetry and Proto-conceptual Natsumi Nonaka, Montana State University Nina Ergin, Koç University Sutton Parlor South, 2nd Floor Exercises in Latin America Early Modern Portrayals of Muslims by Dutch Printmaker Jan CHAIRS: Cheryl Finley, Cornell University; Deborah Willis, Idurre Alonso, The Getty Research Institute Mapping Acoustic Itineraries in Renaissance Florence Cornelisz Vermeyen and How Personal Contact with Others New York University Niall Atkinson, The University of Chicago Simultaneity and Translation: Transcultural Collaborations A"ects Artistic Representation #SayHerName, Artists Respond: Charles White (1951), in Latin American Art Sensing the Holy in Renaissance Spain Carolyn Van Wingerden, Rice University Lorenshay Hamilton (2016) Selene Preciado, The Getty Foundation Tom Nickson, The Courtauld Institute of Art Kellie Jones, Columbia University SPONTANEOUS COMBUSTION: Conceptual Conceit and Fountains and Embodied Experience in Early Modern Italy Immeasurable Extravagance: Proposals for an Economy Contemporary Art Troubling Racialized Vision the Visuals Arts in Chile, ca. 1978 Anatole Tchikine, Dumbarton Oaks Research Library of Abundance in an Age of Scarcity Dipti Desai, New York University José Falconi, Harvard University and Collection Sutton Parlor Center, 2nd Floor CHAIRS: Jorella Andrews, Goldsmiths, University of London; Visualizing Criminal (In)Justice: How Data Visualization Helps DISCUSSANT: Daniel Quiles, School of the Art Institute Leah Durner, Independent Visual Artist Us Understand That Black Lives Matter of Chicago Society of Historians of East European, Eurasian, and Charlton D. McIlwain, New York University Russian Art and Architecture (SHERA) Session Introduction: Reclaiming Extravagance for a Emerging Scholars: Politics and the Collective in Vision and Justice: The Role of Art for Citizenship in African Midwest Art History Society (MAHS) Time Such as This East European and Russian Art, Part I American Culture Watanabe Kazan (1793–1841), Portrait of Ōzora Jorella Andrews, Goldsmiths, University of London West Ballroom, 3rd Floor Sarah Lewis, Harvard University Buzaemon (1827) The Festive High Altar in Spain (1760–80) and the Enlightenment CHAIR: Alice Isabella Sullivan, University of Michigan Road through Midnight: A Civil Rights Memorial Bryant Suite, 2nd Floor Polemic over Folk Indulgence Radical Pop Culture? Trn and the Young Czechoslovak Jessica Ingram, California College of the Arts CHAIR: Rhiannon Paget, Saint Louis Art Museum Tomas Macsotay, Universitat Pompeu Fabra Left of the 1920s From Masterful Preparations to Treasured Copies: Japanese The Lights Are Much Brighter There: Performance in Downtown Julia Secklehner, The Courtauld Institute of Art Art Historians Interested in Pedagogy and Technology (AHPT) Portraiture at the Cleveland Museum of Art New York (1978–88) as an Economy of Abundance The Modern Folklorism of Zagreb’s City Cellar Murals Prove It! Publish It! Art History and the Scholarship of Sinéad Vilbar, Cleveland Museum of Art Meredith Mowder, The Graduate Center, The City University Heidi Cook, Truman State University of New York Teaching and Learning The Painter’s Laboratory: Negotiations of Eastern Tradition Rendezvous Trianon, 3rd Floor and Western Technology in Early Modern Japan Participation and Collectivity in Art of the Soviet and Extravagant Painting: Outpouring and Over$owing CHAIRS: Denise Amy Baxter, University of North Texas; Rhiannon Paget, Saint Louis Art Museum Post-Soviet Belarus, Moldova, and Ukraine Since the 1970s Leah Durner, Independent Visual Artist Kelly Donahue-Wallace, University of North Texas Maria Lanko, University of Aberdeen Disability and Spectacle, or Ōzora Buzaemon Comes to Edo Research Design and Methods Michael Toole, University of Wisconsin–Madison Composed Session Sara Wilson McKay, Virginia Commonwealth University Negotiated Spaces of Contemporary Practice West Ballroom, 3rd Floor Institutional Concerns Denise Amy Baxter, University of North Texas Niki de Saint Phalle’s Liveness Samuel Adams, University of Southern California Case Studies Kelly Donahue-Wallace, University of North Texas

22 see caa 2017 app for program updates new york city // 2017 23 Collecting and Displaying Contemporary Fashion: Composed Session Composed Session

WEDNESDAY, FEBRUARY 15 WEDNESDAY The Conservator’s Perspective Performing Materials The Transnational 1960s: Concept and Critique 10:30 AM–12:00 PM Sarah Scaturro, The Costume Institute, The Metropolitan Nassau Suite East/West, 2nd Floor East Ballroom, 3rd Floor Museum of Art Slow Plastic Trial in Process: The “Audiovisual” as “New Criticism” in Brazil Emerging Technology and Contemporary Art: What Is Curating Kul’ttovary Freedom Baird, Massachusetts College of Art and Design Sonia Angela de Laforcade, Princeton University Twenty-First-Century Craft? Yelena McLane, Florida State University Bryant Suite, 2nd Floor Interactive Art Machines Religion in Drag: The Political Stakes of “Dematerialization” in CHAIRS: Michelle LaFoe, OFFICE 52 Architecture; Sena Clara Creston, Washington State University; Argentina and the United States during the Vietnam War Era Isaac Campbell, OFFICE 52 Architecture Islam and Contested Cultural Heritage in Africa Charles Pezeshki, Washington State University Melinda Guillen, University of California, San Diego Sutton Parlor North, 2nd Floor Evidence of Mind: Is the Perception of Intent What De'nes The First Manifesto of Surrealism and Other Restagings Stephen Willats’s “Freezone”: Genealogies, Trajectories, CHAIRS: Michelle Moore Apotsos, Williams College; and Binds the Ever-changing Spectrum of Craft? Craig McDaniel, Herron School of Art and Design, Indiana and Mediatization Barbara Frank, Stony Brook University Alison Howell, University of the West of England University Purdue University Indianapolis; Jean Robertson, Sharon L. Irish, University of Illinois at Urbana-Champaign Preservation, Priorities, and the Histories: Private vs. Herron School of Art and Design, Indiana University Purdue Rigid Textiles: Examining the Reciprocal Relationship between The Ersatz Art School and Councils of Councils: Dutch Public in Agadez University Indianapolis Composite Surface Morphologies and Methods of Production Institutions of Critique in the 1960s Ikem Stanley Okoye, University of Delaware David Costanza, Rice University School of Architecture Janna Therese Schoenberger, The Graduate Center, What Is Fulbe and What Is Islamic about Fulbe Islamic Composed Session The City University of New York Material Simulations Architecture in Northern Cameroon? Reception Studies in Modernism: Around the Great War Mike Andrews, School of the Art Institute of Chicago Mark Dike DeLancey, DePaul University Petit Trianon, 3rd Floor Visualizing the Risorgimento: Art in Italy Before and Beyond Facture Heritage Lost and Found: Recent Cultural Preservation “In front of the picture, the spectator must learn how to After Uni$cation Ingrid Murphy, Cardi! School of Art & Design, Initiatives and Installations in Fez, Morocco empathize”: Alfred Döblin Looks at Umberto Boccioni’s Painting Morgan Suite, 2nd Floor Cardi! Metropolitan University Michelle Huntingford Craig, Cuesta College in Berlin, 1912 CHAIR: Caterina Y. Pierre, Kingsborough Community College, Riccardo Marchi, University of South Florida The City University of New York Contested Sites of Remembrance: Islamic Heritage in Timbuktu Global Conversations I Rosa de Jorio, University of North Florida A Queer Kirchner at the Guggenheim Stefano Lecchi’s Photographic Pilgrimage of War Sutton Parlor Center, 2nd Floor James A. van Dyke, University of Missouri Beth Saunders, The Metropolitan Museum of Art CHAIR: Michael Ann Holly, Clark Art Institute Mediated Landscapes: The Use of Photography, Film, Serenity and Somnambulism in Franz Marc’s Portraits of Russi Art, Criticism, and Nationalism in Telemaco Signorini’s Italy and Television in Land Art Jean Marie Carey, University of Otago Claire L. Kovacs, Augustana College, Augustana Teaching Globalized Regionalism and Modernist Aesthetics Rendezvous Trianon, 3rd Floor Museum of Art in the Built Environment CHAIRS: Joy Sleeman, University College London; Gramercy B/East, 2nd Floor Taking Place: Renegotiating Art and Ecology from the Death of the Hero: The Tomb of Giovanni Battista Niccolini Jane McFadden, ArtCenter College of Design; CHAIRS: Susanne Bauer, Federal University of Uberlandia; Eighteenth Century to Today (1782–1861) by Pio Fedi (1816–1892) and the Creation of Sajda van der Leeuw, University of Oxford Eliana Sousa Santos, University of Coimbra Beekman Parlor, 2nd Floor National Sentiment in Post-Risorgimento Italy A More or Less Mental Institution: Fernsehgalerie Gerry Schum CHAIRS: Kelly Presutti, Massachusetts Institute of Technology; Caterina Y. Pierre, Kingsborough Community College, Doxiadis’s “Entopia”: An Early Version of Globalized Regionalism Margot Bouman, Parsons School of Design, The New School Monica Bravo, Yale University The City University of New York Costandis Kizis, Architectural Association School of Architecture Authenticating the Local: Land Art’s Two Geographies Material Ecology on the French Atlantic Shore Crafting Modernities: “Vernacular” Architectures in the Nicholas B. Bauch, University of Oklahoma Maura Coughlin, Bryant University Writing Art History in the Margins: Rethinking Centers Interwar Years and Peripheries in “Non-Western” Art Historiography Theodossios Issaias, Yale School of Architecture To Signal “Torn from Its Bowels”: The Ecology and Places of a Clinton Suite, 2nd Floor Gillian Turner Young, Columbia University Silver Sugar Bowl From Knowledge Transfer to Knowledge Flows: Non-Western CHAIRS: Peyvand Firouzeh, Kunsthistorisches Institute, Laura Turner Igoe, Harvard Art Museums Modernist Models A Mediated Forest Florence; Danielle Becker, University of Cape Town Mónica Pacheco, ISCTE-IUL Edwina Fitzpatrick, University of the Arts London Tectonics, Tectology, and the Wegenerian Revolution The Center within the Periphery: South African Art History and Kristin Romberg, University of Illinois, Urbana-Champaign The Uses of Regionalism in (Post-)Yugoslavian Discourse the Framing of the Art Museum on Mass Housing New Materialisms in Contemporary Art Danielle Becker, University of Cape Town Lea Horvat, University of Hamburg Regent Parlor, 2nd Floor The Last Frontier: Current Trends in the Visual Culture Under the Shadow of Empires: Historicizing Deccan Studies in CHAIR: Lex Morgan Lancaster, University of of the Circumpolar North Art Historiography of the Islamicate Societies Wisconsin–Madison Madison Suite, 2nd Floor History through Things/Things through History: Design Peyvand Firouzeh, Kunsthistorisches Institute, Florence CHAIRS: Zoë Marie Jones, University of Alaska Fairbanks; Objects in the Museum All This Stu": Jack Smith’s Queer Materialism Annie Du"y, University of Alaska Fairbanks Language and Terminology in Art Histories of Turkey Gramercy A/West, 2nd Floor Joshua Lubin-Levy, New York University Ceren Özpinar, University of Sussex Per Kirkeby and the Circumpolar North CHAIRS: Emily Orr, Cooper Hewitt, Smithsonian Design Sca"old For Clarence Burton She#eld Jr., Rochester Institute Museum; Christine Guth, Independent Scholar Anna Campbell, Grand Valley State University of Technology The Japanese Camera on Display: History through the Howardena Pindell’s Abstract Woven Paintings: Materiality Remote Sensing: Case Studies of Indigenous Centers in the North Lens of a Nikon as Black Feminist Critique Zoë Marie Jones, University of Alaska Fairbanks; Annie Du"y, Kelly Midori McCormick, University of California, Los Angeles Sarah Cowan, University of California, Berkeley University of Alaska Fairbanks MoMA and the Accession of Digital Type Designs Queering Form The Soniferous Æther of the Land Beyond the Land Beyond Craig Eliason, University of St. Thomas Linda Besemer, Occidental College Carmen Victor, York University Polar Lab Program: Artists and Social Action in the Arctic Julie Decker, Anchorage Museum at Rasmuson Center

24 see caa 2017 app for program updates new york city // 2017 25 Bad Bodies: Inscriptions of Fatigue, Instability, Private vs. Public Online Pro'les Composed Session

WEDNESDAY, FEBRUARY 15 WEDNESDAY and Resistance Megan Koza Mitchell, Arts Council New Orleans Moving Image Cultures 12:15–1:15 PM Bryant Suite, 2nd Floor Madison Suite, 2nd Floor Twitter, Instagram, and Facebook CHAIR: Lauren O’Neal, Lamont Gallery at Phillips Lauren Puzier, Sotheby’s Institute of Art Ruin Lust in Postapocalyptic Visual Culture Noon Forum Exeter Academy Meghan Bissonnette, Valdosta State University Hot Topic: Advocating for Your Department Website Development Ballet and Budweiser—Exceeding the Body, Exceeding Identity Rendezvous Trianon, 3rd Floor Presenter information forthcoming at print deadline Smokescreens to Smokestacks: True Detective and Virginia Solomon, University of Memphis the American Sublime Explore how faculty members and department Body at Rest Caroline Blinder, Goldsmiths, University of London chairs can secure outside funding for projects in their Feminist Temporalities and Art Histories in the André Alves, University of Gothenburg respective departments. Middle East and North Africa Between the Moving Image and the Physical Screen: Challenges Queering Mobile Network Infrastructures and the Gramercy B/East, 2nd Floor and Controversies in Moving Image–Based Public Art SPEAKERS: Deborah Bright, Pratt Institute; Roberta W. Albert, Data-Driven Body CHAIR: Ceren Özpınar, University of Sussex Annie Dell’Aria, Miami University Columbia University School of the Arts; Heather Pontonio, Erin Colleen Johnson, Bowdoin College Emily Hall Tremaine Foundation Women, Art, and Nation-Building: A Study of Exhibitions of Queer Kids with Camcorders DISCUSSANT: Stephanie G. Anderson, Western University Women Artists in Modern Egypt Anthony Graham, Museum of Contemporary Art San Diego DISCUSSANT: Hunter O’Hanian, College Art Association Nadine Atallah, Université 1 Panthéon-Sorbonne Historians of British Art (HBA) Image and Identity: Re$ections of the Female Body in the Work of Non-Western Genealogies of Art Criticism Noon Forum Con(ict as Cultural Catalyst in Britain Emirati Women Artists Sutton Parlor South, 2nd Floor Key Conversation: Navigating Public Opposition to Clinton Suite, 2nd Floor Sabrina DeTurk, Zayed University CHAIR: Sarah-Neel Smith, Maryland Institute College of Art Museum Exhibitions CHAIR: Michael J. K. Walsh, Nanyang Technological University Trianon Ballroom, 3rd Floor Objects That Do Not Behave: Dissenting Strategies in the Arabic as Metaphor and Model for Art in Early-Twentieth- The Spanish Civil War, Three Guineas, and the Arrival of Works of Ghazaleh Hedayat Century Egypt SPEAKERS: Lisa Melandri, Contemporary Art Museum Guernica in Britain Foad Torshizi, Columbia University in the City of New York Clare Davies, The Metropolitan Museum of Art St. Louis; Stephanie Stebich, Tacoma Art Museum; Frances Spalding, The Burlington Magazine Catherine J. Morris, Brooklyn Museum Transmission as Resistance in the Work of Zineb Sedira Mário Pedrosa and Art Criticism in Twentieth-Century Brazil Feminism in a Context of Con$ict: The Orchard Gallery and Nancy Holiday Powers, Virginia Commonwealth University in Qatar Pedro Erber, Cornell University DISCUSSANT: Svetlana Mintcheve, National Coalition Spero’s Notes in Time on Women against Censorship Mapping Art Criticism in the Early People’s Republic of China Rachel Warriner, National College of Art and Design, Dublin Islands and Insularity: Representing Di!erence Christine Ho, University of Massachusetts, Amherst “We are all engaged in the battle of life”: Imperialism, Social Sutton Parlor North, 2nd Floor DISCUSSANT: Katy Siegel, Stony Brook University, State WEDNESDAY, FEBRUARY 15 Darwinism, and Visualizations of Con$ict in the First World War CHAIR: André Bideau, Accademia di Architettura di Mendrisio University of New York Memorial Sculpture of Eric Kennington (1888–1960) and Charles Island Legacies in a Portuguese Colonial City in India 1:30–3:00 PM Sergeant Jagger (1885–1934) Nuno Grancho, University of Coimbra Jonathan Black, Kingston University On the Dialectics of Procedural Violence in Post–World War II A Little Hungry, a Little Thirsty: Contemporary Art, Missionary Churches and Island Utopias: Building for Conquest European Art, 1949–65 Within, Within, Within: The Principle of Visualizing the Writing, Form, and Practice in Colonial Algeria (1830–60) Sutton Parlor Center, 2nd Floor British Imperial World Nassau Suite East/West, 2nd Floor Ralph Ghoche, Barnard College, Columbia University CHAIRS: Jaleh Mansoor, University of British Columbia; Jiyi Ryu, University of York Vanessa Parent, University of British Columbia CHAIRS: Sarah Smith, The Glasgow School of Art; Great War Island: The Underlying and Visible Mechanics of Urban Elizabeth Reeder, The University of Glasgow DISCUSSANTS: Holly Scha"er, Dartmouth College; Regeneration in Belgrade VALIE EXPORT: Violent Vicissitudes Joan DelPlato, Bard College at Simon’s Rock; John Klein, The Dress of Thought: Form and Style in Contemporary Marko Jobst, University of Greenwich Rose-Anne Gush, University of Leeds Washington University St. Louis Art Writing Marine Island Vagabond: Islands of the Future “La Désolation”: The Violence of Pruning and Matisse’s Cut-Outs Susannah Thompson, The University of Edinburgh Janet Bellotto, Zayed University Tessa Paneth-Pollak, Michigan State University Association of Art Museum Curators (AAMC) What a Thirst It Was: Longing, Excess, and the Curators: Agents of Change from “Inside and Outside” Death, Decay, and Density: Tracing Öyvind Fahlström’s Genre-Bending Essay the Box (of the Museum) Lost, Abundant, and Fugitive Sound: Listening, Seeing, “Living Signs” Elizabeth Reeder, The University of Glasgow East Ballroom, 3rd Floor Meaning, Experience Maibritt Borgen, Yale University “You’re the least important person in the room and don’t CHAIR: Marianne Lamonaca, The Bard Graduate Morgan Suite, 2nd Floor forget it”: The Intimate Relations of Subjectivity, Analysis, Center Gallery CHAIRS: Lynn Marie Kirby, California College of Arts; Composed Session Deviant Thought, and the Illegitimate Everyday Barbara McBane, Independent Scholar Nii O. Quarcoopome, Detroit Institute of Arts Race and Representation: Nineteenth-Century Case Studies Laura Edbrook, The Glasgow School of Art Quasi Closed-Captions Gramercy A/West, 2nd Floor Wassan Al-Khudhairi, Birmingham Museum of Art I Like the Unpath Best: Art-Practice-Writing and the Creation of Alison O’Daniel, California State University, Long Beach Mapping the Masculine Body: Indigenous Self-Portraiture Complex, Generative, and Complicating Forms and Contexts Beatrice Galilee, The Metropolitan Museum of Art Sensibilia: The Acoustic Image in Postwar Paris in the 1830s Amanda Thomson, The Glasgow School of Art DISCUSSANT: Marianne Lamonaca, The Bard Graduate Caitlin Woolsey, Yale University Kimberly Minor, University of Oklahoma DISCUSSANT: Laurie Palmer, University of California, Center Gallery Past and Present in the Nonsynchronous Narration A Civilized Nature: Picturing Australia and Aboriginal Santa Cruz Andy Ditzler, John Q Collective Australians on the Baudin Expedition (1800–1804) Kailani Polzak, Williams College Student and Emerging Professionals Committee How Do We Hear Race? De$ning Your Online Presence for the Arts Professional Fo Wilson, Columbia College Chicago From Invisible Slave to Comforting Mammy: The Evolution of Rendezvous Trianon, 3rd Floor Nursemaid Imagery in Nineteenth-Century American Art Listening to Adrian Piper’s Food for the Spirit (1971) CHAIRS: Megan Koza Mitchell, Prospect New Orleans; Rachel Stephens, The University of Alabama Lauren Puzier, Sotheby’s Institute of Art River Bullock, University of Wisconsin–Madison Triumph of America: Yvon’s Post–Civil War Conundrum Leanne Zalewski, Central Connecticut State University

26 see caa 2017 app for program updates new york city // 2017 27 Unmanned Aircraft Art Vehicles (UAAV): Opportunities, De cara al público: Art as Propaganda in Republican Spain Enacting the Citizen: Artist Publications in East Germany

WEDNESDAY, FEBRUARY 15 WEDNESDAY Pitfalls, and Implications (1931–39) as a Counter-Public Sphere 1:30–3:00 PM Beekman Parlor, 2nd Floor Madison Suite, 2nd Floor Sara Blaylock, University of California, Santa Cruz CHAIRS: Adam Fung, Texas Christian University; CHAIR: Jordana Mendelson, New York University Composed Session Nick Bontrager, Texas Christian University Historical Reiterations: Romantic Spain in the Second Composed Session Reception Studies in Modernism: Reinterpreting Dronology: Taxonomies of Drones Spanish Republic Feminist Interventions in the Technosphere Modern Masters Isabella Stre"en, University of Lincoln Maite Barragán, Temple University Nassau Suite East/West, 2nd Floor Petit Trianon, 3rd Floor The Tethered Artist Muralism and the Second Spanish Republic Aesthetics of Biofeedback: Modeling Consciousness in Art of Appropriation, Assemblage, and Hybridity: Oceanic Art and Fritz Horstman, Independent Artist Anna Wieck, National Gallery of Art the 1960s and 1970s a Collage Aesthetic in Jean Dubu"et’s Portraits Cristina Albu, University of Missouri–Kansas City Stephanie Chadwick, Lamar University Remotely Operated Thoughts The Asymmetrical Power of Pictures: Photography, Illustration, Paul Catanese, Columbia College Chicago and Anarchist Propaganda during the Spanish Civil War Virtual Encounters with Asian/America: Expressions of Making the Hand Visible: Paul Klee’s Tactile Surfaces Michel Otayek, New York University Transnational Feminisms and Intimacies in the Virtual/ Charlotte Healy, Institute of Fine Arts, New York University What Will Tomorrow’s Drone Protest Look Like? Augmented Realities of Tamiko Thiel, and Lily and Honglei Matt Kenyon, Rhode Island School of Design DISCUSSANT: Isabel Estrada, The From Black Mountain to Monte Alban: Josef and Anni Albers Michelle Lee, Purdue University in the Americas It’s Not Just about the Rain: Materializing Climate Data as Jennifer Reynolds-Kaye, Yale University Design Museums: The New Wave Woven Landscape Beekman Parlor, 2nd Floor WEDNESDAY, FEBRUARY 15 Tali Weinberg, Artist CHAIR: Elizabeth Keslacy, University of Michigan The Meteorological Impulse in Art: Modernity, Technology Chic: Designing Machines with Women in Mind Postmodernity, and the Atmospheric Turn 3:30–5:00 PM Perfect Vision: Issey Miyake and a Museum of Design in Japan Julie Wosk, State University of New York Maritime College West Ballroom, 3rd Floor Chelsea Bruner, Ringling College of Art and Design Biographies of Early Modern Works of Art CHAIRS: John A. Tyson, National Gallery of Art; Morgan Suite, 2nd Floor 1965 Today: Exhibiting Modern Archaeology Ellen Y. Tani, Bowdoin College Museum of Art Global Conceptualism(s), Revisited CHAIRS: Virginia Brilliant, Ringling Museum of Art; Noga Eliash-Zalmznovich, The Israel Museum Sutton Parlor South, 2nd Floor Seeing Yourself Sensing: Contemporary Ambient Aesthetics Anita Moskowitz, Stony Brook University Redesigning a Design Museum CHAIR: Tina Le, University of Michigan Alan Braddock, The College of William & Mary Hidden Dragons and Conspicuous Bees: The Early Modern Laura Flusche, Museum of Design Atlanta (MODA) Sunbelt Conceptualism? The Southern Strategy in Conceptual Art American Sky Biography of SS. Cosma e Damiano Villa Noailles: Modern and Contemporary Design as Festive Jacob Stewart-Halevy, Tufts University Johanna Gosse, Columbia University Jasmine R. Cloud, University of Central Missouri Collaborative Projects Revisionist Readymade: David Hammons’s Art History Lesson Tropical Storm: Atmospheres of Contemporary Southeast Filippino Lippi’s Mercatale Tabernacle in Prato: Exhibiting a Rosemary O’Neill, Parsons School of Design, The New School Gregory Tentler, Alfred University Asian Art Work of Art or a Work of Restoration? Conceptualism—A Channel to the Global Art Scene: The Case Jeannine Tang, Center for Curatorial Studies, Bard College Cathleen Hoeniger, Queen’s University Erasures and Eradications in Viennese Modernism of Mashkof Group in Jerusalem Lorenzo the Misunderstood Regent Parlor, 2nd Floor Noa Avron-Barak, Tel Aviv University The Shifting Landscape of Universal Design Alison Luchs, National Gallery of Art; Shelly Sturman, CHAIRS: Megan Brandow-Faller, Kingsborough Community Regent Parlor, 2nd Floor National Gallery of Art College, The City University of New York; Laura Morowitz, The Dark Side of Left Conceptual Art: Struggle In and Out CHAIR: Russell Flinchum, North Carolina State University Wagner College of New York Cleveland’s Caravaggio: Relocation, Restoration, and College of Design Branislav Jakovljevic, Stanford University the Cruci"xion of St. Andrew In Situ From Glittering Surface to Political Underground: The Daring Fifty Years of Universal Design at NC State Erin Benay, Case Western Reserve University Lives of Trude Waehner and Friedl Dicker-Brandeis Russell Flinchum, North Carolina State University College Julie M. Johnson, University of Texas at San Antonio Imagining Bodies, Picturing Identities: Self-Portraiture DISCUSSANTS: Virginia Brilliant, Ringling Museum of Art; of Design as Performance Anita Moskowitz, Stony Brook University An Enduring Double Standard: Kineticism, Appropriation, Sutton Parlor Center, 2nd Floor Universal Design and Experience Design: An Applied Framework and the Limits of Modernism CHAIR: Chanda Laine Carey, New York University for Teaching Undergraduate Graphic Design Students Rae Di Cicco, University of Pittsburgh Charting a New Course: Reorienting the Discourse of Scott Townsend, North Carolina State University College Beyond Face Value: Reconsidering Laura Aguilar’s Early African American Art History Vienna’s Hidden Past of Design Three Eagles Flying Clinton Suite, 2nd Floor Karen E. Frostig, Deborah Cullen, Miriam & Ira D. Wallach Art Gallery, Big Data and Universal Design: Sca"olding Accessibility CHAIRS: Mia L. Bagneris, Tulane University; Viennese Modernism, Cultural Reconstruction, and Jewish Columbia University through New Media Environments Anna Arabindan-Kesson, Princeton University Absence: 1938–55 Helen Armstrong, North Carolina State University College Resisting Ideal Men: Performative Bodies in Contemporary Stealing a Glance: Enslaved Viewers in the Plantation South Frances Tanzer, Brown University of Design Korean Photography Jennifer Van Horn, George Mason University Boyoung Chang, Rutgers, The State University of New Jersey Principles Applied: Experiencing Disability (a Workshop) Face(ing) the Impossibility of Recovery: Tracing the A"ective European Postwar and Contemporary Art Forum (EPCAF) Helen Armstrong, North Carolina State University College Identity Interventions: Wendy Red Star’s Four Seasons Series Terrain of the Anonymous in African American Photography European Eighties of Design and Chris Burden’s Doomed Key Jo Lee, Yale University Bryant Suite, 2nd Floor Michelle Lanteri, New Mexico State University CHAIRS: Sophie Cras, Université Paris 1 Panthéon-Sorbonne; Techniques of the Engraver: Patrick Henry Reason’s African Emmanuel Guy, Parsons Paris, The New School Laboring Astride the Lens: The Performative Self-Portraits of American Portraits, 1830s–1860s Zanele Muholi Phillip Troutman, The George Washington University Totalitarianism, Destruction, and Trauma: Dystopia of Stephanie Sparling Williams, Yale University Art Gallery Industrial Nicolas Ballet, Université Paris 1 Panthéon-Sorbonne Television’s Feedback Loop: Artists Talking Back to the Media (1985) and the Stedelijk Museum on Television Angela Bartholomew, Vrije Universiteit Amsterdam

28 see caa 2017 app for program updates new york city // 2017 29 Revisiting Time in Contemporary Art Decoding Destruction and Decay

WEDNESDAY, FEBRUARY 15 WEDNESDAY, FEBRUARY 15 WEDNESDAY Rendezvous Trianon, 3rd Floor Sutton Parlor South, 2nd Floor 3:30–5:00 PM CHAIRS: Sarah Archino, Furman University; 5:30–7:00 PM CHAIRS: Maile Hutterer, University of Oregon; Monica Steinberg, University of Southern California Sarah Thompson, Rochester Institute of Technology Composed Session Just Press “PLAY”: “Real-Time Computation” (RTC) and Do Mute Stones Speak? Roman Amphitheaters after Antiquity New Studies in Renaissance and Baroque Painting CAA Convocation, Presentation of Annual Awards for “Simultaneity” in Digital Art Laura Hollengreen, Georgia Institute of Technology; Trianon Ballroom, 3rd Floor Distinction, and Annual Business Meeting, Part I Ti"any Funk, Lake Forest College West/East Ballroom, 3rd Floor Anna Tóth, Georgia Institute of Technology Annibale Carracci’s Butcher’s Shop: Rethinking Art Theory Palestinian Cyclical Time in Nida Sinnokrot’s As In Reframing the Fragments from Saint-Germain-des-Prés and Practice of the Naturalistic Reform of Painting The CAA Convocation, held the "rst evening of the Annual Those Brief Moments (2014) Meredith Cohen, University of California, Los Angeles Gloria de Liberali, University of Washington Conference, includes a welcome from Suzanne Blier, Sascha Crasnow, University of California, San Diego CAA president, and Hunter O’Hanian, CAA executive The Ruins of Precolumbian Arcadia: Imagining and Armor, Body, and Masculinity in Portraits of a Renaissance Duke Contemplation of Time in Chinese Contemporary Art director, and the Presentation of Annual Awards for Reconsolidation Claudia Lazzaro, Cornell University Patricia Karetzky, Bard College Distinction. This year Mary Miller, Sterling Professor of Igor Demchenko, Kunsthistorisches Institut in Florenz What’s in a Line: The Painted Seam in Renaissance Venice History of Art and recently appointed senior director of ILSSA, It’s About Time: Labor, Obsolescence, and Value Charlotte Nichols, Seton Hall University the Institute for the Preservation of Cultural Heritage Emily Larned, University of Bridgeport Design: Context and Dialogue at Yale University, will give the keynote address. Poussin’s Women Gramercy B/East, 2nd Floor Troy Thomas, The Pennsylvania State University Harrisburg Convocation is free and open to the public. Surrealist Gestures and Material Transformations CHAIR: Mark John DeYoung, Independent Scholar Please join the CAA Opening Reception, immediately in the Twentieth-Century Interior Design: Participatory Practices and Service Learning in Open Session for Emerging Scholars of Latin American Art following Convocation, in the Ballroom Foyers. No Gramercy A/West, 2nd Floor Visual Communication THURSDAY tickets required for admission. The reception will include THURSDAY Petit Trianon, 3rd Floor CHAIR: Marianne Eggler, State University of New York, Mark John DeYoung, Independent Scholar a cash bar. CHAIRS: Elisa C. Mandell, California State University, Fullerton; Fashion Institute of Technology Mapping the Curriculum: A Case Study in Practice-Based Design Georgina G. Gluzman, Universidad de San Andrés; Making the Domestic Fantastic: Dorothea Tanning’s Surrealist Research for the Art and Design Institution Ana Mannarino, Federal University of Rio de Janeiro Mise-en-Scène Katherine Gillieson, Emily Carr University of Art + Design; The Materiality of Inscription: Sculptural Surfaces in Alyce Mahon, Cambridge University THURSDAY, FEBRUARY 16 Stephan Garneau, Independent Researcher Epi-Olmec Art Transmutational Environments: Plastics and Experimental A Smart Communities Initiative: Designing for Economic Growth Stephanie M. Strauss, The University of Texas at Austin 8:30–10:00 AM Interior Design in the Late 1960s in Small Town America Looking through the Landscape: An Interpretative Model for Alexa Gri#th Winton, Ryerson School of Interior Design Composed Session Deborah Shmerler, The University of Tennessee Seventeenth-Century Cuzquenian Paintings So Dirty! Surrealist Thoughts and Filthy Spaces in Feminist Blackness, Violence, Representation Community Mapping Workshop as Collaborative, Experiential Natalia Vargas Márquez, University of Minnesota Performance Art Trianon Ballroom, 3rd Floor Learning, and Participatory Action Research Paulo VI y el Vietnam: León Ferrari and the Political Implications Kathleen Wentrack, Queensborough Community College, “To the Point of Disappearance”: Representational and Andrew DeRosa, Queens College, The City University of Historical Discourse The City University of New York Civil Rights Con$ict in Art by Cheryl Dunye, Zoe Leonard, New York Agustin Díez Fischer, Universidad de Buenos Aires From Correalism to Object Ecology: The Neo-Avant-Garde and Glenn Ligon Environment Kim Bobier, The University of North Carolina at Chapel Hill Early Modern Objects and the Boundaries of Materialities Composed Session Larry Busbea, University of Arizona What Is and Is Not Already There: Violence, Studium, and Bryant Suite, 2nd Floor Premodern Cosmologies and Semantic Systems: Case Studies Punctum in Black Representational Spaces CHAIRS: Lauren R. Cannady, Clark Art Institute; Gramercy B/East, 2nd Floor Composed Session Anita Bateman, Duke University Valérie Kobi, Universität Bielefeld Harappan Visual Vocabularies: Rethinking the Image-Symbols Writing and Rewriting Chinese Design History Kehinde Wiley’s Femme Piquée par un Serpent and Blackness as Locating the Boundary between the Vitreous and Crystalline in of Prehistoric South Asia Sutton Parlor North, 2nd Floor a Nonontology Early Modern Art Marta Ameri, Colby College Interaction between Art and Technique: Early Chinese Jenny Gunn, Georgia State University Sarah M. Dillon, Kingsborough Community College, The City University of New York Entering the Monastery, Exiting the World: Cosmological Bronzes Reviewed DISCUSSANT: Alessandra Raengo, Georgia State University Murals in Buddhist Architecture Peng Peng, Princeton University The Ligneous Image in Early Modern Germany Eric Huntington, Princeton University Gregory C. Bryda, University of Hamburg Designs and Skills in the Multimedia Writing Practices of the Curating Public Art Lost in Translation in Precolumbian Culture: The Role of the Literati in Qing China West Ballroom, 3rd Floor Painted Plaster: Brick and Its Replicas in Francis I’s Architecture Bear and Water Symbolism in Formative Period in Peru Hye-shim Yi, University of California, Los Angeles CHAIRS: Angela A. Adams, Arlington Public Art; Elisabeth Narkin, Duke University Yumi Park Huntington, Jackson State University Early Modern Design in Asia Leslie Markle, Mildred Lane Kemper Art Museum Oil on Glass and the Mechanics of Reproduction Figures, Space, and Paint: Narratives on the Painted Ceramics of Daniel Huppatz, Swinburne University of Technology Curator and Artist: A Case Study on a Public Art Project Maggie Cao, The University of North Carolina at Chapel Hill the Cajamarca Culture of Prehispanic Peru (ca. 600–1000 CE) From Ancient Bronze to Modern Design: The Book Design Project Brooke Kamin Rapaport, Mad. Sq. Art; Diana Al-Hadid, Artist Jeanette Nicewinter, Virginia Commonwealth University of Lu Xun and Tao Yuanqing in 1920s China Public Art as Global Ambassador Ren Wei, Dickinson College Sarah Tanguy, US Department of State’s O#ce of Art in Embassies Creating Methodologies for Public Art + Engagement Micaela Martegani, More Art; Je! Kasper, More Art DISCUSSANTS: Leslie Markle, Mildred Lane Kemper Art Museum; Angela A. Adams, Arlington Public Art

30 see caa 2017 app for program updates new york city // 2017 31 THURSDAY, FEBRUARY 16 Association for Modern and Contemporary Art of the In$ltration Art Syria Now: Architectural, Artistic, and Cultural Heritage Arab World Iran and Turkey (AMCA) Nassau Suite East/West, 2nd Floor in Peril 8:30'10:00 AM Getting Nude: Artists, Audiences, and the Present Past CHAIRS: Katharine J. Wright, The Metropolitan Museum of Regent Parlor, 2nd Floor in the Middle East Art; Gillian Pistell, The Graduate Center, The City University CHAIRS: Jochen Sokoly, Virginia Commonwealth Association of Research Institutes in Art History (ARIAH) Madison Suite, 2nd Floor of New York University in Qatar; Radha Dalal, Virginia Commonwealth Editing Journals in a Digital Age University in Qatar CHAIR: Kirsten Scheid, American University of Beirut General Idea’s Normal Art East Ballroom, 3rd Floor Nudity and the Press: Encounters in Nineteenth-Century Alex Kitnick, Bard College Fragmentation of Heritage; Fragmentation of Identity: CHAIRS: Sarah Victoria Turner, The Paul Mellon Centre for Ottoman Erotic Literature Civil E"orts in Healing the Fracture among Syrian Communities Studies in British Art; Martina Droth, Yale Center for British Art Chris Burden’s Institutional Accomplices Eva Ziedan, Independent Scholar Hala Auji, American University of Beirut Sydney Stutterheim, The Graduate Center, The City University Re$ections on Editing Art History Imagined Bodies in Egyptian Modern Art of New York Urban Memory and Intangible Heritage in Mosul: Assessing Samuel Bibby, Journal of the Association of Art Historians Recovery after an “Assault on Diversity” Nadia Radwan, Université de Bern Using Copyright Law to Reclaim the Spirit of Art as a Re$ections on Editing Nineteenth-Century Art Worldwide Sara Ethel Wolper, University of New Hampshire Musallikha, or the Anti-Nude Revolutionary Act in The Blued Trees Symphony Petra ten-Doesschate Chu, Nineteenth-Century Art Worldwide Saleem Al-Bahloly, Johns Hopkins University Aviva Rahmani, Institute of Arctic and Alpine Research at the The Artistic Legacy of Displaced Syrians in Izmir Re$ection on Editing The Art Bulletin University of Colorado Boulder Michael Ferguson, School of Oriental and African Studies The Nude’s Gaze: Beyond Heteronormativity in the Kirk Ambrose, The Art Bulletin Modern Middle Eastern Nude Documentation and Preservation from Afar: Manar al-Athar and Re$ections on Editing the Journal of Historians of Sarah C. Johnson, Freie University Berlin Layers and Erasures: Hispano-Filipino, Filipino-American Open-Access Images of Syria Netherlandish Art Diasporic Art Sean V. Leatherbury, Bowling Green State University; Body Laid Bare in Performance by Barbad Golshiri Alison M. Kettering, Journal of Historians of Netherlandish Art Morgan Suite, 2nd Floor Elizabeth Macaulay-Lewis, The City University of New York

Sandra Skurvida, Fashion Institute of Technology, THURSDAY CHAIR: Florina H. Capistrano-Baker, Ayala Museum DISCUSSANT: Gail Feigenbaum, Getty Research Institute State University of New York DISCUSSANT: Yasser Tabbaa, Independent Scholar Layers and Erasures as Cultural and Artistic Strategies Of Scandals That Never Happened, or Why Is It Always Florina H. Capistrano Baker, Ayala Museum Composed Session Somebody Else Who Has a Problem with the Nude? The Cost of Architecture II Exhibitions between Art and Design Kirsten Scheid, American University of Beirut Reforming Figure: Alfonso Ossorio’s Cross-Culturalism Sutton Parlor Center, 2nd Floor Sutton Parlor North, 2nd Floor Klaus Ottmann, Phillips Collection CHAIR: Claire Zimmerman, University of Michigan Throwaway Society? Ed Rossbach’s Con/temporary Basketry Routledge, Taylor & Francis Exhibitor Session Zóbel at Harvard: Creative Transformations Pro't and Pragmatism: The Evolution of the Commercial Sarah Parrish, Boston University How to Get Published and How to Get Read Edouard Kopp, Harvard Art Museums Architect in Postwar Britain Amy Thomas, The University of Chicago Reanimating the Possibilities of A"ect in Henry Moore’s Petit Trianon, 3rd Floor Asian Artists in Diaspora The Arch, 1980 CHAIR: Sarah Sidoti, Routledge, Taylor & Francis Tan Boon Hui, Asia Society Museum Cheap and Handsome: The Cost of E#ciency and the Images Tola C. Porter, Washington University in St. Louis of Excess in Mexican Development How to Publish an Article in a Journal Artist Talk Maria González Pendás, Columbia University Beyond the Film Frame: The Animated Ornament in Exhibition Sarah Sidoti, Routledge, Taylor & Francis Paul Pfei"er, Artist Katherine Rochester, Bryn Mawr College The Thin Skin of Architecture: From McKim Mead & White to How to Submit a Book Proposal and Publish a Book DISCUSSANT: Edward J. Sullivan, Institute of Fine Arts, Albert Kahn Associates Isabella Vitti, Routledge, Taylor & Francis New York University Claire Zimmerman, University of Michigan Exploring Art Markets of the Past: Tools and Methods in the How to Ensure Your Research Is Read Age of “Big Data” DISCUSSANTS: Reinhold, Columbia University; Tara Golebiewski, Routledge, Taylor & Francis Operating Manual for Living in the Worst-Case Scenario Gramercy A/West, 2nd Floor Anooradha Iyer Siddiqi, New York University Rendezvous Trianon, 3rd Floor CHAIR: Christian Huemer, Getty Research Institute CHAIRS: Emily Candela, Royal College of Art; SECAC The Virtual Exploration of an Eighteenth-Century Gallery Space: Maya Oppenheimer, Royal College of Art; In the Studio Gersaint, Watteau, and the Pont Notre Dame Francesca Laura Cavallo, Kent University Beekman Parlor, 2nd Floor THURSDAY, FEBRUARY 16 Sophie Raux, Université Lumière-Lyon 2 CHAIR: Elizabeth Heuer, University of North Florida New Survivalism: Reimagining Escape 10:30 AM–12:00 PM Materials and Techniques in the Dutch Market for Elite Jessica Charlesworth, School of the Art Institute of Chicago Shared Space: The Home-Studio of Thomas Moran & Mary Genre Painting Nimmo Moran Visual Standards for Southern California Tsunami Evacuation 8th Critical Craft Forum: Gender and Jewelry Melanie Gi"ord, National Gallery of Art; Shannon Vittoria, The Metropolitan Museum of Art Information: Applications of Information Design in Disaster Sutton Parlor South, 2nd Floor Lisha Deming Glinsman, National Gallery of Art Risk Management CHAIRS: Namita Gupta Wiggers, Critical Craft Forum; Dueling Studios: The Public and Private Images of Chaim Gross Artist-Collectors in Nineteenth-Century New York: Correcting for Claudine Jaenichen, Chapman University Benjamin Lignel, Art Jewelry Forum Sasha Davis, The Renee and Chaim Gross Foundation Path Dependency and Sample Bias in the History of Collecting Surviving a Massive Refugee Situation: A Manual for Designers Meredith P. Nelson, Bard Graduate Center Diana Seave Greenwald, University of Oxford Free Markets, Free People: Discourse and Behavior in Lynda Kai Wood Mah, Laurentian University; Patrick Lynn Rivers, Benglis’s Lost Studio Tapes Emily K. Rebmann Methodological Re$ections on Missing Data School of the Art Institute of Chicago Katie Anania, University of Texas at Austin Julia Heineccius, The Evergreen State College Koenraad Brosens, University of Leuven “However hard you try it’s always tomorrow”: Liam Gillick’s The Studio as Model: From André Breton’s Wall to Fischli & Weiss’s James Tigger! Ferguson DISCUSSANT: Matthew Lincoln, Getty Research Institute What If? Scenario Polyurethane Object Installations and Piero Golia’s Studio Jadine Collingwood, University of Chicago renée c. hoogland, Wayne State University (4/13/2013) Susan Power, Independent Scholar and Curator DISCUSSANT: Jenni Sorkin, University of California, Santa Barbara

32 see caa 2017 app for program updates new york city // 2017 33 THURSDAY, FEBRUARY 16 Beautiful Lies: Artists Working with Digital Simulation Tactile and Visual Experiences: An Integrated Software Composed Session and Illusion Framework for Improving User Experience during Museum Visits Shimmering Saints and Cicerones: Medieval Mediation 10:30 AM–12:00 PM Rendezvous Trianon, 3rd Floor Roberto Montanari, Università degli Studi Suor Orsola and Its Afterlives CHAIR: Stephen Hilyard, University of Wisconsin–Madison Benincasa Beekman Parlor, 2nd Floor Accelerated Art History: Tools and Techniques for a Fast-Changing Art World Kim Joon’s Virtual Anatomy Designing a Whole-Body Museum Experience: Case Studies Relics in Wood: A Cultural Biography of Devotional Sculpture Sutton Parlor Center, 2nd Floor Rachel Baum, Fashion Institute of Technology, State Francesca Bacci, University of Tampa in Ireland CHAIRS: Charlotte Frost, City University of Hong Kong; University of New York Jennifer K. Cochran Anderson, Pepperdine University Sarah Cook, Duncan of Jordanstone College of Art Artist Presentations: Public Art Dialogue (PAD) Animation in Medieval Art and Design Jawshing Arthur Liou, Indiana University Public Art in the Era of Black Lives Matter Bissera V. Pentcheva, Stanford University Collecting and Curating Digital Posters: A Collaborative Pilot Alex McLeod, Independent Artist Trianon Ballroom, 3rd Floor From Santa Sabina to Forest Lawn: The Afterlife of a Ciborium Study Using Rhizome’s Webrecorder Stephen Hilyard, University of Wisconsin–Madison CHAIRS: La Tanya Autry, Yale University Art Gallery; Alison Locke Perchuk, California State University, Anisa Hawes, Victoria & Albert Museum Jennifer Wingate, St. Francis College Channel Islands Art as Event: Three Critical Methods for Analyzing Changing Lenses: Contemporary Photography and Symbolic Interventions, New Narratives: Challenging the The Tour Guide in the Middle Ages: Guide Culture and the Aesthetic Experience New Media from the Arab World Authority of the Confederate Flag Mediation of Public Art Saul Albert, Tufts University Sutton Parlor North, 2nd Floor Evie Terrono, Randolph-Macon College Conrad Rudolph, University of California, Riverside CHAIRS: Woodman L. Taylor, American University in Dubai; Listening to the Land/Playing O" the Crowd: Black Public No More FOMO? Un-Destroying Cultural Heritage with Janet Bellotto, Zayed University, Dubai 3D Replication Performance Interventions in Artmaking and Placemaking Composed Session Visual Languages of Challenge in Women’s Photography Arielle Julia Brown, Brown University

Gabriel Menotti, Federal University of Espírito Santo Symbolism and Allegory in Modern Art THURSDAY and New Media Art in the GCC Black Lives Matter Inside Out Project Petit Trianon, 3rd Floor Agent Ruby (1998–present): A Case Study for Historicizing Beth Derderian, Northwestern University the Life of an Internet Artwork Christopher Metzger, Stevenson University L’Elan: Fashion, Music, and the Call to Order at the Karin de Wild, Duncan of Jordanstone College of Art These Roots Will Always Flourish: Emirati Photographers Creative Justice: A Regional and National Imperative Galérie Thomas and Design and the Search for Form Aaron Counts, 4Culture Mary E. Davis, Fashion Institute of Technology, Elisabeth Stoney, Zayed University, Abu Dhabi State University of New York UAE Women: Visual Expression and Identity in New Media Composed Session Allegories of Materiality and Modernity: The Late Work of Alternate Revolutions: Reexamining Cuban Art History Nadia Rahman, Zayed University, Dubai beyond 1959 Roman Art and Social Space William Holman Hunt Morgan Suite, 2nd Floor Reverberations: New Media Artists on Migration and Identity Gramercy B/East, 2nd Floor Kirsty Sinclair Dootson, Yale University CHAIRS: Abigail McEwen, University of Maryland, Flounder Lee, American University in Dubai Gods in the Garden: Remaking Greek Sacred Statues in Evocative Illustrations: Literary Subjects at the Salons College Park; Susanna V. Temkin, Americas Society DISCUSSANT: Ebtisam Abdulaziz, Independent Artist Roman Domestic Space of the Rose + Croix Heritage and Cultural Modernism in the Visual Arts of Megan Goldman-Petri, Princeton University Mary Slavkin, Young Harris College Nineteenth-Century Havana Divided Societies: Manifestations of Postsocialist and Roman Honori'c Statues as Social Agents Picasso’s Science and Charity and the Metaphysics of Paul Niell, Florida State University Postapartheid “Nostalgia” Esen Ogus, Ludwig-Maximilians-Universität München Art in Fin de Siglo Spain Oscar E. Vázquez, University of Illinois at Urbana-Champaign Revolutions, Repetitions, and Prison Architecture in West Ballroom, 3rd Floor The Roman Arch at Orange and the Tradition of Trophy Machado’s Cuba, 1925–33 CHAIRS: Karen von Veh, University of Johannesburg; Monuments in Gaul Joseph R. Hartman, Southern Methodist University Richard Gregor, Trnava University Gretel Rodríguez, The University of Texas at Austin Professional Practices Committee The MFA in Transition Exhibiting the Commons: Nostalgic Site Speci'city and the The Return of the Future: From Re$exive to Inoperative Nostalgia The Old Market Woman as a Symbol of Hope Regent Parlor, 2nd Floor Staging of the Cuban Revolución’s Golden Years Cristian Nae, George Enescu University of Arts Stephen P. Williams, Academy of Art University CHAIRS: Thomas Berding, Michigan State University; Paloma Checa-Gismero, University of California, San Diego The Dualities of “Blackness” in Afrofuturist Aesthetics John Kissick, University of Guelph DISCUSSANT: Rachel Weiss, School of the Art Institute Thabang Monoa, University of Johannesburg Seeing in Black and White: Grisaille Painting and Nan Goggin, University of Illinois of Chicago Mediated Histories: Soviet Monuments in the Films of Transatlantic Color Theory, Part I Deimantas Narkevičius Bryant Suite, 2nd Floor Katherine Sullivan, Hope College Art Writing in the Expanded Field Ksenia Nouril, Rutgers, The State University of New Jersey CHAIR: Barbara E. Mundy, Fordham University Michael Wille, Illinois State University Gramercy A/West, 2nd Floor Animating the Afropolitan: A Post-African Critique of the Kwezi Grisaille as a Liminal Mode in Early Netherlandish Painting Catherine Pagani, University of Alabama CHAIR: Claire Daigle, San Francisco Art Institute Comics Series Lynn F. Jacobs, University of Arkansas Bruce Mackh, Michigan State University Correspondence Pfunzo Sidogi, Tshwane University of Technology Between Hieroglyph and Print: The White and Blackness of Katie Geha, University of Georgia Sixteenth-Century Murals in New Spain The Task of This Art Writer: Where Fragments Are Part of a Vessel Multisensory Digital Curatorship as Experimental Practice Jeanette F. Peterson, University of California, Santa Barbara Thyrza Nicols Goodeve, Nassau Suite East/West, 2nd Floor “A great deal whiter still”: The Monochrome Historia CHAIR: Francesca Bacci, University of Tampa Analogies in Artwriting Tradition in Tuscany Charlotte Kent, Mercy College Please Touch the Art: Emerging Haptic Experiences in Museums Christine Zappella, The University of Chicago Micah Walter, Cooper Hewitt, Smithsonian Design Museum Analyzing Embodied Interpretation and Touch in a Sculpture Gallery Palmyre Pierroux, University of Norway

34 see caa 2017 app for program updates new york city // 2017 35 THURSDAY, FEBRUARY 16 THURSDAY, FEBRUARY 16 Arts Council of the African Studies Association (ACASA) Poster Sessions Flesh 10:30 AM–12:00 PM West Promenade, 3rd Floor 12:15–1:15 PM Beekman Parlor, 2nd Floor CHAIR: Shannen Hill, The Baltimore Museum of Art Foundations in Art: Theory and Education (FATE) Poster sessions are informal presentations for small Noon Forum Using the F-Word for Good, Not Evil: Fail, Fail Again, groups displayed by an individual. The poster display Key Conversation: Art Criticism Smell Blood: The Politics of the Senses in Fail Better is usually a brief narrative paper intermixed with Trianon Ballroom, 3rd Floor Wangechi Mutu’s Installation Art illustrations, tables or graphs, and other presentation Uchenna Itam, The University of Texas at Austin Madison Suite, 2nd Floor SPEAKERS: materials. With a few concisely written areas of focus, CHAIR: Naomi J. Falk, University of South Carolina Negar Azimi, Bidoun Thinking Skin: An Epidural Understanding of Paul Emmanuel’s the poster display communicates the essence of the Break It to Make It Jason Farago, The Guardian and Even magazine Lost Men Project presenter’s research, synthesizing its main ideas and Lauren Greenwald, University of South Carolina Margaret Sundell, Cabinet and 4columns.org Shannen Hill, The Baltimore Museum of Art research directions. Poster displays will be on view for David Velasco, Artforum International Magazine Ambiguous Skins: Race, Satire, and the Painted Surface in Making My Crazy Thoughts Come True: Risk-taking, Failure, the duration of the conference, beginning on Thursday Senegalese Whiteface Performance and Student Autonomy with International Students morning at 9:00 AM through Saturday afternoon at Ivy Mills, University of California, Berkeley Allison Yasukawa, School of The Art Institute of Chicago 2:00 PM. On Thursday and Friday, from 12:00 to 1:30 PM, Noon Forum Fail Faster: Celebrating the Artistic Process presenters will be available to discuss their work. Committee on Intellectual Property Wifredo Lam’s The Jungle: Decolonization and the Slave Body Valerie Powell, Sam Houston State University Key Conversation: Learning from Experience: Claude Cernuschi, Boston College Walkshops for Collective Inquiry in the Built Environment Fair Use in Practice Sara Alsum-Wassenaar, Hope College Sutton Parlor Center, 2nd Floor Publications Committee Global Conversations II Teaching Visual Art in Prison: Supporting Mental Escapes CHAIR: Anne Collins Goodyear, Bowdoin College Why Print? Morgan Suite, 2nd Floor THURSDAY Jim Dahl, Independent Art Educator Museum of Art East Ballroom, 3rd Floor CHAIR: Frederick M. Asher, University of Minnesota CHAIR: Sarah Betzer, University of Virginia Art Can Help Broaden the Public Conversation on SPEAKERS: Martha Rosler, Artist Climate Change Historicizing the Present: Contemporary Currents in Israeli Art Rebecca M. Brown, Art Journal Francine Synder, Robert Rauschenberg Foundation Melissa Fleming, Studio MF/The Weather Gamut Sutton Parlor Center, 2nd Floor A representative from MIT Press and other speaker Petra ten-Doesschate Chu, Nineteenth-Century Art Worldwide CHAIR: Dalia Manor, Ben-Gurion University of the Negev Kawral: An Artist Residency in Mali for Peace, Reconciliation, information forthcoming. Check conference website or Anne Lafont, Perspective: Actualité en histoire de l’art and Social Cohesion CAA 2017 app for updates. The Cultural Genealogy of Israeli Occupation: The Artistic Practice Janet Goldner, Independent Artist of Invasion as a Case Study Paul Jaskot, DePaul University DISCUSSANT: Je"rey P. Cunard, CAA Counsel/Debevoise & Ronit Milano, Ben-Gurion University of the Negev Constance DeJong, Hunter College Gained in Translation: Drawing Art History Plimpton LLP Sarah Ja"ray, British Museum Manipulating Time and Space in the Occupied Territories: Nina Athanassoglou-Kallmyer, The Art Bulletin The Postmaster’s Porcelain: Collecting European Decorative Eran Sachs’s Acousmatic Activism Emmy Catedral, ARTBOOK | D.A.P. Arts in the American Midwest THURSDAY, FEBRUARY 16 Adi Louria Hayon, Tel Aviv University Sarah S. Jones, University of Missouri 1:30–3:00 PM Aesthetics of Nostalgia: Presenting History in Contemporary Aviary: Knowing Birds through Scienti'c Drawing Israeli Art THURSDAY, FEBRUARY 16 Nissim Gal, University of Haifa Carolina Rojas, University of los Andes Design Studies Forum (DSF) 12:00–1:30 PM The “Technological Marvel”: Exploring the Interior of East Asian Art History as Design History DISCUSSANT: Dalia Manor, Ben-Gurion University of Walter Gropius’s House in Dessau Madison Suite, 2nd Floor the Negev Seeing in Black and White: Grisaille Painting and Isabel Rousset, The University of Western Australia CHAIRS: Michelle H. Wang, Reed College; Ellen Huang, Transatlantic Color Theory, Part II University of California, Berkeley Natural Disasters, Sacred Time, and Eschatology in the Bryant Suite, 2nd Floor Feminism: Remembrance and Legacy Nested Space in Qing Trompe L’Oeil Murals at the Eastern Mediterranean CHAIR: Barbara E. Mundy, Fordham University Claudia Sbrissa, St. John’s University; Kathleen Wentrack, Queensborough Community College, The City University Forbidden City, ca. 1733 Gramercy B/East, 2nd Floor Architectonic Books: Black-and-White Murals in Colonial Peru of New York Sophie Volpp, University of California, Berkeley CHAIRS: Armin Bergmeier, Leipzig University; Ananda Cohen Suarez, Cornell University Heba Mostafa, University of Kansas Art History Pedagogy and Practice Tribute and Trade beyond the Imperial Center: Late Qing Florentine Grisaille Painting in Theory and Practice: A Case Study Karen Shelby, Baruch College, The City University of Artisans and the Centripetal Image Agents of Order in a World of Mud: Flood, Architecture, Patricia L. Reilly, Swarthmore College New York; Virginia Burns Spivey, Maryland Institute Susan Eberhard, University of California, Berkeley and the New Year Festival in Ancient Babylon Amy L. Balogh, University of Denver To Delight or Deceive: Toward a Mendicant Theory of Color in College of Art, Baltimore Illusion, Industry, Alterity, and Depth: The Mechanisms of Sixteenth-Century Mural Painting in New Spain From Foraging to Forging Communities Marginalization in the History of East Asian Design “Draining the Cup of God’s Wrath”: On the Uses of Earthquakes Savannah Esquivel, The University of Chicago Gabriella Solti, Independent Artist Kristopher Kersey, University of Richmond in Tenth-Century Constantinople Anthony Cutler, The Pennsylvania State University Wasted Wants: Binslab 2007–10 Trans/national and Transdisciplinary Enquiries: Writing Cara Tomlinson, Lewis & Clark College East Asian Design History as Art and Visual Culture History The Chosen People: Noah’s Ark between Sunnism and Shi’ism for the Global Context in Islamic Painting Yuko Kikuchi, University of the Arts London; Bernard O’Kane, The American University in Cairo Wendy S. Wong, York University

36 see caa 2017 app for program updates new york city // 2017 37 THURSDAY, FEBRUARY 16 Have Gun—Will Protest Sharing Space: Art History/Studio Collaboration The First Step toward Change Colette Gaiter, University of Delaware in the Classroom Cheryl Je"erson, Independent Scholar 1:30–3:00 PM Nassau Suite East/West, 2nd Floor Between the Eye and the Target, or How to Be a Pixel A Powerful Narrative CHAIR: Marta Ameri, Colby College Composed Session Kris Paulsen, The Ohio State University Richard Laurent, Columbia College Chicago Teaching and Learning: Seeking Complementary and New Studies in Manet and Impressionism Disarming Violence Innovative Practices in Art and Art History West Ballroom, 3rd Floor Susanne Slavick, Carnegie Mellon University Nell Ruby, Agnes Scott College; Katherine Smith, Girl’s Best Friend: Atavism and “Sideways Growth” in Agnes Scott College THURSDAY, FEBRUARY 16 Mary Cassatt’s Little Girl in a Blue Armchair Puppets and Performing Objects “Gods, Graves, and Scholars”: A Classroom Collaboration 3:30–5:00 PM Jessica Cresseveur, University of Louisville Sutton Parlor South, 2nd Floor between Archaeologists and Artist-Designers at the Maryland CHAIRS: Elissa Auther, Bard Graduate Center; There/Not There: Presence and Absence in Monet’s Portrait of Institute College of Art American Art from Asia John Bell, Ballard Institute and Museum of Puppetry Camille on Her Deathbed Joe Basile, Maryland Institute College of Art; Katie O’Meara, Gramercy A/West, 2nd Floor Debra Hanson, Virginia Commmonwealth University An Alternative Language with Things? Object Performances Maryland Institute College of Art CHAIRS: Michelle Lim, School of Art, Design & Media, Nanyang by Stuart Sherman (1945–2001) Technological University; Kyunghee Pyun, Fashion Institute of Characterizing Intercultural Childhood: Manet’s Portraits of Collaborations Showcasing Teaching Methods in the Studio in Franziska Solte, Humboldt University Berlin Technology, State University of New York Children and Bourgeois Families in Late-Nineteenth-Century Paris Coordination with Art History Classes in the United Arab Emirates Chiao-mei Liu, National Taiwan University The Utopia of the Grotesque: The Transnational Artistic Marco Sosa, Zayed University Phantasmatic Ethnotopia David Kelley, University of Southern California Laure of Olympia and More: The Black Presence in Manet’s Paris Community of Wael Shawky’s Cabaret Crusades Dan Jakubowski, Nashville State Community College Denise M. Murrell, Miriam and Ira D. Wallach Art Gallery, Coalition of Women in the Arts Organizations (CWAO) Sunset House as a Collective Language of Being Columbia University Suspended Animation: How to Drive a Monster Yellow “Social Issues Art” and Women Artists James Jack, Kyushu University THURSDAY Construction Crane and Play God as a Mecha (Machinic Regent Parlor, 2nd Floor New Eyes, New York: How the City Saw Korea’s Art for Democracy On Black Sentience: Post-Black and Liquid Blackness in Exoskeleton with Human/Body/Spirit) CHAIR: Kyra Belan, Broward College Sohl Lee, Stony Brook University Katherine Mezur, University of California, Berkeley Contemporary African-American Art Be(long)ing in a Global Home—Joanna Rajkowska’s Out of the Center: Remapping Points of Encounter Trianon Ballroom, 3rd Floor Soon Everything Will Change (2014) and Transnational Michelle Lim, School of Art, Design & Media, Nanyang CHAIRS: Derek Conrad Murray, University of California, Queer(ing) Art History? Communal Spatial Environments Technological University Santa Cruz; Alessandra Raengo, Georgia State University Gramercy A/West, 2nd Floor Basia Sliwinska, Middlesex University CHAIR: Robert Summers, Independent Scholar DISCUSSANT: Margo L. Machida, University of Connecticut Base Materialism: Meditations on the Intersection of Spaces for Human Attachment: Regina José Galindo’s Blackness and Form Beyond Recognition: Queer Theory and the Material Bodies Society for Paragone Studies Derek Conrad Murray, University of California, Santa Cruz Art-Historical Impossible Madeline Murphy Turner, New York University John Paul Ricco, University of Toronto Animals, Art, and Theology: Ethics vs. Economics in Liquid Blackness: Reading for Matter, Reading for Motion The Impact of Fine Art within 3D Software Pre-Twentieth-Century Art Alessandra Raengo, Georgia State University Queer Curatorship Lauren Carr, Montclair State University Morgan Suite, 2nd Floor Jennifer Tyburczy, University of California, Santa Barbara Blackness, Suspension, and Forms of Questioning Push Comes to Shove: Women and Power CHAIR: Linda Johnson, University of Michigan–Flint Lauren M. Cramer, Pace University Queer Art aka Uncanny Agent Muriel Magenta, Arizona State University Frederic Remington’s What an Unbranded Cow Has Cost: Renate Lorenz, Academy of Fine Arts Vienna Animal Ethics Portrayed through American Cowboy Dominion Composed Session Building Liberace’s Gun Rack The Sounds of the Museum Julia Johnson, Yale Divinity School On the Fringes of 291: Expanding the Stieglitz Circle Steven Frost, University of Colorado Boulder Petit Trianon, 3rd Floor The Figure of the Sorrowing Christ: Compassionate Rendezvous Trianon, 3rd Floor CHAIRS: Lauren Rosati, The Graduate Center, The City Depictions of Jesus in Late Victorian and Early Edwardian Hidden in Plain Sight: Florine Stettheimer as Radical Innovator Composed Session University of New York; Andrew Cappetta, Memorial Art Anti-Vivisection Campaigns Barbara Bloemink, Independent Scholar Renaissance and Baroque Art beyond the Frame Gallery of the University of Rochester Keri Cronin, Brock University; Maria Power, University of Liverpool Carrie Stettheimer’s Doll House: Curation, Decoration, Bryant Suite, 2nd Floor Modern Noise: Sound in the MoMA Sculpture Garden, 1960–88 and Display in New York City, 1916–35 Bearing Witness: The Spectacle of Pain in the Drawings of Charles Eppley, Stony Brook University The Savage Beasts of Nineteenth-Century French Art Heather Hole, Simmons College Jusepe de Ribera Sounding ’s Exhibition History Sarah Lippert, University of Michigan–Flint Elevated: On the Fringes of 291 Fifth Avenue Deborah Feller, Institute of Fine Arts, New York University Melissa L. Mednicov, Sam Houston State University Tara Kohn, Northern Arizona University The Sitter’s Impression: Vision, Memory, and Early Modern Isolated and Exposed: Sound in Exhibited Virtual, Augmented, Art Events: Rethinking African History around Unique Objects Bryant Suite, 2nd Floor Fred Kaboite and the Modernists of Santa Fe Portrait Medallions and Mixed Reality CHAIR: Prita Meier, University of Illinois at Urbana-Champaign Jessica W. Welton, The University of Arizona Rebecca M. Howard, The Ohio State University Seth Cluett, Stevens Institute of Technology “The Higher the Price, the Harder I Will Strive”: Economic Sonic Events Native within the Museum Soundscape Art Events: Rethinking the “Mother and Child” in African History and the Master of Boma Vonde’s Masterpiece Outmanned and Outgunned Considerations in the Correspondence of Artemisia Gentileschi John Kannenberg, University of the Arts London, London Alisa LaGamma, The Metropolitan Museum of Art Sutton Parlor North, 2nd Floor Christopher R. Marshall, The University of Melbourne College of Communication CHAIRS: Faye Gleisser, Indiana University; Delia Solomons, In Her View: Reading and Responding to Fifteenth-Century Depictions of Human Tra#cking on Loango Ivories in the 1880s Drexel University Florentine Portraits of Women Using the Arts to Leverage Social Change Z. S. Strother, Columbia University Women with Guns: Resistance, Reappropriation, Revolution Julia Valiela, Philadelphia Museum of Art East Ballroom, 3rd Floor History and the Fetish: Rethinking the Delcommune Hilary Robinson, Middlesex University CHAIR: Charles Gniech, Independent Scholar Nkisi as Art Event The Curatorial Process: Finding Engaging Works of Art Cécile Fromont, The University of Chicago That Are Topically Appropriate yet Easily Approachable The Siwas of Lamu: A Sense of Time between Land and Sea Charles Gniech, Independent Scholar Prita Meier, University of Illinois at Urbana-Champaign DISCUSSANT: Suzanne Preston Blier, Harvard University

38 see caa 2017 app for program updates new york city // 2017 39 THURSDAY, FEBRUARY 16 Society for the Study of Early Modern Women (SSEMW) Seeing with Both Eyes: Explorations of Space and Matter in Rethinking Photographic Archives Online Crossing Boundaries: Early Modern Women and the Maya Vase Painting Petit Trianon, 3rd Floor 3:30–5:00 PM Arts Abroad Bryan R. Just, Princeton University Art Museum CHAIR: Eleanor M. Hight, University of New Hampshire Sutton Parlor Center, 2nd Floor When Is a Plate? Codex-Style Masters and the Many Faces The Marc Vaux Archive: A Case Study for Social Art Histories Conspiracy: The Aesthetics of Paranoia in the CHAIR: Maria Maurer, The University of Tulsa Age of Information of Chahk and the Digital Humanities Nassau Suite East/West, 2nd Floor Preserving Byzantium: The Branković Sisters in the James Doyle, The Metropolitan Museum of Art; Pat Elifritz, Bard College CHAIR: Chris Reitz, University of Louisville Post-Byzantine World Stephen Houston, Brown University Overlooked Assets: Digitizing Original Samples in Early Lana Sloutsky, Boston University Interpretative Deliriums Photographic Manuals at the Library of Congress Anna Dezeuze, Ecole Supérieure d’Art et de Design Women Patrons, Tombs, and Transculturation on the New Media Caucus Katherine Mintie, University of California, Berkeley Marseille-Méditerranée Safavid Frontier Other Media: Decolonizing Practices and Cyborg Ontologies Historical Views of Tourism in Lebanon: From Metadata to Cristelle Baskins, Tufts University Rendezvous Trianon, 3rd Floor Interface, A View from the View Marcel Broodthaers, L’oeil Vigilant CHAIR: Alejandro T. Acierto, University of Illinois at Chicago Joe Scanlan, Princeton University Early Modern Dutch Dollhouses: Female Collectors on Display Jared McCormick, Harvard University Michelle Moseley-Christian, Virginia Tech La Seducción Fatal/The Last Seduction DISCUSSANT: Nicholas B. Bauch, University of Oklahoma The Self, Surveilled: On Life Sharing, Privacy, and the Oli Rodriguez, The School of the Art Institute of Chicago Experience of the Subject on Computer Networks Megan Driscoll, University of California, Los Angeles International Committee The New Neutral Association for Critical Race Art History (ACRAH) Islamic Architecture and Art Collections: Dan Paz, University of Washington Resisting the Terror State: On the Constructive Turn in Ri!: Black Artists and the European Canon Unveiling the Unknown Beyond the Cyborg: Prosthesis, Semiosis, and Survival Trianon Ballroom, 3rd Floor Trevor Paglen’s Recent Work Madison Suite, 2nd Floor

Mailee Hung, California College of Arts CHAIR: Adrienne L. Childs, Harvard University THURSDAY Luke Skrebowski, University of Manchester CHAIR: Fernando Luis Martínez Nespral, University of Buenos Aires Mapping the Field: An Overview of Decolonizing Approaches Robert Colescott’s Bather Series: Referendum on the Society of Contemporary Art Historians (SCAH) within New Media Art and Practice Female Figure in Western Art, Culture, and History The Signi'cance of Shadow Puppets in Ottoman Alejandro T. Acierto, University of Illinois at Chicago Lowery Stokes Sims, Independent Curator Contemporary Art History: Temporal Frames and Miniature Paintings Geographic Terrains Heba Nayel Barakat, Islamic Arts Museum Malaysia The Wandering Gaze of Carrie Mae Weems’s Louisiana Project Sutton Parlor North, 2nd Floor Reintroducing the Modern: The First Twenty Years Gwendolyn DuBois Shaw, University of Pennsylvania CHAIRS: Kirsten J. Swenson, University of Massachusetts In the Shadow of the Imperial: Islamic Architecture of the at MoMA, 1929–49 Vibrations in the Soul: Moe Brooker and the In$uence of Lowell; Natilee Harren, University of Houston Provinces, the Mosques of Songjiang, Mantingan, and Mogadishu Regent Parlor, 2nd Floor Ahmed Elsayed Wahby, German University in Cairo Wassily Kandinsky David Joselit, The Graduate Center, The City University CHAIRS: Sandra Zalman, University of Houston; Nikki A. Greene, Wellesley College of New York Travelling Tents: Egyptian Khayamiya from Australia to Alaska Austin Porter, Kenyon College Sam Bowker, Charles Sturt University, Australia Anneka Lenssen, University of California, Berkeley Folk Surrealism Islamic Footprints in Latin American Architecture: Three Periods, Marci Kwon, Stanford University THURSDAY, FEBRUARY 16 Steven Nelson, University of California, Los Angeles Three Ways Three Centuries of American Art: MoMA’s First International 5:30–7:00 PM Irene Small, Princeton University Fernando Luis Martínez Nespral, University of Buenos Aires Exhibition in 1938 Caroline M. Riley, San Jose State University Art, Literature, and Music in Symbolism and Decadence (ALMSD) Golden Artist Colors Exhibitor Session Association of Historians of Nineteenth-Century Art (AHNCA) Making the Modern: The War Veteran’s Art Center and Beyond Nineteenth-Century Illustration: Illustration MITRA: Materials Information and Technical Resources Cross-Cultural Encounters in the Long Nineteenth Century Educational Programs and MoMA or Inspiration? for Artists Beekman Parlor, 2nd Floor Briley Rasmussen, University of Florida Sutton Parlor South, 2nd Floor Concourse A, Concourse Level CHAIR: Ruth E. Iskin, Ben-Gurion University of the Negev CHAIR: Rosina Neginsky, University of Illinois at Spring"eld CHAIRS: Sarah Sands, Golden Artist Colors; Mark Golden, MoMA’s Manifold Modernisms Cross-Cultural Encounters of the Armchair Traveler: Victor Hugo Golden Artist Colors Michelle Elligott, Beardsley and Incunabula and the Dream of China Deborah Cibelli, Nicholls State University Petra ten-Doesschate Chu, Seton Hall University SPEAKERS: Mark Golden, CEO, Golden Artist Colors; DISCUSSANT: Richard Meyer, Stanford University Robert Gamblin, owner, Gamblin Artist Colors; M. Manet Declines to Illustrate the Invisible Constantin Guys and Modern Life in Istanbul and Crimea, Dr. Brian Baade, Assistant Professor, Painting Conservator, and Louis W. Marvick, University of Nevada, Reno 1853–56 Community College Professors of Art and Art History (CCPAAH) Researcher of Historical Painting Materials and Techniques, Susannah Blair, Columbia University Reinventing the Familiar: Updated Approaches in Art L’Azur: Poetic Transposition from Stéphane Mallarmé to University of Delaware; Dr. Kristin DeGhetaldi, Paintings History and the Studio Robert Motherwell Forging Transnational Identities: The Monumento de los Conservator/Instructor and Analytical Assistant at the Gramercy B/East, 2nd Floor William M. Perthes, The Barnes Foundation Residentes Sirios as a Modern Representation of Syrian I Winterthur/University of Delaware Program in Conservation CHAIR: Susan Altman, Middlesex County College mmigrant Patrons in Centennial Argentina Illustration and the Symbolist Print in Mexico Caroline “Olivia” Wolf, Rice University Taking Art History beyond the Classroom Natalia Angeles Vieyra, Temple University New Studies in Maya Vase Painting: A Session in Honor Maya Jiménez, Borough of Manhattan Community College, DISCUSSANT: Greta Berman, The Juilliard School “The Coming of That Hand”: Photography, Abolition, and the of Justin Kerr The City University of New York; Cheryl Hogue Smith, Aesthetics of Transmission Sutton Parlor South, 2nd Floor Kingsborough Community College, The City University of Natalie Pellolio, Stanford University CHAIR: Mary Miller, Yale University New York The Local Globalism of the Nineteenth-Century Art World of Shaped Pots, Painted Surfaces: Exploring the Relationships Crowd-Sourcing Global Art: Wikis and the Non-Western Canon Canton, China between Classic-Period Maya Potters and Painters Jill Foltz, Collin College Elad Yaron, The Hebrew University Megan E. O’Neil, Los Angeles County Museum of Art Gaming the Critique: Providing Framework and Fun to the Setting the Story in Motion: Text and Image on Fourth–Sixth- Group Critique Century Maya Vases Tyrus Clutter, College of Central Florida Claudia Brittenham, The University of Chicago Waging Art: When Fine Arts Meet Work Force Development Kathleen M. Dlugos, Westmoreland College

40 see caa 2017 app for program updates new york city // 2017 41 THURSDAY, FEBRUARY 16 Manila/: Pasts and Futures of the Hispanic, ca. 1960 Playing Art History/Gaming the Museum Feeding the Conscience: Depictions of Charitable Food Chanon Kenji Praepipatmongkol, University of Michigan Trianon Ballroom, 3rd Floor Distribution in the Progressive Era 5:30–7:00 PM “To cheat (with) speech”: Decolonizing History and CHAIRS: Michael Maizels, University of Arkansas; Lauren Freese, The University of Iowa Michael Mans!eld, Smithsonian American Art Museum Composed Session Representation at the War Remnants Museum Food Photography, Anxiety, and Desire Byzantine and Medieval Images, Marginal and Monumental Brynn Hatton, Williams College What Games Want from Museums; What Museums Should Margaretta Lovell, University of California, Berkeley Want from Games Sutton Parlor North, 2nd Floor DISCUSSANT: Midori Yamamura, National Research Institute DISCUSSANT: Shana Klein, German Historical Institute John Sharp, Parsons School of Design, The New School Encountering Drawings, Illuminations, and Woodcuts in for Cultural Properties, Tokyo Copies of Nicholas of Lyra’s Postilla from 1335 to 1493 Betwixt Art and Industry: Charting the Multiple Curatorial Sarah Bromberg, Su!olk University Trajectories of the Exhibition and Public Presentation of FRIDAY, FEBRUARY 17 Distinguished Scholar Session Honoring Kaja Silverman Video Games Reintegrating Margins: Profanity at the Medieval Edge West/East Ballroom, 3rd Floor Skot Deeming, Milieux Institute for Arts, Culture 8:30–10:00 AM Betsy Chunko-Dominguez, Savannah College of Art Kaja Silverman, art historian and critical theorist, and and Technology and Design Ancient Sculpture in Context Katherine and Keith L. Sachs Professor of Art History at Playing with Loose Parts: The Design 12 Course and Predigital Beekman Parlor, 2nd Floor Calendars, Time, and Memory in Later Byzantium the University of Pennsylvania, will be recognized as the Interactive Environments CHAIRS: Anne Hrychuk Kontokosta, New York University; Nicole Paxton Sullo, Yale University Distinguished Scholar in this special session. Tim Stott, Dublin School of Creative Arts, Dublin Institute Peter De Staebler, Pratt Institute The panel will include: Richard Meyer, Robert and Ruth of Technology Understanding the History of Greek Sculpture: What Crossing Boundaries: Transnationalism and Halperin Professor in Art History, Department of Art and Exhibiting Dwarf Fortress or MoMA’s Failure Neuroscience Can Add Transtemporalism in Hagiographical Arts Art History at Stanford University; and Homay King, Daniil Leiderman, Texas A&M University Sutton Parlor Center, 2nd Floor Professor of History of Art, Bryn Mawr College. John Onians, University of East Anglia THURSDAY CHAIR: Kathryn Gerry, DISCUSSANT: Maibritt Borgen, Yale University Please join us for a reception immediately following the Portability, Versatility, and the Problem of Contextualization: Crossing Boundaries in Religious Art: The Sacred Spirits of session in the Third Floor East Promenade. There will be a In Search of Viewing Environments for the Small-Scale Divine Europe and Africa in Haiti cash bar available. Catalogue Raisonné Scholars Association (CRSA) Statuary of Roman Athens LeGrace Benson, Arts of Haiti Research Project Technical Art History and the Catalogue Raisonné: Case Brian A. Martens, University of Oxford Studies in the Materials, Methods, and Meanings of Art Works Use or Reuse? Rethinking Mythological Sarcophagi in Paint and Power on the Island of Saints: Icons under Frankish Rule Gramercy B/East, 2nd Floor Catacomb Contexts Lisa Mahoney, DePaul University Composed Session CHAIR: Katy Rogers, Catalogue Raisonné Scholars Association Economies of Design and Branding Sarah Madole, Borough of Manhattan Community College, Convening with the Ancestors: Syncretisms and Africanisms Gramercy A/West, 2nd Floor From Connoisseurship to Technical Art History: Charting the The City University of New York in the Art of New Orleans’s Potters Fields Development of Interdisciplinary Studies of Art Eros and the Army (Constantinople and Context) Kara Ann Morrow, College of Wooster Reshaping This Exceptional Economy of the Design Industry Maryan Ainsworth, The Metropolitan Museum of Art through Systems Thinking Benjamin Anderson, Cornell University Hannah Park, Texas State University David Smith’s Cast Bronze Sculpture: Process and Perspective Composed Session Marc Roussel, Roussel Art Conservation Cultural Histories of Typography Felt Sense and the Art of Branding Art and Academy in the Twenty-First Century: Reinstalling Nassau Suite East/West, 2nd Floor Paul M. Romejko, Independent Artist and Scholar Conversations between an Art Historian and a Conservator: Permanent Collections in College and University Art Museums A Case Study in Exploring the Work of David Smith (1906–1965) Gramercy A/West, 2nd Floor A Haptic Process: How Touch Ignites Graphic Design ‘ Susan J. Cooke, The Estate of David Smith, New York CHAIRS: Johanna G. Seasonwein, Jordan Schnitzer Museum Kelly Salchow MacArthur, Michigan State University Galería Perdida (Andres Janacua), School of Visual Arts of Art, University of Oregon; Claire C. Whitner, Davis Museum, Delicate, Light, Strong, Bold: Gendered Language Descriptors The Uncanny Valley of Branding Wellesley College American Academy in Rome FRIDAY Gabriel Scha"zin, University of California, San Diego; in Typefaces and Letterforms The American Dream of the Mediterranean: Lessons A of Welcome: Activating the Permanent Collection Zachary Kaiser, Michigan State University Amy Papaelias, State University of New York at New Paltz from History through Student Performance Never Use Futura Beekman Parlor, 2nd Floor Johanna G. Seasonwein, Jordan Schnitzer Museum of Art, Douglas Thomas, Maryland Institute College of Art National Council of Arts Administrators (NCAA) CHAIRS: Lindsay Harris, American Academy in Rome; University of Oregon Entrepreneurship as Research, Teaching, Learning, or Service Avinoam Shalem, American Academy in Rome Collections Exhibitions on the Move Sculpted Letters: Gill Sans, Humanist Fonts, and Religious Weight Petit Trianon, 3rd Floor Dale Kinney, Bryn Mawr College Lucinda Barnes, University of California Berkeley Art Museum Anna Wager, University of Washington CHAIRS: Jim Hopfensperger, Western Michigan University; & Paci"c Film Archive Lynne Allen, Boston University Peter N. Miller, Bard Graduate Center Britain in the World: Reinstalling the Collections of the Yale Center Dismantling the Center/Periphery Model in Global Art Jim Hopfensperger, Western Michigan University Martino Stierli, Museum of Modern Art History: Art and Politics from the 1960s to the 1980s for British Art DISCUSSANTS: Lindsay Harris, American Academy in Rome; Rendezvous Trianon, 3rd Floor Lynne Allen, Boston University Scott Wilcox, Yale Center for British Art, Yale University Avinoam Shalem, American Academy in Rome CHAIRS: Sooran Choi, The Graduate Center, The City Sally Gaskill, Strategic National Arts Alumni Project The History of Our World in 600 Objects: Reinstalling the Davis University of New York; Young Min Moon, University of Jen Guillemin, Boston University Museum at Wellesley College Massachusetts Amherst Association of Historians of American Art (AHAA) Claire C. Whitner, Davis Museum, Wellesley College Sara Meyer, California State Polytechnic University, Pomona The Gustatory Turn in American Art “Paris-Moscou” from Moscow to Paris: Soviet Art and the Regent Parlor, 2nd Floor French Context Matt Clark, University of Texas–Arlington CHAIRS: Guy Jordan, Western Kentucky University; Elizaveta Butakova-Grimshaw, The Courtauld Institute of Art Nancy Palmeri, University of Texas–Arlington Shana Klein, German Historical Institute Pivoting to the Foreign Homeland: Returnees from Japan and The California Raisin Postcolonial Anxiety in North Korea Katherine Manthorne, The City University of New York Young Ji Lee, Oberlin College “A Harmony in Eggs and Milk”: Gustatory Synesthesia in the Victorian Reception of Whistler’s Art Aileen Tsui, Washington College

42 see caa 2017 app for program updates new york city // 2017 43 FRIDAY, FEBRUARY 17 First Frames Relics and Representation: The Holy Land Transported, Part I Art Libraries Society of North America (ARLIS/NA) Nassau Suite East/West, 2nd Floor Regent Parlor, 2nd Floor Supporting Creative Legacies in Local Communities: Lessons 8:30–10:00 AM CHAIR: Samantha Krukowski, School of Design, CHAIR: Neta Bodner, The Hebrew University of Jerusalem Learned from the Artists’ Studio Archives Project University of Cincinnati CUNY, ABBAS DE IOSAPHAT DE CRUCE DAT. OREMUS: Sutton Parlor Center, 2nd Floor Association for Textual Scholarship in Art History (ATSAH) Teaching through Culture: Developing Curriculum for a The Exchange of Holy Matter from Jerusalem to Toulouse CHAIR: Carol Magee, The University of North Carolina at Arts and Politics, Religious and Secular Iconocrazia Diverse, Global, and Multicultural Environment Cynthia Hahn, Hunter College Chapel Hill Morgan Suite, 2nd Floor Jesse Payne, Virginia Commonwealth University, Qatar Get Started, Be SMART, Move Forward: Empowering Artists to CHAIRS: Liana De Girolami Cheney, Association for Textual Image as Relic: Representations of Holy Land Sites on Steward Their Personal Studio Archives for a Lifetime Scholarship in Art History; David Cast, Bryn Mawr College Tolerance for Ambiguity: Breadth before Depth Glass Beakers Martha Carothers, University of Delaware Cathleen Fleck, Saint Louis University Heather Gendron, Yale University Physiognomy of Sovereignty Developing a Repertoire of Roles: Students’ Interventions in Giuseppe Cascione, University of Aldo Moro Localizing Foundation Design Education: Composition, “Avila, Saints and Stones”: Local Heroes and the Holy Crossings, and Context Land in Spain the Lives of Artists’ Archives Signorelli’s Frescoes of the End-Time at Orvieto, the Eucharist, Kivanc Kilinc, Yasar University Bianca Kühnel, The Hebrew University of Jerusalem Erin Dickey, The University of North Carolina at Chapel Hill and Politics of Papal Rome Artist Archives—Collaboration between Artist and Archivist Sara Nair James, Mary Baldwin College Conveying the Holy through Its Fragments: Relics in Imbricated Art Histories: Native American Artists of the Late Medieval Holy Land–Pilgrim Reports (Mainly of the Susan Harbage Page, The University of North Carolina at Triumphal Entrance of Emperor Carlo V in Florence: Twentieth Century Fifteenth Century) Chapel Hill Un'nished Issues Trianon Ballroom, 3rd Floor Maria Dorninger, Paris Lodron University of Salzburg “Learning from Artists’ Archives”: Converting the “Learning” into Emilie Passignat, Independent Scholar CHAIR: David W. Penney, National Museum of the Training, Community Outreach, and Ongoing Relationships DISCUSSANT: Caroline Walker Bynum, Columbia University* Whose Power? Iconography and Agendas in Early Modern American Indian JJ Bauer, The University of North Carolina at Chapel Hill *Please note: Professor Bynum will comment upon both sessions Part I Scottish Ceremonies Toward an American Indian Abstract: The Art and Politics and Part II of Relics and Representation: The Holy Land Transported and Giovanna Guidicini, Glasgow School of Art of Mary Sully will be speaking at the end of Part II only. What Is an MFA Worth? Phil Deloria, University of Michigan Concourse A, Concourse Level Society of Historians of East European, Eurasian, and Tonita Peña: “American and Modern” Rustles/Gestures CHAIRS: Michael Ano, University of California, San Diego; Russian Art and Architecture (SHERA) W. Jackson Rushing, University of Oklahoma Sutton Parlor North, 2nd Floor Kelly Donahey, University of California, Irvine Emerging Scholars: Russian Artists and International CHAIRS: Suzanne Herrera Li Puma, University of California, What Counts: The Ultimate MFA Course Communities, Part II Modern, not “Folk”: Four Native North American Painters Berkeley; Catherine Czacki, University of California, San Diego Barbara Bergstrom, Bowling Green State University Sutton Parlor South, 2nd Floor Ruth Phillips, Carleton University Light Moves, Haunted Histories CHAIR: Alice Isabella Sullivan, University of Michigan Dancing on Discourse: Kay WalkingStick and American Art DIYPhD and DIYMFA Bay Area: Artists Creating Alternatives to Natalie Beall, Independent Artist; Catherine Czacki, University Institutionalized Art Education Memory and Russian Émigré Art: New Perspectives of the Late Twentieth Century of California, San Diego Sarah Dougherty, DIY PhD Nicola Kozicharow, University of Cambridge David W. Penney, National Museum of the American Indian Shu*ing, Shifting, Sifting, Folding When School Is a Factory: Allan Sekula’s Radical Pedagogy Transition in Context: Inclusion of Post-Soviet Artists in the DISCUSSANT: Kathleen Ash-Milby, National Museum of the Cara Benedetto, Virginia Commonwealth University; Samuel Ewing, Harvard University International Community American Indian Suzanne Herrera Li Puma, University of California, Berkeley Denis Stolyarov, The Courtauld Institute of Art DISCUSSANTS: Mario Ybarra, Otis College of Art and Design; Canto for the Supernumeraries Elizabeth Watkins, Columbia University Rereading Late-Soviet Art from the Curatorial Perspective Postwar Calligraphic Modernisms: Lines of Connection Michelle Ty, Clemson University; Catherine Czacki, University Marina Maximova, Loughborough University Bryant Suite, 2nd Floor of California, San Diego; Suzanne Herrera Li Puma, University CHAIRS: Iftikhar Dadi, Cornell University; of California, Berkeley Northern California Art Historians (NCAH)

Eugenia Bogdanova-Kummer, University Zones of Representation: Photographing FRIDAY Fictive Worlds No More: Sensorial Apprehension in Contested Landscapes American Painting École de Lee Ungno-Académie de Peinture Orientale de Paris: Composed Session Petit Trianon, 3rd Floor Madison Suite, 2nd Floor A Counter-Narrative in Practice Studies in Eighteenth-Century Style CHAIR: Bridget Gilman, San Diego State University CHAIRS: Elizabeth Buhe, Institute of Fine Arts, New York EuiJung McGillis, Carleton University Gramercy B/East, 2nd Floor University; George Philip LeBourdais, Stanford University The Calligraphic Other: Japanese Calligraphers’ Postwar Fact, Fiction, Document, Eyewitness: Reading the Photographer “The king stared at the 'gure in astonishment”: Chinese Makeda Best, California College of the Arts Performing Pictures: Virtual Pleasures in Early Antebellum Encounter with Arabic Calligraphy Nodding-Head Figures in Early Modern Denmark American Art Eugenia Bogdanova-Kummer, Jose!ne Baark, Lingnan University Cities in Crisis: The Ethics of Urban Ruin Photography Catherine Holochwost, La Salle University Bridget Gilman, San Diego State University Hurou'yah: Negotiating Cultural Arabism The Geometrical Landscape: Architecture and the Severity of Brooklyn’s Dirty Air Nada Shabout, University of North Texas Style in Rome A Poetic Occupation: Artistic Gestures in Zones of Con$ict James Glisson, The Huntington Library, Art Collections, DISCUSSANT: Ming Tiampo, Carleton University Andrea Bell, Parsons School of Design, The New School Omar Mismar, California College of the Arts and Botanical Gardens Fashioning the Architectural Body in Eighteenth-Century Rome Checkpoints, Panoramas, and Darkness in Palestinian “Seeing Di"erently”: Modernist Incoherence and the Race and Labor in the Art World Tracy Ehrlich, The New School Landscape Photography Neoliberal Self East Ballroom, 3rd Floor Kathy Zarur, California College of the Arts Christa Noel Robbins, University of Virginia The Toilette: Dressing in Public and Private CHAIR: Hayes Peter Mauro, Queensborough Community Kristin O’Rourke, Dartmouth College Moving along the Margins: Embodied Spectatorship in College, The City University of New York Jo Baer’s Minimalist Paintings Uprooting the Plantation: Clementine Hunter’s African House Matthew Levy, Penn State Erie, The Behrend College Murals at the End of the World Sarah Cervenak, The University of North Carolina Greensboro A Show of Unity: Art Exhibitions, Racial Integration, and the CIO John Ott, James Madison University Making BlackLivesMatter in Art Museums La Tanya Autry, Yale University Art Gallery

44 see caa 2017 app for program updates new york city // 2017 45 FRIDAY, FEBRUARY 17 Birds from Abroad and Men at Home: Classi'cation and the Women’s Caucus for Art (WCA) DISCUSSANT: Caroline Walker Bynum, Columbia University* Social Order in Keisai’s Artisans of Edo Maternal Art Activism *Please note: Professor Bynum will comment upon both sessions and 10:30 AM–12:00 PM Chelsea Foxwell, The University of Chicago Rendezvous Trianon, 3rd Floor be giving an extended analysis of all papers presented in Part I and CHAIRS: Rachel Epp Buller, Bethel College; Part II of Relics and Representation: The Holy Land Transported and will be DISCUSSANT: Yukio Lippit, Harvard University Beauty, Spectacle, and the Grotesque as Fascist Tools of Margo Hobbs, Muhlenberg College speaking at the end of Part II only. Wartime Japanese Art Re$ections on The Let Down Re%ex Bryant Suite, 2nd Floor Committee on Women in the Arts Amber Berson, Queen’s University Art Historians of Southern California (AHSC) CHAIR: Aya Louisa McDonald, University of Nevada, Feminist Pedagogy through Activist Arts Practices STEM to STEAM with Art History Las Vegas Sutton Parlor North, 2nd Floor Art and Motherhood in the Age of the Anthropocene Madison Suite, 2nd Floor CHAIRS: Laura Elizabeth Sapelly, The Pennsylvania State Ti"any Holmes, School of the Art Institute of Chicago Entertaining War in The Capture of Wuhan Battle Panorama CHAIR: Walter Meyer, Santa Monica College University; Jennifer Rissler, San Francisco Art Institute of 1939 Biasing the Nonmaternal STEM to STEAM to Teams—Is Art Historical? Advocacy as the Kari Shepherdson-Scott, Macalester College The Kinship Project: Manifesting Connections to History through Miriam Schaer, Columbia College Chicago Dangerous Artistry of Collegiality African American Family Narratives and “Peaceful” Japanese Paintings during the Second World War: Strategic Motherhood: Socially Engaged Practice and Donald Preziosi, University of California, Los Angeles Photography Collections Yokoyama Taikan’s Paintings of Mount Fuji Subversive Maternal Aesthetics in Mexico Samantha Hill, Independent Artist Exploring the Art of the Medieval Liberal Arts Asato Ikeda, Fordham University Erin L. McCutcheon, Tulane University Danielle P. Joyner, Southern Methodist University “See Yourself Free”: Black Liberation and Aesthetic Freedom Horror and the Grotesque in Foujita’s Later War Paintings Sampada Aranke, San Francisco Art Institute Identifying Stakeholders and Collaborating with Industry to Aya Louisa McDonald, University of Nevada, Las Vegas On the Road Revisited: Art and Travel since 1900 Re'gure Art Curricula Giving Voice to Women Silenced by Shame Sutton Parlor South, 2nd Floor DISCUSSANT: Justin Jesty, University of Washington Andrew Paul Findley, Ivy Tech Community College Ann Fessler, Rhode Island School of Design CHAIRS: Peter Han-Chih Wang, Temple University; David Smucker, Stony Brook University STEAM Emphasis at Fisk University Galleries: Art History, Physics, The Collective Curator: A Case Study in Curatorial Pedagogy and Beyond Critique: Contemporary Art in Theory, Practice, and Computer Science Re$exive Exhibition Making Emily Carr on the Road to Alaska and Instruction Nikoo Paydar, Fisk University Galleries Jessica Cochran, School of the Art Institute of Chicago Samantha Burton, University of Southern California Nassau Suite East/West, 2nd Floor Arts Integration and Art-Historical Pedagogy in CHAIRS: Roger Rothman, Bucknell University; Fictional Continuity: Mobility and Seriality in the STEM Collaborations Work of Stephen Shore Pamela Fraser, University of Vermont Genesis of Video Art in Latin America (1970s and 1980s) Shalini Le Gall, Colby College Museum of Art Mark Rawlinson, University of Nottingham Testing the Knowledge-based Polis in the Long Sixties: Petit Trianon, 3rd Floor Training the Eye: Pedagogic Approaches to Teaching with Art Baldessari, Kaprow, and Rosler CHAIR: Juan Carlos Guerrero-Hernandez, Universidad No Sex Last Night (Double Blind): Sophie Calle and in the Sciences Tim Ridlen, University of California, San Diego de Los Andes Greg Shephard’s Road Trip Film Liliana Milkova, Allen Memorial Art Museum, Oberlin College Laura Elizabeth Shea, University of Illinois at Finessing the Frame: Louise Lawler’s Light Works Video in Latin America 1970–80: Plurality, Hybridity, and Urbana-Champaign What’s Art Got to Do with It? Leah Pires, Columbia University Decentralization Polly Hoover, Wilbur Wright College Christine Mello, Pontifícia Universidade Católica de Travel and Nomadic Emplacement: The Visual Art of Art School in a Moment of Danger: Critique, Otherness, São Paulo/PUC-SP Gilbert “Magu” Sánchez Luján Intersecting Art and Science: Curation, Curriculum, and Pedagogy Karen Mary Davalos, University of Minnesota, Twin Cities and Collaboration Billie Lee, University of Hawai’i at Mānoa Letícia Parente’s Medidas: An Exceptional Installation Sheds Hannah Star Rogers, Columbia University Light onto a Dozen Video Performances Criticality, Egalitarianism, and the Pictures Generation Simone Ostho", Pennsylvania State University Composed Session of the 1980s Photography in Print Historians of Eighteenth-Century Art and Architecture (HECAA) Anthony Grudin, University of Vermont Video Practices before Video Art: Lea Lublin’s Fluvio Subtunal Superpowers in the Global Eighteenth Century: Empire,

Gramercy A/West, 2nd Floor FRIDAY Julia Detchon, University of Texas at Austin Parasitism and Contemporary Art: Bruguera and Gates Colonialism, and Cultural Contact Between Art and Propaganda: Photo-Monde in the Service Adrian Anagnost, Tulane University DISCUSSANT: Paulina Pardo Gaviria, University of Pittsburgh Beekman Parlor, 2nd Floor of the UN CHAIR: Tara Zanardi, The Metropolitan Museum of Art Pragmatics of Studio Critique: A Classroom Experiment C. C. Marsh, The University of Texas at Austin at MassArt Interpreting Degas: A Centennial Perspective, Part I A Sign of Empire: The Pineapple in the Colonial British World The Spectacularization of Disaster: Photographs of Destruction Judith Leemann, Massachusetts College of Art and Design Sutton Parlor Center, 2nd Floor Joanna Gohmann, Walters Art Museum in Commemorative Co"ee Table Books CHAIR: Kathryn Brown, Loughborough University Meredith TeGrotenhuis Shimizu, Whitworth University “The Most Remarkable Places”: Military Views of North America Connected Art Histories: A Global Flow of Images The Making of Degas: Duranty, Engineering, and Materials and the Caribbean in the Mid-Eighteenth Century The “Cosmopolitan Art”: The FIAP Yearbooks of Photography, Regent Parlor, 2nd Floor Michelle Foa, Tulane University Jocelyn Anderson, Independent Scholar 1954–60 CHAIRS: Yu-chih Lai, Academia Sinica, Institute of Modern Degas, Photography, and Restoration or Staging Manet’s Ham Alise Tifentale, The Graduate Center, The City University Satanic Mills, Indian Muslin, and the Materiality of Neoclassical History; Tian S. Liang, University of Oxford Marni Kessler, University of Kansas of New York Dress in the 1790s Amelia Rauser, Franklin and Marshall College Coining Territory: Emperor Qianlong’s Gift to Catherine Staging Art in Whistler and Degas the Great Julia Stimac, University of Washington Relics and Representation: The Holy Land Transported, Part II DISCUSSANT: Michael Yonan, University of Missouri Yu-chih Lai, Academia Sinica, Institute of Modern History The Symbolism in Degas’s Landscape Monotypes Gramercy B/East, 2nd Floor Andreas Vesalius in China: On Body and Skin in the Long Heidi Hirschl, The Museum of Modern Art CHAIR: Bianca Kühnel, The Hebrew University of Jerusalem Education Committee Eighteenth Century Relics of Place: Stones of the Holy Sepulchre in Teaching Art and Art History as a General Education Course Tian S. Liang, University of Oxford Eleventh-Century France Morgan Suite, 2nd Floor Rescuing Art History from the Nation: Late Chosŏn Korea between Renana Bartal, Tel Aviv University CHAIR: Richard Lubben, Lane Community College Europe and Edo Japan Fragments of Jerusalem in Mantua: The Blood and Earth Relic Dina Bangdel, Virginia Commonwealth University in Qatar J. P. Park, University of California, Riverside in Sant’Andrea Rebecca Easby, Trinity Washington University Neta Bodner, The Hebrew University of Jerusalem Anne Norcross, Kendall College of Art and Design of A Model of the Holy Sepulchre in Henndorf (Austria): Relic Ferris State University or Reliquary? Shimrit Shriki-Hilber, The Hebrew University of Jerusalem 46 see caa 2017 app for program updates new york city // 2017 47 FRIDAY, FEBRUARY 17 FRIDAY, FEBRUARY 17 Museum Committee Artists as Museum Workers 10:30 AM–12:00 PM Poster Sessions 12:15–1:15 PM West Promenade, 3rd Floor Sutton Parlor North, 2nd Floor CHAIR: Je"rey Abt, Wayne State University The (Object as) Exhibition as Event: From the Poster sessions are informal presentations for small groups Anonymous [statement to be read at the session] 1990s to Now displayed by an individual. The poster display is usually “myCAA,” What It Means to Me. . . : CAA’s Annual Business East Ballroom, 3rd Floor Joey Orr, Spencer Museum of Art, University of Kansas a brief narrative paper intermixed with illustrations, Meeting, Part II CHAIRS: Janet Kraynak, Columbia University; tables or graphs, and other presentation materials. With East Ballroom, 3rd Floor Jock Reynolds, Yale University Art Gallery Monica Amor, Maryland Institute College of Art a few concisely written areas of focus, the poster display Hunter O’Hanian, CAA executive director, invites all CAA Ginevra Shay, The Contemporary Museum, Baltimore Introduction communicates the essence of the presenter’s research, members to participate in an open forum to discuss CAA Janet Kraynak, Columbia University; Monica Amor, synthesizing its main ideas and research directions. Poster now and in the future. We want to hear what “myCAA” Maryland Institute College of Art displays will be on view for the duration of the conference, means to you! CAA sta! and board members will be Entangling Art and Biology: Bioart and Beyond Rendezvous Trianon, 3rd Floor Decivilizing Rituals beginning on Thursday morning at 9:00 AM through Saturday introduced and on hand to answer questions. afternoon at 2:00 PM. On Thursday and Friday, from 12:00 to CHAIRS: Meredith Tromble, San Francisco Art Institute; Tom McDonough, Binghamton University The conclusion of the CAA Annual Business Meeting, where 1:30 PM, presenters will be available to discuss their work. Patricia Olynyk, Washington University in St. Louis new CAA Board members will be announced, will occur The Not-Photography of Non-Sculpture: Tino Sehgal How Can “Bioart” Escape Sharing a Reductionist Approach and the Limits of Work prior to the open forum. Walkshops for Collective Inquiry in the Built Environment with the “Biotechnology” It Critiques? Irene Small, Princeton University Sara Alsum-Wassenaar, Hope College Jennifer Johung, University of Wisconsin–Milwaukee; DISCUSSANTS: Frazer Ward, Smith College; Michelle Kuo, Jane Prophet, City University of Hong Kong Teaching Visual Art in Prison: Supporting Mental Escapes Artforum Magazine Jim Dahl, Independent Art Educator FRIDAY, FEBRUARY 17 What Do Artists Working with Interspecies Communication Have to O"er Biology and Vice Versa? Can Art and Biology Be Art Can Help Broaden the Public Conversation on Climate Change US Latinx Art Forum (USLAF) Plenary Session 1:30–3:00 PM Entangled in Such a Way to Support Life’s Flourishing? Melissa Fleming, Studio MF/The Weather Gamut Trianon Ballroom, 3rd Floor Liselot van der Heijden, The College of New Jersey; CHAIR: Adriana Zavala, Tufts University Kawral: An Artist Residency in Mali for Peace, Reconciliation, AIDS and Cultural Activism Rachel Mayeri, Harvey Mudd College and Social Cohesion Regent Parlor, 2nd Floor What Buried Histories of Exchange between Art and Biology Janet Goldner, Independent Artist What Do (Should) Artists Know? CHAIRS: Ryan Conrad, Concordia University; Are Being Unearthed? Concourse A, Concourse Level Gained in Translation: Drawing Art History Joe Madura, Emory University Arnaud Gerspacher, The Graduate Center, The City University CHAIR: Frank V. Boyer, State University of New York–New Paltz Sarah Ja"ray, British Museum Silence Was, Silence Is: Dismantling the AIDS Narrative through of New York; Anna P. Sokolina, Independent Scholar Environmental Aesthetics in the Postwar University: Harvard’s The Postmaster’s Porcelain: Collecting European Decorative Arts Its Images What Would It Mean to “Queer” Art and Biology? Visual and Environmental Studies Program in the American Midwest Avram Finkelstein, New York University Dorothy Santos, Independent Scholar; Adam Zaretsky, Melissa Sue Ragain, Montana State University Sarah S. Jones, University of Missouri Play Smart: Creating a Women-Centered Safer-Sex Packet Marist College Exploring the PhD Abstract: What Can We Know of the Fine Arts Aviary: Knowing Birds through Scienti'c Drawing LJ Roberts, Parsons School of Design, The New School DISCUSSANTS: Charissa N. Terranova, University of Texas from Doctoral Theses in the Field? Carolina Rojas, University of los Andes “But Countess, you can even get AIDS this way!”: Between Art at Dallas; Laura Splan, Independent Artist Judith Mottram, Royal College of Art The “Technological Marvel”: Exploring the Interior of Walter and AIDS Activism in Ryszard Kisiel’s Filo The Language (or Not) of Form Gropius’s House in Dessau Aleksandra Gajowy, Newcastle University Global Conversations III Lance Winn, University of Delaware Isabel Rousset, The University of Western Australia In France, “AIDS did not seem to inspire a speci'c artistic Beekman Parlor, 2nd Floor CHAIR: Mary Miller, Yale University FRIDAY World Making after Art Feminism: Remembrance and Legacy reaction . . .” (1993) Matthew Friday, State University of New York–New Paltz Claudia Sbrissa, St. John’s University; Kathleen Wentrack, Thibault Boulvain, Université de Paris 1 Panthéon-Sorbonne Queensborough Community College, The City University of Imperial Images in Modern and Contemporary Japan: New York Art after Zero: Making Sense of the Aughts Expanding the Discourse FRIDAY, FEBRUARY 17 Art History Pedagogy and Practice East Ballroom, 3rd Floor Bryant Suite, 2nd Floor Karen Shelby, Baruch College, The City University of CHAIRS: Margaret Richardson, Christopher Newport CHAIR: Alison Miller, Bowdoin College 12:00–1:30 PM New York; Virginia Burns Spivey, Maryland Institute College University; Nicole De Armendi, George Mason University Taisho beyond Portraiture: Monuments, Monumental Spaces, of Art, Baltimore Embodiment Abstracted: The In$uence of Yvonne Rainer and Imperial Representation Interpreting Degas: A Centennial Perspective, Part II in the Aughts Alice Y. Tseng, Boston University Sutton Parlor Center, 2nd Floor From Foraging to Forging Communities Elise Archias, University of Illinois, Chicago CHAIR: Michelle Foa, Tulane University Gabriella Solti, Independent Artist Gender Politics, Women’s Magazines, and the Empress Image in Pieces, Parts: Julie Mehretu, Sarah Sze, and the Drama of Detail the Taisho Period Degas in Pieces: Rethinking the Late Bather Pastels Wasted Wants: Binslab 2007–10 Grant Klarich Johnson, University of Southern California Alison Miller, Bowdoin College Kathryn Brown, Loughborough University Cara Tomlinson, Lewis & Clark College A “Luminous Trend” Revived: Art and New Media in the The Emperor and the General: Showa Emperor and General Degas and New Orleans Revisited: Cotton and Global Capitalism New Millennium Douglas MacArthur in Gaetano Faillace’s Photograph, and Marilyn R. Brown, University of Colorado Boulder Tina Rivers Ryan, The Metropolitan Museum of Art Contemporary Interpretations The Fallen Jockey: Degas’s Art and Politics Ayelet Zohar, Tel Aviv University DISCUSSANT: Robert Hobbs, Virginia Commonwealth Hyla Robicsek, Independent Scholar University DISCUSSANT: Mikiko Hirayama, University of Cincinnati Ordering Degas: Paul-André Lemoisne in Search of a Catalogue Raisonné Sébastien Chau"our, French Ministry of Foreign A!airs

48 see caa 2017 app for program updates new york city // 2017 49 FRIDAY, FEBRUARY 17 Composed Session FRIDAY, FEBRUARY 17 Re-Marks: Techniques ARTspace 1:30–3:00 PM Nassau Suite East/West, 2nd Floor 3:30–5:00 PM Distinguished Artist Interviews Transforming Traditional Studio Experience into Murray Hill Suite East/West, 2nd Floor Italian Art Society (IAS) Between Conformism and Subversion: Aesthetic Strategies Online Technology Italianità diversa: Diversity and Multiculturalism in Italian Art and the Problem of the Political in Contemporary Art Organized by CAA’s Services to Artists Committee, the Dennis Dalton, Colorado State University–Pueblo Gramercy A/West, 2nd Floor East Ballroom, 3rd Floor Distinguished Artist Interviews feature esteemed artists CHAIR: Jennifer Gri#ths, The American University of Rome Stitching a New Derive: Exercises in Counter-Flânerie and CHAIRS: Conor McGrady, Burren College of Art; who discuss their work with a respected colleague. Alternative Literacies The Distinguished Artist Interviews are held as part of Black African Winds in Italian Images, 1490–1632 Gediminas Gasparavičius, The University of Akron Veronica Casado Hernandez, Independent Scholar and ARTspace, a program partially funded by a generous grant Paul Kaplan, Purchase College, State University of New York A Window to Capital: Yuri Pattison’s Outsourced Views, Visual Artist from the National Endowment for the Arts. This event is A Foreign Local: Forming Early Modern Venetian Identity Visual Economies and the Aesthetic Conditions of Critique free and open to the public. Re-Marks: Rethinking the Act of Tracing via Saint Mark Boris Čučković Berger, The Courtauld Institute of Art Marina Kassianidou, University of Colorado Boulder Coco Fusco with Steven Nelson, University of California, Letha Ch’ien, University of California, Davis The Carnival and the Counter-Institution: Anarchism, Los Angeles Generative Form-Finding in Art and Design: From Paper Folds The Designs of Fortuny through the Lens of Venetian Democracy, and the Feminist Revolutionary to Algorithm Katherine Bradford with Judith Bernstein Renaissance Fabric Anastasia Murney, University of New South Wales Wendy Ligon Smith, Independent Scholar Jiangmei Wu, Indiana University A Politics of Lies: Nationalization, Subversion, and Semblance in Recent Artistic Activism from Greece Committee on Diversity Practices The Feminist Art Project (TFAP) Teaching Design History through Making Kostis Stafylakis, Athens School of Fine Arts Engaging Diversity in the Arts Curriculum of Designated Matriarchal Action + Art Sutton Parlor South, 2nd Floor Colleges and Universities Trianon Ballroom, 3rd Floor CHAIR: Dori Gri#n, Ohio University Association of Print Scholars (APS) Bryant Suite, 2nd Floor CHAIRS: Jaune Quick-to-See Smith, Independent Artist; Teaching Historical Design at The Metropolitan Museum Collaborative Printmaking CHAIRS: Lisandra Estevez, Winston-Salem State University; Maria Hup!eld, Independent Artist; Lowery Stokes Sims, Nazanin Hedayat Munroe, Modern Ancient Design Petit Trianon, 3rd Floor Julie McGee, University of Delaware Independent Curator and Cultural Catalyst CHAIR: Jasper van Putten, Massachusetts College of Objects and Documents Art and Design Engaging Students through Art at a Hispanic-Serving Richard Mack, Su!olk County Community College Institution—A Case Study: San Diego Mesa College Art Gallery Organicism, Open Systems, and Technology in Feminist Art Collaboration in Printmaking in the Fifteenth Century Hands on History: Learning the History of Typography with a Programming and Diverse Art Curriculum Concourse A, Concourse Level Suzanne Boorsch, Yale University Art Gallery Letterpress Workshop Alessandra Moctezuma, San Diego Mesa College CHAIRS: Susanneh Bieber, Texas A&M University; Sherry Saunders Freyermuth, Lamar University Collaboration and the Absent Printmaker: A Gift for the Arts Pedagogies in Bilingual Endorsement Programs Christine Filippone, Millersville University Virgin in Seventeenth-Century Colonial Peru Engaging Multiplicity: A Multimodal Approach to Teaching Laura Fattal, William Paterson University The System: University as Frontier Emily C. Floyd, Tulane University Typographic History Reinhold Martin, Columbia University Movidas Razquaches: Art and Pedagogy on the Border Liese Zahabi, University of Maryland College Park; Collaborative Printmaking as Co-creation: A South African Perry Vasquez, Southwestern College What Would Bateson Say? Ecology of Mind in Feminist Art Audra Buck-Coleman, University of Maryland College Park Example of Practice Carol Wilder, The New School Kim Berman, University of Johannesburg Communities, Cultures, and Exchange: Creating a Dynamic Learning Environment at the Community College Mixed Signals: Work and Play in Feminist Video Art The Feminine Uncanny On Any Surface: Hanging with Chicago’s Printmakers Valerie C. Palazzolo, Hillsborough Community College–Ybor Miguel de Baca, Lake Forest College Sutton Parlor Center, 2nd Floor Kate McQuillen, Independent Visual Artist DISCUSSANT: Judith Rodenbeck, University of CHAIRS: Guy Tal, Shenkar College of Engineering, Design and DISCUSSANT: Jasper van Putten, Massachusetts College

Composed Session FRIDAY California, Riverside Art; Gal Ventura, The Hebrew University of Jerusalem of Art and Design Entangled Modernisms: Architecture and Ideology Dead Mothers and the Uncanny in Nineteenth-Century French Art Rendezvous Trianon, 3rd Floor Passages and Crossings: The Sea in Contemporary Art Gal Ventura, The Hebrew University of Jerusalem Complicating Identity: New Approaches to Form and The Contingent Making of Socialist Architecture of the Global South The Devil’s Hands: Witchcraft, Horror, and the Uncanny in Di!erence in Modern and Contemporary Art Christianna Bonin, Massachusetts Institute of Technology Morgan Suite, 2nd Floor Caravaggesque Art Gramercy A/West, 2nd Floor CHAIRS: Allison K. Young, Institute of Fine Arts, New York Guy Tal, Shenkar College of Engineering, Design and Art CHAIRS: Anne Monahan, The Metropolitan Museum of Art; Architectural Modernism and the East–West Binary in 1930s University; Sean Nesselrode Moncada, Institute of Fine Arts, Rachel Middleman, California State University, Chico Tel Aviv The Feminist Uncanny: Doris Salcedo’s Un-homes New York University Jacobé Huet, Harvard University Shir Aloni Yaari, The Hebrew University of Jerusalem Lynne Cooke, National Gallery of Art Entangled Modernisms: Constructivism, Jadidism, and the Driftless Darby English, The University of Chicago Felipe Castelblanco, Artist/Organizer Emergence of a Global Avant-Garde in Eurasia When Art Claims to Do Good: Assessing the Impact of Richard Meyer, Stanford University Angelina Lucento, National Research University Higher Queer Counterpublics and the Black Atlantic Socially Engaged Art School of Economics W. Ian Bourland, Maryland Institute College of Art Petit Trianon, 3rd Floor Architecture behind the Iron Curtain: Construction of From Depth to Rebellious Surfaces: Toward a New Postcolonial CHAIRS: Elizabeth Grady, Independent Scholar; Shared Identity Andean Identity through the Work of Claudia Coca Steve Lambert, Purchase College–State University of New York Anna P. Sokolina, International Archive of Women Dorota M. Biczel, The University of Texas at Austin For Freedoms/Four Freedoms: Dissecting the First Artist-Run in Architecture Cassettes across the Sea: Badr El Hammami and Super Pac Fadma Kaddouri’s Thabrate (Face A) Elizabeth Driscoll Smith, Independent Scholar Emma Chubb, Northwestern University When Artists Declare a State of Emergency: The Collective ATSA at Work Ariane Noël de Tilly, Emily Carr University of Art + Design Art and Social Death Blake Stimson, University of Illinois, Chicago

50 see caa 2017 app for program updates new york city // 2017 51 FRIDAY, FEBRUARY 17 Participation, Community, and Artistic Intervention Topography of Sprawl: The Dispassionate Eye of Joe Deal’s FRIDAY, FEBRUARY 17 in East Asia Photographs of Suburban Albuquerque 3:30–5:00 PM Concourse A, Concourse Level Emilia Mickevicius, Brown University 5:30–7:00 PM CHAIR: Hong Kal, York University Raw Data: Imagining Pueblo Architecture through the Indigenous Resurgent Practices Architectural Gesamtkunstwerk The Right to the Countryside: From Contemporary Art to Energy Crisis Trianon Ballroom, 3rd Floor Sutton Parlor South, 2nd Floor Alternative Place Construction Albert Narath, University of California, Santa Cruz CHAIR: Shelly Rosenblum, University of British Columbia CHAIR: Lisa D. Schrenk, University of Arizona Meiqin Wang, California State University Northridge Documenting Drought in Northwestern Kenya: Ceremonial Bodies, Political Bodies: Art and Indigenous The Gesamtkunstwerk Opera Village Africa: How Francis Kéré’s The Artistic Intervention of Relation, Collaboration, and Photography and Colonial Policy in the 1930s Performance Participatory Architecture Realizes Richard Wagner’s Vision in Conversation: Environmental Awakening in Community Revival Kevin Tervala, Harvard University Wanda Nanibush, Art Gallery of Ontario Burkina Faso Wei Hsiu Tung, National University of Tainan Desert Growth: Omer Fast and Witness Performing Resurgence? Intersections of Theory and Practice Sarah Hegenbart, The Courtauld Institute of Art Art of Counter-Spectacle Michael Jay McClure, University of Wisconsin–Madison Tarah Hogue, Grunt Gallery The House, the Self, and the “Total Work of Art” Hong Kal, York University DISCUSSANTS: Lyle Massey, University of California, Irvine; BUSH Gallery: Contemporary Art, Language, and Community Aliki Economides, McGill University Jessica L. Horton, University of Delaware Tania Willard, Artist and Curator Constructing a Utopian Vision: A Transnational Perspective of the Photography Undone: Contemporary Re(ections Gesamtkunstwerk in Interwar Japanese Architecture on the Medium in Latin America Association for Latin American Art (ALAA) Locating the Viewer in Art Writing: Case Studies in Suzie Kim, Hofstra University Madison Suite, 2nd Floor The Evolving Canon: Collecting and Displaying Contemporary and Modern Chinese Art and Cultural History Gesamtkunstwerk and Gemeinschaft: Ludwig Mies van der Rohe CHAIRS: Jodi Roberts, Cantor Arts Center, Stanford University; Spanish Colonial Art Beekman Parlor, 2nd Floor and Urban Planning in the Case of Lafayette Park, Detroit Natalia Brizuela, University of California, Berkeley Sutton Parlor Center, 2nd Floor CHAIR: Maud Lavin, School of the Art Institute of Chicago Michelle Jackson, Bard Graduate Center Archival Landscapes and Epistemic Frontiers: Notes on the CHAIRS: Ilona Katzew, Los Angeles County Museum of Art; Above Sea/Underground: Viewing Art and Space in Shanghai Work of Ángela Bonadies Ellen Dooley, Los Angeles County Museum of Art Jenny Lin, University of Oregon Art and Caricature Lisa Blackmore, University of Zurich Collecting Spanish Colonial Portraiture in the United States Gramercy A/West, 2nd Floor Li Yuchun’s Fans and Imaginaries of Contemporary Photojournalims 2.0: From Newspaper to Wall and the Role of the Museum CHAIR: Phoebe Wolfskill, Indiana University Chinese Singledom Ana Tallone, Independent Scholar Michael A. Brown, San Diego Museum of Art Maud Lavin, School of the Art Institute of Chicago Early Modern Multivalence: Caricature, Subversion, and Landscapes to Touch with Your Eyes: Javier Hinojosa and Collecting by Creating, or What We Want for Our Colonial Artists: Veneration in Sacred Art “Which Sherlock Holmes Do You Like?”: An Online Ethnography Experimental Photography The Forged Drawings of Vásquez de Arce y Ceballos Anne L. Williams, Virginia Commonwealth University of the Transcultural and Transmedia Sherlock Holmes Fandoms Debora Dorotinsky Alperstein, Instituto de Investigaciones Aaron M. Hyman, University of California, Berkeley in China The Smiling Face of Terror: Etienne Béricourt’s French Revolution Estéticas, UNAM The Latin American Collection at the Hispanic Society Ling Yang, Xiamen University Richard Taws, University College London Beatriz Gonzalez and the Birth of Photojournalism in Colombia Marcus B. Burke, The Hispanic Society of America Lover of the Strange, Sympathizer of the Rude Maria Fernanda Dominguez, New York University Pasolini’s Authorial Caricature: Reconsidering Authorship Winnie Wong, University of California, Berkeley in the Intellettuale Through One Mirror: Feminine Subjectivations in the Brazilian The Maker Mentality Matthew Von Vogt, Indiana University Art of the 1970s Sutton Parlor South, 2nd Floor New Studies on Persianate Albums Talita Trizoli, University of São Paulo CHAIR: Ruth Dusseault, Georgia State University Aggravating the Powerful: Political Caricature Now and Then Morgan Suite, 2nd Floor Corina L. Apostol, Rutgers, The State University of New Jersey Craftspersonhood: The Forging of Selfhood through Making CHAIR: Emine Fetvaci, Boston University Historians of German, Scandinavian, and Central European Art Jonathan Morgan, Institute for Doctoral Studies in the Albums among Rajputs Art, Globalization, and Cultural Divergence and Architecture (HGSCEA) Visual Arts FRIDAY Molly Emma Aitken, The City College of New York Trianon Ballroom, 3rd Floor Revivalism in Twentieth-Century Design in Germany, States of Repair CHAIR: John Zarobell, University of San Francisco Cannibalism and Connoisseurship: Investigating Identity in Scandinavia, and Central Europe, Part I Sabir Khan, Georgia Institute of Technology Eighteenth-Century Persianate Albums Nassau Suite East/West, 2nd Floor Doha’s Evolving Art Scene: Experiments in Education Material Matters: Molecular Engineering as Artistic Practice Anastassiia Botchkareva, Columbia University CHAIR: Paul Stirton, Bard Graduate Center and Institution Building in the Gulf in the New Academy Grace Murray, Freer and Sackler Gallery The Generation and Regeneration of Mughal Albums Adolf Loos, Oskar Strnad, and the Biedermeier Revival in Vienna Stephanie Owens, Cornell University Yael Rice, Amherst College Christopher Long, University of Texas at Austin The Delhi Art Ecosystem Chhoti Rao, Art and Museum Consultant DISCUSSANT: David J. Roxburgh, Harvard University National—Regional—International: The City Halls of Using Omeka to Design Digital Art History Projects Copenhagen, Stockholm, and Oslo Regent Parlor, 2nd Floor The Contemporary Carioca Art Landscape Charlotte Ashby, Birkbeck, University of London CHAIR: Sheila A. Brennan, George Mason University Lucia Cantero, University of San Francisco The Neo-Baroque, the “Folk Baroque,” and Art Deco in Image Mapping with Neatline for Class Projects Mexico City at a Cultural Crossroads Central Europe Katherina Fostano, Fordham University; Barbara E. Mundy, Mariana David, Freelance Curator Juliet Kinchin, The Museum of Modern Art Fordham University The Biedermeier Revival, Artisans, and Ledgenheime Object-Oriented Pedagogy and Digital Storytelling: The Content Erin Sassin, Middlebury College Management System as Nonlinear Narrative Platform Kimon Keramidas, New York University The Desert: Image, Site, Environment Joining Forces: The Omeka for Art Historians Working Group Sutton Parlor North, 2nd Floor Sheila A. Brennan, George Mason University CHAIR: Lyle Massey, University of California, Irvine Scorched Earth, Minerals, and Film: Maria Nordman’s Fire Performances as Protest Laura M. Richard, San Francisco Art Institute

52 see caa 2017 app for program updates new york city // 2017 53 FRIDAY, FEBRUARY 17 Historians of German, Scandinavian, and Central European Crafting a Learning Community between Culinary Arts and Art SATURDAY, FEBRUARY 18 Art and Architecture (HGSCEA) History/Art and Health Sciences: The Relevancy of Visual Analysis 5:30–7:00 PM Revivalism in Twentieth-Century Design in Germany, across Disciplines 8:30–10:00 AM Scandinavia, and Central Europe, Part II Sandra Cheng, New York City College of Technology; Composed Session Nassau Suite East/West, 2nd Floor Sarah Archino, Furman University Composed Session Collaborative Tactics in Social Practice: Fluxus to COLAB American Conceptual Art and the Political Imagination, CHAIR: Paul Stirton, Bard Graduate Center Casta Paintings: A Case Study in the Flipped Art Morgan Suite, 2nd Floor from Cold War to Globalization Neo-Historicism in Croatian Architecture of the First Half History Classroom Sutton Parlor Center, 2nd Floor The Show: COLAB and Social Practice of the Twentieth Century Ellie FitzPatrick Si"ord, Louisiana State University Hovey Brock, School of Visual Arts A Crisis of Meaninglessness: Political Imagination in the Dragan Damjanović, University of Zagreb Engaging the Non-Art History Student: A Tale of Six Football Work of Robert Barry Daniel Spoerri and François Dufrêne’s Fluxus Book The Folklorist Revival within Soviet Modernism in the Players (and Others) in Roman Art Sandrine Canac, Stony Brook University L’Optique moderne Baltic Republics in the 1970s Gretchen K. McKay, McDaniel College Jill Carrick, Carleton University Re$ecting on Natural History: Robert Smithson, Glass, and the Marija Dremaite, Vilnius University Teaching Contentious Issues in an Introductory Art History Course Reinterpretation of the Diorama Daniel Spoerri’s Collaborations in the Late Modernism: Mediating Gustavian Style: Heritage Consumption and Heather M. Shirey, University of St. Thomas In$uences and Legacies Kimiko Matsumura, Rutgers, The State University of National Aesthetics in Sweden The (Contemporary) Art History Mixtape: Setting the Tone Leda Cempellin, South Dakota State University New Jersey Hedvig Mårdh, Uppsala University in the Classroom with Music Locating Site and Speci'city: Works by Michael Asher in the 1990s Radical Edibles: Food, Fashion, and the Senses in “Robert Kushner Eclectic Regression? Revivalist Phenomena in Postmodern Ashley Busby, Susquehanna University and Friends Eat Their Clothes” Kavior Moon, University of California, Los Angeles Finnish Architecture Samantha Lyons, The University of Kansas Naming: Imaginary Authorship in Cold War Los Angeles Anni Vartola, Aalto University American Society for Hispanic Art Historical Studies (ASHAHS) Monica Steinberg, Massachusetts Institute of Technology The Arts of the Early Modern Iberian World: New Approaches Composed Session ¡Sí Se Puede! Brand Identity, Activism, and Art- through Material Culture Exhibition and the Civic Imaginary Historical Analyses Beekman Parlor, 2nd Floor Composed Session Regent Parlor, 2nd Floor Sutton Parlor North, 2nd Floor CHAIRS: Carmen Ripollés, Portland State University; Archaism, Antiquarianism, and Figuration in the “Salvation Gaza”: Contesting Visions of an Iranian Exhibition CHAIRS: Sam Romero, Florida Southern College; Amanda Wunder, Lehman College First Millennium BCE Regent Parlor, 2nd Floor Deanna Kashani, University of California, Irvine Julia Fernandez, University of California, San Diego Of Lilies, Roses, and Turkey Necks: Mother of Pearl and Materiality Displaying the Nereid Monument: Delineating the Borders of Transnational Imaginary: Mexico’s Taller de Grá'ca Popular in in the Seventeenth-Century Hispanic World New Styles and Old Techniques: Archaism and Religious Orient and Occident in the Nineteenth-Century British Museum the United Farm Workers’ El Malcriado Brendan McMahon, University of Southern California Conservatism in Athenian Vase Painting Ross Brendle, Johns Hopkins University Tugba Tanyeri Erdemir, Middle East Technical University Julia Fernandez, University of California, San Diego Memory Matters: Notes on Islamic Objects in Castilian Noble From Civic Initiative to Cultural Phenomenon: Milan’s “La Mostra The Semiotics of the United Farm Workers: The “Wrath of Grapes” Material Culture Between Politics and Religion: Mesopotamian Antiquarianism del Caravaggio” Campaign and the “Poisonous Grapes” Antonio Urquízar Herrera, Universidad Nacional de Educación and an Archaizing Votive Stele Heather D. Thorpe, The University of Iowa Claudia Elisa Zapata, Southern Methodist University a Distancia Elizabeth Knott, New York University; Helen Malko, Columbia University Wings of a Movement Global Gifts: Material and Visual Cultures of Iberian-Asian Marilyn Stokstad (1929–2016): A Memorial Roundtable Edward Fuentes, University of Nevada, Las Vegas Diplomacy, 1500–1650 Drinking in Death: The Intersection between the World of Zoltán Biedermann, University College London the Dead and the Ritual of the Symposium in Archaic and Sutton Parlor Center, 2nd Floor Jose Montoya, the Huelga Eagle, and the Chicano Park Mural: Classical Greece CHAIR: Maria Elena Buszek, University of Colorado Denver The Codi'cation of Chicano Movement Visuality DISCUSSANTS: Carmen Ripollés, Portland State University; Kirsten Lee, Institute of Fine Arts, New York University Judy Brodksy, New York Foundation for the Arts Carlos Francisco Jackson, University of California, Davis Amanda Wunder, Lehman College Taking Center Stage: Depictions of Childhood on Athenian FRIDAY Michael Cothren, Swarthmore College Vases, Plaques, and Votive Reliefs State of the Art (History): Pedagogy Laboratory The Kinetic Imaginary: Liquid Modernity and the Hollister N. Pritchett, Bryn Mawr College Saralyn Reece Hardy, Spencer Museum of Art, The University Rendezvous Trianon, 3rd Floor Animation of Postwar Art, Part I of Kansas CHAIR: Michelle Millar Fisher, The Graduate Center, Petit Trianon, 3rd Floor DISCUSSANT: Charles Little, The Met Cloisters The City University of New York CHAIR: Andrew V. Uroskie, Stony Brook University Beaumont Newhall’s History of Photography from 1937 to the Present Day (Rethinking Newhall’s History at Eighty) Electoral Art History: Public and Personal Engagement The Fluid Timepiece Concourse G, Concourse Level through Agitprop Hannah Higgins, University of Illinois, Chicago Methods for the Study of Colonial Visual and CHAIRS: Jason Hill, University of Delaware; Nadya Bair, Saisha Grayson, The Graduate Center, The City University Material Culture Performing Objects: Robert Breer’s Floats and Robert Ryerson Image Centre Gramercy B/East, 2nd Floor of New York; Natalie Campbell, Corcoran School for the Rauschenberg’s Linoleum (1966) Photography According to the Newhalls: The Old World CHAIR: John F. López, Skidmore College Arts & Design Marina C. Isgro, University of Pennsylvania and the New Bringing Students into the Picture: Teaching with A History of Virality “Time as a Tank of Fluid in Which Everything Floats”: Juliet Hacking, Sotheby’s Institute of Art, London Stephanie Porras, Tulane University Tableaux Vivants Hollis Frampton’s Fluid Cinema Building the History of Photography, Collecting Photographs Ellery E. Foutch, Middlebury College Lindsey Lodhie, Harvard University Testing Creole Cosmopolitanism: Methods for the Study of the and Collections Walking on the Grass: Using Campus as Source Material Architectural Continuities between Early Modern Colonies The Metamorphic Image: Jeremy Blake’s Winchester Trilogy Ellen Handy, The City College of New York Dwight Carey, Amherst College Corey Dzenko, Monmouth University Homay King, Bryn Mawr College

On the Way to “The Way through Camera Work” SATURDAY Imitation as a Form of Research/Teaching History to Studio Colonizing the Global: Social Institutions and Global Brendan Fay, Eastern Michigan University Architectural History Students: Make Them “Do” the Work! Mira Rai Waits, Appalachian State University Chris Balaschak, Flagler College; Bailey van Hook, Embraced before Embattled: The Impact of Beaumont Newhall’s Virginia Tech History on Photography’s “New Golden Age,” 1968–78 James R. Swensen, Brigham Young University DISCUSSANT: Thierry Gervais, Ryerson University, Ryerson Image Centre

54 see caa 2017 app for program updates new york city // 2017 55 SATURDAY, FEBRUARY 18 Gauguin Redux Saturday Symposia Session: The Design Field Pop ArtSci: D’Arcy Wentworth Thompson, Brit Pop, and the Gramercy B/East, 2nd Floor Making Objects Speak: Speculative Design, Critical Making, Social Relations of Science Movement 8:30–10:00 AM CHAIRS: Elizabeth C. Childs, Washington University in and the Internet of Things Charissa N. Terranova, University of Texas at Dallas Saint Louis; Linda Goddard, University of St Andrews Sutton Parlor South, 2nd Floor Force vs. Fitness: Thompson and Darwin in Architectural Composed Session CHAIR: Gwyan Rhabyt, California State University, East Bay Repossessing Gauguin: Material Histories and the Thought Biopolitics: Feminist Interventions Contemporary Paci'c Prosthetic Speculation: 3D Printing and the Disability Discourse Caroline O’Donnell, Cornell University Gramercy A/West, 2nd Floor Heather Waldroup, Appalachian State University of the Future D’Arcy Thompson Going Forward Alternative Sensorial Modalities: Gender and Perception Bess Williamson, School of the Art Institute of Chicago Masters of Pleasure: Segalen, Gauguin, Nietzsche Ellen K. Levy, Institute for Doctoral Studies in the Visual Arts; in the Work of Palestinian Artist Anisa Ashkar Paul Galvez, University of Texas, Dallas The Politics of Repair, Redesign, Reinvention Justine Kupferman, Columbia University Tal Dekel, Tel Aviv University Rob Duarte, Florida State University Tallahassee The Plight of Gauguin’s Public On the Beauty of the Metacarpal This Way and Never Another: Tracing Biopolitics in Marnin Young, Yeshiva University The Democracy of Things? Hadas Steiner, University at Bu!alo, The State University of Bharti Kher’s Bindi Amanda Wasielewski, The Graduate Center, The City New York Sarah Evans, Northern Illinois University Exhibiting Gauguin University of New York Gloria Groom, The Art Institute of Chicago DISCUSSANTS: Matthew Jarron, D’Arcy Thompson Zoology Ovoid Spaces: Eggs, Embodiment, and Transformation in When Smart Objects Make Bad Choices Museum; Roger Malina, University of Texas at Dallas Brazilian Women’s Participatory Performances, 1968–81 Taylor Hokanson, Columbia College Chicago Gillian Sneed, The Graduate Center, The City University of Queer Caucus for Art (QCA) New York Global Queer Art Historians of Netherlandish Art (HNA) Beekman Parlor, 2nd Floor Rethinking Foundation Studies Curriculum The Netherlands and the Global Baroque Decolonizing Disappearance: Bodying the Femicide Machine CHAIR: James M. Saslow, Queens College/The Graduate Madison Suite, 2nd Floor Trianon Ballroom, 3rd Floor Angelique Szymanek, Hobart and William Smith Colleges Center, The City University of New York (Emeritus) CHAIR: Nicole Condon-Shih, Cleveland Institute of Art CHAIR: Caroline O. Fowler, Yale University Delhi: Communities of Belonging (A Book of Photographs Making Critical Connections in the First Year at Parsons Suriname on Display Critical Collaborations: Neutralizing Power in Art and and Writing) School of Design Adam Eaker, The Metropolitan Museum of Art Design History Sunil Gupta, Royal College of Art, London; Charan Singh, John Roach, Parsons School for Design, The New School Concourse A, Concourse Level Art beyond Price or Place: Vermeer, Asia, and the Poetics Royal College of Art, London CHAIRS: Maya Oppenheimer, Royal College of Art; Art Studio | Life Hack: Simple Tweaks to Traditional Foundation of Painting Sabrina Rahman, University of Exeter Body, Sea, Utopia: The Performance Work of Carlos Martiel 2D Curricula for Increasing Relevancy and Interdisciplinarity Christina An, Boston University in Cuba Carol Elkovich, California College of the Arts “Visual Harmony Was Going to Be a Problem”: Collaboration, A Global Dutch Architecture? Hybridity in Curaçao’s Eighteenth- Jameson Paige, School of the Art Institute of Chicago Exchange, and Negotiation at the Commonwealth Institute, Contemporary Conceptual Foundations Century Merchant Homes London, 1962–73 (Dis)Identifying Queerness in the Arab World: An Overview of Steven Bleicher, Coastal Carolina University Marsely Kehoe, Michigan State University Tom Wilson, Design Museum, London Akram Zaatari’s Lens-Based Artworks Academic Coursework in a Practice-Based Context: Elia Eliev, Concordia University Unlearning Interpretations A Rhetorical Approach Saturday Symposia Session: Interventions in the Charlotte Bik Bandlien, Oslo National Academy of the Arts DISCUSSANT: James M. Saslow, Queens College/The Patricia Kelly, Emily Carr University of Art + Design Future of Art History Graduate Center, The City University of New York (Emeritus) The Pragmatism in the History of Art Creolized Patternmaking: A Jamaican Perspective Subject, Form, Content, Context Rendezvous Trianon, 3rd Floor Elli Michaela Young, University of Brighton Ellen Mueller, West Virginia Wesleyan College CHAIRS: Karen J. Leader, Florida Atlantic University; Saturday Symposia Session: International Art History Amy K. Hamlin, St. Catherine University Holy Images on the Move Composed Session Site-Speci$c Art in the Age of the Internet 2.0 (Social Media) Sutton Parlor North, 2nd Floor Tamar Garb, University College London Saturday Symposia Session: Museums Morgan Suite, 2nd Floor CHAIR: Nazar Kozak, National Academy of Sciences of Ukraine Cultural Preservation and Its Publics CHAIRS: Cyriaco Lopes, John Jay College of Criminal Justice; Molly Nesbit, Vassar College Nassau Suite East/West, 2nd Floor New Ambitions and Visual Forms in Sixteenth-Century Moldavia Rachel Nelson, University of California, Santa Cruz Christopher Wood, New York University Alice Isabella Sullivan, University of Michigan Community Collaborations: Art and Public Service in the Crowd-Sourced Poetics—The Street Where I Middle East and North Africa Implications of Di"usion on Iconography and Semiotics: Terri Witek, Stetson University Vital Expression: Pictorialism and Its Legacies Atteqa Ali, Zayed University Example of Traditional Yoruba Religion Wood Carvings Semiotics of the Camwhore: Art and Feminism on the Internet Bryant Suite, 2nd Floor Akande Abiodun Olasupo, Emmanuel Alayande College of A Mosque on the Prairie: The Al-Rashid and the Making of Jen Kennedy, Queen’s University CHAIRS: Andrea Wolk Rager, Case Western Reserve Education, Oyo, Nigeria University; Barbara Tannenbaum, Cleveland Museum of Art; Mosque Architecture in Canada Oil in Place: Social Media and Real-Time Data Responsive Adrienne Lundgren, Library of Congress Nadia Kurd, Thunder Bay Art Gallery A Military Apostle beyond Frontiers: Saint James the Apostle from Documentary Spain to the Andean World A Feminist Reading of Multiple Narratives in the Provincial Talena Sanders, University of Montana On the Extreme Margin of Photographic Subtlety: Pictorialism Olaya Sanfuentes, Ponti"cia Universidad Católica de Chile and Platinum Printing Museums of Turkey WagonNet cyberAtractions Andrea Nelson, National Gallery of Art Ozge Sade Mete, Bellevue College Postmodern Angels in Late Soviet Ukrainian Art Gastão Frota, Institute of Arts of Federal University of Olena Martynyuk, Rutgers, The State University of Blue Pottery in Pink City: The Invention of a Craft Tradition Uberlândia/FAPEMIG Anne Brigman’s “Hokus Pokus” New Jersey in Jaipur Lauren Kroiz, University of California, Berkeley Heeryoon Shin, Williams College DISCUSSANT: Kirk Ambrose, University of Colorado Boulder Leonardo Education and Art Forum (LEAF) Transnational Encounters: Global In$uences in The Centenary of D’Arcy Wentworth Thompson’s On Growth Japanese Pictorialism SATURDAY and Form, Part I: Art, Architecture, and Design in the Karen M. Fraser, University of San Francisco Postgenomic Present DISCUSSANT: Joanne Lukitsh, Massachusetts College Petit Trianon, 3rd Floor of Art and Design CHAIRS: Ellen K. Levy, Institute for Doctoral Studies in the Visual Arts; Charissa N. Terranova, University of Texas at Dallas

56 see caa 2017 app for program updates new york city // 2017 57 SATURDAY, FEBRUARY 18 Composed Session Saturday Symposia Session: International Art History Dialogue in Action: Art, Aesthetic, and Activism in Big Data and Broken Algorithms Future of the Research Institute Contemporary India 10:30 AM–12:00 PM Gramercy B/East, 2nd Floor Sutton Parlor North, 2nd Floor Sonal Khullar, University of Washington CHAIR: Ittai Weinryb, Bard Graduate Center Krapp’s First Algorithm: on a Future of Recording, Aesthetics of Decolonization in a South Indian Woman Artist Appetite for Destruction: The Impulse to Destroy in Art Memory, and Automation Elizabeth Cropper, National Gallery of Art Center for Gail Levin, The City University of New York Gramercy A/West, 2nd Floor Gerald Hartnett, Stony Brook University Advanced Study in the Visual Arts CHAIR: Terence Hannum, Stevenson University DISCUSSANT: Iftikhar Dadi, Cornell University Breaking the Machine: Finding Art-Historical Value in the Failure Ulrich P!sterer, ZentrailInstitut füer Kunstgeschichte Baked and Burnt: the Dark Side of Joseph Cornell of Big Data and Computing Analisa Leppanen-Guerra, Independent Scholar Gerhard Wolf, Kunsthistoriches Institut in Florenz Composed Session Matthew Lincoln, The Getty Research Institute Modern Intimacies: Photography from Latin America The Strategy of Destruction: Alberto Burri and the Process Bill Sherman, V&A Research Institute In Visual Art and Vision Science: From 2D to Immersive Studies and the Middle East of Combustione Zoe McCloskey, Independent Scholar Peter N. Miller, Bard Graduate Center Concourse G, Concourse Level Katie Larson, Johns Hopkins University Augmented Reality in Digital Culture Heritage Christopher Heuer, The Clark Painting after Photography: The American Colony Photo Beyond the Broken Ground: Unearthing Claes Oldenburg’s Victoria Szabo, Duke University Department, Nicola Saig, and the Art of the Copy in Early- Placid Civic Monument Gail Feigenbaum, The Getty Research Institute Twentieth-Century Palestine Katherine Smith, Agnes Scott College Tanja Michalsky, Bibliotheca Hertziana–Max-Planck-Institut Nisa Ari, Massachusetts Institute of Technology Saturday Symposia Session: Interventions in the Unmaking the White Box: The Artistic Destruction of für Kunstgeschichte Future of Art History The Intimacy of Photographic Surfaces: A Case Study Modern Architecture De$ning and Exploring Socially Engaged Art History Shabnam Rahimi-Golkhandan, Yale University Nicole Sully, University of Queensland Rendezvous Trianon, 3rd Floor Composed Session Hybrid Histories: Case Studies from Egypt, Pakistan, and Iran Photography, Race, and Progress: Benjamín de la Calle and CHAIRS: Cindy Persinger, California University Fotografía Rodríguez, 1891–1938 Arts-Based Disciplines in the Face of a Carbon- Beekman Parlor, 2nd Floor of Pennsylvania; Azar M. Rejaie, University of Juanita Solano Roa, Institute of Fine Arts, New York University Challenged Future Houston–Downtown State of Art Archiving in Iran: Now and Then Regent Parlor, 2nd Floor From Secrets of the Harem to a Battleground over the Woman’s Navigating the Nuts and Bolts (and Bene'ts and Challenges) Kimia Maleki, School of the Art Institute of Chicago CHAIRS: John Calvelli, Alberta College of Art + Design; Body in Contemporary Iranian Society of a Service-Learning Course for Art History Students Carmela Cucuzzella, Concordia University Picturing the Arab Volk: Leopold Carl Müller in Egypt Fazilat Soukhakian, Utah State University Gretchen Holtzapple Bender, University of Pittsburgh Marsha Morton, Pratt Institute Contemporary Artistic Research Practice in the Expanded Field: Engaging Our Elders: The Latona Project as Socially Engaged Contested Terrain, Resource Extraction, and Culture Hybrid Histories: The Impact of International Pedagogies Modernism’s Craft Discourse Art History Ruth Beer, Emily Carr University of Art + Design of Art and Design on Pakistani Art Schools Morgan Suite, 2nd Floor Rebecka A. Black, University of Arizona Razia I. Sadik, Independent Scholar CHAIR: Kay Wells, University of Wisconsin–Milwaukee In Situ: Materials. Filiations. Process. Networks Engaged Art History and Beyond: A View from the Alice Jarry, Université du Québec à Montréal The Limitations of Matter: Modernism and the Practical Intellect Paci'c Northwest Station Hill Press/Heide Hatry Exhibitor Session Jennifer Johnson, Oxford University Tactical Interventions: Environmental Sensing and Socially Carolyn Butler Palmer, University of Victoria Icons in Ash Engaged Arts Harry Bertoia’s Craft: An Alternate History of American The Hidden Challenges of Socially Engaged Art History: Concourse A, Concourse Level Maria Michalis, Rensselaer Polytechnic Institute CHAIRS: Steven Pinker, Harvard University; Heide Hatry, Sculpture at Midcentury Learning from ArtX Fit Marin R. Sullivan, Keene State College Laura Holzman, Indiana University–Purdue University Independent Artist Saturday Symposia Session: Museums Indianapolis Mind and Body, Form and Essence, the Unbearable Anticraft Design History Society Bibiana Obler, George Washington University Art History That Is Fit for the World: A Collaboration between and the Inconceivable Beyond Boundaries: Art and Design Exhibitions as Seton Hall University and the Blackburn Center Against Domestic Steven Pinker, Harvard University DISCUSSANT: T’ai Smith, University of British Columbia Transnational Exchange from 1945 and Sexual Violence Nassau Suite East/West, 2nd Floor Corruptible Bodies: Catholic Morbidity Maureen Vissat, Seton Hall University CHAIRS: Harriet Atkinson, University of Brighton; Eleanor Heartney, Independent Critic Salt, Silver, Shell, Stone: Nature and Artifact in Verity Clarkson, University of Brighton; Sarah A. Lichtman, Art and Death Early Modern Europe Parsons School of Design, The New School Economimesis: Art, Architecture, and the Limits of Economy Anthony Haden-Guest, Independent Art Writer Madison Suite, 2nd Floor Trianon Ballroom, 3rd Floor CHAIR: Christopher Heuer, Williams College Modern Art, National Politics: Israel at the Venice Biennale, Dead Talk CHAIRS: Caroline A. Jones, Massachusetts Institute of 1948–52 George Quasha, Station Hill Press Fertile Waters: Salt and Saltcellars in Early-Seventeenth-Century Technology; Philip Ursprung, Eidgenössische Technische Chelsea Haines, The Graduate Center, The City University Antwerp Hochschule Zürich of New York Christine Goettler, Universität Bern Is There an Aesthetics of Decolonization? New Perspectives Specie, Mint Marks, and the Anxiety of (Economic) Mimesis 76 Nations and One Administrative Zone from South Asia Art, Nature, Fabrication in Florence Juliana Kei, Royal College of Art; Daniel Maurice Cooper, Sutton Parlor Center, 2nd Floor Claudia Swan, Northwestern University Lauren Jacobi, Massachusetts Institute of Technology Columbia University CHAIR: Emilia Terracciano, University of Oxford “A Natura ad Vivum E#giatum”: Nature as Maker in the Relational Economics: Tabua, Kula, and the Anthropology From FESMAN ’66 to FESTAC ’77 and Beyond: African-American Abstraction, Decolonization: Navigating the Bind Late Renaissance of Money Exhibitions on a Pan-African Stage Atreyee Gupta, Minneapolis Institute of Art Rebecca Zorach, Northwestern University Graham Burnett, Princeton University Lindsay J. Twa, Augustana University

“Revolution in the Tropics, Love in the Tropics”: Aesthetics SATURDAY Revisiting “Obsolescence” of Decolonization in Post-Partition Calcutta Dan Abramson, Boston University Sanjukta Sunderason, Leiden University Burrowers and Borrowers: Decolonizing the Tropical Museum Lucia Allais, Princeton University The Luxury of Waste: Excessive Engineering in the Fondation Vuitton Julian Rose, Artforum

58 see caa 2017 app for program updates new york city // 2017 59 SATURDAY, FEBRUARY 18 SATURDAY, FEBRUARY 18 Composed Session Decolonizing the History of Photography Cold War Allegiances: The Red ’70s Concourse G, Concourse Level 10:30 AM–12:00 PM 12:15–1:15 PM Sutton Parlor Center, 2nd Floor CHAIR: Hannah Feldman, Northwestern University The Shiraz Arts Festival: Communication, Heritage, The Ottoman Arab Portrait as Image Screen: Toward a The Centenary of D’Arcy Wentworth Thompson’s Noon Forum and Technology in 1970s Iran Methodology of Decolonizing Photography On Growth and Form, Part II: Performance Art, Interactive Key Conversation: Hrag Vartanian Interviews… Alexandria Brown-Hedjazi, Stanford University Stephen Sheehi, The College of William & Mary Media, and Bioart Trianon Ballroom, 3rd Floor Cuban Art and Soviet Visual Culture, 1970–91 A Network Theory of Early Photography of the Middle East Petit Trianon, 3rd Floor Hyperallergic founder and editor Hrag Vartanian will lead an Elvis Fuentes, Rutgers, The State University of New Jersey Ali Behdad, University of California, Los Angeles CHAIRS: Charissa N. Terranova, University of Texas at Dallas; interview on radical thinking about art in the world today. Ellen K. Levy, Institute for Doctoral Studies in the Visual Arts “The Red Flag”: Jörg Immendor!’s Maoist Practices and the Traveling Photography: Medium and Translation in the Communist Party of Germany Work of Imran Channa D’Arcy Thompson and Dorothy Wrinch Noon Forum Lauren Graber, Independent Scholar Zahid Chaudary, Princeton University Marjorie Senechal, Smith College Key Conversation: Memorial Session Soap Films Madison Suite, 2nd Floor Us vs. Them: The PRC’s Artistic Alliances with Third Sarah Bonnemaison, Dalhousie University CHAIR: Francesca Fiorani, University of Virginia World Modernism Saturday Symposia Session: The Design Field Yang Wang, University of Colorado Denver Design and Science: Catalyzing Collaborations ArtScience: Growing New Forms of Matter and Aesthetic Join this informal session to remember colleagues who Sutton Parlor South, 2nd Floor Experiences Using Nanotechnology That Transcend D’Arcy have recently passed. Come together, share memories, CHAIR: Leslie Atzmon, Eastern Michigan University Thompson’s On Growth and Form and celebrate their achievements in the visual arts and Crip A!ects: New Approaches to Disability Studies Todd Siler, Independent Artist art history. Check conference website or CAA 2017 app for in Art History The Scientist’s Social Network: On the Cross-Disciplinary Gramercy B/East, 2nd Floor Reimagining of Crystallographic Diagrams for the 1951 Labyrinth more information. CHAIRS: Jessica Cooley, University of Wisconsin–Madison; Festival Pattern Group , Independent Artist Stefanie Snider, Kendall College of Art and Design of Ferris Emily Candela, Royal College of Art DISCUSSANT: Ingeborg Reichle, University of Applied State University Purifungi: A Natural Aid Kit for the Earth Arts Vienna SATURDAY, FEBRUARY 18 Staring Back: A Response to Body Shamers in Haley Morris- Audrey Speyer, Purifungi 1:30–3:00 PM Ca'ero’s Self-Portraiture Designing the Imperfect International Center of Medieval Art (ICMA) Lucienne Auz, Memphis College of Art Jan Eckert, Lucerne University of Applied Sciences and Arts; The Long Life of Italian Mosaics: Medievalism, Orientalism, Saturday Symposia Session: Interventions in the Future Mannequin Bodies, Noisy Bodies Daniel Eckert, Horizon Discovery, Vienna and Nationalism of Art History Yetta Howard, San Diego State University Bryant Suite, 2nd Floor Art History as Table, not Tower: A Practical Conversation Follow Your Nose CHAIRS: Gabriella Cianciolo, Technische Universität München; about Diversity Reorganizing the A"ective-Gestural Field: Notes on Crip Miriam Simun, Massachusetts Institute of Technology Erik Thuno, Rutgers, The State University of New Jersey Rendezvous Trianon, 3rd Floor Choreography and the Question of Politicality Media Lab Michael Turinsky, Independent Scholar On Mosaics, Antonio Salviati, and the Byzantine Revival CHAIRS: Karen J. Leader, Florida Atlantic University; Massimiliano Savorra, University of Molise Amy K. Hamlin, St. Catherine University Gendered and Abled Performances in the Art of Eudora Welty Fragile Balances: Contemporary Arts, Cultural Integrity, and Reginald Marsh and Environmental Change Mosaics as British Art Form from 1860 to 1900: Glory in Pieces? Jacqueline Francis, San Francisco State University, Keri Watson, University of Central Florida Concourse A, Concourse Level Heike Zech, Victoria and Albert Museum College of Ethnic Studies CHAIR: Carol E. Mayer, University of British Columbia Between Pan-European and Italian Itineraries: The Afterlife of Ugochukwu-Smooth C. Nzewi, Hood Museum of Art, Museum of Anthropology Composed Session Ravenna’s Mosaics in the Nineteenth Century Dartmouth College Critical Curatorial Studies: Archives, Collections, Looking, Listening, Feeling, Discovering, Documenting: The Role Giancarla Periti, University of Toronto Mariët Westermann, Andrew W. Mellon Foundation and Education of Primary Research in Designing an Exhibition of Contemporary “The most perfect union of art and craft”: Gino Severini and the Ken Wissoker, Duke University Press Trianon Ballroom, 3rd Floor Art alongside Environmental Concerns History of Mosaic Art Skooker Broome, University of British Columbia Museum of DISCUSSANT: Suzanne Preston Blier, Harvard University Documenting the Digital Critics: Analyzing and Archiving Giovanni Casini, The Courtauld Institute of Art Anthropology Criticism after the Internet DISCUSSANTS: Gabriella Cianciolo, Technische Universität Charlotte Frost, City University of Hong Kong A Divine Pollution: George Nuku and the Genealogy of Plastic Art/Magazines München; Erik Thuno, Rutgers, The State University of Henry Skerritt, Kluge-Ruhe Aboriginal Art Collection of the Petit Trianon, 3rd Floor What’s in a Name? The Importance of Speci'cs When Engaged in New Jersey University of Virginia CHAIR: Lori Cole, New York University Race Talk in Art Museum Settings Hannah Heller, Teachers College, Columbia University Natalie Robertson: Toxic Waters Engendering, Displaying, Circulating the Multiple: Dada Jacqueline Charles-Rault, University of Le Havre Journals as Exhibition Venues Curatorial Studies and Conceptions of the Contemporary: SATURDAY, FEBRUARY 18 Emily Hage, Saint Joseph’s University Reading Contemporary Art in Lima, Peru, through It’s OK, We’re Safe Here: Cultural and Eco Activism in the Film Curatorial Practice Windjarrameru (The Stealing C*nt$) Everyone Paints a Picture: The Representation of Professional 12:00–1:30 PM Gabriela Germana Roquez, Florida State University; Maggie Wander, University of California, Santa Cruz and Amateur Artists in ARTnews Amy Bowman-McElhone, Florida State University Saturday Symposia Session: Interventions in the Kim Grant, University of Southern Maine The Boros Collection, Berlin, Germany, and the Julia Stoschek Future of Art History “A Magazine in a Museum?” Avalanche in Germany Art History Plays with Food Collection, Düsseldorf, Germany: Subverting the House Museum Kim Conaty, Rose Art Museum, Brandeis University SATURDAY Rendezvous Trianon, 3rd Floor Georgina S. Walker, The University of Melbourne CHAIRS: Karen J. Leader, Florida Atlantic University; Magazine Art Today: A Case Study of The Egypt Independent Amy K. Hamlin, St. Catherine University Gwen Allen, San Francisco State University

60 see caa 2017 app for program updates new york city // 2017 61 SATURDAY, FEBRUARY 18 Saturday Symposia Session: Museums Composed Session Art History for Studio Art and Graphic Design Students: Museums, Artists, and Social Change Sketches of World Architecture Seeing the Relationship 1:30–3:00 PM Nassau Suite East/West, 2nd Floor Regent Parlor, 2nd Floor Gramercy B/East, 2nd Floor CHAIR: Mary B. Shepard, University of Arkansas–Fort Smith CHAIR: Laura Flusche, Museum of Design Atlanta (MODA) Hypostyle Palaces of Safavid Isfahan (1629–66): Genealogy Japan Art History Forum (JAHF) Making Manifestos at MoMA and Meaning Active Art History: Engaging Studio Artists through Gender Politics in Postwar Japanese Art Sheryl Oring, The University of North Carolina at Greensboro Farshid Emami, Harvard University Project-based Learning Bryant Suite, 2nd Floor Katherine Poole-Jones, Southern Illinois University CHAIR: Namiko Kunimoto, The Ohio State University Context Is Everything: Political Art In and Out of the Museum Fergusson’s Sketches of World Architecture Edwardsville Patricia Cronin, Brooklyn College, The City University of Solmaz Mohammadzadeh Kive, University of Thresholds of Exposure in Cold War Manga New York Colorado Denver Making It Visible: A Museum Educator in the College Art Namiko Kunimoto, The Ohio State University History Classroom There’s Many a Slip between the Cup and the Mouth From Static to Dynamic: Itō Chūta and the Observation of Body Politics in the Art of Tabe Mitsuko Ellen B. Cutler, Maryland Institute of Art Susan Stockwell, Independent Artist Architectural Change Midori Yoshimoto, New Jersey City University Matthew Mullane, Princeton University Utilizing Gaps in Opportunity to Engage Art History and Graphic Images of Desire: Constructing Femininity in Design Students in Interdisciplinary Creative Problem Solving Composed Session Twentieth-Century Japan Alex Girard, Southern Connecticut State University Pedagogy II: Tools for Teaching and Research Thomas O’Leary, Saddleback College Beekman Parlor, 2nd Floor Motion, Space, Place: A Successful Design Studio/Art History DISCUSSANT: Maki Kaneko, University of Kansas SATURDAY, FEBRUARY 18 Collaboration Spirito Disegno: Using Examples from Art History as Applied Emma Hogarth, Rhode Island School of Design; Paradigms of Process 3:30–5:00 PM Pascale Rihouet, Rhode Island School of Design Saturday Symposia Session: International Art History Alysha Friesen Meloche, Philadelphia University Composed Session Global Conversations IV DISCUSSANT: Dori Gri#n, Ohio University “Rise of Art”: A Collaborative Art-Making Experience That Explores Sutton Parlor North, 2nd Floor Advertising and Illustration Opportunities of Merging New Media Forms with Traditional CHAIR: David J. Roxburgh, Harvard University Sutton Parlor Center, 2nd Floor Techniques in Our Present-Day Studio and Diasporic Asian Art Network (DAAN) “Signs in the Street,” 1954: Outdoor Advertising as Art at the Teaching Practice CANADA 150: Asian Canadians and Visual Culture in Museum of Modern Art Graphic Growth: Discovering, Drawing, and Understanding Jesse Jagtiani, Teachers College, Columbia University; National Celebrations Craig Lee, University of Delaware Nature in the Early Modern World Sohee Koo, Teachers College, Columbia University Regent Parlor, 2nd Floor Madison Suite, 2nd Floor HALF THE WORLD IS ISFAHAN: Americans in Persia at the CHAIRS: Alice Ming Wai Jim, Concordia University; Technology, Humanities, Design: A New Typology of Knowledge CHAIRS: Catherine Girard, Williams College; Jaya Remond, Threshold of History Victoria Nolte, Carleton University as a Tool for Cross-Disciplinary Studies Max Planck Institute for the History of Science George V. Speer, Northern Arizona University Alex Liebergesell, Pratt Institute Souvenirs of the Self and The Long View: Canadian Ornament’s Science W. A. Dwiggins and the Evolution of American Graphic Design National Parks and the Transnational Asian Canadian A Research Companion for Art History in the Digital Age: Madeleine C. Viljoen, The New York Public Library Paul Shaw, Parsons School of Design, The New School Subject within Nature The Getty Research Portal Jin-me Yoon, Simon Fraser University Graphic Practice and Natural Philosophy in the Early Paris Kathleen Salomon, The Getty Research Institute; Académie Royale des Sciences Annie Rana, The Getty Research Institute Society of Architectural Historians (SAH) Collecting “Strangeness” and “Familiarity”: Asian Canadian Katherine M. Reinhart, University of Cambridge Architecture and Comedy Photo-Poetics Petit Trianon, 3rd Floor Glenn Deer, University of British Columbia The Animating Mark: William Bartram’s Drawings from Life Pedagogy of Social and Environmental Justice CHAIRS: Edward Dimendberg, University of California, Irvine; Elizabeth Athens, Worcester Art Museum Gramercy A/West, 2nd Floor Transnational Kinship, Diasporic Mourning, and Belonging in the Steven Jacobs, Ghent University CHAIR: Michele Jaquis, Otis College of Art and Design Canadian Animation World: The Moving Images of Leslie Supnet’s From Myth to Comedy and Beyond: Graphic Satire and Glass gains + losses Mexico City Today Incubating Change: Pedagogies of Sustainability in Art and Architecture in the Twentieth Century Marissa Largo, University of Toronto Morgan Suite, 2nd Floor Design Education Gabriele Neri, Università della Svizzera italiana, Mendrisio CHAIRS: Kevin Hatch, Binghamton University; Josh T. Franco, Jane D. Marsching, Massachusetts College of Art and Design Archives of American Art, Smithsonian Institution “Trendsetter and/or Town Fool”: Luc Deleu and the “Proposals Saturday Symposia Session: The Design Field The MFA as Edge Space: Art, Ecology, Craft, Culture, and Place and Advices” (1972–80) Ethics in Design Cochair Presentation: A Brief History of Latinx Artists in Carol Padberg, Hartford Art School, University of Hartford Mexico City: Documents from the Archives of American Art Wouter Davidts, Ghent University; Stefaan Vervoort, Sutton Parlor South, 2nd Floor Climate Change, Police Brutality, and the Contemporary Josh T. Franco, Archives of American Art, Smithsonian Ghent University CHAIRS: Andrew DeRosa, Queens College, The City Studio Classroom Institution The Magic of the Absurd: “Paper Architecture” in the USSR University of New York; Laura Scherling, Teachers College Hugh Pocock, Maryland Institute College of Art Columbia University “Nobody is a prophet in his own land”: The Exhibition without Alla Vronskaya, Swiss Federal Institute of Technology (ETH) Racial Disparities in Design Education Restraint as a Case Study Mannerism Is Not a Joke Designers and Activism: Challenging Boundaries, Commitments, Anne H. Berry, Cleveland State University Valentina Locatelli, Kunstmuseum Bern Anthony Vidler, The and Interactions But What Did It Do? Incorporating Assessment Measures into Andréa Poshar, Politecnico di Milano Veneno, Then and Now: Mexico City, 1993 and 2016 Social Justice Curriculum Laura A. L. Wellen, Museum of Fine Arts, Houston Threading Ethics in the Design Curriculum Audra Buck-Coleman, University of Maryland College Park Paul J. Nini, The Ohio State University The Role of Ethics Online and among Social Media Designers

Meredith James, Portland State University SATURDAY Caring for What We Leave Behind: Rules of Engagement in Design Education for Social Innovation Mariana V. Amatullo, Designmatters at ArtCenter College of Design

62 see caa 2017 app for program updates new york city // 2017 63 SATURDAY, FEBRUARY 18 Composed Session Composed Session The Renaissance Filtered Pedagogy III: Techniques Sensory Implication and Somatic Engagement Gramercy A/West, 2nd Floor 3:30–5:00 PM Beekman Parlor, 2nd Floor Concourse A, Concourse Level CHAIRS: Lynn Catterson, Columbia University; Deborah Krohn, Bard Graduate Center Cultivating Coincidence: Harnessing the Experiential Power of A Critical Spatial Practice of Twenty-First-Century Media: Composed Session Design Process in the Classroom Depth, Somatic Memory, and Interimplication F. R. Leyland’s Pre-Raphaelite Treasure House Saturday Symposia Session: International Art History Jarred Lee Elrod, Texas Tech University Jung E. Choi, Duke University Robyn Asleson, National Portrait Gallery Figures and Formations of Civic Space Sutton Parlor North, 2nd Floor The Writing Artist: An Examination of the Historical Precedent Reductive Art, Refractive Information, and Emergent Simplicity Decorating the Renaissance Villa in America: Larz Anderson and Contemporary Call to Action Jason Hoelscher, Georgia Southern University and Charles Mather Ffoulke Politics and Visual Arts: Israeli-Palestinian Relations Jacquelyn Gleisner, Independent Artist and Writer Denise M. Budd, Bergen Community College Luna Goldberg, School of the Art Institute of Chicago Exploding the Anthropocentric Eye: Human and Nonhuman Creative Anatomy Collective: Broadening Anatomy Education Visuality in Lucien Castaing-Taylor’s Sensory Ethnography Purchasing and Collecting Italian Renaissance Bas-Reliefs Cloud Sharing: Aerial Photography and the Formation of a Jinsil Hwaryoung Seo, Texas A&M University; J. Barrington Matthews, The College of William & Mary in America Civic Space Michelle Pine, Texas A&M University; Jinkyo Suh, Kerri A. P!ster, The Frick Collection and Frick Art Rotem M. Rozental, Binghamton University Sensorial Simultaneity: Reframing Memory with Janet Cardi" Reference Library Independent Science Educator and George Bures Miller Figuring Dadaab: Humanitarian Heritage and Anxious Foundation Pedagogy for Social Awareness: Change by Design Jared T. Stanley, Texas Tech University Architectures in East Africa Je" Whelan, Elizabeth City State University Saturday Symposia Session: Interventions in the Future Anooradha Iyer Siddiqi, New York University of Art History Seth Siegelaub and the Expanded Archive of Conceptual Art Emotional Geographies of Dissonance: Urban Choreography What Have You Done for Art History Lately? 2017 Edition Composed Session Morgan Suite, 2nd Floor of Dubrovnik Rendezvous Trianon, 3rd Floor Photography: Iconoclasm and the Uncanny CHAIRS: Lauren van Haaften-Schick, Cornell University; Sandra Uskokovic, University of Dubrovnik; Boris Bakal, CHAIRS: Karen J. Leader, Florida Atlantic University; Concourse G, Concourse Level Sara Martinetti, École des Hautes Etudes en Sciences Sociales Shadow Casters Amy K. Hamlin, St. Catherine University (EHESS) Candida Höfer’s Interior Photographs and the “Un'nished What Can I Do with a Degree in Art History? Crowdsourcing a Project” of Modernity Retroactive E"ects: Notes on the History of Conceptual Art after Haunted Modernity: Visions, Enchantments, and Apparitions Shared Space of Our Own Amy A. DaPonte, Independent Scholar the Conceptualisms in Nineteenth-Century European Art Evan Gatti, Elon University; Jennifer Germann, Ithaca College; Annabela Tournon Zubieta, École des Hautes Etudes en Madison Suite, 2nd Floor Between the March and the Gallery: The Multiple Lives of Alexa Sand, Utah State University Sciences Sociales (EHESS) CHAIRS: Melissa Buron, Fine Arts Museums of San Francisco; Martha Rosler’s Antiwar Photomontage Collaboration in Action: The Founding of Art History Pedagogy Alison Hokanson, The Metropolitan Museum of Art Hu"a Frobes-Cross, Columbia University Contract as Form and Concept: The Siegelaub-Projansky and Practice Agreement in Art and Legal Histories Visual Culture of Ghosts and Materializations in Science and Art Last People: August Sander, Walker Evans, and the Virginia Burns Spivey, Independent Art Historian; Lauren van Haaften-Schick, Cornell University at the Fin-de-siècle Photographic Uncanny Renee McGarry, Sotheby’s Institute of Art; Karen Shelby, Serena Keshavjee, University of Winnipeg Claire Raymond, University of Virginia Collecting Textiles, Documenting Texts: Seth Siegelaub’s Baruch College, The City University of New York Endeavors after Art Fantin-Latour’s Apparitions and Evocations: Visualizing the Violating White Flesh: Germaine Krull’s Iconoclastic Nudes Into the Expanded Field: An Interdisciplinary Land Art and John A. Tyson, National Gallery of Art Supernatural from the Operatic Realm and Beyond Lina Žigelytė, University of Rochester Landscape Curriculum Corrinne Chong, Independent Scholar Seth Siegelaub, Beyond Conceptual Art: Curating “Paperwork” Rebecca Uchill, Massachusetts Institute of Technology at Stedelijk Museum Amsterdam “L’Art magnétique”: Somnambulatory Trances, Hypnotic Saturday Symposia Session: Museums DISCUSSANT: Holland Cotter, Sara Martinetti, École des Hautes Etudes en Sciences Sociales Performativity and Mesmeric Modernity Preservation by Other Means: Contemporary Art and the (EHESS) Fae Brauer, University of East London Centre for Cultural Destruction of Cultural Heritage Studies Research Nassau Suite East/West, 2nd Floor DISCUSSANT: Andrew Cappetta, Memorial Art Gallery of the CHAIRS: Chad Elias, Dartmouth College; Mary K. Co"ey, University of Rochester Speak! Speak! John Everett Millais’s Women in White Dartmouth College Nancy Rose Marshall, University of Wisconsin–Madison From Moctezuma’s Headdress to Zapatista The CIHA Conference in Beijing: An Open Discussion Visualizing the Spirit World: Georgiana Houghton and Co"ee: Gaming Cultural Heritage Debates Bryant Suite, 2nd Floor Evelyn De Morgan Jennifer Flores Sternad Ponce de León, University CHAIR: Steven Nelson, University of California, Los Angeles Elise L. Smith, Millsaps College of Pennsylvania Temporalities of Progress and Protest at the Mexican The Kinetic Imaginary: Liquid Modernity and the Animation National Archive of Postwar Art, Part II Mya Dosch, The Graduate Center, The City University Trianon Ballroom, 3rd Floor of New York CHAIR: Andrew V. Uroskie, Stony Brook University Participatory Art in Kufr Birim: Fissures for Suppressed Histories Documenta 5 and the Kinetic Catalogue: Expanding Irit Carmon Popper, Israel Institute of Technology; Documentation for Das 100-Tage-Ereignis Alona Nitzan-Shiftan, Israel Institute of Technology Megan Hoetger, University of California, Berkeley Re-creating the Past in Our Own Image: Contemporary Artists’ “The Senses Pointing to a New Transformation”: The Politics of Reactions of Threatened Cultural Heritage Sites in the Middle East Touch and the 1st International Tactile Symposium, 1969 SATURDAY Erin Thompson, John Jay College, The City University of Kristen Carter, University of British Columbia New York Kinetic Bodies: Mobilizing the Spectator in Works by GRAV and Architecture Principe Paula Burleigh, The City University of New York I See, as Plain as Plain Can Be: Peggy Ahwesh’s Lessons of War (2014) Soyoung Yoon, The New School

64 see caa conference app for program updates new york city // 2017 65 11:30 AM–1:30 PM FRIDAY, FEBRUARY 17 SEPC PROGRAMS HAPPENING SEPC lounge Mock Interview Appointments 9:00–11:00 AM OUTSIDE THE LOUNGE Mercury Rotunda, 3rd Floor By appointment only Mock Interview Appointments De$ning Your Online Presence for the Arts Professional Wednesday, February 15–Friday, In a competitive job market, everyone could use the opportunity February 17: 8:30 AM–7:00 PM By appointment only Wednesday, February 15 to get feedback on interviewing and presentation. Students and 1:30–3:00 PM Saturday, February 18: 8:30 AM–5:00 PM emerging professionals have the opportunity to sign up for a See details above. Free and open to the public Rendezvous Trianon, 3rd Floor twenty-minute practice interview at the 2017 Annual Conference CHAIRS: Megan Koza Mitchell, Prospect New Orleans; Sponsored annually by the Student and Emerging Professionals in New York. Organized by the SEP Committee, mock interviews Lauren Puzier, Sotheby’s Institute of Art Committee, the SEPC Lounge is a space devoted to you. It is a give participants the chance to practice their interview skills one 11:30 AM–12:30 PM place where you can meet friends and colleagues, network to on one with a seasoned professional, improve their e!ectiveness Brown Bag Session: Internships and Fellowships Private vs. Public Online Pro'les make new connections, "nd information about CAA and the during interviews, and hone their elevator speech. Interviewers What is the di!erence between an internship and a fellowship? Megan Koza Mitchell, Arts Council New Orleans also provide candid feedback on application packets. committee, and relax with exceptional company. All sessions, How do you apply for one? What makes a strong candidate? Get Twitter, Instagram, and Facebook events, and appointments listed below take place in the SEPC Mock interview appointments are o!ered free of charge, but you real-world answers to these questions and more at this new SEPC Lauren Puzier, Sotheby’s Institute of Art Lounge unless otherwise noted. Access to the SEPC Lounge is free must be a CAA member to participate. Conference registration, Brown Bag Session. Website Development and open to the public thanks to the committee’s sponsorship. while encouraged, is not necessary. Interviews are available by Presenter information forthcoming at print deadline appointment only via the preconference Google Registration Form. Deadline to register was February 6, 2017. Participants were 12:30–1:30 PM This workshop-style session, sponsored by the Student and LOUNGE SCHEDULE noti"ed of their appointment day and time by email. Participants Brown Bag Session: Finding a Mentor Emerging Professionals Committee, focuses on how to use with appointments should bring their application packet, Finding the right mentor can be the most challenging and and not misuse social media to support a career in the arts. including cover letter, CV, and other materials related to jobs in rewarding part of one’s academic or career path. Mentors may be Instagram is one of the fastest growing platforms for the sale of WEDNESDAY, FEBRUARY 15 their "eld. The Student and Emerging Professionals Committee short term or become a lasting part of your life. This SEPC Brown contemporary art today, particularly work produced by new or emerging artists and sold to new and young collectors. In light 4:00–5:00 PM will make every e!ort to accommodate all applicants; however, Bag Session explores tips and tools for "nding the right mentor at space is limited. There will be VERY limited sign-up space onsite the right time and what to expect from a good mentor overall. of this and the overall insidious nature of the Internet, it is Brown Bag Session: Interview Strategies and Elevator Speech for cancellation spots. crucial, now more than ever, that every arts professional, artist, This late-afternoon panel will be an honest and frank discussion art historian, or curator develops and maintains a savvy on interviewing techniques. Gauging and adapting to the cues 2:00–4:00 PM professional online presence. Potential collectors, employers, of the interviewer, appropriate levels of intellectual detail, and 2:00–3:00 PM schools, and more look to the Internet as a one-stop shop for Mock Interview Appointments how to keep your “elevator speech” crisp will be discussed, among culling information. Brown Bag Session: Application 101 other topics. By appointment only Join SEPC members as they host a roundtable discussion on See details above. how to put together a professional application packet and what SEPC Annual Business Meeting exactly should and should not be included. This is a “must attend” Friday, February 17 THURSDAY, FEBRUARY 16 for those just starting out on their job searches! 4:30–5:30 PM 7:00–8:15 AM Holland Suite, 4th Floor 8:00–9:30 AM Brown Bag Session: Alternative Careers in the Visual Arts 3:00–5:00 PM So you have a degree in the arts. Now what? Join a lively Welcome Breakfast discussion about careers in the visual arts that are outside the Please join us for co!ee, light breakfast, and conversation. Student Mock Interview Appointments traditional academic or museum/gallery trajectory. This session SEPC Social Night and Emerging Professionals Committee members will be present By appointment only will look at how to put a visual arts or art history degree to work Friday, February 17 to tell you about their programming at the conference and 6:30 PM–End See details above. for you in alternative "elds. answer questions. This is a great way to get your feet wet at the Samovar Russian Restaurant and Piano Bar, 256 West 52nd Street, conference and make new connections! New York, NY 10019 Meet up with members of the SEPC for a casual night out of drinks SATURDAY, FEBRUARY 18 and networking away from the conference hotel. Follow our social 10:00–11:00 AM media tag for more information: #caasepc. Brown Bag Session: Interview Follow-Up and 9:00–10:00 AM RSVP: No RSVP Required. Networking Techniques Brown Bag Session: Teaching Portfolios The topic of this Brown Bag Session focuses on the etiquette What is a teaching portfolio and how do you put one together? Directions: Walking: Take a right on to 52nd Street and of following up after an interview and how to increase your What do you include and how should it be organized? This walk .3 miles. The destination will be on your left. professional networking capabilities. This session further discusses Brown Bag Session will cover the nuts and bolts of the unwieldy how to build a professional network and how to maintain one organism known as the teaching portfolio. Cosponsored by the once built. CAA Education Committee.

66 college art association new york city // 2017 67 making work related to their “family practice.” Panelists discuss PRESENTERS: 3:30–5:30 PM changes in their practices, the still prevalent “taboos” of family mOb Studio: Camden Whitehead; Kristin Caskey; Adele Ball, ARTspace Distinguished Artist Interviews practice in the art world and academia, and their self-generated Virginia Commonwealth University Organized by CAA’s Services to Artists Committee, the Murray Hill Suite East/West, 2nd Floor resources for success and community support systems. The Parking Lot Project: Erling Sjovold, University of Richmond Distinguished Artist Interviews feature esteemed artists who Cultivating Interdisciplinarity: Melissa Potter, The Papermaker’s ARTspace is tailored to the interests and needs of artists. PANELISTS: discuss their work with a respected colleague. This event is free Garden at Columbia College Chicago Organized by CAA’s Services to Artists Committee, it includes a Courtney Kessel, Ohio University and open to the public. Biomimicry: Matthew Kolodziej, Myers School of Art and large-audience session space and a media lounge. ARTspace is Rachel Lachowicz, Claremont Graduate University University of Akron Coco Fusco with Steven Nelson, University of California, the site of the Annual Artists’ Interviews held on Friday afternoon. Walter Meyer, Santa Monica College Institutional Proximity: Three Ways to Do Things: Joey Orr, Los Angeles ARTspace is partially funded by a generous grant from the Margaret Morgan, Independent Artist National Endowment for the Arts. ARTspace, Media Lounge, Spencer Museum of Art Katherine Bradford with Judith Bernstein and the ARTexchange pop-up exhibition are free and open to the public. 3:30–5:00 PM 12:00–1:30 PM Action as Art Practice 5:30–7:30 PM The Nonstudio/Nonacademic Artist: Alternative CHAIR: Carissa Carman, Indiana University Bloomington ARTexchange Artistic Career Paths ARTSPACE SCHEDULE East Ballroom Foyer, 3rd Floor (outside ARTspace) In consideration of performativity, this panel explores political CHAIRS: Niku Kashef, California State University, Northridge, Free and open to the public context that supports action, public as witness, and perspectives and Woodbury University; Gabriel Phipps, Independent Artist; THURSDAY, FEBRUARY 16 on social change as it relates to site and cultural histories. Stacy Miller, Parsons School of Design, The New School The Services to Artists Committee presents ARTexchange, CAA’s unique pop-up exhibition and annual meet-up for artists and 10:30 AM–12:00 PM PANELISTS: This panel considers alternative artistic career paths, bringing curators. This social event provides an opportunity for artists to Therese Kelly, Los Angeles Urban Ranger together artists, cultural producers, and organizations who don’t Legacy: Artists’ Documentation and Estates Roundtable share their work and build a#nities with other artists, historians, Emily Eliza Scott, Los Angeles Urban Ranger and Eidgenössische have their primary practice in the studio or academia. We’ll discuss CHAIR: Joan Giroux, Columbia College Chicago and Services curators, and cultural producers. Each artist is given the space on, Technische Hochschule Zürich the “hows” and “whys” for creating new avenues of opportunity to Artists Committee above, and beneath a six-foot table to exhibit their works: prints, Julie Faubert, Université Laval and de"nitions of success. Non-art-world communities, pubic and MODERATOR: Joan Je"ri, Research Center for Arts and Culture paintings, drawings, photographs, sculptures, small installations, social practice, activism, collaborations, and other job markets and The Actors Fund Artist walk as an extension of the Panel: performances, and process-based/interactive/participatory and funding for the artist. New Demands: Labor Site NYC pieces. A cash bar will be available. Planning one’s estate, far from being in the forefront for most Lisa Vinebaum, School of the Art Institute Chicago people and not least of all for artists, is an important aspect of planning for one’s death. For an artist, an inventory of work 1:30–3:00 PM forms the base for the artist’s estate left by the deceased. Over 7:30–9:00 PM Art on the Streets the course of a lifetime, an artist spends a great deal of time SATURDAY, FEBRUARY 18 CHAIR: Alice Mizrachi, Artist, Educator, and Muralist making and exhibiting work, and, for the most part, far less O! the Clock: Artist Social 10:00 AM–12:30 PM time documenting it. Documentation is one of the "rst steps to This panel investigates the importance of freedom of expression Join members of CAA’s Services for Artists Committee for an create an inventory of works, in advance of preparing the artist’s through the art-making process in public space. Today we Stu! for Artists artist’s social event. Come talk about your work, make new estate. And while the prospect of preparing for one’s own death see a huge in%ux of artists and art lovers who enjoy art on the CAA Services for Artists Committee hosts this community- friends, network, and enjoy some time being o! the clock. can be fraught with anxiety, what seems a daunting task can be streets. The relevance of this form becomes evident in the current building roundtable session that allows artists to meet with mitigated with the support of others, and a realistic view of aging. art-world market that is soaring. This conversation will focus on local institutions, artist-run centers, and skilled professionals in various perspectives of the street culture and how it has emerged. business and professional development. Roundtables include PARTICIPANTS: Whether a gra#ti writer, muralist, or street artist—these labels all representatives from New York Foundation for the Arts (NYFA) Morton Kaish, ART CART 2015–16 Artist FRIDAY, FEBRUARY 17 come back to the love of art making. and the Joan Mitchell Foundation, and many others. Discussions Elizabeth Berkowitz, ART CART 2010–11 Student Fellow 10:30 AM–12:00 PM support individual artist needs for open-source skill-share, Patricia Miller, Programs in Occupational Therapy, Columbia PANELISTS: networking, and camaraderie. Stu! for Artists 2017 includes University and ART CART 2010–16 Interdisciplinary Coordinator Art Happens: Beyond the Silos Alan Ket, Artist, Publisher, and Activist expert advice, discussions, and topic presentations hosted at each and Faculty CHAIRS: David J. Brown, Independent Curator and Museum Carlos Mare, Sculptor and Educator of eight roundtables. Administrator; Reni Gower, Virginia Commonwealth University; Ann Lewis, Activist Artist Melissa Potter, Columbia College Chicago COORDINATORS: 1:30–3:00 PM David J. Brown, Independent Curator and Museum Administrator With interdisciplinary and inclusive goals the new norm, artists Niku Kashef, California State University, Northridge, and Family Practice: Artist and Family Collaborations and educators are often challenged to create educational Woodbury University CHAIR: Niku Kashef, California State University, Northridge, opportunities that have an impact beyond media-speci"c silos. Stacy Miller, Parsons School of Design, The New School and Woodbury University Many exciting models exist that intrinsically break down the Steve Rossi, Parsons School of Design, The New School, and Whether you’re working as an academic, curator, writer, or in walls through o!-site environmental classrooms or university– The State University of New York, New Paltz another job it is di#cult to juggle your studio practice, your life, community partnerships. By thinking outside the box and and your family. If one part is really good, then the other parts rede"ning the classroom, teachers, students, and artists alike can are often su!ering. For those balancing outside-of-studio careers, address critical needs, instill empathy through collaboration, and there is even less time for practice. Many artists often consider create opportunities anywhere. This session highlights innovative the decisions of starting a family with what sort of art career they initiatives and partnerships that o!er strategies for navigating want. This panel brings together artists, media makers, artist- institutional buy-in and establishing community alliances. couples, and collectives that are actively collaborating with and

68 college art association new york city // 2017 69 1:30–3:00 PM 3:30–5:00 PM SATURDAY, FEBRUARY 18 media lounge Tech Tech: Textile Technologies Aesthetic Justice Interventions in Media, History, and Place 12:00'2:00 PM Gibson Suite, 2nd Floor CHAIRS: Carissa Carman, Indiana University Bloomington; CHAIRS: Jenny Marketou, Independent Artist and Visiting Faculty Mat Rappaport, v1b3, Columbia College at CalArts; Stacy Miller, Parsons School of Design, The New School Graduate Student Screenings Part of the Services to Artists Committee (SAC) ARTspace COORDINATOR: Zoë Charlton, American University programming, Media Lounge is CAA’s main stage of new-media Media Lounge presents a Technological Working session This roundtable discussion will address art and research by explorations where students, academics, and artists come combining art and process to explore a series of media visual artists, activists, cultural provocateurs, and thinkers who This year Media Lounge placed a call for submission to students together to build camaraderie. These methods of working with investigations within soft and hard materials. With the confront and challenge the status quo and take complex concepts currently enrolled in MFA/MA programs for videos that explore conceptual and technical content provide a dynamic dialogue complexities of textile construction and design, this panel looks of “justice” as the focus of their practice. We are particularly the genres of craft and video, politics and strategy, and of how artists place themselves in the larger distinction of both at architecture and space, body as site, and textiles as tactile interested in investigating the moral responsibilities in those interrelated material explorations of new media and footage that analogue and digital media. interfaces for new-media explorations. artworks and tactical media projects. What is the relationship entangles what is expected of cross-disciplinary explosions of between narrative and justice? How can we conceptualize the content, thus bending genre. Each year the SAC coordinates a central theme in Media Lounge problems of justice and its aesthetic possibilities? What issues to explore the interrelationship of media across a topic. This year, 3:30–5:00 PM arise in the convergence of art and justice? How can we measure Media Lounge presents screenings, panels, and discussions that the e#cacy of the artwork, research, or the artistic intervention? explore the genres of craft and video, politics and strategy, and Regional Institutional Partnerships with Moving Image interrelated material explorations of new media and footage that Institutions, Part I PANELISTS: entangles what is expected of cross-disciplinary explosions of CHAIR: Darren Douglas Floyd, Rhodes College Pamela Allara, Brandeis University (Emeritus) content surrounding the theme of Genre Bending. Screenings of specialty collections and archives from regional Wafaa Bilal, New York University institutions and organizations. Ricardo Dominquez, Activist, New Media Artist, and Genre is a way to group practices into categories that are San Diego University familiar—or frame an expected experience from the audience. Institutional Partnership supports the ARTspace mission Susan Platt, Independent Art Historian, Art Critic, and Activist Media Lounge NYC 2017 uses genre and the elasticity of bending to bring together nonacademic a#liations and artists. Hakan Topal, School of Visual Arts to explore new-media genre relationships and their impulse of Experience local resources and artistic hubs within the hybrid crossovers. regional "lm-making community. FRIDAY, FEBRUARY 17 MEDIA LOUNGE SCHEDULE THURSDAY, FEBRUARY 16 8:30 AM–5:30 PM 10:30 AM–12:00 PM New Media Praxis: Genre Bending WEDNESDAY, FEBRUARY 15 Regional Institutional Partnerships with Moving Image The New Media Caucus (NMC) presents a day-long series of panels addressing the Media Lounge theme of Genre Bending. 10:30 AM–12:00 PM Institutions, Part ll CHAIR: Darren Douglas Floyd, Rhodes College The panels are organized by the NMC Events Committee using Economic Fairness in the Digital Era and the New Aesthetics an open process of calls and responses that elicit diverse of Internet Activism Screenings of specialty collections and archives from presentational forms and content. Panelists are encouraged to CHAIR: Stacy Miller, Parsons School of Design, The New School regional institutions and organizations. combine traditional presentational strategies with performance, screening, and other expressive formats. These events are being Institutional Partnership supports the ARTspace mission This panel will discuss and re%ect upon the new technological organized by the Events Committee of the New Media Caucus led to bring together nonacademic a#liations and artists. tools for intervention in the %ows of capital and the di!erent by the chair Joyce Rudinsky. aesthetic strategies that are used to raise awareness of the Experience local resources and artistic hubs within the question of economic fairness. The recent disclosures of tax regional "lm-making community. The New Media Caucus is an international nonpro"t association evasion and corruption in the Panama Papers and the collusion of formed to promote the development and understanding of new- politician and high "nance exacerbate further tension between media art. The NMC represents artists, designers, practitioners, the public perceptions of fairness and the practices of the banking 1:30–3:00 PM historians, theoreticians, educators, students, scholars, and industry, a tension that has been rising ever since the "nancial Craft Action researchers as well as like-minded organizations with interests meltdown of September 2008. In response to the opacity of CHAIR: Carissa Carman, Indiana University Bloomington including, but not limited to, digital media, electronic media, the %ows of money and the concentration of the control of the mobile media, virtual media, and emergent media. Our purpose monetary system in the hands of a few banks and government, Craft Action is a "lm series exploring the role of process, is to support and advance a diverse range of inquiry in order to activists and hackers have developed a mixture of strategies action, and skill as they relate to craft mediums. The growing catalyze further evolution of the "eld of new-media art. of uncovering through leaks, hacks, and building alterative interdisciplinarity of craft practices opened up a call for structures of circulation like the block chain and the wiki. submission of international practitioners working across ceramics, textiles, metals, and wood exploring the role of the PARTICIPANTS: moving image in making. Georgios Papadopoulos Matthia Tarasiewiez GUEST CURATORS AND PANELISTS: Marilyn Zapf, The Center for Craft Creativity and Design Namita Gupta Wiggers, Critical Craft Forum

70 college art association new york city // 2017 71 participant index

A Athanassoglou-Kallmyer, Bergstrom, Barbara 45 Brock, Hovey 54 Abdulaziz, Ebtisam 34 Nina 36 Berkowitz, Elizabeth 68 Brodksy, Judy 54 Abramson, Dan 58 Athens, Elizabeth 62 Berman, Greta 41 Bromberg, Sarah 42 Abt, Je!rey 49 Atkinson, Harriet 58 Berman, Kim 51 Broome, Skooker 61 Acierto, Alejandro T. 41 Atkinson, Niall 23 Bernstein, Judith 51, 69 Brosens, Koenraad 32 Adams, Angela A. 31 Atzmon, Leslie 61 Berry, Anne H. 62 Brown, Arielle Julia 35 Adams, Samuel 22 Auji, Hala 32 Berson, Amber 47 Brown, David J. 68, 69 Aho, Susana Sevilla 92, 93 Aurbach, Michael 92 Besemer, Linda 24 Brown, Kathryn 46, 48 Ainsworth, Maryan 43 Auther, Elissa 38 Best, Makeda 45 Brown, Marilyn R. 48 Aitken, Molly Emma 52 Autry, La Tanya 35, 44 Betzer, Sarah 36 Brown, Michael A. 53 Al-Bahloly, Saleem 32 Auz, Lucienne 61 Bibby, Samuel 32 Brown, Rebecca M. 36 Al-Khudhairi, Wassan 26 Avron-Barak, Noa 29 Biczel, Dorota M. 50 Brown-Hedjazi, Alexandria 61 Albert, Roberta W. 26, 89 Azimi, Negar 37, 89, 91 Bideau, André 27 Bruner, Chelsea 29 Albert, Saul 34 Bieber, Susanneh 50 Bryda, Gregory C. 31 Albu, Cristina 29 B Biedermann, Zoltán 55 Buck-Coleman, Audra 50, 62 Ali, Atteqa 56 Baade, Brian 40, 95, 97 Bik Bandlien, Charlotte 56 Budd, Denise M. 65 Allais, Lucia 58 Baark, Jose"ne 45 Bilal, Wafaa 71 Buhe, Elizabeth 44, 92 Allara, Pamela 71 Bacci, Francesca 34 Bissonnette, Meghan 27 Buller, Rachel Epp 47 Allen, Gwen 60 Bagneris, Mia L. 28 Black, Jonathan 26 Bullock, River 27 Allen, Lynne 42 Bair, Nadya 55 Black, Rebecka A. 58 Burke, Marcus B. 53 Alonso, Idurre 23 Baird, Freedom 25 Blackmore, Lisa 52 Burleigh, Paula 65 Alperstein, Debora Dorotinsky Balaschak, Chris 54 Blair, Susannah 40 Burnett, Graham 58 52 Ball, Adele 69 Blaylock, Sara 29 Buron, Melissa 64 Alsum-Wassenaar, Sara 36, 48 Ballet, Nicolas 29 Bleicher, Steven 57 Burton, Samantha 47 Altman, Susan 41, 90 Balogh, Amy L. 37 Blier, Suzanne Preston 39, 60, Busbea, Larry 30 Alves, André 26 Bangdel, Dina 47 82, 84 Busby, Ashley 55 Amatullo, Mariana V. 63 Barakat, Heba Nayel 40 Blinder, Caroline 27 Buszek, Maria Elena 54 Ambrose, Kirk 32, 56 Barnes, Lucinda 43 Bloemink, Barbara 38 Butakova-Grimshaw, Elizaveta Ameri, Marta 30, 39 Barragán, Maite 29 Bobier, Kim 31 42 Amor, Monica 48 Bartal, Renana 47 Bodner, Neta 45, 47 Bynum, Caroline Walker 45, 47 An, Christina 57 Bartholomew, Angela 29 Bogdanova-Kummer, Eugenia Anagnost, Adrian 46 Basile, Joe 39 44 C Anania, Katie 32 Baskins, Cristelle 40 Bonin, Christianna 51 Calvelli, John 58 Anderson, Benjamin 43 Bateman, Anita 31 Bonnemaison, Sarah 60 Campbell, Anna 24 Anderson, Jennifer K. Cochran Bauch, Nicholas B. 24, 41 Bontrager, Nick 28 Campbell, Isaac 24 35 Bauer, Susanne 24 Boorsch, Suzanne 51 Campbell, Mary Schmidt 88 Anderson, Jocelyn 47 Baum, Rachel 34 Borgen, Maibritt 27, 43 Campbell, Natalie 54 Anderson, Stephanie G. 26 Baxter, Denise Amy 22 Botchkareva, Anastassiia 52 Canac, Sandrine 55 Andrews, Jorella 22 Baxter, Wanda 88 Boulvain, Thibault 49 Candela, Emily 33, 61 Andrews, Mike 24 Beall, Natalie 45 Bouman, Margot 24 Cannady, Lauren R. 31 Ano, Michael 45 Beaulieu, Rebekah 94 Bourland, W. Ian 50 Cantero, Lucia 53 Apostol, Corina L. 53 Becker, Danielle 25 Bowker, Sam 40 Cao, Maggie 31 Apotsos, Michelle Moore 24 Beer, Ruth 58 Bowman-McElhone, Amy 61 Capistrano-Baker, Florina H. 33 Arabindan-Kesson, Anna 28 Begay, Lyncia 88 Boyer, Frank V. 48 Cappetta, Andrew 39, 65 Aranke, Sampada 46 Behdad, Ali 61 Braddock, Alan 28 Carey, Chanda Laine 29 Archias, Elise 49 Belan, Kyra 39 Bradford, Katherine 51, 69 Carey, Dwight 54 Archino, Sarah 30, 55 Bell, Andrea 45 Brandow-Faller, Megan 29 Carey, Jean Marie 25 Ari, Nisa 59 Bell, John 38, 93 Brauer, Fae 64 Carlson, Andrea 88 Armstrong, Helen 28 Bellotto, Janet 27, 34 Bravo, Monica 25 Carman, Carissa 68 Ashby, Charlotte 52 Benay, Erin 28 Brendle, Ross 55 Carothers, Martha 44 Ash-Milby, Kathleen 44 Bender, Gretchen Holtzapple 58 Brennan, Sheila A. 53 Carr, Lauren 39 Asher, Frederick M. 37 Benedetto, Cara 45 Bright, Deborah 26, 91 Carrick, Jill 54 Ash-Milby, Kathleen 44 Benson, LeGrace 42 Brilliant, Virginia 28 Carter, Kristen 65 Asleson, Robyn 65 Berding, Thomas 35 Brittenham, Claudia 40 Casado Hernandez, Veronica Atallah, Nadine 27 Bergmeier, Armin 37 Brizuela, Natalia 52 50

72 college art association new york city // 2017 73 Cascione, Giuseppe 44 Cothren, Michael 54 Detchon, Julia 46 Evans, Helen C. 87 Frota, Gastão 57 Grayson, Saisha 54 Hirschl, Heidi 46 Jacobson, Brian R. 21 Casini, Giovanni 60 Cotter, Holland 65 DeTurk, Sabrina 27 Evans, Sarah 56 Fuentes, Edward 54 Greene, Nikki A. 41 Ho, Christine 27 Jaenichen, Claudine 33 Caskey, Kristin 69 Coughlin, Maura 25 DeYoung, Mark John 31 Ewing, Samuel 45 Fuentes, Elvis 61 Greenwald, Diana Seave 32 Hobbs, Margo 47 Ja!ray, Sarah 36, 48 Cast, David 44 Counts, Aaron 35 Dezeuze, Anna 40 Fung, Adam 28 Greenwald, Lauren 36 Hobbs, Robert 49 Jagtiani, Jesse 62 Castelblanco, Felipe 50 Cowan, Sarah 24 Dickey, Erin 45 F Funkenstein, Susan 22 Gregor, Richard 34 Hoelscher, Jason 65 Jakovljevic, Branislav 29 Catanese, Paul 28 Cowcher, Kate 21 Dietrich, Craig 93 Falconi, José 23 Funk, Ti!any 30 Griefen, Kat 87 Hoeniger, Cathleen 28 Jakubowski, Dan 38 Catedral, Emmy 36 Craig, Michelle Huntingford Díez Fischer, Agustin 30 Falk, Naomi J. 36 Fusco, Coco 51, 69 Gri#n, Dori 23, 50, 63 Hoetger, Megan 65 James, Meredith 63 Catterson, Lynn 65 24 Dillon, Sarah M. 31 Farago, Jason 37, 91 Gri#ths, Jennifer 50 Hogarth, Emma 63 James, Sara Nair 44 Cavallo, Francesca Laura 33 Cramer, Lauren M. 38 Dimendberg, Edward 63 Fattal, Laura 51 G Grokhovsky, Katya 87 Hogue, Tarah 52, 88 Janacua, Andres 42 Cazeaux, Clive 21 Cras, Sophie 29 Ditzler, Andy 27 Faubert, Julie 68 Gaiter, Colette 38 Groom, Gloria 56 Hokanson, Alison 64 Jaquis, Michele 62 Cempellin, Leda 54 Crasnow, Sascha 30 Dixon, Carol Ann 21 Fay, Brendan 55 Gajowy, Aleksandra 49 Grudin, Anthony 46 Hokanson, Taylor 57 Jarron, Matthew 57 Cernuschi, Claude 37 Cresseveur, Jessica 38 Dlugos, Kathleen M. 41 Feddersen, Carly 88 Galilee, Beatrice 26 Guerrero-Hernandez, Juan Hole, Heather 38 Jarry, Alice 58 Cervenak, Sarah 44 Creston, Sena Clara 25 Dominguez, Maria Fernanda 52 Feddersen, Ryan Elizabeth 88 Gal, Nissim 37 Carlos 46 Hollengreen, Laura 31 Jaskot, Paul 36 Chadwick, Stephanie 28 Cronin, Keri 39 Dominquez, Ricardo 71 Feigenbaum, Gail 32, 59 Galvez, Paul 56 Guidicini, Giovanna 44 Holly, Michael Ann 24 Je!erson, Cheryl 39 Chang, Boyoung 29 Cronin, Patricia 62 Donahey, Kelly 45 Feldman, Hannah 61 Gamblin, Robert 40, 97 Guillemin, Jen 42 Holmes, Ti!any 47 Je!ri, Joan 68 Charleroy, Amy 22 Cropper, Elizabeth 59 Dooley, Ellen 53 Feller, Deborah 38 Garb, Tamar 57 Guillen, Melinda 25 Holochwost, Catherine 44 Jesty, Justin 46 Charles-Rault, Jacqueline 61 Čučković Berger, Boris 51 Dootson, Kirsty Sinclair 35 Ferguson, James Tigger! 33 Garneau, Stephan 31 Guinness, Katherine 21 Holzman, Laura 58 Jim, Alice Ming Wai 63 Charlesworth, Jessica 33 Cucuzzella, Carmela 58 Dorninger, Maria 45 Ferguson, Michael 33 Gaskill, Sally 42 Gunn, Jenny 31 hoogland, renée c. 33 Jiménez, Maya 41 Charlton, Zoë 71 Cullen, Deborah 29 Dosch, Mya 64 Fernandez, Julia 54 Gasparavičius, Gediminas 51 Gupta, Atreyee 59 Hoover, Polly 47 Jobst, Marko 27 Chaudary, Zahid 61 Cunard, Je!rey P. 37, 91 Dougherty, Sarah 45 Fessler, Ann 46 Gatti, Evan 65 Gupta, Sunil 56 Hopfensperger, Jim 42 Johnson, Erin Colleen 26 Chau!our, Sébastien 48 Curran, Mark 23 Doyle, James 41 Fetvaci, Emine 52 Gaviria, Paulina Pardo 46 Gush, Rose-Anne 27 Horn, Jennifer Van 28 Johnson, Grant Klarich 49 Checa-Gismero, Paloma 34 Curry, Derek 23 Dremaite, Marija 54 Field, Jennifer 22 Geha, Katie 34 Guth, Christine 24 Horstman, Fritz 28 Johnson, Jennifer 59 Cheney, Liana De Girolami 44 Cutler, Anthony 37 Driscoll, Megan 40 Filippone, Christine 50 Gendron, Heather 45 Guy, Emmanuel 29 Horton, Jessica L. 53 Johnson, Julia 39 Cheng, Sandra 55 Cutler, Ellen B. 63 Drosos, Nikolas 21 Findley, Andrew Paul 47 Germann, Jennifer 65 Horvat, Lea 24 Johnson, Julie M. 29 Ch’ien, Letha 50 Czacki, Catherine 45 Droth, Martina 32 Finkelstein, Avram 49 Gerry, Kathryn 42 H Houston, Stephen 41 Johnson, Linda 39 Childs, Adrienne L. 41 Duarte, Rob 57 Finley, Cheryl 22 Gerspacher, Arnaud 49 Hacking, Juliet 55 Howard, Rebecca M. 38 Johnson, Paddy 86 Childs, Elizabeth C. 56 D Du!y, Annie 25 Fiorani, Francesca 60, 91 Gervais, Thierry 55 Haden-Guest, Anthony 59, Howard, Yetta 61 Johnson, Sarah C. 32 Choi, Jung E. 65 Dadi, Iftikhar 44, 59 Du!y, Michael 85 Firouzeh, Peyvand 25 Ghoche, Ralph 27 97 Howell, Alison 24 Johung, Jennifer 49 Choi, Sooran 42 Dahl, Jim 36, 48 Durner, Leah 22 Fisher, Jack Henrie 93 Gi!ord, Melanie 32 Hage, Emily 60 Hrychuk Kontokosta, Anne Jolivette, Catherine 21 Chong, Corrinne 64 Daigle, Claire 34 Dusseault, Ruth 53 Fitzpatrick, Edwina 24 Gillieson, Katherine 31 Hahn, Cynthia 45 43 Jones, Caroline A. 58 Chu, Petra ten-Doesschate Dalal, Radha 33 Dzenko, Corey 54 Flack, Audrey 88 Gilman, Bridget 45 Haines, Chelsea 58 Huang, Ellen 37 Jones, Kellie 22 32, 36, 40, 90, 92 Dalton, Dennis 50 Fleck, Cathleen 45 Girard, Alex 63 Hamlin, Amy K. 57, 60, 65 Huemer, Christian 32 Jones, Sarah S. 36, 48 Chubb, Emma 50 Damjanović, Dragan 54 E Fleming, Melissa 36, 48 Girard, Catherine 62 Handy, Ellen 55 Huet, Jacobé 51 Jones, Zoë Marie 25 Chuchvaha, Hanna 21 Danger, Dayna 88 Eaker, Adam 57 Flinchum, Russell 28 Giroux, Joan 68 Hannum, Terence 58 Hui, Tan Boon 33 Jordan, Guy 43 Chunko-Dominguez, Betsy 42 DaPonte, Amy A. 64 Easby, Rebecca 47 Floyd, Darren Douglas 70 Gleisner, Jacquelyn 64 Hanson, Debra 38 Hung, Mailee 41 Jorio, Rosa de 24 Cianciolo, Gabriella 60 Davalos, Karen Mary 47 Eberhard, Susan 37 Floyd, Emily C. 51 Gleisser, Faye 38 Harren, Natilee 40 Huntington, Eric 30 Joselit, David 40 Cibelli, Deborah 41 David, Mariana 53 Eckert, Daniel 61 Flores Sternad Ponce de León, Glinsman, Lisha Deming 32 Harris, Lindsay 43 Hup"eld, Maria 50, 87 Joyner, Danielle P. 47 Cicco, Rae Di 29 Davidts, Wouter 63 Eckert, Jan 61 Jennifer 64 Glisson, James 44 Hartman, Joseph R. 34 Huppatz, Daniel 30 Just, Bryan R. 41 Clark, Matt 42 Davies, Clare 27 Economides, Aliki 53 Flusche, Laura 29, 62 Gluzman, Georgina G. 30 Hartnett, Gerald 58 Hutterer, Maile 31 Clarkson, Verity 58 Davis, Mary E. 35 Edbrook, Laura 26 Foa, Michelle 46, 48 Gniech, Charles 39 Hatch, Kevin 62 Hylton, Richard 21 K Cli!ord, Benjamin 22 Davis, Sasha 32 Eggler, Marianne 30 Foltz, Jill 41 Goddard, Linda 56 Hatry, Heide 59, 97 Hyman, Aaron M. 53 Kaiser, Zachary 21, 42 Cloud, Jasmine R. 28 De Armendi, Nicole 49 Ehrlich, Tracy 45 Fostano, Katherina 53 Goettler, Christine 59 Hatton, Brynn 42 Kaish, Morton 68 Cluett, Seth 39 de Baca, Miguel 50 Elias, Chad 64 Foutch, Ellery E. 54 Goggin, Nan 35 Hawes, Anisa 34 I Kal, Hong 52 Clutter, Tyrus 41 de Laforcade, Sonia Angela 25 Eliash-Zalmznovich, Noga Fowler, Caroline O. 57 Gohmann, Joanna 47 Hayon, Adi Louria 37 Igoe, Laura Turner 25 Kaneko, Maki 62 Cochran, Jessica 46 de Liberali, Gloria 30 29 Fox, Molly 91 Goldberg, Luna 64 Healy, Charlotte 28 Ikeda, Asato 46 Kannenberg, John 39 Co!ey, Mary K. 64 de Wild, Karin 34 Eliason, Craig 24 Foxwell, Chelsea 46 Golden, Mark 40, 97 Heartney, Eleanor 59, 97 Ingram, Jessica 22 Kaplan, Paul 50 Cohen, Meredith 31 Decker, Julie 25 Eliev, Elia 56 Fraher, Diane 88 Goldman-Petri, Megan 35 Hegenbart, Sarah 53 Ippolito, Jon 93 Karetzky, Patricia 30 Cole, Lori 60 Deeming, Skot 43 Elifritz, Pat 41 Francis, Jacqueline 60 Goldner, Janet 36, 48 Heineccius, Julia 33 Irish, Sharon L. 25 Karmon, David 23 Collingwood, Jadine 33 Deer, Glenn 63 Elkovich, Carol 57 Franco, Josh T. 62 Golebiewski, Tara 32, 97 Heller, Hannah 61 Isgro, Marina C. 55 Karson, Jenn 94 Conaty, Kim 60 DeGhetaldi, Kristin 40, 97 Elligott, Michelle 41 Frank, Barbara 24 Goodeve, Thyrza Nicols 34 Hennlich, Andrew J. 22 Iskin, Ruth E. 40 Kashani, Deanna 54 Condon-Shih, Nicole 57 DeJong, Constance 36 Elrod, Jarred Lee 64 Fraser, Karen M. 57 Goodyear, Anne Collins 37 Herrera, Antonio Urquízar 55 Issaias, Theodossios 24 Kashef, Niku 68, 69 Connelly, Shannon 93 Dekel, Tal 56 Emami, Farshid 63 Fraser, Pamela 46 Gosse, Johanna 28 Heuer, Christopher 59 Itam, Uchenna 37 Kassianidou, Marina 50 Conrad, Ryan 49 DeLancey, Mark Dike 24 English, Darby 51 Freese, Lauren 43 Gossiaux, Emilie 94 Heuer, Elizabeth 32 Katzew, Ilona 53 Cook, Heidi 23 Dell’Aria, Annie 27 Eppley, Charles 39 Freyermuth, Sherry Saunders 50 Gower, Reni 68 Higgins, Hannah 55 J Kaufman-Gutierrez, Carina Cook, Sarah 34 Deloria, Phil 44 Erber, Pedro 27 Friday, Matthew 48 Graber, Lauren 61 Hight, Eleanor M. 41 Jack, James 39 85 Cooke, Lynne 51 DelPlato, Joan 26 Ergin, Nina 23 Frobes-Cross, Hu!a 64 Gradecki, Jennifer 23 Hill, Jason 55 Jackson, Carlos Francisco 54 Kehoe, Marsely 57 Cooke, Susan J. 43 Demchenko, Igor 31 Ernest, Marcella 88 Fromont, Cécile 39 Grady, Elizabeth 50 Hill, Samantha 46 Jackson, Michelle 53 Kei, Juliana 58 Cooley, Jessica 61 Derderian, Beth 34 Esquivel, Savannah 36 Frost, Charlotte 34, 61 Graham, Anthony 27 Hill, Shannen 37 Jacobi, Lauren 58 Kelley, David 39 Cornell, Deborah 21 DeRosa, Andrew 31, 63 Estevez, Lisandra 51 Frost, Steven 38 Grancho, Nuno 27 Hilyard, Stephen 34 Jacobs, Lynn F. 35 Kelly, Patricia 57 Costanza, David 24 Desai, Dipti 22 Estrada, Isabel 29 Frostig, Karen E. 29 Grant, Kim 60 Hirayama, Mikiko 49 Jacobs, Steven 63 Kelly, Therese 68

74 college art association new york city // 2017 75 Kennedy, Jen 57 Lanteri, Michelle 29 Lutz, Deborah 94 McDaniel, Craig 25 Moon, Young Min 42 O’Kane, Bernard 37 Peterson, Jeanette F. 35 Rao, Chhoti 53 Kent, Charlotte 34 Largo, Marissa 63 Lyons, Samantha 54 McDonald, Aya Louisa 46 Morawski, Erica 23 Okoye, Ikem Stanley 24 Pezeshki, Charles 25 Rapaport, Brooke Kamin 31 Kenyon, Matt 28 Larned, Emily 30 McDonough, Tom 48 Morgan, Jonathan 53 Olasupo, Akande Abiodun 56 Pfei!er, Paul 33 Rappaport, Mat 70 Keramidas, Kimon 53 Larson, Jen 86 M McEwen, Abigail 34 Morgan, Margaret 68 O’Leary, Thomas 62 P"ster, Kerri A. 65 Rauch, Barbara 21 Kersey, Kristopher 37 Larson, Katie 58 Macagba, Jonathan 21 McFadden, Jane 24 Morowitz, Laura 29 Olynyk, Patricia 49 P"sterer, Ulrich 59 Rauser, Amelia 47 Keshavjee, Serena 64 Laurent, Richard 39 MacArthur, Kelly Salchow 42 McGarrigle, Conor 23 Morris, Catherine J. 26, 91 O’Meara, Katie 39 Phillips, Ruth 44 Raux, Sophie 32 Keslacy, Elizabeth 29 Lavin, Maud 52 Macaulay-Lewis, Elizabeth 33 McGarry, Renee 65 Morrow, Kara Ann 42 O’Neal, Lauren 26 Phipps, Gabriel 69 Rawlinson, Mark 47 Kessel, Courtney 68 Lawton, Pamela 94 Machida, Margo L. 39 McGee, Julie 51 Morton, Marsha 59 O’Neil, Megan E. 40 Pierre, Caterina Y. 25 Raymond, Claire 64 Kessler, Marni 46 Lazzaro, Claudia 30 Mack, Richard 50 McGillis, EuiJung 44 Moseley-Christian, Michelle 40 O’Neill, Rosemary 29 Pierroux, Palmyre 34 Rebmann, Emily K. 33 Ket, Alan 69 Le, Tina 29 Mackh, Bruce 35 McGrady, Conor 51 Moses, Kelema Lee 23 Onians, John 43 Pine, Michelle 64 Reece Hardy, Saralyn 54 Kett, Robert J. 23 Le Gall, Shalini 47 Macsotay, Tomas 22 McIlwain, Charlton D. 22 Moskowitz, Anita 28 Oppenheimer, Maya 33, 56 Pinker, Steven 59, 95 Reed, Sara Desvernine 23 Kettering, Alison M. 32 Leader, Karen J. 57, 60, 65 Madole, Sarah 43 McKay, Gretchen K. 55 Mostafa, Heba 37 Orel, Sara 94 Pires, Leah 46 Reeder, Elizabeth 26 Kerr, Merrily, 84 Leatherbury, Sean V. 33 Madura, Joe 49 McKay, Sara Wilson 22 Mottram, Judith 48 Oring, Sheryl 62, 85 Pistell, llian 33 Reichle, Ingeborg 60 Khan, Sabir LeBourdais, George Philip 44 Magee, Carol 45 McLane, Yelena 24 Mowder, Meredith 22 O’Rourke, Kristin 45 Platt, Susan 71 Reilly, Patricia L. 36 53 Lee, Billie 46 Magenta, Muriel 39 McLeod, Alex 34 Mueller, Ellen 57 Orr, Emily 24 Pocock, Hugh 62 Reinhart, Katherine M. 62 Khullar, Sonal 59 Lee, Craig 63 Mah, Kai Wood 33 McMahon, Brendan 55 Mullane, Matthew 63 Orr, Joey 49, 69 Polzak, Kailani 27 Reitz, Chris 40 Kia, Chad 22 Lee, Flounder 34 Mahon, Alyce 30 McQuillen, Kate 51 Mundy, Barbara E. 35, 36, 53 Ortman, Laura 87 Pontonio, Heather 89 Rejaie, Azar M. 58 Kikuchi, Yuko 37 Lee, Key Jo 28 Mahoney, Lisa 42 Mednicov, Melissa L. 39 Munroe, Nazanin Hedayat 50 Ostho!, Simone 46 Poole-Jones, Katherine 63 ReMatriate Project 87 Kilinc, Kivanc 44 Lee, Kirsten 55 Maizels, Michael 43 Meier, Prita 39 Murney, Anastasia 51 Otayek, Michel 29 Popper, Irit Carmon 64 Remond, Jaya 62 Kim, Suzie 53 Lee, Michelle 29 Maleki, Kimia 59 Melandri, Lisa 26, 91 Murphy, Ingrid 24 Ott, John 44 Porras, Stephanie 54 Reynolds, Jock 49 Kinchin, Juliet 52 Lee, Sohl 39 Malina, Roger 57 Mello, Christine 46 Murray, Derek Conrad 38 Ottmann, Klaus 33 Porter, Austin 41 Reynolds-Kaye, Jennifer 28 King, Homay 55 Lee, Young Ji 42 Malko, Helen 55 Meloche, Alysha Friesen 62 Murray, Grace 53 Owens, Stephanie 53 Porter, Tola C. 32 Rhabyt, Gwyan 57 Kinney, Dale 43 Leemann, Judith 46 Mandell, Elisa C. 30 Mendelson, Jordana 29 Murrell, Denise M. 38 Özpinar, Ceren 25, 27 Poshar, Andréa 63 Ricco, John Paul 38 Kirby, Lynn Marie 27 Leiderman, Daniil 43 Mannarino, Ana 30 Menotti, Gabriel 34 Potter, Melissa 68, 69 Rice, Yael 52 Kissick, John 35 Leist, Annie 94 Manor, Dalia 37 Mete, Ozge Sade 56 N P Powell, Valerie 36 Richard, Laura M. 52 Kitnick, Alex 33 Lenssen, Anneka 40 Mans"eld, Michael 43 Metzger, Christopher 35 Nae, Cristian 34 Pacheco, Mónica 24 Power, Maria 39 Richardson, Margaret 49 Kizis, Costandis 24 Leppanen-Guerra, Analisa Mansoor, Jaleh 27 Meyer, Richard 41, 51 Nagam, Julie 88 Padberg, Carol 62 Power, Susan 32 Ridlen, Tim 46 Klein, John 26 58 Manthorne, Katherine 43 Meyer, Sara 42 Nanibush, Wanda 52 Pagani, Catherine 35 Powers, Holiday 27 Rihouet, Pascale 63 Klein, Shana 43 Lerer, Marisa 23 Marchi, Riccardo 25 Meyer, Walter 47, 68 Narath, Albert 53 Page, Susan Harbage 45 Praepipatmongkol, Chanon Riley, Caroline M. 41 Knott, Elizabeth 55 Levin, Gail 59 Mårdh, Hedvig 54 Mezur, Katherine 38 Narkin, Elisabeth 31 Paget, Rhiannon 23 Kenji 42 Ripollés, Carmen 55 Kobi, Valérie 31 Levy, Ellen K. 57, 60 Mare, Carlos 69 Michails, Maria 58, 92 Neginsky, Rosina 41 Paige, Jameson 56 Preciado, Selene 23 Rissler, Jennifer 46 Kohn, Tara 38 Levy, Matthew 44 Marketou, Jenny 71 Michalsky, Tanja 59 Nelson, Andrea 57 Palazzolo, Valerie C. 51 Presutti, Kelly 25 Rivers, Patrick Lynn 33 Kolodziej, Matthew 69 Lewis, Ann 69 Markle, Leslie 31 Mickevicius, Emilia 53 Nelson, Meredith P. 33 Palmer, Carolyn Butler 58 Preziosi, Donald 47 Roach, John 57 Konsmo, ErinMarie 88 Lewis, Sarah 22 Maroja, Camila 21 Middleman, Rachel 51 Nelson, Steven 51, 65, 69 Palmer, Laurie 26 Pritchett, Hollister N. 55 Robbins, Christa Noel 44 Kopp, Edouard 33 Liang, Tian S. 46 Marsching, Jane D. 62 Miguel, Gloria 88 Neri, Gabriele 63 Palmeri, Nancy 42 Prophet, Jane 49 Roberts, Jodi 52 Kovacs, Claire L. 25 Lichtman, Sarah A. 58 Marsh, C. C. 47 Miguel, Muriel 88 Nesbit, Molly 57 Paneth-Pollak, Tessa 27 Pugh, Emily 90 Roberts, LJ 49 Kozak, Nazar 56 Liebergesell, Alex 62 Marshall, Christopher R. 38 Migwans, Crystal 88 Nespral, Fernando Luis Martínez Paoletti, Giulia 86 Puma, Suzanne Herrera Li Robicsek, Hyla 48 Kozicharow, Nicola 44 Lignel, Benjamin 33 Marshall, Leanna 88 Milano, Ronit 37 40 Papadopoulos, Georgios 70 45 Robinson, Hilary 38 Kramer, Kate 93 Lim, Michelle 39 Marshall, Nancy Rose 64 Milkova, Liliana 47 Nicewinter, Jeanette 30 Papaelias, Amy 42 Putten, Jasper van 51 Rochester, Katherine 32 Kraynak, Janet 48 Lin, Jenny 52 Martegani, Micaela 31 Millar Fisher, Michelle 54 Nichols, Charlotte 30 Parent, Vanessa 27 Puzier, Lauren 26 Rodenbeck, Judith 50 Krohn, Deborah 65 Lincoln, Matthew 32, 58 Martens, Brian A. 43 Miller, Alison 49 Nickson, Tom 23 Park, Hannah 42 Pyun, Kyunghee 39 Rodríguez, Gretel 35 Kroiz, Lauren 57 Liou, Jawshing Arthur 34 Martinetti, Sara 65 Miller, Mary 31, 40, 49, 82, 84 Niell, Paul 34 Park, J. P. 46 Rodriguez, Oli 41 Krukowski, Samantha 44 Lippert, Sarah 39 Martin, Reinhold 33, 50 Miller, Patricia 68 Nini, Paul J. 63 Park Huntington, Yumi 30 Q Rogers, Hannah Star 47 Kühnel, Bianca 45, 47 Lippit, Yukio 46 Martino, Allison Joan 23 Miller, Peter N. 43, 49 Nitzan-Shiftan, Alona 64 Parrish, Sarah 32 Quarcoopome, Nii O. 26 Rogers, Katy 43 Kunimoto, Namiko 62 Litch"eld, Sandy 21 Martynyuk, Olena 56 Miller, Stacy 69, 70, 71 Nixon, Lindsay 88 Passignat, Emilie 44 Quasha, George 59, 97 Rojas, Carolina 36, 48 Kupferman, Justine 57 Little, Charles 54 Marvick, Louis W. 41 Mills, Ivy 37 Nolte, Victoria 63 Paulsen, Kris 38 Quick-to-See Smith, Jaune 50, Romberg, Kristin 25 Kurd, Nadia 56 Liu, Chiao-mei 38 Massey, Lyle 52 Minor, Kimberly 27 Nonaka, Natsumi 22 Paydar, Nikoo 47 87, 88 Romejko, Paul M. 42 Kwon, Marci 41 Locatelli, Valentina 62 Matsumura, Kimiko 55 Mintcheve, Svetlana 26, 91 Norcross, Anne 47 Payne, Jesse 44 Quiles, Daniel 23 Romero, Sam 54 Lodhie, Lindsey 55 Matthews, J. Barrington 65 Mintie, Katherine 41 Nouril, Ksenia 34 Paz, Dan 41 Roquez, Gabriela Germana 61 L Long, Christopher 52 Maurer, Maria 40 Mismar, Omar 45 Nzewi, Ugochukwu-Smooth C. Pedri-Spade, Celeste 86 R Rosati, Lauren 39 Lachowicz, Rachel 68 Lopes, Cyriaco 57 Mauro, Hayes Peter 44 Mitchell, Megan Koza 26, 27, 67 60 Pellolio, Natalie 40 Radwan, Nadia 32 Rose, Julian 58 LaFoe, Michelle 24 López, John F. 54 Maximova, Marina 44 Mizrachi, Alice 69 Pendás, Maria González 33 Raengo, Alessandra 31, 38 Rosenblum, Shelly 52 Lafont, Anne 36 Lorenz, Renate 38 Mayer, Carol E. 61 Moctezuma, Alessandra 51 O Peng, Peng 30 Ragain, Melissa Sue 48 Rosler, Martha 37, 88, 91 LaGamma, Alisa 39 Lovell, Margaretta 43 Mayeri, Rachel 49 Mohammadzadeh Kive, Solmaz Obler, Bibiana 59 Penney, David W. 44 Rager, Andrea Wolk 57 Rossi, Steve 69 Lai, Yu-chih 46 Lubben, Richard 47 McBane, Barbara 27 63 O’Daniel, Alison 27 Pentcheva, Bissera V. 35 Rahimi-Golkhandan, Shabnam Rothman, Roger 46 Lambert, Steve 50 Lubin-Levy, Joshua 24 McCloskey, Zoe 58 Monahan, Anne 51 O’Donnell, C. Oliver 21 Perchuk, Alison Locke 35 59 Roussel, Marc 43 Lamonaca, Marianne 26 Lucento, Angelina 51 McClure, Michael Jay 53 Moncada, Sean Nesselrode 50 O’Donnell, Caroline 57 Periti, Giancarla 60 Rahman, Nadia 34 Rousset, Isabel 36, 48 Lancaster, Lex Morgan 24 Luchs, Alison 28 McCormick, Jared 41 Monoa, Thabang 34 Ogus, Esen 35 Perkins, Grace Rosario 86 Rahman, Sabrina 56 Roxburgh, David J. 52, 62 Langhorne, Elizabeth L. 22 Lukitsh, Joanne 57 McCormick, Kelly Midori 24 Montanari, Roberto 35 O’Hanian, Hunter 26, 31, 49, 82, Persinger, Cindy 58 Rahmani, Aviva 33 Rozental, Rotem M. 64 Lanko, Maria 23 Lundgren, Adrienne 57 McCutcheon, Erin L. 47 Moon, Kavior 55 84, 91 Perthes, William M. 41 Rana, Annie 62 Ruby, Nell 39

76 college art association new york city // 2017 77 Rudinsky, Joyce 71 Siddiqi, Anooradha Iyer 33, 64 Stimac, Julia 46 Thuno, Erik 60 Vlachou, Foteini 21 Wilder, Carol 50 Yonan, Michael 47 Rudolph, Conrad 35 Sidogi, Pfunzo 34 Stimson, Blake 50 Tiampo, Ming 44 Volpp, Sophie 37 Willard, Tania 52 Yoon, Jin-me 63 Rush"eld, Rebecca Anne 85 Sidoti, Sarah 32, 97 Stirton, Paul 52, 54 Tifentale, Alise 47 von Veh, Karen 34 Wille, Michael 35 Yoon, Soyoung 65 Rushing, W. Jackson 44 Siegel, Katy 27 Stockwell, Susan 62 Tomic, Milena 21 Von Vogt, Matthew 53 Williams, Anne L. 53 Yoshimoto, Midori 62 Ryan, Tina Rivers 49 Si!ord, Ellie FitzPatrick 55 Stolyarov, Denis 44 Tomlinson, Cara 36, 48 Vronskaya, Alla 63 Williams, Stephanie Sparling Young, Allison K. 50 Ryu, Jiyi 26 Siler, Todd 60 Stoney, Elisabeth 34 Toole, Michael 23 29 Young, Elli Michaela 56 Silverman, Kaja 42 Stott, Tim 43 Topal, Hakan 71 W Williams, Stephen P. 35 Young, Gillian Turner 24 S Simon, Sydney Skelton 22 Strauss, Stephanie M. 30 Torshizi, Foad 27 Wager, Anna 42 Williamson, Bess 57 Young, Marnin 56 Sadik, Razia I. 59 Sims, Lowery Stokes 41, 50 Stre!en, Isabella 28 Tóth, Anna 31 Wahby, Ahmed Elsayed 40 Willis, Deborah 22 Salomon, Kathleen 62 Simun, Miriam 61 Strother, Z. S. 39 Tournon Zubieta, Annabela Waits, Mira Rai 54 Wilson, Fo 27 Z Sand, Alexa 65, 94 Singh, Charan 56 Stutterheim, Sydney 33 65 Waldroup, Heather 56 Wilson, Tom 56 Zahabi, Liese 50 Sanders, Talena 57 Sjovold, Erling 69 Suarez, Ananda Cohen 36 Townsend, Scott 28 Walker, Georgina S. 61 Wingate, Jennifer 35 Zalewski, Leanne 27 Sands, Sarah 40, 97 Skerritt, Henry 61 Suh, Jinkyo 64 Trizoli, Talita 52 Walsh, Michael J. K. 26 Winn, Lance 48 Zalman, Sandra 41 Sanfuentes, Olaya 56 Skrebowski, Luke 40 Sullivan, Alice Isabella 23, 44, 56 Tromble, Meredith 49 Walter, Micah 34 Winton, Alexa Gri#th 30 Zanardi, Tara 47 Santos, Dorothy 49 Skurvida, Sandra 32 Sullivan, Edward J. 33 Troutman, Phillip 28 Wander, Maggie 61 Wissoker, Ken 60 Zapata, Claudia Elisa 54 Sapelly, Laura Elizabeth 46 Slavick, Susanne 38 Sullivan, Katherine 35 Tseng, Alice Y. 49 Wang, Meiqin 52 Witek, Terri 57 Zapf, Marilyn 70 Saslow, James M. 56 Slavkin, Mary 35 Sullivan, Marin R. 59 Tsui, Aileen 43 Wang, Michelle H. 37 Wolf, Caroline “Olivia” 40 Zappella, Christine 35 Sassin, Erin 52 Sleeman, Joy 24 Sullo, Nicole Paxton 42 Tung, Wei Hsiu 52 Wang, Peter Han-Chih 47 Wolf, Gerhard 59 Zaretsky, Adam 49 Saunders, Beth 25 Sliwinska, Basia 39 Sully, Nicole 58 Turinsky, Michael 61 Wang, Yang 61 Wolfskill, Phoebe 53 Zarobell, John 53 Savorra, Massimiliano 60 Sloutsky, Lana 40 Summers, Robert 38 Turner, Madeline Murphy 39 Ward, Frazer 48 Wolper, Sara Ethel 33 Zarur, Kathy 45 Sbrissa, Claudia 36, 48 Small, Irene 40, 48 Sundell, Margaret 91 Turner, Sarah Victoria 32 Warriner, Rachel 26 Wong, Wendy S. 37 Zavala, Adriana 48 Scanlan, Joe 40 Smart, Alan 93 Sunderason, Sanjukta 59 Twa, Lindsay J. 58 Wasielewski, Amanda 57 Wong, Winnie 52 Zech, Heike 60 Scaturro, Sarah 24 Smith, Cheryl Hogue 41 Swan, Claudia 59 Ty, Michelle 45 Watkins, Elizabeth 45 Wood, Christopher 57 Ziedan, Eva 33 Schaer, Miriam 47 Smith, Elise L. 64 Swensen, James R. 55 Tyburczy, Jennifer 38 Watson, Keri 61 Woolsey, Caitlin 27 Žigelytė, Lina 64 Scha!er, Holly 26 Smith, Elizabeth Driscoll 50 Swenson, Kirsten J. 40 Tyson, John A. 28, 65 Wei, Ren 30 Wosk, Julie 29 Zimmerman, Claire 33 Scha!zin, Gabriel 42 Smith, Katherine 39, 58 Synder, Francine 37, 91 Weinberg, Tali 29 Wright, Katharine J. 33 Zohar, Ayelet 49 She#eld Jr., Clarence Burton Smith, Sarah 26 Szabo, Victoria 58 U Weinryb, Ittai 59 Wu, Jiangmei 50 Zorach, Rebecca 59 25 Smith, Sarah-Neel 27 Szymanek, Angelique 56 Uchill, Rebecca 65 Weiss, Rachel 34 Wunder, Amanda 55 Scheid, Kirsten 32 Smith, T’ai 59 Ukeles, Mierle Laderman 86 Wellen, Laura A. L. 62 Scherling, Laura 63 Smith, Wendy Ligon 50 T Umland, Anne 85 Wells, Kay 59 X Schneemann, Carolee 60 Smucker, David 47 Tabbaa, Yasser 33 Uroskie, Andrew V. 55, 65 Welton, Jessica W. 38 Xu, Jin 21 Schoenberger, Janna Therese Sneed, Gillian 56 Tal, Guy 50 Ursprung, Philip 58 Wentrack, Kathleen 30, 48 25 Snider, Stefanie 61 Tallone, Ana 52 Uskokovic, Sandra 64 Westermann, Mariët 60 Y Schrenk, Lisa D. 53 Sokolina, Anna P. 49, 51 Tang, Jeannine 28 Weyl, Christina 22 Yaari, Shir Aloni 50 Schwendener, Martha 95 Sokoly, Jochen 33 Tanguy, Sarah 31 V Whelan, Je! 64 Yamamura, Midori 42 Scott, Emily Eliza 68 Solano Roa, Juanita 59 Tani, Ellen Y. 28 Valiela, Julia 38 Whitaker, Amy 23 Yang, Ling 52 Seasonwein, Johanna G. 43 Solomon, Virginia 26 Tannenbaum, Barbara 57 van der Heijden, Liselot 49 Whitehead, Camden 69 Yaron, Elad 40 Secklehner, Julia 23 Solomons, Delia 38 Tanyeri Erdemir, Tugba 54 van der Leeuw, Sajda 24 Whitner, Claire C. 43 Yasukawa, Allison 36 Senechal, Marjorie 60 Solte, Franziska 38 Tanzer, Frances 29 van Dyke, James A. 25 Wieck, Anna 29 Yavelberg, Josh 22 Seo, Jinsil Hwaryoung 64 Solti, Gabriella 36, 48 Tarasiewiez, Matthia 70 van Haaften-Schick, Lauren Wiggers, Namita Gupta 33, 70 Ybarra, Mario 45 Ševčenko, Nancy Patterson 87 Sorkin, Jenni 33 Taws, Richard 53 65 Wilcox, Scott 43 Yi, Hye-shim 30 Shabout, Nada 44 Sosa, Marco 39 Taylor, Woodman L. 34 van Hook, Bailey 54 Shalem, Avinoam 43 Soukhakian, Fazilat 59 Tchikine, Anatole 23 Van Wingerden, Carolyn 22 Sharp, John 43 Sousa Santos, Eliana 24 Tell, Connie 85 Vargas Márquez, Natalia 30 Shaw, Gwendolyn DuBois 41 Spalding, Frances 26 Temkin, Susanna V. 34 Vartanian, Hrag 60, 91 Shaw, Paul 63 Speer, George V. 63 Tentler, Gregory 29 Vartola, Anni 54 Shay, Ginevra 49 Speyer, Audrey 61 Terracciano, Emilia 59 Vasquez, Perry 51 Shea, Laura Elizabeth 47 Spivey, Virginia Burns 36, 48, 65 Terranova, Charissa N. 49, 57, 60 Vázquez, Oscar E. 35 Sheehi, Stephen 61 Splan, Laura 49 Terrono, Evie 35 Velasco, David 37, 91 Shelby, Karen 36, 48, 65 Staebler, Peter De 43 Terry, David C. 85 Ventura, Gal 50 Shepard, Mary B. 63 Stafylakis, Kostis 51 Tervala, Kevin 53 Vervoort, Stefaan 63 Shepherdson-Scott, Kari 46 Stanley, Jared T. 65 Teters, Charlene 88 Victor, Carmen 25 Sherman, Bill 59 Stavitsky, Gail 88 Thomas, Amy 33 Vidler, Anthony 63 Shimizu, Meredith TeGrotenhuis Stebich, Stephanie 26, 91 Thomas, Douglas 42 Vieyra, Natalia Angeles 41 47 Steinberg, Monica 30, 55 Thomas, Troy 30 Vilbar, Sinéad 23 Shin, Heeryoon 56 Steiner, Hadas 57 Thompson, Erin 64 Viljoen, Madeleine C. 62 Shirey, Heather M. 55 Steiner, Ingrid 22 Thompson, Sarah 31 Vinebaum, Lisa 68 Shmerler, Deborah 31 Stephens, Rachel 27 Thompson, Susannah 26 Vissat, Maureen 58 Shriki-Hilber, Shimrit 47 Stewart-Halevy, Jacob 29 Thomson, Amanda 26 Vitti, Isabella 32, 97 Shtromberg, Elena 23 Stierli, Martino 43 Thorpe, Heather D. 54 Vittoria, Shannon 32

78 college art association new york city // 2017 79 Association for Latin American Art (ALAA) Business Meeting meetings Concourse G, Concourse Level AFFILIATED SOCIETY BUSINESS Association for Textual Scholarship in Art History (ATSAH) Business Meeting MEETINGS Madison Suite, 2nd Floor CAA’s A#liated Societies are welcome to conduct business Historians of German, Scandinavian, and Central European meetings at the Annual Conference. Although free and open Art and Architecture (HGSCEA) Business Meeting to the public, these meetings are designed for members of the Bryant Suite, 2nd Floor particular A#liated Society listed and their invited guests. Each A#liated Society reserves the right to use their meeting time as they see "t and/or require membership in their particular FRIDAY, FEBRUARY 17 organization for participation in the meeting. Unless otherwise stated, all meetings are at the New York Hilton Midtown. 7:00–8:15 AM Community College Professors of Art and Art History (CCPAAH) Business Meeting WEDNESDAY, FEBRUARY 15 Madison Suite, 2nd Floor 8:30–10:00 AM Mid America College Art Association (MACAA) Business Meeting CAA A&liated Societies Meeting Morgan Suite, 2nd Floor East Ballroom, 3rd Floor Northern California Art Historians (NCAH) Business Meeting CAA A#liated Societies are invited to attend this meeting to Bryant Suite, 2nd Floor connect with CAA sta! and other A#liated Societies, to hear about goals for the organization, and to share ideas about how we can build our CAA. 12:15–1:15 PM American Society of Hispanic Art Historical Studies (ASHAH) THURSDAY, FEBRUARY 16 Business Meeting Bryant Suite, 2nd Floor 12:15–1:15 PM Association of Historians of American Art (AHAA) Catalogue Raisonné Scholars Association (CRSA) Business Meeting Business Meeting Gramercy A/West, 2nd Floor Sutton Parlor South, 2nd Floor Design Studies Forum Business Meeting The Feminist Art Project (TFAP) Business Meeting Morgan Suite, 2nd Floor Beekman Parlor, 2nd Floor European Postwar and Contemporary Art Forum (EPCAF) Foundations in Art: Theory and Education (FATE) Business Meeting Business Meeting Regent Parlor, 2nd Floor Morgan Suite, 2nd Floor Historians of Islamic Art Association (HIAA) Business Meeting Queer Caucus for Art (QCA) Business Meeting Sutton Parlor North, 2nd Floor Sutton Parlor North, 2nd Floor Japan Art History Forum (JAHF) Business Meeting US Latinx Art Forum (USLAF) Business Meeting Beekman Parlor, 2nd Floor Regent Parlor, 2nd Floor Public Art Dialogue (PAD) Business Meeting Gramercy B/East, 2nd Floor 1:30–3:00 PM Women’s Caucus for Art (WCA) Business Meeting New Media Caucus Business Meeting Rendezvous Trianon, 3rd Floor Concourse A, Concourse Level

5:30–7:00 PM 3:30–5:00 PM Association of Print Scholars Business Meeting Historians of British Art (HBA) Business Meeting Madison Suite, 2nd Floor Concourse E, Concourse Level Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) Business Meeting 5:30–7:00 PM Bryant Suite, 2nd Floor Association of Historians of Nineteenth-Century Art (AHNCA) Business Meeting Morgan Suite, 2nd Floor

80 college art association new york city // 2017 81 SATURDAY, FEBRUARY 18 CAA Convocation, Presentation of Annual Awards for 8:30–10:00 AM CAA Student and Emerging Professionals Distinction, and Annual Business Meeting, Part I Committee Meeting CAA A&liated Societies Meeting 12:15–1:15 PM Wednesday, February 15 Holland Suite, 4th Floor East Ballroom, 3rd Floor 5:30–7:00 PM Leonardo/The International Society for the Arts, Sciences, West/East Ballroom, 3rd Floor and Technology (Leonardo/ISAST) Business Meeting CAA A#liated Societies are invited to attend this meeting to 7:30–9:00 AM connect with CAA sta! and other A#liated Societies, to hear Petit Trianon, 3rd Floor The CAA Convocation, held the "rst evening of the annual about goals for the organization, and to share ideas about how we caa.reviews Editorial Board Meeting conference, includes a welcome from Suzanne Blier, CAA National Committee for the History of Art (NCHA) can build our CAA. Harlem Suite, 4th Floor president, and Hunter O’Hanian, CAA executive director, and Business Meeting Bryant Suite, 2nd Floor the Presentation of Annual Awards for Distinction. This year Mary Miller, Sterling Professor of History of Art and recently 10:30 AM–1:15 PM 12:15–1:15 PM appointed senior director of the Institute for the Preservation of CAA Art Journal Editorial Board Meeting “myCAA,” What It Means to Me . . . : CAA’s Annual Cultural Heritage at Yale University, will give the keynote address. Holland Suite, 4th Floor Business Meeting, Part II CAA ELECTIONS, Convocation is free and open to the public. East Ballroom, 3rd Floor CONVOCATION, AND ANNUAL Please join the CAA Opening Reception, immediately following 12:00–1:30 PM BUSINESS MEETING Convocation in the Ballroom Foyers. No tickets required for 2:00–3:00 PM admission. The reception will include a cash bar. CAA International Committee Meeting Get Engaged and Vote in CAA’s 2017 Board of East Suite, 4th Floor CAA Nominating Committee Meeting Directors Election Harlem Suite, 4th Floor The CAA Board of Directors is responsible for pursuing the “myCAA,” What It Means to Me. . . : CAA’s Annual Business Association’s mission to support all professionals in the visual Meeting, Part II THURSDAY, FEBRUARY 16 4:00–5:30 PM arts "elds, consistent with CAA’s Strategic Plan. The Board is Friday, February 17 caa.reviews Council of Field Editors Meeting responsible for general "nancial oversight and reviewing major 12:15–1:15 PM 7:00–9:00 AM Harlem Suite, 4th Floor policy decisions related to the organization. Working with the East Ballroom, 3rd Floor CAA Museum Committee Meeting CAA sta!, the Board seeks to improve the Association’s programs Harlem Suite, 4th Floor and achieve greater engagement and wider participation. The Hunter O’Hanian, CAA executive director, invites all CAA 5:30–7:00 PM next class of Board members will be elected at the 2017 Annual members to participate in an open forum to discuss CAA now CAA Committee on Intellectual Property Meeting Conference. and in the future. We want to hear what “myCAA” means to you! 7:00–9:30 AM Holland Suite, 4th Floor CAA sta! and board members will be introduced and on hand CAA Art Bulletin Editorial Board Meeting One important thing you do as a CAA member is to vote in the to answer questions. Holland Suite, 4th Floor Board of Directors election. Information about the candidates for election, the Board of Directors, as well as CAA’s Strategic Plan The conclusion of the CAA Annual Business Meeting, where new SATURDAY, FEBRUARY 18 2015–2020 may be found on the CAA website. CAA Board members will be announced, will occur prior to the 8:00–9:30 AM open forum. 9:00–11:00 AM Voting, which began in early January, can still be done by signing CAA Task Force on Governance Meeting CAA Publications Committee Meeting into your CAA account. If you need helping logging in to vote, Green Room, 4th Floor Holland Suite, 4th Floor please see the information booth at registration or any CAA sta! CAA COMMITTEE, TASK FORCE, member. Voting will continue until 6:00 PM on Thursday, February 12:00–1:30 PM 16, 2017. The results of the board election will be announced AND JURY MEETINGS 10:00–11:00 AM CAA Committee on Diversity Practices Meeting at Part II of CAA’s Annual Business Meeting on Friday, February Unless otherwise noted, the following meetings are open to Holland Suite, 4th Floor CAA Vice President of Commitees Meeting 17, 2017 during the “myCAA” discussion (12:15–1:15 PM, East CAA committee, task force, or jury members only and take place with PIPS Committees Chairs Ballroom, 3rd %oor). at the New York Hilton Midtown. CAA Committee on Women in the Arts Meeting New York Suite, 4th Floor Lincoln Suite, 4th Floor Please be sure to vote before Thursday night and come 11:00 AM–12:00 PM to the “myCAA” meeting on Friday to welcome the new Board members. It is an important part of your TUESDAY, FEBRUARY 14 5:30–7:00 PM CAA PIPS Committees Chairs and Board Liaisons Meeting CAA Membership. 12:00–6:00 PM CAA Education Committee Meeting Holland Suite, 4th Floor New York Suite, 4th Floor RAAMP (Resources For Academic Art Museum Professionals) Meeting CAA Services to Artists Committee Meeting 4:30–7:30 PM Clinton Suite, 2nd Floor Midtown Suite, 4th Floor CAA Executive Committee Meeting Green Room, 4th Floor WEDNESDAY, FEBRUARY 15 FRIDAY, FEBRUARY 17 7:00–8:15 AM 7:00–8:15 AM SUNDAY, FEBRUARY 19 CAA Professional Practices Committee Meeting Green Room, 4th Floor CAA Annual Conference Committee Meeting 8:00 AM–1:30 PM Green Room, 4th Floor CAA Board of Directors Meeting Murray Hill Suite East/West, 2nd Floor CAA Committee on Design Meeting East Suite, 4th Floor

82 college art association new york city // 2017 83 WEDNESDAY, FEBRUARY 15 7:00–9:00 PM “Learning to Look” workshops bring together art historians, events curators, artists, and conservators for a focused study of the CAA Opening Reception material properties of one group or type of object in the physical 12:00–2:30 PM West/East Ballroom Foyers, 3rd Floor SPECIAL EVENTS presence of those objects. The 2017 “Learning to Look” workshop Chelsea Gallery Walking Tour Please join the CAA Opening Reception, immediately following will focus on the materials and techniques of Francis Picabia. It will For updates on current listings, information on additional events Various Locations in Manhattan. Meet at the Main Entrance, Convocation. No tickets required for admission. The reception will be held at the Museum of Modern Art, which will have the major added after the print deadline, and more detailed transportation Hotel Lobby, New York Hilton Midtown. directions, please visit the conference.collegeart.org website or include a cash bar. exhibition Francis Picabia: Our Heads Are Round so Our Thoughts download the CAA 2017 app. Join expert art gallery guide Merrily Kerr on a trip to the Chelsea Can Change Direction on display in February. RSVP: No RSVP Required. gallery district, where you will visit the most important and RSVP: Preregistration required. Contact Rebecca Rush"eld at talked-about gallery shows of the moment. Kerr, a New York art [email protected]. Participation limited to 15. critic and writer, has devised an itinerary that includes about six TUESDAY, FEBRUARY 14 7:00–9:00 PM of the season’s most important shows by emerging and 9:30 AM–4:00 PM Film Screening: EVA HESSE established artists working in a variety of disciplines. Questions? 10:30 AM–12:00 PM The Artist as Entrepreneur Email: [email protected]. Tours will take place Time Warner Screening Room, The Lewis B. and Dorothy Cullman New York Foundation for the Arts, 20 Jay Street, Seventh Floor, regardless of weather. Education and Research Center, The Museum of Modern Art, New York Foundation for the Arts Workshop Brooklyn, NY 11201 4 West 54th Street, New York, NY 10019 Sharing Perspectives: Investigating the Impact of Art RSVP: Price: $36. Limit 30 people. Registration required. Purchase Concourse A, Concourse Level CAA partnered with The New York Foundation for the Arts ticket at special-event ticket purchase booth in conference Zeitgeist Films is pleased to provide a free screening to CAA (NYFA) to deliver NYFA’s professional development program registration area. conference attendees of their acclaimed documentary "lm After hitting the streets of Berlin and Amsterdam interviewing EVA HESSE released in theaters in 2016. Directed by Marcie locals to learn about their personal perspectives and experiences “The Artist as Entrepreneur” the day before the CAA Annual Directions: Meet the tour guide in the assembly area in the New Conference. This day-long event was customized to "t the needs Begleiter and Produced by Karen Shapiro. with art, David C. Terry (New York Foundation for the Arts) and York Hilton Midtown main lobby at 12:00 PM to travel together by Carina Kaufman-Gutierrez (Flux Factory) from the Sharing of CAA artist members and designed for New York area based RSVP: Screening is free for CAA Conference attendees, but public transportation (MTA) to and from Chelsea. Round-trip travel Perspectives team, will discuss their "ndings about the impact art artists. It allowed participants the opportunity to attend part of due to limited space, preregistration is REQUIRED via email to will cost $5.50; please purchase your Metrocard in advance at any can have on individuals, communities, and the world around us. the conference as well. emily@zeitgeist"lms.com. Participation limited to 50. subway station. Sharing Perspectives is an international collaboration between NYFA’s The Artist as Entrepreneur is a course that teaches Flux Factory, New York Foundation for the Arts, and Node the fundamental principles of sustainability – and ultimately Center for Curatorial Studies that engages people from di!erent 3:30–5:30 PM pro"tability – in the arts. This includes topics such as strategic THURSDAY, FEBRUARY 16 backgrounds across all sectors to contribute their thoughts on the planning, "nance, and marketing. Additional material is drawn Symposium: The Post-Socialist Object: Contemporary Art impact of art both on personal, social and cultural levels. from NYFA’s popular textbook which accompanies this curriculum, in China and Eastern Europe, followed by Reception and 8:00–9:30 AM RSVP: No RSVP required. Free and Open to the Public The Pro'table Artist (Allworth Press, 2011). The structure is a blend Columbia University Departmental Reunion SEPC Welcome Breakfast of formal lectures, breakout groups, and one-on-one meetings. Symposium: 612 Schermerhorn Hall; Reception and Reunion: Participants work through a %exible and dynamic “action plan,” Mercury Rotunda, 3rd Floor (SEPC Lounge) The Judith Lee Stronach Center (8th Floor). Department of Art 12:00–2:30 PM which provides a blueprint for their practice or speci"c projects. History and Archaeology, Schermerhorn Hall, Columbia University, Please join the Student and Emerging Professionals Committee Each receives speci"c feedback from experts in the "eld as well 1190 Amsterdam Avenue, New York, NY 10027 for co!ee, light breakfast, and conversation. SEPC members will Chelsea Gallery Walking Tour as their peers in the course. To learn more about NYFA Learning, be present to tell you about their programming at the conference Various Locations in Manhattan. Meet at the Main Entrance, Organized by students in the MA program in Modern and please see a list of programs on their website. and answer questions. This is a great way to get your feet wet at Hotel Lobby, New York Hilton Midtown. Contemporary Art, the symposium, followed by a department the conference and make new connections! Pre-registration was required. reception and reunion, considers issues surrounding See full description in Wednesday’s listings. contemporary art in post-socialist countries, among which include RSVP: No RSVP Required. RSVP: Price: $36. Limit 30 people. Registration required. Purchase the tensions between state and market, regionality and globality, ticket at special event ticket purchase booth in conference 6:00–8:00 PM memory and prospect in the art and cultural politics of today. registration area. Meet and Greet Symposium will take place from 3:30 to 5:30 PM; reception and 10:30 AM–12:00 PM Beekman Parlor, 2nd Floor reunion to begin at 5:30 PM. Learning to Look: New Insights into the Materials First-time conference attendees, those interested in learning more RSVP: No RSVP Required. and Techniques of Francis Picabia 12:00–2:30 PM about what the conference has to o!er, individuals participating Museum of Modern Art, 11 West 53rd Street, New York, “I Wish to Say” performance by Sheryl Oring in a Composed Panel, and anyone who has arrived early are NY 10019. Meet in the Lauder Lobby. (Located adjacent Promenade, 2nd Floor invited to drop in at this informal Tuesday evening Meet and 5:30–7:00 PM to the Modern restaurant’s entrance. This is also the Film/ Greet. Get tips on how to navigate the conference and make the Administrative entrance.) Sheryl Oring once again brings her “I Wish to Say” performance CAA Convocation, Presentation of Annual Awards for most of a full program. Learn the various components of Career to CAA, where conference goers are invited to dictate a postcard Distinction, and Annual Business Meeting, Part I Services so that you can take the best advantage of it. Check in Sponsored by the American Institute for Conservation of to the newly elected president. Oring, of The University of North West/East Ballroom, 3rd Floor early at the registration booths before the morning rush and meet Historic and Artistic Works (AIC) Carolina at Greensboro will type postcards on manual typewriters other conference participants, including members of the Annual The CAA Convocation, held the "rst evening of the annual CHAIR: Rebecca Anne Rush!eld, Independent Conservator as part of this ongoing public art project. More information on Conference Committee, the Board of Directors, and CAA sta! in a conference, includes a welcome from Suzanne Blier, CAA WORKSHOP LEADERS: Anne Umland, Blanchette Hooker “I Wish to Say:” sheryloring.org/i-wish-to-say/ relaxed setting. A cash bar will be available. president, and Hunter O’Hanian, CAA executive director, and Rockefeller Curator of Painting and Sculpture, The Museum the Presentation of Annual Awards for Distinction. This year RSVP: No RSVP Required. of Modern Art; Michael Du"y, Conservator, The Museum of Mary Miller, Sterling Professor of History of Art and recently Modern Art appointed senior director of the Institute for the Preservation of Cultural Heritage at Yale University, will give the keynote address. Convocation is free and open to the public. RSVP: No RSVP Required.

84 college art association new york city // 2017 85 THURSDAY, FEBRUARY 16 FRIDAY, FEBRUARY 17 5:30–7:30 PM SATURDAY, FEBRUARY 18 ARTexchange 5:00–7:00 PM 9:30–11:00 AM East Ballroom Foyer, 3rd Floor 10:15 AM–6:00 PM Public Art Dialogue Award Reception Honoring ACASA-Sponsored Event: Backstage in the Met’s Visual The Feminist Art Project, Rutgers, The State University of The Services to Artists Committee presents ARTexchange, CAA’s Mierle Laderman Ukeles Resource Archive, Arts of Africa, Oceania, the Americas New Jersey unique pop-up exhibition and annual meet-up for artists and Queens Museum of Art, New York City Building, The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, Crossroads: Art + Native Feminism curators. This social event provides an opportunity for artists to Flushing Meadows Corona Park, Queens, NY 11368. Meet at NY 10028. Please meet Visual Resource manager Jen Larson at the Museum of Arts and Design, 2 Columbus Circle, share their work and build a#nities with other artists, historians, the Park entrance. entrance of the Met’s African galleries at 9:30 AM (Gallery 350 in New York, NY 10019 curators, and cultural producers. Each artist is given the space on, Michael C. Rockefeller Wing). Award presentation and reception for Mierle Laderman Ukeles, above, and beneath a six-foot table to exhibit their works: prints, TFAP@CAA DAY OF PANELS: Free and open to the public; 2017 PAD awardee for achievement in the "eld of public art. Tour Arts Council of the African Studies Association Special Event: paintings, drawings, photographs, sculptures, small installations, no RSVP required the retrospective Mierle Laderman Ukeles: Maintenance Art with For African art specialists, the Met’s best-kept secret is its Visual performances, and process-based/interactive/participatory pieces. Symposium Chairs: Jaune Quick-to-See Smith, the artist. Sponsored by Ronald Feldman Gallery, the Queens Resource Archive in the Department of the Arts of Africa, Oceania, ARTexchange is free and open to the public. A cash bar Independent Artist; Maria Hup!eld, Independent Artist; Museum of Art, and PAD. and the Americas. Join Visual Resource manager Jen Larson and will be available. Kat Griefen, Rutgers, The State University of New Jersey and Mellon Curatorial Fellow Dr. Giulia Paoletti for a behind-the-scene Queensborough Community College RSVP: To RSVP and reserve a seat on the bus to the QMA, visit: RSVP: No RSVP Required. visit of this rich archival resource. publicartdialogue.org/news. Buses will pick up those who have Crossroads: Art + Native Feminism is a dedicated day of panels, registered at the New York Hilton Midtown. RSVP: Please RSVP to Jen Larson by Tuesday, February 14, 2017, at roundtables, and discussions lead by Indigenous knowledge [email protected]. Upon arrival, please meet Visual 6:30 PM–End carriers, artists, community members, elders, academics, and their accomplices on the topic of art and Native Feminism Resource manager Jen Larson at entrance of the Met’s African SEPC Social Night focused on North America. From the countless unnamed galleries at 9:30 AM. 6:30–8:30 PM Samovar Russian Restaurant and Piano Bar, 256 West 52nd Street, works produced by Native women and acquired by historical Cultural Activism: Process and the Present New York, NY 10019 museums in service of colonial nation-states around the world to Rebecca Belmore representing Canada at the Venice The Lesbian, Gay, Bisexual and Transgender Community Center, Meet up with members of the SEPC for a casual night out of drinks 12:00–2:30 PM Biennale and Christi Belcourt’s Anishinaabe Nation %oral motif– 208 West 13th Street, New York, NY 10011 and networking away from the conference hotel. Follow our social Chelsea Gallery Walking Tour inspired designs on the haute couture runway of Valentino, media tag for more information: #caasepc. Please join us for a public program in which several artists, Various Locations in Manhattan. Meet at the Main Entrance, Hotel Native women across the continent have a long-established performers, and writers—each of whom has made a substantial Lobby, New York Hilton Midtown. RSVP: No RSVP Required. tradition in the visual arts that pushes against dominant impact on AIDS and culture—will re%ect on works created from patriarchal structures. Against the odds of systematic erasure the 1980s to the present. See full description in Wednesday’s listings. of colonization and historically situated outside of mainstream Feminism, the experience and knowledge of Native women RSVP: No RSVP Required. RSVP: Price: $36. Limit 30 people. Registration required. Purchase 7:00–9:00 PM ticket at special event ticket purchase booth in conference o!er ranging perspectives conceptually better located at the ICMA Annual Meeting registration area. center of the movement. Land recovery, self-determination, The Morgan Library and Museum, 225 Madison Ave, and social relations based in respect and inherent dignity of all 7:00–9:00 PM New York, NY 10016 living beings from nonhuman to human are a few examples that %uidity move across and between traditional and Distinguished Scholar Reception 12:00–2:30 PM Join the International Center of Medieval Art in celebrating contemporary practices today. East Promenade, 3rd Floor our new programs and accomplishments; we thank outgoing Lower East Side Galleries: Walking Tour President Nancy Patterson Ševčenko for her service and inaugurate Please join this reception, immediately following the Various locations, Lower East Side, Manhattan. Meet at the Main Helen C. Evans as incoming president at this meeting. 10:15 AM Distinguished Scholar Session. No tickets required for admission. Entrance, Hotel Lobby, New York Hilton Midtown, 1335 Avenue of The reception will include a cash bar. the Americas, New York, NY 10019. RSVP: An RSVP to [email protected] was required by Onscreen Projections: ReMatriate Project Opening Performance: Laura Ortman February 10, 2017. RSVP: No RSVP Required. Join Paddy Johnson, Founding Editor of Art F City, on a tour of New York’s Lower East Side galleries. Paddy has published in 10:30–10:45 AM magazines such as New York magazine, The New York Times, and The Economist. In 2008, she became the "rst blogger to earn a 7:00–9:00 PM Welcome and Introductions Creative Capital Arts Writers grant. Paddy was nominated for From the Belly of the Beast DIRECTOR: Connie Tell, TFAP, Center for Women in the Arts best art critic at The Rob Pruitt Art Awards in 2010 and 2013. In Grace Exhibition Space, 840 , 2nd Floor, and Humanities, Rutgers, The State University of New Jersey 2014, she was the subject of a VICE pro"le. Tour will take place Brooklyn NY 11206 SYMPOSIUM CHAIRS: Jaune Quick-to-See Smith, regardless of weather. Independent Artist; Maria Hup!eld, From The Belly of The Beast is a night of native and non-native Independent Artist; Kat Griefen, RSVP: Price: $20. Limit 15 people. Registration required. Purchase feminist performances co-curatored by Maria Hup!eld and Rutgers, The State University of New Jersey and ticket at special-event ticket purchase booth in conference Katya Grokhovsky. This program relates to The Feminist Art Queensborough Community College registration area. Project’s full day of panels, Crossroads: Art + Native Feminisms, taking place Saturday, February 18, 2017 at the Museum of Art and Design. Directions: Meet Paddy Johnson in the Main Entrance, Hotel 10:45–11:00 AM Lobby, New York Hilton Midtown at 12:00 PM to travel together RSVP: No RSVP Required. Keynote Address by public transportation (MTA) to the Lower East Side. Round trip Jaune Quick-to-See Smith, Independent Artist travel will cost $5.50; please purchase your Metrocard in advance at any subway station. Continues on Pg 88

86 college art association new york city // 2017 87 11:10 AM–12:20 PM 4:40–6:00 PM cover two related exhibitions: Janet Taylor Pickett: The Matisse 5:30–7:00 PM Series and Inspired by Matisse: Selected Works from the Collection. Kinship, Decolonial Love, and Community Art Practice Association of Art Historians/Wiley Publishing Reception The Struggle for Cultural Capital in Contemporary A light lunch will be provided. Native American Art CHAIR: Lindsay Nixon, Concordia University West Ballroom Foyer, 3rd Floor CHAIR: Diane Fraher, Amerinda Inc. PANELISTS: ErinMarie Konsmo, Independent Artist; RSVP: Price: $40. Limit 35 people. Registration required. PANELISTS: Gloria Miguel, Spiderwoman Theater; Dayna Danger, Independent Artist; Marcella Ernest, Purchase ticket at special event ticket purchase booth in Brown University Reception Muriel Miguel, Spiderwoman Theater; Independent Artist; conference registration area. Meet the bus outside the 54th Street Harlem Suite, 4th Floor Jaune Quick-to-See Smith, Independent Artist Tarah Hogue, grunt gallery; Lyncia Begay, Independent Artist entrance of the New York Hilton Midtown at 9:30 AM. Return bus This panel will discuss the multidisciplinary struggle for Members from the Indigenous Arts Council, a programming will depart the Montclair Art Museum at 2:30 PM and will drop o! Department of History of Art and Architecture and cultural capital in contemporary Native American art and organization for Indigenous artists, cultural workers, and at the New York Hilton Midtown at approximately 3:30 PM. Harvard Art Museum’s Alumni Reception share "rst-person aspects of an unknown, organic, highly community organizers in Montreal, Canada, will lead a Liberty 3 Room, 3rd Floor, Sheraton New York , diverse Native American art movement, based in New “kitchen-table” discussion. Participants will speak about 811 7th Avenue at 53rd Street, New York, NY 10019 York City, a movement that encompasses the founding of ways of being, to relate, resist, and resurge, to consider the contemporary Native American "lm and theater in the United interruption of kinship ways and relations to the land and REUNIONS AND RECEPTIONS Grinnell College Art and Art History Department Reception States as well as the strongest contemporary Native visual restore them for the future. New York Suite, 4th Floor arts movement outside Santa Fe, New Mexico. Unless otherwise stated, all receptions are at the New York Hilton Midtown. Indiana University School of Art and Design and 12:20–1:20 PM Department of Art History Reception SATURDAY, FEBRUARY 18 Central Park West Room, 2nd Floor, Sheraton New York Times Lunch Break WEDNESDAY, FEBRUARY 15 Square Hotel, 811 7th Avenue at 53rd Street, New York, NY 10019 12:00–2:30 PM 5:30–7:00 PM 1:20–1:40 PM Chelsea Gallery Walking Tour Society of Fellows of the American Academy Columbia University Department of Art History and Introduction to Afternoon Sessions Various Locations in Manhattan. Meet at the Main Entrance, Hotel in Rome Reception Archaeology Reception Maria Hup!eld, Independent Artist Lobby, New York Hilton Midtown. American Academy in Rome, 7 East 60th Street, Judith Lee Stronach Center, Room 825, Schermerhorn Hall, See full description in Wednesday’s listings. New York, NY 10022 Columbia University, New York, NY 10027 Contact: Richard Rezac at 773-772-2915 or [email protected] 1:45–3:15 PM RSVP: Price: $36. Limit 30 people. Registration required. Purchase Contact: 212-854-4506 The Problematics of Making Art while Native and Female ticket at special event ticket purchase booth in conference Terra Foundation for American Art Reception CHAIR: Andrea Carlson, Independent Artist registration area. Lenox Ballroom, 2nd Floor, Sheraton New York Times Square Hotel, PANELISTS: Julie Nagam, University of Winnipeg and the THURSDAY, FEBRUARY 16 811 7th Avenue at 53rd Street, New York, NY 10019 Winnipeg Art Gallery; Charlene Teters, Independent 6:00–9:00 PM 8:30–10:00 AM Artist; Carly Feddersen, Independent Artist; University of Michigan Penny W. Stamps School of Art and Ryan Elizabeth Feddersen, Independent Artist; Women’s Caucus for Art Lifetime Achievement Awards COPLAC Reception Sponsored by Truman State University Design and the Department of the History of Art Reception Grace Rosario Perkins, Black Salt Collective New York Institute of Technology, 1871 Broadway at 61st Street, and the University of Mary Washington East Ballroom Foyer, 3rd Floor Are we artists who “happen to be Native” or are we Native New York, NY 10023 Lincoln Suite, 4th Floor artists? Six artists will scrutinize, question, and respond with The Women’s Caucus for Art will honor Mary Schmidt Campbell, University of Texas at Austin Department of Art work that “has it both ways” as they speak from “a Native Audrey Flack, Martha Rosler, and Charlene Teters with a PhD Program in Art History, The Graduate Center, and Art History Reception perspective” yet are uncompromisingly universal. Discussion Lifetime Achievement Award during a ticketed reception from The City University of New York Reception Green Room, 4th Floor will address navigating the staying power of the colonization 6:00 to 9:00 PM followed by the public ceremony (free) at 8:00 PM. East Suite, 4th Floor and empire from within institutions. Yale University Department of the History of Art Reception RSVP: Reception tickets must be purchased in advance at University of Pittsburgh History of Art and East Suite, 4th Floor 3:25–4:30 PM nationalwca.org. Architecture Reception Midtown Suite, 4th Floor Roundtable: “The Teaching Is in the Making”: 6:00–8:00 PM Locating Anishinaabe Feminism as Art Praxis SUNDAY, FEBRUARY 19 PARTICIPANTS: Celeste Pedri-Spade, Laurentian University; Cranbrook Academy of Art Alumni and Friends Reception 12:00–1:30 PM Leanna Marshall, Independent Artist; Elder Wanda Baxter, 9:30 AM–3:30 PM Knoll Showroom, 1330 6th Avenue, New York, NY 10019 Independent Artist Bryn Mawr College Department of History of Art Reception Contact: 248-645-3040 or [email protected] RESPONDENT: Crystal Migwans, Columbia University Private Curatorial Tour of Matisse Exhibitions at the East Suite, 4th Floor Montclair Art Museum Celeste Pedri-Spade and Leanna Marshall invite Elder/Artist Montclair Art Museum, 3 South Mountain Avenue, Montclair, Wanda Baxter to discuss their two-person exhibition The Center for Advanced Study for the Visual Arts, NJ 07042-1747 (Leir Hall, "rst %oor: gathering and luncheon; Teaching Is in the Making, Thunder Bay Art Gallery, 2016. National Gallery of Art Reception Galleries, second %oor: tour). Bus pick-up and drop-o! outside Applying Anishinaabe knowledge, they argue that Indigenous West Ballroom Foyer, 3rd Floor the 54th Street entrance of the New York Hilton Midtown. women, as makers of movements, ideas, and tools, continue to e!ectively challenge and dismantle heteropatriarchal colonial Gail Stavitsky, chief curator, will give a private tour of Matisse USC Department of Art History Reception systems and violence. and American Art, the "rst exhibition to examine Matisse’s Green Room, 4th Floor

profound impact upon American artists from 1907 to the present, including Max Weber, Stuart Davis, Maurer, Bearden, Rothko, Lichtenstein, Hofmann, Frankenthaler, Motherwell, Kelly, Warhol, Baldessari, Sophie Matisse, and many others. The tour will also

88 college art association new york city // 2017 89 FRIDAY, FEBRUARY 17 The University of the Arts MFA Programs in Book NOON FORUMS THURSDAY, FEBRUARY 16 Arts + Printmaking and Studio Art Reception 8:30–10:00 AM Green Room, 4th Floor Special forums, scheduled during the lunch hour, provide an 12:15–1:15 PM opportunity to hear from colleagues, address critical issues, and Boston University Alumni Breakfast University College London History of Art continue conversation outside the session grid. These programs Key Conversation: Art Criticism Midtown Suite, 4th Floor Department Reception are scheduled to begin at 12:15 PM and end at 1:15 PM and are Trianon Ballroom, 3rd Floor Liberty 4 Room, 3rd Floor, Sheraton New York Times Square Hotel, free and open to the public. Please feel free to bring your lunch. Smithsonian American Art Museum Annual Reunion SPEAKERS: 811 7th Avenue at 53rd Street, New York, NY 10019 of the S. I. Fellows and Interns Forums include: Negar Azimi, Bidoun West Ballroom Foyer, 3rd Floor Jason Farago, The Guardian and Even magazine University of Connecticut Department of Art and Key Conversations Margaret Sundell, Cabinet and 4columns.org Art History Reception Scholars, artists, and arts professionals address University of Iowa School of Art and Art History Reception David Velasco, Artforum International Magazine Club Quarters Midtown Club Room, 40 West 45th Street, key issues in their "elds. New York Suite, 4th Floor New York, NY 10036 Hot Topics Contact: Judith Thorpe at [email protected] or Women’s Caucus for Art Reception Critical time-sensitive issues in the "eld are addressed Committee on Intellectual Property 860-486-3930 East Ballroom Foyer, 3rd Floor in this hour-long panel. Key Conversation: Learning from Experience: Fair Use in Practice Washington University in St. Louis Department of Information on speakers, subjects, and additional Noon Forums Sutton Parlor Center, 2nd Floor Art History and Archaeology Reception was still forthcoming at print date. Please see CAA 2017 app 12:00–1:30 PM CHAIR: Anne Collins Goodyear, Bowdoin College Museum of Art East Suite, 4th Floor or conference website for program updates. Princeton University Department of Art and SPEAKERS: Archaeology Reception Martha Rosler, Artist New York Suite, 4th Floor 5:30–8:30 PM WEDNESDAY, FEBRUARY 15 Francine Synder, Robert Rauschenberg Foundation A representative from MIT Press and other speaker information Italian Art Society Members’ Business Meeting and 30th Research and Academic Program, The Clark and Williams 12:15–1:15 PM forthcoming. Check conference website or CAA 2017 app Anniversary Reception College Graduate Program in the History of Art Reception for updates. Il Gattopardo Restaurant, 13–15 West 54th Street, West Ballroom Foyer, 3rd Floor Hot Topic: Advocating for Your Department New York, NY 10019 (Meet in the Atrium and Cellar) Rendezvous Trianon, 3rd Floor DISCUSSANT: Je"rey P. Cunard, CAA Counsel/Debevoise & Plimpton LLP Stony Brook University Department of Art Reception The annual IAS Members’ Business Meeting will be followed by SPEAKERS: East Suite, 4th Floor a reception with open bar to celebrate the society’s thirtieth Deborah Bright, Pratt Institute anniversary. IAS members will receive invitations in January with Roberta W. Albert, Columbia University School of the Arts University of Virginia McIntire Department of Art Reception an RSVP date. The reception is open only to IAS members and Heather Pontonio, Emily Hall Tremaine Foundation SATURDAY, FEBRUARY 18 Green Room, 4th Floor their guests, and space will be limited. DISCUSSANT: Hunter O’Hanian, College Art Association 12:15–1:15 PM Yale Center for British Art and Paul Mellon Center Reception Key Conversation: Hrag Vartanian Interviews… East Ballroom Foyer, 3rd Floor 6:00–7:30 PM Key Conversation: Navigating Public Opposition to Trianon Ballroom, 3rd Floor The Metropolitan Museum of Art Fellows Alumni Reception Museum Exhibitions Hyperallergic founder and editor Hrag Vartanian will lead an The Metropolitan Museum of Art, 1000 Fifth Avenue, Trianon Ballroom, 3rd Floor interview on radical thinking about art in the world today. 5:30–7:00 PM New York, NY 10028 Duke University Department of Art, Art History and SPEAKERS RSVP to William Gassaway, Academic Programs, The Metropolitan Visual Studies Reception Lisa Melandri, Contemporary Art Museum St. Louis Museum of Art, at [email protected] or Key Conversation: Memorial Session Lenox Ballroom, 2nd Floor, Sheraton New York Times Square Hotel, Stephanie Stebich, Tacoma Art Museum 212-396-5026 Madison Suite, 2nd Floor 811 7th Avenue at 53rd Street, New York, NY 10019 Catherine J. Morris, Brooklyn Museum CHAIR: Francesca Fiorani, University of Virginia DISCUSSANT: Svetlana Mintcheve, National Coalition The J. Paul Getty Trust Reception 6:00–8:00 PM against Censorship Join this informal session to remember colleagues who have West Ballroom Foyer, 3rd Floor recently passed. Come together, share memories, and celebrate Institute of Fine Arts Reception, New York University their achievements in the visual arts and art history. Check Institute for Doctoral Studies in the Visual Arts Reception James B. Duke House, 1 East 78th Street, New York, NY 10075 conference website or CAA 2017 app for more information. New York Suite, 4th Floor Contact: Hope O’Reilly at [email protected]

Maryland Institute College of Art Reception Penn State College of Arts and Architecture Reception Lincoln Suite, 4th Floor Ameringer McEnery Yohe, 525 West 22nd Street, New York, NY 10011 Rochester Institute of Technology School of Art Reception Playwright Inn, 202 West 49th Street, New York, NY 10019 Contact: Ron Goldberg at [email protected] or 585-475-3112 SATURDAY, FEBRUARY 18 8:30–10:00 AM Kress Foundation Department of Art History at the University of Kansas Reception East Suite, 4th Floor

90 college art association new york city // 2017 91 careers 1:30–3:00 PM THURSDAY, FEBRUARY 16 12:15–1:15 PM Moving Forward Past Contingency: Retooling FREE WORKSHOP (Registration NOT Required) 10:30 AM–12:00 PM PROFESSIONAL#DEVELOPMENT for the Job You Want Building an Online Presence for Your Scholarship with WORKSHOPS Concourse G, Concourse Level Applying Yourself: Research and Development WordPress and Humanities Commons WORKSHOP LEADERS: Susan Altman, Middlesex County College; for the Application Process Concourse A, Concourse Level Workshops on various professional-development topics are Michael Aurbach, Vanderbilt University, Emeritus Concourse E, Concourse Level WORKSHOP LEADER: Susana Sevilla Aho, Modern WORKSHOP LEADER: Kate Kramer, University of Pennsylvania Language Association o!ered throughout the conference, on the Concourse Level This workshop is for both studio artists and art historians looking of the New York Hilton Midtown. All workshops are by for a permanent position in academia. We will discuss the logistics Like most worthy endeavors, it pays to do the homework. In (This free workshop is ideal for PhD students and recent grads.) preregistration only and cost $35 for CAA members or $50 of the job search including practical approaches to "nding a full- this case, research and development during the application WordPress is an open-source tool for publishing and sharing for nonmembers unless otherwise noted.* time position, preparation of application materials, preparing for process cannot be underestimated. That competitive award, information on the web. The Humanities Commons is an online *After December 19, 2016, 11:59 PM, professional-development workshop interviews and the campus visit, and strategies to maximize your exhibition, fellowship, grant, graduate program, residency, or academic community built on WordPress technology, making it an enrollment is onsite only. Tickets onsite will be limited, so please visit the experience and strengths. Participants will bring their application teaching opportunity doesn’t just come knocking on the door. ideal place to create, discuss, and share research in the humanities single-time-slot ticket booth in registration early. materials (cover letter, CV, etc.) and leave the workshop with a The responsibility to apply falls to the individual. And that, in and and related "elds. In this workshop, we’ll look at some ways to concrete plan to facilitate or revise their job search. Whether you of itself, is awesome: who else knows the career stage, region, share your work using the tools that both Humanities Commons, are new to the job search or working part-time in a small or large media, or professional niche better than the applicant herself? and WordPress more generally, o!ers. No coding experience WEDNESDAY, FEBRUARY 15 department, this workshop will prepare you for the next step in The more an applicant can research the particular objectives is required! your career and help you to use your diverse academic experiences and perspectives of a host institution, the better she can craft REQUIRED WORKSHOP MATERIALS: None, but you may bring 10:30 AM–12:00 PM to reach your professional goals. application materials for a particular audience. This hands-on your own laptop or device if you’d like to follow along. workshop will demonstrate how to analyze criteria, keywords, Grant Writing for Artists: How to Communicate REQUIRED WORKSHOP MATERIALS: Job application materials concepts, missions, and histories of resources. Participants should Your Project to Multiple Funders (cover letter, CV, etc.) and note-taking materials. come prepared to learn how to research public data; determine Concourse G, Concourse Level 1:30–3:00 PM WORKSHOP LEADER: Maria Michails, Rensselaer key "gures; analyze pro"les; and assess compatibility. Websites for private and public institutions will provide much of the content Scalar and Designing Digital Scholarship Polytechnic Institute 3:30–5:00 PM for analysis. Additional data and information about nonpro"t Concourse E, Concourse Level As artists and creative researchers, we face signi"cant challenges FREE WORKSHOP (Registration Required) (REGISTRATION FULL) institutions will be explored through public documents. Together, WORKSHOP LEADERS: Craig Dietrich, The Claremont Colleges; in fundraising for projects or opportunities to support our artistic Getting Started with Publishing Digital Art History we will develop essential research and development strategies. Jon Ippolito, University of Maine; John Bell, Dartmouth College development. Writing clear and e!ective proposals is essential Concourse G, Concourse Level Ideal participant: someone who has already selected a host Scalar is a unique online platform for publishing long-form, to succeeding in raising grant monies. This session will cover the WORKSHOP LEADERS: Emily Pugh, Getty Research Institute; institution to which they hope to apply. media-rich scholarship. Based on Semantic Web technology, common components of most grant proposals, providing tips, Elizabeth Buhe, Institute of Fine Arts, New York University; REQUIRED WORKSHOP MATERIALS: Fully charged laptop, it o!ers a nonhierarchical approach to authoring content and exercises, and examples to help make future proposals more Petra ten-Doesschate Chu, Seton Hall University e!ective. Beyond the common components (including project notebook, and writing utensil, one to three possible host creating relationships between text and media. In this workshop description, bio, budget, and work samples), the workshop will This workshop is for scholars who have an idea for a digital institutions to research, professional curiosity. we will introduce Scalar, and each participant will leave being able include an in-depth analysis of how to modify your proposal to humanities project that they want to publish in an online art to create new Scalar “books” that include pages, media, paths, and meet di!erent funder criteria. Artist Maria Michails will draw on history journal, or who want to explore possibilities for digital annotations. In addition to Scalar basics we will focus on Scalar’s her twenty years of experience in fundraising, sharing examples publication but need help getting started. Editorial and production Fundraising Fundamentals for Academics built-in connections to partner archives and tools including a new of her proposals and her approach to organizing and maintaining sta! representing online art history journals, including Nineteenth- Concourse G, Concourse Level plug-in for ThoughtMesh, a folksonomy system for navigating this integral part of her practice. Century Art Worldwide, will be on hand to meet with workshop WORKSHOP LEADER: Shannon Connelly, Lebanese between articles across the web. attendees, answer any questions they have, and o!er advice on American University REQUIRED WORKSHOP MATERIALS: Fully charged laptop. REQUIRED WORKSHOP MATERIALS: Workshop materials how to publish digital art history scholarship. Authors from NCAW’s This workshop will give faculty, deans, and department (handouts) will be provided. A notebook for taking notes is recent Digital Humanities and Art History series will be available administrators a set of tools for partnering with fundraising recommended. to share their experiences and lessons learned. Experts on speci"c sta! at colleges and universities. Our goal is to understand the Tame the Nightmare! Practical Public Speaking digital publication tools and techniques, such as web development, development process—from identi"cation and cultivation to Tips for Fabulous Artist’s Talks will o!er attendees basic tutorials to help prospective authors solicitation and stewardship—and how academics contribute Concourse G, Concourse Level 12:15–1:15 PM take advantage of the online publishing format. Participants in to the range of activities required to prepare and submit WORKSHOP LEADER: Molly Fox, Indiana University the workshop do not need to have a digital humanities project FREE WORKSHOP (Registration NOT Required) e!ective funding proposals. We will discuss how to develop already under way, nor do they need to have any prior knowledge In this workshop we will be discussing tips and tricks on how Using Digital Platforms to Curate and Share Artistic Works compelling letters of inquiry, concept notes, and case statements or expertise in digital publishing. In fact, a primary goal of the to give a remarkable "ve- to "fteen-minute artist’s talk that Concourse A, Concourse Level to individuals, corporations, and foundations. We will also workshop is to spark interest in the digital humanities and to help leaves the audience wanting more. Artists in search of creative WORKSHOP LEADER: Susana Sevilla Aho, Modern discuss how to identify public funding opportunities and review authors brainstorm ways of integrating innovative techniques and opportunities shine when they can con"dently speak about their Language Association the application guidelines and reporting requirements for tools in their research and publication. Support for this workshop is studio practice with other artists, professionals, academics, and government grants. This workshop will be discussion-based and (This free workshop is ideal for MFA students and recent grads.) provided by the Kress Foundation. colleagues with clarity and intrigue, thereby leading to generative interactive: participants should bring project ideas and case In this session, we’ll look at a variety of di!erent, easy-to-use ongoing interest and networking bliss. Through a series of REQUIRED WORKSHOP MATERIALS: Participants should come studies to outline in small teams. Together, we will review the platforms for sharing your work digitally. Attendees will be discussions and practical exercises for format and styling tips, with their laptops. Workshop attendees should also be prepared process of vetting your idea, drafting a proposal, developing a introduced to the Humanities Commons, a nonpro"t digital participants will practice an action plan for how to prepare their to discuss their research projects and publication ideas, as well budget, and managing grant reports for individual, institutional, initiative geared toward the humanities and related "elds—and next lecture, job interview presentation, elevator pitch, or artist’s as show any digitized materials or resources they have so far and government funders. will see how certain features on the Commons can be used to talk. Workshop instructor, Molly Fox, is a textile artist, independent assembled for their project. promote and curate your work. No coding experience is required! REQUIRED WORKSHOP MATERIALS: Note-taking materials, curator, public oral communications instructor, and public- REQUIRED WORKSHOP MATERIALS: None, but you may bring case studies for review. speaking a"cionado. your own laptop or device if you’d like to follow along. REQUIRED WORKSHOP MATERIALS: Note-taking materials, business cards.

92 college art association new york city // 2017 93 THURSDAY, FEBRUARY 16 Undergraduate Research and Teaching Excellence in Writing and Publishing Art Criticism CAREER SERVICES Art and Art History Concourse G, Concourse Level 3:30–5:00 PM Concourse E, Concourse Level WORKSHOP LEADER: Martha Schwendener, The New York The CAA Annual Conference Career Fair gives job seekers a WORKSHOP LEADERS: Alexa Sand, Utah State University; Show Me the Money: Building Budgets for Success Times/New York University chance to meet directly with dozens of top institutions looking for Sara Orel, Truman State University employees in myriad professional "elds. It is a great opportunity Concourse G, Concourse Level This is a workshop on art criticism that o!ers some strategies for to make professional contacts at multiple organizations and WORKSHOP LEADER: Rebekah Beaulieu, Bowdoin College In his paradigm-shifting 2008 study, High-Impact Educational writing and publishing. We will discuss how criticism di!ers from consolidate interviews during the conference. Museum of Art Practices: What They Are, Who Has Access to Them, and Why other forms of art writing, how it is still vital and relevant today, They Matter, George Kuh made a compelling case for engaging The concept of creating a budget can be daunting for those of and how it can supplement scholarly or curatorial work. Viable students from all disciplines in research experience from a us in creative "elds. Yet whether for a scholar, an institutional venues for publishing art criticism will be discussed. very early stage in their education; bene"ts include greater ONLINE CAREER CENTER employee, or an independently employed artist, the budget is retention of at-risk students, increased learning outcomes, REQUIRED WORKSHOP MATERIALS: Pen and paper. Visit the CAA Online Career Center at collegeart.org/careers a necessary component of any successful project. FroFundem and improved student engagement. In the humanities, where to review job listings. Listings are updated frequently. "nancial forecasting to project evaluation, this workshop individual research based on years of specialist training is the demysti"es the budget process and equips attendees with the A CS icon in a job listing indicates that the employer will be norm, this insight has been more challenging to incorporate fundamental tools with which to successfully build budgets for SATURDAY, FEBRUARY 18 conducting interviews in the Interview Hall at the conference. into pedagogical methods than in the sciences. Meanwhile, grant applications, operating budgets, and special projects. for the arts, where teaching has always focused on learning by 12:00–1:30 PM REQUIRED WORKSHOP MATERIALS: Note-taking materials, doing, opportunities have been missed due to incongruities Strategy Session on Alternative Publishing INTERVIEW HALL calculator (cell phone "ne). of language—creative work is not widely understood as Concourse E, Concourse Level “research” per se. This workshop, led by two long-time members WORKSHOP LEADERS: Jack Henrie Fisher, University of Illinois, Institutions will have tables and booths set up through the of the Council on Undergraduate Research’s Division of Arts Chicago; Alan Smart, University of Illinois, Chicago Interview Hall. Job seekers are encouraged to meet with FRIDAY, FEBRUARY 17 and Humanities, focuses on best practices, challenges, and institutional representatives and/or interview for speci"c positions advocacy issues relating to undergraduate research in art and Writing about and publishing on art has always involved with institutional representatives. art history departments. We will investigate individual curricular negotiating a balance between addressing academic discourse 10:30 AM–12:00 PM Check the Online Career Center often to see which employers will modules (lesson plans, assignments, and course syllabi) focused and engaging with audiences in the commercial market. Seeing through Drawing: Perceptual Drawing be onsite in the Interview Hall (look for the CS icon), to review on research-based learning, discuss how to institutionalize The advent of online publishing as well as just-in-time print through the Senses employment listings, or to schedule a private interview with a and build a culture of undergraduate research, and explore systems have disrupted this dynamic in ways that have both Concourse G, Concourse Level speci"c institution. funding and partnership models to support the incorporation opened up new possibilities for publishing and pushed many WORKSHOP LEADERS: Deborah Lutz; Pamela Lawton; of undergraduate research in art and art history curricula. conventional forms into crisis. Other Forms is a collaboration Annie Leist; Emilie Gossiaux, all of The Metropolitan Museum Participants at all levels of experience with undergraduate that works between publishing, design, and exhibition practice. Dates Wednesday, February 15–Saturday, February 18, 2017 of Art We are interested in developing ways to operate within the research are welcome; the ultimate goal of the workshop is Hours: Wednesday–Friday: 9:00 AM–7:00 PM material infrastructures of media production—both new and This interactive drawing workshop for people with any level of to create an ongoing discussion between art and art history Saturday: 9:00 AM–12:00 PM sight is based on “Seeing through Drawing,” a class taught at educators that will produce a more inclusive and more dynamic old—that engage critically with the relations between these The Metropolitan Museum of Art by the presenters of this CAA approach to pedagogy and mentorship in our "elds. and the production of space and discourse. This workshop will Location: Americas Hall II, New York Hilton Midtown workshop, for participants who are visually impaired. The four present ongoing projects and use them to frame a conversation (entrance from escalators o! Third Floor Promenade) REQUIRED WORKSHOP MATERIALS: All participants should bring educators for this workshop are each practicing artists, two of working outside of and across conventional boundaries in three copies of a lesson plan, syllabus, or program curriculum that of whom have low vision or blindness, and two who are fully academic and commercial publishing. As well as considering how you think could be enriched with greater attention to and more sighted artists teaching college studio-art courses. The perceptual new publishing forms and hybridizations might facilitate new rigorous assessment of undergraduate research-based learning. nontraditional approaches you will experience in this drawing types of projects, the discussion will also focus on the potentials CANDIDATE CENTER This can be something you are already using or something you of alternative publishing to engage with and call into being new, workshop will engage your exploration of materials, space, sound, The Candidate Center o!ers computer access to the Online wish to develop and implement in the future. or newly rede"ned, audiences and “counter publics,” within and touch, movement, and perhaps, sense of self. These approaches Career Center so that job seekers can review up-to-the-minute without the academy. The workshop is planned as a practical, have been successfully used in college-level drawing classes with job listings, post a résumé, apply for positions, request interviews, working session addressing issues including low-capital printing sighted and visually impaired students alike, as well as in The and receive interview-related messages during the conference. 1:30–3:00 PM and distribution strategies, ways to connect and disconnect print Metropolitan Museum of Art’s “Seeing through Drawing” class. Check emails often, as messages are sent regularly from and online media, the meaning and value of peer-review and This perceptual approach to drawing will be introduced in a Interactive Design with the Arduino Microcontroller employers. Access to computers is timed and on a "rst come, other academic publishing structures, and relationships between short ten-minute panel presentation, followed by four "fteen- Concourse E, Concourse Level "rst served basis. minute drawing workshops in which attendees will be guided WORKSHOP LEADER: Jenn Karson, University of Vermont FabLab publishing and curatorial or exhibition practice. Participants through these various drawing approaches. The session will involved in or interested in beginning their own publishing An electronics platform, the Arduino microcontroller is based projects are especially welcome and are invited to contact the Dates Wednesday, February 15–Friday, February 17, 2017 conclude with a "fteen- to twenty-minute panel/participant on relatively easy-to-use hardware and software. It’s intended workshop organizers in advance. Hours: 9:00 AM–7:00 PM share and discussion. for anyone (designers, inventors, musicians, educators, artists, REQUIRED WORKSHOP MATERIALS: None. Will be supplied. makers, architects, scientists, and researchers) interested in REQUIRED WORKSHOP MATERIALS: No materials are required. Location: Americas Hall II, New York Hilton Midtown making interactive projects, prototypes, and tools. Designing with However, participants are encouraged to bring examples of (entrance from escalators o! Third Floor Promenade) the Arduino gives one the ability to de"ne inputs and outputs publication projects they have been involved with, both "nished like sensing, light, sound, and motion. In this short workshop we’ll and in progress. explore its founding philosophy and provide hands-on time for building simple circuits and interactions. You do not need any previous experience or knowledge to take this workshop; we encourage everyone who is interested to join the fun! REQUIRED WORKSHOP MATERIALS: Laptop with current operating system. In advance of the workshop, please download Arduino software: arduino.cc/en/Main/Software.

94 college art association new york city // 2017 95 MENTORING APPOINTMENTS book and trade fair EXHIBITOR SESSIONS SATURDAY, FEBRUARY 18 10:30 AM–12:00 PM Receive career advice or feedback on your art! Before December FAIR INFORMATION THURSDAY, FEBRUARY 16 16, 2016, CAA members were able to sign up for one-on-one Station Hill Press/Heide Hatry Exhibitor Session discussions with dedicated mentors about artists’ portfolios, 8:30–10:00 AM The Book and Trade Fair hosts more than 100 publishers, art Icons in Ash career-management skills, and professional strategies. All materials manufacturers, and services for professionals in the Concourse A, Concourse Level applicants who requested appointments in December were Routledge, Taylor & Francis Exhibitor Session "eld. Stop by to explore their wares and projects and talk to them CHAIRS: Steven Pinker, Harvard University; Heide Hatry, noti"ed of their scheduled date and time slot via email in January. How to Get Published and How to Get Read about yours. Meet an editor, "nd a great book, test a new ink, chat Independent Artist Conference registration, while encouraged, is not necessary to Petit Trianon, 3rd Floor with authors, explore opportunities, and more! participate and appointments are o!ered free of charge. CHAIR: Sarah Sidoti, Routledge, Taylor & Francis Icons in Ash. Portraits Made of Human Ashes. This panel This panel discussion is designed for scholars and artists looking discussion introduces the art project and book publication Dates Thursday, February 16–Saturday, February 18, 2017 to submit an article or book proposal for academic publication. Heide Hatry, Icons in Ash. The art of the human image arose many Artists’ Portfolio Review Appointments millennia ago precisely for the purpose of keeping the dead Hours: Thursday–Friday: 9:00 AM–6:00 PM Whether you are a seasoned publishing veteran or new to the Concourse F, Concourse Level among us, not just in memory but in charged ceremonial objects By appointment only Saturday: 9:00 AM–2:30 PM publishing landscape, this session o!ers practical advice on how to get published and how to get read with helpful tricks and tips that were intended to embody and preserve their spirits for Location: Rhinelander Gallery, Second Floor, and Americas Hall I The Artists’ Portfolio Review o!ers CAA members the opportunity from journal editors, book authors, and visual arts Routledge sta!. their survivors and for the community as a whole. It was a way of to have digital images of their work reviewed by artists, critics, (access from Third Floor West Promenade) integrating the inexplicable fact of death into life, of insuring that curators, and educators in personal twenty-minute consultations. How to Publish an Article in a Journal the dead and what they meant stayed present and abided with You must bring a charged, battery-powered laptop or a physical Sarah Sidoti, Routledge, Taylor & Francis us. Heide Hatry, a German visual artist working in New York, has See the newest art books, journals, and magazines portfolio to review your work. Sessions are by appointment only invented a new technique and purpose for portraiture employing Attend book signings How to Submit a Book Proposal and Publish a Book and were "lled in January. There will be VERY limited sign-ups actual human ashes to create meditative images of deceased Test the latest materials and tools and watch demonstrations Isabella Vitti, Routledge, Taylor & Francis onsite to "ll cancellation slots. See room monitor at the people at their own request or that of their families. Twenty- Discuss your book ideas with experienced art editors Concourse Level. How to Ensure Your Research Is Read seven contributing authors, including the present panelists, have Meet the editors of The Art Bulletin, Art Journal, and Tara Golebiewski, Routledge, Taylor & Francis written about how we have dealt with and continue to deal with caa.reviews our dead, o!ering perspectives from art history, anthropology, Career Development Mentoring Appointments Learn about new survey textbooks and teaching aids psychology, philosophy, semiotics, ecology, and so on, as well Concourse H, Concourse Level for your classroom 3:30–5:00 PM as discussing death taboos, personal experience, the impact of By appointment only Try out those brushes you’ve been eyeing and test the newest Golden Artist Colors Exhibitor Session relics, and more. A social as well as an aesthetic project, Icons portable easel Artists, art historians, art educators, and museum professionals at MITRA: Materials Information and Technical in Ash proposes an alternative to the way we see and deal with Investigate digital-image resources for your classroom all stages of their careers may apply for one-on-one consultations Resources for Artists death, in particular a radically di!erent approach to mourning and or library with veterans in their "elds. Through personal twenty-minute Concourse A, Concourse Level consolation, as well as how we understand the purposes of art. Pick up brochures for programs in advanced degrees consultations, Career Development Mentoring o!ers a unique CHAIRS: Sarah Sands, Golden Artist Colors; Mark Golden, A panel discussion will follow the initial presentation. and foreign studies opportunity for participants to receive candid advice on how to Golden Artist Colors Join a national arts-advocacy organization Mind and Body, Form and Essence, the Unbearable conduct a thorough job search; present cover letters, CVs, and Apply for a residency program and the Inconceivable digital images; and prepare for interviews. You must bring a copy We are excited to introduce a new online forum and website Learn about academic testing and research "rms Steven Pinker, Harvard University of your resume/CV or job search materials and speci"c career created through a collaboration between manufacturers of Meet with representatives from professional associations goals to discuss during these appointments. Sessions are by art materials, experts in the "eld of art, conservators, and Corruptible Bodies: Catholic Morbidity appointment only and were "lled in January. There will be VERY conservation scientists. Developed by Brian Baade and Kristin Eleanor Heartney, Independent Critic A wide variety of art materials will be on view, and many of the limited sign-ups onsite to "ll cancellation slots. See room monitor DeGhetaldi of the Department of Art Conservation at the Art and Death experts who manufacture them will be on hand to discuss their at the Concourse Level. University of Delaware, MITRA—which stands for Materials Anthony Haden-Guest, Independent Art Writer products, which include: Information and Technical Resources for Artists—is a new resource for artists. While taking its inspiration from the late Dead Talk Paints and brushes Mock Interview Appointments Mark Gottsegen’s AMIEN forum, it has also expanded it in scope. George Quasha, Station Hill Press Graphic materials and graphic-design supplies Mercury Rotunda, 3rd Floor (SEPC Lounge) MITRA will cover traditional subjects such as oil, acrylic, encaustic, Paper By appointment only tempera, and watercolor paints, as well as more modern, Easels and tools experimental art materials. The forum will draw from both the In a competitive job market, everyone could use the opportunity Printmaking supplies scienti"c expertise of conservation and the practical expertise to get feedback on interviewing and presentation. Organized by Digital-studio supplies the SEP Committee, mock interviews give participants the chance of manufacturing. Authorities in both "elds will serve as website Admission is FREE with your conference registration badge. to practice their interview skills one on one with a seasoned moderators and informational resources. professional, improve their e!ectiveness during interviews, and For those not registered for the full conference, Book and Trade SPEAKERS: Mark Golden, CEO, Golden Artist Colors; hone their elevator speech. Interviewers also provide candid Fair tickets are available onsite in the Second Floor Promenade Robert Gamblin, owner, Gamblin Artist Colors; Dr. Brian Baade, feedback on application packets. Participants with appointments registration area during the conference: Assistant Professor, Painting Conservator, and Researcher should bring their application packet, including cover letter, CV, Member: $15 with credit card, check, or cash of Historical Painting Materials and Techniques, University and other materials related to jobs in their "eld. The Student Nonmember: $25 with credit card, check, or cash of Delaware; Dr. Kristin DeGhetaldi, Paintings Conservator/ and Emerging Professionals Committee will make every e!ort to Instructor and Analytical Assistant at the Winterthur/University of accommodate all applicants; however, space is limited. There will See index of book and trade fair exhibitors for a full list of Delaware Program in Conservation be VERY limited sign-up space onsite for cancellation spots. See participating exhibitors. The Book and Trade Fair will be SEPC section of the conference website for more details. taking place on two (oors this year; check the maps near the end of the program for more information.

96 college art association new york city // 2017 97 EXHIBITOR INDEX

ORGANIZATION BOOTH Manchester University Press 707, Americas Hall I Marist College, Florence, Italy Branch Campus 202, Rhinelander Gallery apexart 100, Rhinelander Gallery McGill-Queen’s University Press 208, Rhinelander Gallery Are Not Books & Publications 309, Rhinelander Gallery Metropolitan Museum of Art Academic and Professional Programs 119, Rhinelanader Gallery Art Condo 324, Rhinelander Gallery MIT Press, Cambridge, MA. 617, 619, 621, Americas Hall I Art Frankly 306, Rhinelander Gallery MM Mfg. Marvellous Marianne’s 115, Rhinelander Gallery Art In America 418, Americas Hall I n.paradoxa / KT Press 409, Americas Hall I Art Papers 225, Rhinelander Gallery Nanyang Technological Universtiy School of Art, Design & Media 221, Rhinelander Gallery ARTBOOK / D.A.P. 802/804, Americas Hall I New York Foundation for the Arts 1204, Americas Hall I Artforum / Bookforum 407, Americas Hall I New York Institute of Technology - Digital Art & Design 229, Rhinelander Gallery Artifex Press 1111, Americas Hall I New York Studio School 1112, Americas Hall I Artist Greenbord 121, Rhinelander Gallery Oxford University Press 703, Americas Hall I ArtTable Inc. 117, Rhinelander Gallery Paper Monument 312, Rhinelander Gallery Asian/Paci"c/American Institute at New York University 210, Rhinelander Gallery Paulist Press 216, Rhinelander Gallery Bard Abroad, Arts + Society / Summer Studio in Berlin 317, Rhinelander Gallery Pearson 505, 507, Americas Hall I Bard Graduate Center Publications 315, Rhinelander Gallery Penguin Random House 707, Americas Hall I Blick 501, 503, Americas Hall I Penn State University Press 523, 525, Americas Hall I Bloomsbury 615, Americas Hall I Popwalk Smartphone App 1113, Americas Hall I Boston University School of Visual Arts 603, Americas Hall I Prestel 405, 407, Americas Hall I Brill 511, Americas Hall I Princeton Artchitectural Press 220, Rhinelander Gallery CAMAC Artist Residency 228, Rhinelander Gallery Princeton University Press 609,611, Americas Hall I Carrier Pigeon Magazine / Paper Crown Press 310, Rhinelander Gallery Purgatory Pie Press, Esther K. Smith, April Vollmer 219, Rhinelander Gallery Cengage Learning 1200, Americas Hall I R&F Handmade Paints 527, Americas Hall I Centre allemand d’histoire de l’art 218, Rhinelander Gallery Rizzoli International Publications 901, 903, Americas Hall I Chartpak, Inc. 201, Rhinelander Gallery Rodovid Press / The Ukrainian Museum 307, Rhinelander Gallery Christie’s Education 314, Rhinelander Gallery Routledge 404, 406, 408, 410, Americas Hall I Chroma Inc. 1003, Americas Hall I Royal & Langnickel Brush 211, Rhinelander Gallery ColArt Americas Inc. 1000, 1002, Americas Hall I Royal College of Art 308 Rhinelander Gallery Conveyor Editions 226, Rhiinelander Gallery Royal Talens 125, 127, Rhinelander Gallery David Zwirner Books 806, Americas Hall I Santa Reparata International School of Art, Florence, Itally 111, Rhinelander Gallery De Gruyter 1102, Americas Hall I Savoir-Faire 800, Americas Hall I Drawing from the Inside Out 316, Rhinelander Gallery Scholar’s Choice 524, 526, Americas Hall I Drury University, Your Program-Our Campus/On the Greek Island of Aegina 122, Rhinelander Gallery School of Visual Arts MFA Art Writing 313, Rhinelander Gallery Duke University Press 902, Americas Hall I Search Press 1109, Americas Hall I Enovative Technologies 227, Rhinelander Gallery Soberscove Press 215, Rhinelander Gallery Frieze 411, Americas Hall I Speedball Art / Akua 305, Rhinelander Gallery Folding Art Horse 113 Rhinelander Gallery Station Hill Press / Heidi Hatry 1001, Americas Hall I Gamblin Artists Colors 900, Americas Hall I Thames & Hudson 412, 414, Americas Hall I Getting Your Sh*t Together/GYST Ink 529, Americas Hall I The Folding Art Horse 113, Rhinelander Gallery Getty Publications 702/704, Americas Hall I The Millay Colony for the Arts and Art Omi 120, Rhinelander Gallery Goddard College 326, Rhinelander Gallery The Ukrainian Museum 307, Rhinelander Gallery Golden Artist Colors Inc 1103, 1105, 1107, Americas Hall I Triarco Fine Arts 207, 209, Rhinelander Gallery Hahnemuhle 109, Rhinelander Gallery Triseum 129, Rhinelander Gallery Henry Moore Institute 1202, Americas Hall I University of California Press 605, 607, Americas Hall I HK Holbein Artist Materials 520/522, Americas Hall I University of Chicago Press 517, 519, 521 and 516, 518, Americas Hall I I.B. Tauris Publishers 213, Rhinelander Gallery University of Indianapolis, Social Practice Art MA 322, Rhinelander Gallery Indiana University Bloomington School of Art & Design 217, Rhinelander Gallery University of Minnesota Press 212, Rhinelander Gallery Ingram Academic & Allworth Press 1106, Americas Hall I University of Texas Press 706, Rhinelander Gallery Institute nacional d’histoire de l’art 218, Rhinelander Gallery University of the Arts, MFA Book Arts & Printmaking 224, Rhinelander Gallery Instituto de Investigaciones Esteticas (UNAM) 510, Americas Hall I University of Washington Press 206, Rhinelander Gallery Intellect Books & Journals 515, Americas Hall I University Press of New England 1101, Americas Hall I IPG/Art Stock Books 214, Rhinelander Gallery Vasari Classic Artists’ Oil Colors 107, Rhinelander Gallery IRSA - Artibus et Historiae 514, Americas Hall I Vermont College of Fine Arts (VCFA) 318, Rhinelander Gallery Jack Richeson & Co. Inc 623, Americas Hall I Wiley 701, Americas Hall I John Cabot University, Masters in Art History 327, Rhinelander Gallery Winsor & Newton 1000, 10002 Kremer Pigments Inc. 101/102, Rhinelander Gallery Woman’s Art Journal - Rutgers University 509, Americas Hall I Laurence King 601, Americas Hall I Women’s Caucus for Art 416, Americas Hall I Lesley University 329, Rhinelander Gallery Yale University Press 500, 502, 504, 506, 508, Americas Hall Liquitex 1000, 10002

98 college art association new york city // 2017 99 REVISION Date:12/13/2016 By: JIM BARNES, NERDC

COLLEGE ART ASSOCIATION BOOTH COUNT FEBRUARY 16-18, 2017

Inventory as of 12/13/2016

Dimension Size Qty SqFt Rented Available HILTON MIDTOWN - RHINELANDER - NEW YORK CITY, NY 8'x10' 80 61 4,880 0 61 Totals: 61 4,880 0 61

BOOK AND TRADE FAIR MAPS REVISION SECOND FLOOR Date:6/27/2016 BLDG. LEGEND: COLLEGE ART ASSOCIATION By: ERIC CLEMMONS, NERDC NEW YORK HILTON MIDTOWN // RHINELANDER GALLERY, 2ND FLOOR NEW YORK HILTON MIDTOWN // AMERICAS HALL I, BOOTH COUNT FEBRUARY 16-18, 2017 Inventory as of 06/27/2016 Dimension Size Qty SqFt ACCESS FROM 3RD FLOOR WEST PROMENADE 8'x10' 80 106 8,480 HILTON MIDTOWN - AMERICAS I - NEW YORK CITY, NY Totals: 106 8,480

BLDG. LEGEND: FE FE CLOSET

FE 1101 1103 1105 1107 1109 1111 1113 1115 1117 6' 529 1102 1106 1112

526 903 902 1003 1002 1221 LOUNGE AREA 1220FE 527 14' 524 901 8' 900 1001 8' 1000 1219 8' 525 6' 1218 523 522 623 800 802 804 806 1217

129 228 229 328 1215 FE 329 521 520 621 1216 128 ELEVATOR BANKS FE

S 127 226 227 326 519 518 619 A 327

C FE SERVICE CORRIDOR 1214 I R O O R D

P FE U E 125 224 225 324 517 516 617 L

L 1211 O R R T M ELEVATOR BANKS 1212 O H T A 8'

122 G A I V

6' E E 515 514 615 E

1209 R L H F

) 1210 E g T ELEVATOR BANKS e

120 r ( F FE 121 220 221 320

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319 E V

U 119 218 219 318 O : N ELEVATOR BANKS FE e

E DRAWING INFO m 511 510 611 1208 1309 a

V 317 117 216 217 316 N A Passport Line Item Number: b a

F FREIGH T H | #3188439 509 508 609 C 1206 1307 ELEVAT 315 g

w Facility:

115 214 215 314 d .

L HILTON MIDTOWN R

7 507 506 607 1204 1305 FE 313 1

6' 6' 2 Hall / Level: 113 212 213 312 0 RHINELANDER

A 6' COAT CHECK COAT CHECK A City & State:

C 505 504 605 \ 1202 1303 ROOM ROOM NEW YORK CITY, NY 701 703 705 707 N

111 210 211 310 S

S Scale: Custom DRAWING INFO

A 9' FE Passport Line Item Number:

T Job #: HOUSE HOUSE TBD 503 502 603 PHONE PHONE 309 1200 1301 R S #462882 T

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AE: B

CAROLYN PARHAM I READER BOARDS READER BOARDS HILTON MIDTOWN 700 702 704 706 H X 109 208 209 308 E E

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WC m AMERICAS I E a N

L City & State:

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307 a L NEW YORK CITY, NY T | Scale: Custom O Started By: g ERIC CLEMMONS, NERDC w Job #:

d TBD C E .

107 206 207 306 \ 1 AE:

405 407 409 411 A CAROLYN PARHAM 2 C Prod. Branch: FREEMAN NY 7 1 Prod. AE: 0 TBD 2 \ N 0 Started: 6/14/2016 7 A A 305 A 1 Started By: ERIC CLEMMONS, NERDC C \ \ N R Prod. Branch:

s FREEMAN NY REGISTRATION 12' S S T w 16' A T o N R h UP TO A E E

AMERICAS S G \ Disclaimer - Every effort has been made to E L

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400 402 404 406 408 410 412 414 416 418 L

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Disclaimer - Every effort has been made to O contained on this floorplan. However, no

0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N 0 1 7 N C \ a warranties, either expressed of implied, are l

3 M X 6 M 2

FE 0 made with respect to this floorplan. If the ELEC. ensure the accuracy of all information \ 7 P FE location of building columns, utilities or other 1 MIS OFFICE ROOM \ r contained on this floorplan. However, no s architectural components of the facility is a w

o consideration in the construction or usage of o

100 101 200 202 201 h FE FE an exhibit, it is the sole responsibility of the o S

warranties, either expressed of implied, are \ l

s exhibitor to physically inspect the facility to n F

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P © Copyright 2007, Freeman Co. All rights reserved. r D o

o Confidential and Proprietary - the information 54th STREET location of building columns, utilities or other l R F

\ contained herein is the proprietary information of FIRE ALARMS MUST BE VISIBLE : N E architectural components of the facility is a Freeman and by accessing the information, the : recipient agrees to keep the information h t N

a confidential and not disclose it to any third party \

AT ALL TIMES. P consideration in the construction or usage of without the prior consent of Freeman. Recipient e l H i also agrees to only use the information for its an exhibit, it is the sole responsibility of the F internal evaluation purposes and for no other C purpose, without the prior consent of Freeman.

INDICATED FIRE EXITS N exhibitor to physically inspect the facility to A verify all dimension and locations. R

FE - FIRE EXTINGUISHER B © Copyright 2007, Freeman Co. All rights reserved.

100 college art association \ new york city // 2017 101 n o

v Confidential and Proprietary - the information A

\ contained herein is the proprietary information of :

P Freeman and by accessing the information, the :

h recipient agrees to keep the information t

a confidential and not disclose it to any third party P without the prior consent of Freeman. Recipient e l i also agrees to only use the information for its F internal evaluation purposes and for no other purpose, without the prior consent of Freeman. caa past presidents

2014–2016 1984–1986 1954–1956 Dewitt Godfrey John Rupert Martin Lamar Dodd Colgate University Princeton University University of Georgia

2012–2014 1981–1984 1952–1954 Anne Collins Goodyear Lucy Freeman Sandler S. Lane Faison, Jr. Bowdoin College Museum of Art New York University Williams College

2010–2012 1980–1981 1949–1952 Barbara Nesin Joshua Taylor Henry Hope Independent Artist National Collection of Fine Arts, Indiana University Smithsonian Institution 2008–2010 1947–1949 Paul B. Jaskot 1978–1980 Frederick B. Deknatel DePaul University Marilyn Stokstad Harvard University University of Kansas 2006–2008 1945–1947 Nicola M. Courtright 1976–1978 Rensselaer W. Lee Amherst College George Sadek Smith College, Institute for Cooper Union Advanced Study 2004–2006 Ellen K. Levy 1974–1976 1941–1945 Brooklyn College Albert Elsen Sumner McK. Crosby Stanford University Yale University 2002–2004 Michael L. Aurbach 1972–1974 1939–1941 Vanderbilt University Anne Co#n Hansen Ulrich Middledorf Yale University University of Chicago 2000–2002 Ellen T. Baird 1970–1972 1939 University of Illinois at Chicago H. W. Janson Walter W. S. Cook New York University New York University 1998–2000 John R. Clarke 1969–1970 1923–1938 University of Texas at Austin Marvin Eisenberg John Shapely University of Michigan, Brown University, New York 1996–1998 Ann Arbor University, University of Chicago Leslie King-Hammond Maryland Institute College of Art 1966–1968 1919–1923 George Heard Hamilton David M. Robinson 1994–1996 Yale University Johns Hopkins University Judith K. Brodsky Rutgers, The State University of 1964–1966 1916–1919 New Jersey Richard F. Brown John Pickard Los Angeles County Museum of Art University of Missouri 1992–1994 Larry Silver 1962–1964 1914–1915 Northwestern University James S. Watrous Walter Sargent University of Wisconsin, Madison The University of Chicago 1990–1992 Ruth Weisberg 1960–1962 1912–1913 University of Southern California David M. Robb Holmes Smith University of Pennsylvania Washington University in St. Louis 1988–1990 Phyllis Pray Bober 1958–1960 Bryn Mawr College Charles Parkhurst Oberlin College 1986–1988 Paul Arnold 1956–1958 Oberlin College Joseph C. Sloane Bryn Mawr College

102 college art association new york city // 2017 103 EATS Robert: located atop the Museum of Arts and Design in HISTORY myNYC: caa sta!’s Bar Boulud: relaxed Parisian-style dining Columbus Circle; great views Interference Archive: library, gallery, and archive of 1900 Broadway, New York, NY 10023 2 Columbus Cir., New York, NY 10019 social activist and movement materials favorite places Bia Restaurant & Bar: Vietnamese noodle soup and cocktails Song’ e Napule: delicious Neapolitan-style pizza in Soho 131 8th St., Brooklyn, NY 11215 67 S. 6th St., Brooklyn, NY 11211 146 W. Houston St., New York, NY 10012 Lower East Side Tenement Museum: documents urban ART Black Burger: inexpensive, great burgers; open late Souvlaki GR Midtown: charming, vegetarian-friendly, a!ordable immigrant history Art in FLUX: uptown arts initiative 386 Canal St., New York, NY 10013 Greek food near the Hilton Midtown 103 Orchard St., New York, NY 10002 Various locations in Harlem, see www.artin%uxharlem.com 162 W. 56th St., New York, NY 10019 Burger Joint: hidden in Le Parker Meridien hotel—très chic! MUSIC The Met Cloisters: NY landmark; great view of the Hudson; medi- 119 W. 56th St., New York, NY 10019 21 Club: upscale spot serving classic American fare Juilliard School recitals at Paul Hall and Morse Hall: eval architecture and arts 21 W. 52nd St., New York, NY 10019 Cascabel Taqueria: Mexican restaurant with gluten-free options; free student recitals 99 Margaret Corbin Dr., New York, NY 10040 near the Met Vanessa’s Dumpling House: inexpensive, amazing dumplings 155 W. 65th St., New York, NY 10023 1556 2nd Ave., New York, NY 10028 and sesame pancakes Dizzy’s Club Coca-Cola: upscale, intimate club with DRINKS 220 E. 14th St., New York, NY 10003 Analogue: well-appointed cocktail and jazz bar Casa Lever: eat among a vast collection of Andy Warhol portraits great views Veselka: Ukrainian 24-hour diner in the East Village with 19 W. 8th St., New York, NY 10011 390 Park Ave., New York, NY 10022 10 Columbus Cir., New York, NY 10019 amazing pirogues China Grill: upmarket Asian fusion; open late TKTS Times Square: discounted tickets to Broadway plays Art Bar: cocktails and bar food at this cozy stalwart 144 2nd Ave., New York, NY 10003 52 8th Ave., New York, NY 10014 60 W. 53rd St., New York, NY 10019 and dance productions Village Yokocho: Japanese Izakaya with a fun atmosphere Elephant & Castle: charming café in the West Village 1564 Broadway, New York, NY 10036 Boxers: preeminent gay sports bar in the East Village 68 Greenwich Ave., New York, 10022 Webster Hall: nightclub and concert venue 742 9th Ave., New York, NY 10019 8 Stuyvesant St., New York, NY 10003 Fig & Olive: upscale seasonal Mediterranean fare; 125 E 11th St., New York, NY 10003 Cubbyhole: long-time LGBTQ spot in the Village Waverly Diner: classic 24-hour diner at good prices great happy hour 281 W. 12th St. #A, New York, NY 10014 385 6th Ave., New York, NY 10014 10 E. 52nd St., New York, NY 10022 URBAN OASES Henrietta Hudson: downtown lesbian- and gay-friendly bar Yuka: sushi on the UES; famous for its all-you-can-eat option Irish Hunger Memorial: marks the struggle against hunger Friend of the Farmer: nice breakfast/brunch 438 Hudson St., New York, NY 10014 1557 2nd Ave., New York, NY 10028 amidst sublime landscape 77 Irving Pl. # 1, New York, NY 10003 Julius: vintage gay bar Vesey St. & North End Ave., New York, NY 10280 Fuku+: famous for its fried chicken sandwiches; near the 159 W. 10th St., New York, NY 10014 EATS (Room Service) New York Public Library: newly restored/reopened Hilton Midtown Seamless.com Rose Main Reading Room Le Chéile: uptown Irish pub with tasty food 15 W. 56th St., New York, NY 10022 839 W. 181st St., New York, NY 10033 476 5th Ave., New York, NY 10018 Gotham Bar and Grill: great for celebrating a special occasion EATS (Vegan/Vegetarian) Library Bar at Hudson Hotel: cozy bar with a "replace, books, St. Patrick’s Cathedral: newly restored neo-Gothic-style 12 E. 12th St., New York, NY 10003 Candle 79: eclectic organic vegan dishes in swank surroundings and a pool table Roman Catholic church 154 E. 79th St. #3r, New York, NY 10075 358 W. 58th St., New York, NY 10019 Hill Country Barbeque Market: BBQ sold by the pound 5th Ave (btw’n 50th & 51st Streets), New York, NY 10022 30 W. 26th St., New York, NY 10010 Dimes: eclectic, health-conscious, Californian-style fare Porchlight: southern drinking hole meets modern NY The High Line: 1.5-mile-long linear park built on an elevated 49 Canal St., New York, NY 10002 271 11th Ave., New York, NY 10001 Knickerbocker Bar and Grill: old-school NY steakhouse section of a disused railroad line 33 University Pl., New York, NY 10003 The Butcher’s Daughter: bright outpost o!ering vegetarian Gansevoort St. to W. 34th St., btw’n 10th & 12th Aves. Russian Vodka Room: infused vodkas, many brands, and vegan fare rack of six to taste La Bonne Soupe: French bistro located a few blocks from the The Russian and Turkish Baths: since 1892 where New Yorkers 19 Kenmare St., New York, NY 10012 265 W. 52nd St., New York, NY 10019 Hilton Midtown shvitz and relax 48 W. 55th St., New York, NY 10019 The Little Beet: quick, healthy, to-go food 268 E. 10th St., New York, NY 10009 Tanner Smith’s: great happy hour and cocktails 333 Park Ave S., New York, NY 10010 204 W. 55th St., New York, NY 10019 Laut: Malaysian, Singaporean, and Thai food near Union Square Wave Hill: 28-acre public garden and cultural center in the Bronx 15 E. 17th St., New York, NY 10003 649 W. 249th St., Bronx, NY 10471 The Boiler Room: long-running, no-frills gay bar FILM 86 E. 4th St., New York, NY 10003 Lil’ Frankie’s: classic Italian food in the East Village 19 1st Ave., New York, NY 10003 Anthology Film Archives: independent, experimental, VINTAGE CLOTHING The Back Room: prohibition-era bar with cocktails in a avant-garde cinema Metropolis Vintage: vintage clothes alongside fashion "nds memorable setting Lombardi’s Pizza: oldest pizzeria in the U.S.; near the 32 2nd Ave., New York, NY 10003 43 3rd Ave., New York, NY 10003 102 Norfolk St., New York, NY 10002 New Museum 32 Spring St., New York, NY 10012 City Cinemas Paris Theatre: single-screen independent The Penrose: warm, rustic, Irish-style gastro pub and foreign "lms 1590 2nd Ave., New York, NY 10028 Malatesta Trattoria: fantastic pasta in the West Village 4 W. 58th St., New York, NY 10019 649 Washington St., New York, NY 10014 Tom & Jerry’s: quirky yet homey cocktails and microbrews IFC Center: straddling art house and commercial 288 Elizabeth St., New York, NY 10012 Mandarin Oriental Lobby Lounge: great views of the city 323 6th Ave., New York, NY 10014 80 Columbus Cir., New York, NY 10023 Lincoln Plaza Cinemas: independent and international "lms Nom Wah Tea Parlor: iconic Chinatown restaurant that serves 1886 Broadway, New York, NY 10023 dim sum all day 13 Doyers St., New York, NY 10013 Metrograph: curated two-screen theater with restaurant, bookstore, and lounge Nougatine at Jean-Georges: great, reasonably priced 7 Ludlow St., New York, NY 10002 prix-"xe lunch 1 Central Park West, New York, NY 10023

104 college art association new york city // 2017 105 ADVERTISER INDEX

Art in America Artforum/Bookforum Artsentry Association of Academic Museums and Galleries Azusa Paci"c University Bard Graduate Center Blick Boston University Brooklyn Rail Bruce Museum Center for Craft, Creativity & Design Cornell University Press Courtauld Institute of Art Drawing from the Inside Out Duke University Press Books EisnerAmper, LLP Frederik Meijer Gardens & Sculpture Park Frieze Getty Publications Getty Research Portal Hyperallergic Ingram Content Group Institut national d’histoire de l’art (INHA) Intellect Books International Fine Print Dealers Association MIT Press New York Foundation for the Arts Pearson Penn State University Press Prestel Publishing Princeton University Press Routledge Royal College of Art Smithsonian National Museum of the American Indian Stamps School of Art and Design, University of Michigan Terra Foundation for American Art Thames & Hudson University of California Press University of Chicago Press University of Indianapolis University of Minnesota Press University of Oklahoma- Fred Jones Museum University of Texas Press University of the Arts University of Washington Press Vasari Classic Artists’ Oil Colors Vermont College of Fine Arts Virginia Commonwealth University Women’s Caucus for Art Yale Institute of Sacred Music Yale University Press

106 college art association 2017 Call for Participation

CAA 105th Annual Conference New York, NY, February 15–18, 2017

The College Art Association (CAA) is now accepting submissions for the 105th Annual Conference, to be held February 15–18, 2017, in New York. Submissions responding to the sessions listed in this document are welcome.

Sessions soliciting participation are listed alphabetically by chair, not by subject matter; see standardized “Potential Subject Areas” for session specializations. Proposals, sent to session chair(s) and not to CAA, must be received by August 30, 2016. Content for the 2017 Call for Participa- tion is pulled directly from proposals submitted by session chairs. As this publication is produced on an extremely abbreviated schedule, CAA regrets any editorial errors or omissions.

The deadline for submissions is August 30, 2016.

All sessions are scheduled for ninety minutes. Chairs develop sessions in a manner that is appropriate to the topics and participants of their sessions. Alternate, engaging session formats, other than consecutive readings of papers, are encouraged. Each presentation should not exceed !fteen minutes so as to take transitions between papers into account and allow time for questions and discussion.

GENERAL GUIDELINES FOR SPEAKERS PROPOSALS FOR PAPERS TO SESSION CHAIRS 1. You must be current CAA members through February 18, 2017, Due August 30, 2016 and must register for the conference. Conference registration Proposals for participation in sessions should be sent directly to opens in mid-September. the appropriate session chair(s). If a session is co-chaired, a copy 2. You may not participate in more than one session as a “speaker,” of the full application packet should be sent to each chair, unless but you may give a paper in one session and serve as a chair, otherwise indicated in the abstract. Every proposal should include moderator, or discussant in another session. Exception: An the following !ve items: individual who participates in a Professional Development Work- 1. Completed session participation proposal form, located at the shop as a speaker may present a paper in a general session. end of this brochure. Make sure your name appears EXACTLY as 3. A paper that has been published previously or presented at you would like it listed in the conference program and confer- another scholarly conference may not be delivered at the CAA ence website. Make sure your a"liation appears as the o"cial, Annual Conference. recognized name of your institution and do not list multiple af- 4. You must inform session chair(s) if you are submitting one or !liations. No changes will be accepted after September 15, 2016. more proposals to other sessions in the 2017 Call for Participa- 2. Paper abstract (strict 250 word maximum) in the form of one tion. double-spaced, typed page with !nal title for paper at top of 5. If your individual paper proposal was accepted to an open/ page. Make sure your paper title and abstract appear EXACTLY as un-chaired paper session in June, but you would prefer to you would like them published in the conference program and participate in one of the chaired sessions listed in the 2017 Call Abstracts 2017; no changes will be accepted from you or your for Participation, you must: (a) inform the chair(s) of this previ- session chairs after September 15, 2016. ous acceptance in your application form, and (b) inform CAA of 3. Letter explaining your interest, expertise in the topic, and CAA this intention by August 30, 2016, via email to Katie Apsey, CAA membership status (all participants must be current members manager of programs ([email protected]). You will not be through February 18, 2017; inactive or lapsed members will be removed from the open/un-chaired session unless your paper pulled from participation by December). is accepted by the chair(s) of the chaired session. Please note: 4. Shortened CV with home and o"ce mailing addresses, email ad- Previous acceptance to an open/un-chaired paper session does dress, and phone and fax numbers. Include summer address and not guarantee acceptance to a chaired session. You may only telephone number, if applicable. give a paper in one session. 5. Documentation of work when appropriate, especially for se 6. Acceptance in a session implies a commitment to follow the sions in which artists might discuss their own work. deadlines outlined in this document, register for the Annual Conference (single-session registration is required; full confer- CHAIRS DETERMINE THE SPEAKERS FOR THEIR SESSIONS AND ence registration is encouraged), attend that session, and partici- REPLY TO ALL APPLICANTS BY SEPTEMBER 15, 2016. pate fully in person.

2017 Call For Participation 1 ABSTRACTS OF PAPERS TO SESSION CHAIRS POSTER SESSIONS Due August 30, 2016 CAA invites individual members to submit abstracts for Poster Ses- A !nal paper title and paper abstract must be prepared by each sions at the 105th Annual Conference. Any CAA individual member speaker and submit ted to the session chair for publication in may submit an abstract. Accepted presenters must be CAA Abstracts 2017. Each abstract should be no longer than 250 words. individual members. Poster Sessions—presentations displayed on Inclusion in and submissions to Abstracts 2017 are determined by bulletin boards by an individual for small groups—usually include the session chair(s). a brief narrative paper mixed with illustrations, tables, graphs, and similar presentation formats. The poster display can intelligently FULL TEXTS OF PAPERS TO SESSION CHAIRS and concisely communicate the essence of the presenter’s re- Due January 1, 2017 search, synthesizing its main ideas and directions. (Useful general Speakers should submit the full texts of their papers to chairs. information on Poster Sessions and their display is available at Where sessions have contributions other than prepared papers, http://writing.colostate.edu/guides/speaking/poster.) chairs may require equivalent materials by the same dead line. These submissions are essential to the success of the sessions; they Poster Sessions o"er excellent opportunities for extended informal assure the quality and designated length of the papers and permit discussion and conversation focused on topics of scholarly or their circulation to discussants and other participants as requested pedagogical research. Posters are displayed for the duration of by the chair. the conference, so that interested persons can view the work even when the authors are not physically present. Posters are displayed in a high-tra#c area, in close proximity to the Book and Trade Fair and conference rooms.

Proposals are due by Thursday, September 15, 2016. Send all materials to Katie Apsey, CAA manager of programs, at kapsey@ collegeart.org. A working group of the Annual Conference Com- mittee selects Poster Sessions based on individual merit and space availability at the conference. Accepted presenters must maintain their membership status through the conference. The following infor mation is required: 1. Title of Poster Session 2. Summary of project, not to exceed 250 words 3. Name of presenter(s), a#liation(s), and active CAA member number(s) 4. A two-page CV for each presenter 5. Complete mailing address and telephone number 6. Email address

Displays must be assembled by 10:00 AM on Thursday, February 16, and cleared by 2:00 PM on Saturday, February 18. Live presen- tations last ninety minutes and are scheduled for the 12:00–1:30 PM time slot on Thursday and Friday. During this time, presenters stand by their poster displays while others view the presentation and interact with the presenters.

CAA assigns presenters one freestanding bulletin board (about 4 x 8 feet of display space) onto which they can a#x their poster display and other materials, as well as a table to place materials such as handouts or a sign-up sheet to record the names and ad- dresses of attendees who want to receive more information. CAA also provides pushpins or thumbtacks to attach components to the bulletin board on the day of installation.

Printed materials must be easily read at a distance of four feet. Each display should include the title of the presentation (104-point size) and the name of the presenter(s) and his or her a#liation(s) (72-point size). CAA recommends a point size of 16–18 or larger for body text. No electrical support is available in the Poster Session area; you must have your own source of power if using a laptop or other forms of electronics.

2017 Call For Participation 2 Curating Public Art Yet joint departments also o"er unparalleled opportunities for Chair(s): Angela A. Adams, Arlington Public Art; Leslie Markle, collaboration between these two sides of the study of Art. This Mildred Lane Kemper Art Museum session invites papers which detail the pedagogical frameworks Email(s): [email protected]; [email protected] and considerations involved in undertaking semester-long classroom collaborations between Studio and Art History faculty. The practice of public art has changed signi!cantly since the Papers may address the opportunities and challenges of these !rst percent-for-art programs were established in the U.S. more collaborations, the di#culties of sharing space and alternating than !fty years ago. The !eld is rapidly moving beyond the once pedagogies, or the outcomes of experimental work done in the dominant percent-for-art model, and the commissioning entities classroom. for public art have expanded beyond public agencies to include museums, galleries, universities, independent arts organizations, Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art community development organizations and business History; 2) Interdisciplinary-Professional Development/Pedagogy/ improvement districts, as well as artists themselves. With these Publishing changes, the methods by which artists are being selected – or are choosing to self-identify – is moving away from open call and panel processes to direct selection by curators, urban placemakers Immeasurable Extravagance: Proposals for an Economy of and artists involved in social practice, guerilla or street art. We Abundance in an Age of Scarcity are interested in exploring the various ways public art projects Chair(s): Jorella Andrews, Goldsmiths College University of London; are being initiated, how such opportunities are de!ned and by Leah Durner, Independent Artist whom, the methods by which artists are identi!ed and what roles Email(s): [email protected]; [email protected] are ascribed to artists, and the patronage and funding sources that fuel these various approaches. We are especially interested Extravagance is commonly associated with wastefulness, in questions about the curating of public art. That is, are there irresponsibility and self-indulgence, with a lack of restraint in particular concerns that are related to the conceptualization and spending money or using resources. Indeed, in a world in which creation of art in the public realm? Does this work require special the lives of ordinary people are increasingly dominated by the knowledge on the part of curators, such as theory, precedent rhetoric and economics of scarcity at a global level, extravagance or processes that are di"erent from other work? Can artists shift is often speci!cally associated with such “non-essential” practices seamlessly between studio/gallery practice and public practice? as the creation and acquisition of art. Drawing on practices How can curators based in institutions bring their missions of art-making and visual/material display, and informed by outdoors? current studies in phenomenology and material culture, this panel explores the possibilities of thinking about extravagance Potential Subject Areas: 1) Art History-Public Art; 2) di"erently. For what if we were to disconnect extravagance from its Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism; negative connotations and, instead, associate its “lack of restraint” 3) Studio Art & Design-Public Art with practices capable of releasing a more fundamental but barely acknowledged economy of abundance? An abundance that – following such thinkers as Georges Bataille, Maurice Merleau- Community College Professors of Art and Art History (CCPAAH) Ponty, and others – persists beyond the contemporary cruelties Reinventing the Familiar: Updated Approaches in Art History of austerity? Such a re-conceptualization is desperately needed and the Studio today. In The Accursed Share: An Essay on General Economy (1949) Chair(s): Susan Altman, Middlesex County College Bataille contrasted an original condition of wasteful abundance Email(s): [email protected] with a restricted economy based on scarcity. Indeed, austerity as it is now practiced – historically it was associated with the virtues In both Studio and Art History classrooms, teaching faculty of prudence and frugality – results in constriction, siphoning, have been quick to embrace new technologies. However, what cordoning, separation, and segregation. Ultimately, it may be methodologies really work best for our students? What should seen to serve self-interest. But extravagance (from the Latin extra we retain and what should we change? How can we utilize low- “outside of” + vagari “to wander, roam”), we suggest, may be tech ways of teaching while updating our teaching pedagogy to aligned with the virtues of generosity and openness, union and be more dynamic and engaging for our students? This session inclusion, self-forgetfulness and the transgression or over$owing brings together panelists to share “what works now” and present of established boundaries. innovative approaches for teaching both art history and studio courses. Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art History; 2) Art History-Contemporary Art; 3) Art History-Critical Potential Subject Areas: 1) Interdisciplinary-Professional Theory/Gender Studies/Visual Studies Development/Pedagogy/Publishing; 2) Art History-General Art History; 3) Interdisciplinary-Studio Art & Design What Is an MFA Worth? Chair(s): Michael Ano, University of California, San Diego; Kelly Sharing Space: Art History/Studio Collaboration in the Donahey, University of California, Irvine Classroom Email(s): [email protected]; [email protected] Chair(s): Marta Ameri, Colby College Email(s): [email protected] What is the value, meaning, and exchange of a Master of Fine Arts degree? Speci!cally, what in the arts is worth investigating Faculty teaching in academic departments which include at a research university? What are the metrics for measuring both Studio Art and Art History sometimes struggle with the quality, justi!cation, and methods of graduate research and departmental politics which seem to pit makers against scholars. production? And who are the individuals or groups that are

2017 Call For Participation 3 o!cially and uno!cially in place to qualify (and quantify) the Design History Society graduate? When the systems for approval of and support for Exhibitions as Transnational Exchange from 1945: Beyond admission, graduation, funding, space, production, and facilitation Euro-America are drastically di"erent; with research often operating outside the Chair(s): Harriet Atkinson, University of Brighton; Sarah A. typical apparatuses of production— who determines the equity Lichtman, Parsons School of Design; Verity Clarkson, University of of the distribution of these limited resources? Can universities Brighton support post-studio conceptual research based practices invested Email(s): [email protected]; [email protected]; in the ethos of the avant-garde or does the bureaucracy and [email protected] the natural antagonisms of the university inescapably limit its graduates and in their #elds of research? Futhermore, is the This session explores exhibitions as sites of o!cial transnational university the only place for this research, and is the intrusion of exchange after 1945. By the end of World War Two, museum the market (à la the culture industry)-- and its coinciding anti- exhibitions, industrial and trade fairs, biennials, triennials and intellectualism and anti-craft dogma--a consequence of the world’s fairs increasingly became locations for the display of ‘soft mythologizing of “the great artist” as art teacher (as holder of now power’, for the exercise of cultural diplomacy between nations. mysti#ed skill and art historical knowledge) within post-studio We welcome twenty-minute papers that extend established education practices? This discourse will focus in and around geographies, interrogating exhibitions as a focus for transnational these questions: exploring histories of the avant-garde, possible exchanges with, or preferably beyond, Euro-America. Papers might potentials for the university, anecdotes of the recent destruction of consider such exhibitions through an analysis of their design or artworks and academic research, and the value of the research and material qualities; the content and focus of their displays; or the its determinants for an MFA degree. economic, social or political dialogues and discourses within which they were developed and took place. As the Design History Potential Subject Areas: 1) Interdisciplinary-Professional Society’s inaugural session as a CAA a!liate society, this panel Development/Pedagogy/Publishing; 2) Interdisciplinary-Studio Art intends to contribute to design historical research that explores & Design wider networks, interconnections, and exchanges within and beyond design.

Revisiting Time in Contemporary Art Potential Subject Areas: 1) Art History-Decorative Arts/Textiles/ Chair(s): Sarah Archino, Furman University; Monica Steinberg, Design History; 2) Art History-General Art History University of Southern California Email(s): [email protected]; [email protected] Design and Science: Catalyzing Collaborations Chair(s): Leslie Atzmon, Eastern Michigan University How, in recent artworks, is time evoked and denied, measured and Email(s): [email protected] transformed, linear and looped? As Jonathan Crary argues, late capitalism operates on a twenty-four hour clock; the compulsory This panel explores relationships between design, on the one routines and mimesis of our technological culture manage hand, and science and medicine, on the other. Design and individual attentiveness and impair perception. This encourages science share striking similarities: they utilize visual constituents a re-visitation of the history of perceiving with, through, and and employ visual thinking. Darwin, for example, sketched alongside media of the last half-century. Writers and scholars mechanisms for evolution, while physicist Richard Feynman such as George Kubler, Pamela Lee, Hito Steyerl, David Joselit, and described his thinking as a “bag of [visual] stu"” that he collects Elizabeth Freeman have examined the intersections of art and and “pushes.” Despite their apparent di"erences, science and time alongside a consideration of technology. This session invites design can inform each other, coming together to construct papers that address art of the later twentieth and early twenty- ideas or mechanisms. In the Brain Activity Map project, Rafael #rst century with regard to both time (the handling of duration Yuste investigates brain structure and function as one would and instantaneity) and technology (ranging from cheap #lm and examine a designed object, recording “the activity of [neurons] video cameras to recent screen-based technologies; and the in brain circuits [using] ‘reverse engineering’...to understand the shifts occurring in data archiving and information storage). How function of the cortical architecture.” Science and design can also does an interrogation of repetition relate to the changing face of be intermeshed in the co-evolution of ideas and things, what class and labor with regard to the distinction between regulated mathematician Danny Hills calls “Entanglement.” Design writer time, $exible time, and free time? How do artworks engage with Paula Antonelli presents a form of entanglement in biodesign, the present moment, mark it, keep it, preserve it, and multiply which incorporates living organisms as components in a process it? How is the idea of the future set in the present, the past that’s simultaneously science and design. Antonelli cites cases misremembered, and what is the role of anachronism in art of the that involve “organisms...from plants and animals to bacteria last half-century? and cells, to be used as [design] elements. Architects working on wet buildings that adapt to...environmental conditions Potential Subject Areas: 1) Art History-Contemporary Art; 2) and...occupancy, almost as if they were living organisms; designers Art History-Critical Theory/Gender Studies/Visual Studies; 3) concocting new diagnostic and therapeutic tools that rely on Interdisciplinary-Art History animals and plants.” In Entanglement, processes are neither entirely natural nor arti#cial, but blend the best of both natural elements and design. This panel welcomes submissions that

2017 Call For Participation 4 consider various approaches to relationships between design and directly re-imagine the !eld itself from a theoretical point of view, science and medicine. as well as those that are engaged in unearthing material that can lead to new directions in early African American art historical Potential Subject Areas: 1) Art History-Decorative Arts/Textiles/ scholarship. Design History; 2) Studio Art & Design-Graphic/Industrial/Object Design; 3) Studio Art & Design-Architecture/Interior Design Potential Subject Areas: 1) Art History-Art of the United States; 2) Art History-Nineteenth-century Art; 3) Art History-Eighteenth- century Art Puppets and Performing Objects Chair(s): Elissa Auther, Museum of Arts and Design; John Bell, University of Connecticut Globalized Regionalism and Modernist Aesthetics in the Built Email(s): [email protected]; Environment [email protected] Chair(s): Susanne Bauer, Universidade Federal de Uberlandia, Brazil; Eliana Sousa Santos, Universidade de Coimbra, Portugal This panel focuses on puppets and performing objects in Email(s): [email protected]; [email protected] modern and contemporary art and experimental theatre. Historically, puppets and the animation of everyday objects in live Modern Aesthetics have always been accompanied by a notion performance has been marginal to the history of art and theatre. of simplicity, rationality and functionality and are considered to However, recent activity-- from puppeteer Basil Twist’s new be international or global. However, the origins of the aesthetics visibility as a MacArthur “Genius” Awardee to contemporary artist of early modern architecture were indelibly connected with the Wael Shawky’s critically acclaimed work Cabaret Crusades (2015) somewhat mythical vernacular architecture of the Mediterranean. utilizing over one hundred puppets-- has considerably raised The allure that this vernacular architecture transmitted to the genre’s pro!le as a distinctive, multi-disciplinary art form. modernist architects is well documented and the issue of regional This panel is conceived to take advantage of this new attention modernism has a solid place within architectural historiography. to puppets and performing objects, and aims to bring together Lately, with exponential globalization these characteristics scholars from across the !elds of art, theatre, and material culture have more and more been introduced into di"erent regions to discuss the genre’s relevance to contemporary art and culture proposing the question where regionalism in architecture today. Papers that address the philosophical, historical, theatrical, ends and globalisation starts. Although there is the argument and aesthetic value of puppets and performing objects are that a globalized architecture dismisses regional architecture, welcome. in the contemporary world we witness a reverse e"ect by the hybridization of local labor with imported knowledge. There has Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art been a multiplicity of projects that explore the advantages of local History-Contemporary Art; 3) Art History-Performance Studies/ techniques and materiality and blend them with international Installation/Environmental Art modernist aesthetics. Projects by Studio Mumbai, Francis Kéré or the !rm Elemental of newly awarded Pritzker Prize winner Alejandro Aravena are just a few examples. The aesthetic of an Charting a New Course: Reorienting the Discourse of Early industrialized modern architecture is thereby recreated using African American Art History artisan and hand made products. In turn this aesthetic, combined Chair(s): Mia L. Bagneris, Tulane University; Anna Arabindan- with its local materiality and exotic location, might become the Kesson, Princeton University symbol of status in developing regions. We aim to discuss issues Email(s): [email protected]; [email protected] connected with this newly developed cultural engagement such as questions of the boundaries of regionalism, tradition Since the 1943 publication of James Porter’s Modern Negro and ornamentation, ethnicity, authenticity, as well as moral and Art formally inaugurated the !eld, the study of twentieth- and political issues. twenty-!rst-century artists has dominated African American art historical scholarship. However, Porter’s seminal text began Potential Subject Areas: 1) Art History-Architectural History/ with three important chapters chronicling a history of African Historic Preservation; 2) Art History-Critical Theory/Gender American artists and artisans before 1900; likewise, the pioneering Studies/Visual Studies scholars of early African American art largely engaged in a heroic sort of recovery project, rescuing the names, biographies, and works of forgotten artists from obscurity, and, to some extent, Coalition of Women in the Arts Organizations (CWAO) situating them within the larger context of American art history. ‘Social Issues Art’ and Women Artists With the publication of Lisa Farrington’s new survey text earlier Chair(s): Kyra Belan, Broward College this year and with much—though, importantly, not all—of this Email(s): [email protected] rescue mission completed, what new concerns, perspectives, paradigms, and methodologies will inform the direction of early This panel will explain and examine social issues art created by African American art history? This panel seeks to take account of women artists. Please submit proposals and some images of the shifting terrain of the !eld by beginning to articulate such your work (if you are an artist) about women artists and their new approaches and their implications for expanding the study of involvement with social issues art. The artworks can be created eighteenth- and nineteenth-century African American art. Possible in any media, including new media, digital, traditional, and themes include (but are not limited to) concepts like “movement” collaborative projects. Please email your proposals and/or up to or “exchange” as useful lenses of critical analysis, a consideration of African American artists within their very local contexts or the greater diaspora, and how reappraising the place of enslaved artisans and artists reorients the larger !eld. We invite papers that

2017 Call For Participation 5 ten jpg images if submitting as an artist. to their transfer to contexts such as the postwar welfare state or the colonial/postcolonial urban realm; to the restructuring Potential Subject Areas: 1) Interdisciplinary-Studio Art & of postindustrial cities; to the spatial tactics and symbolic Art History; 2) Studio Art & Design-Sculpture/Installation/ economies of gentri!cation; to the logics of zoning and real Environmental Art; 3) Art History-Performance Studies/Installation/ estate; to programs and morphologies triggered by deregulation Environmental Art and Flexible Accumulation. Papers may address the dynamics of intentional or segregated communities. Both case studies and theoretical papers are sought for, with contributions welcomed Natural Disasters, Sacred Time, and Eschatology in the Eastern not only from the disciplines of architecture and urbanism, but Mediterranean also from cultural studies, sociology and geography. Chair(s): Armin Bergmeier, Leipzig University; Heba Mostafa, University of Kansas Potential Subject Areas: 1) Art History-Architectural History/ Email(s): [email protected]; [email protected] Historic Preservation; 2) Interdisciplinary-Art History; 3) Studio Art & Design-Urban Planning/Landscape Architecture The impact of the environment and the natural world on the human condition has incited a growing scholarly interest in recent years. This panel examines representations of natural Unmanned Aircraft Art Vehicles (UAAV): Opportunities, disasters (!re, earthquakes, plagues, etc.) marking sacred time Pitfalls, and Implications and asks how catastrophic events in the natural world structured Chair(s): Nick Bontrager, Texas Christian University; Adam Fung, the historical perception of sacred time. In many cultures, the Texas Christian University eschaton or the end of time was a crucial moment in sacred time, Email(s): [email protected]; [email protected] intimately linked to destructive forces in the natural world. In Judaism, theophanies were often accompanied by frightening This panel examines and discusses the use of unmanned air natural phenomena. In Middle Byzantine times, Last Judgment systems (drones), vehicles, and programming in creative !elds scenes began to incorporate a river of !re that leads to hell and of study. While o"ering insight into how artists are working opens up into a !ery abyss; while in Islam, the Day of Judgment with these evolving and emerging systems, especially in an ever would be announced by a massive upheaval of the natural order changing environment of current and pending legislation, this of the world, from cataclysmic earthquakes to the parting of panel will also draw parallels between drones and impact of the heavens. The panel queries how the relationship between portable video recorders on the arts in the late 1960’s and early natural disaster and sacred time was visualized and materialized 1970’s. In looking back on speci!c histories of art and technology, in artifacts, architecture, and the design of speci!c sites. Some we will reference shifts in artistic production but perhaps more of the questions may include how natural disasters triggered importantly, pose the question of how will these new abilities, expectations of divine agency or the advent of the eschaton. How access, perspectives, and possibly restrictions on technology were these events imagined, represented, or even counteracted? be re$ected in art practice of the future? By o"ering artists new Which natural sites were associated with events in sacred time, and visual perspectives and production value previously unattainable how were they architecturally and ritually framed or represented without substantial funding, drones o"er access to both reference visually across various media? and production imagery which have signi!cantly impacted the speed and scope of answered questions and desired research in Potential Subject Areas: 1) Art History-Early Christian/Byzantine the artists’ studio. The immediate ability to explore our physical Art; 2) Art History-Art of the Middle East/North Africa; 3) Art world untethered and share this information is both empowering History-Egyptian/Ancient Near Eastern Art and overwhelming to the artist; who are unbounded, albeit for the span of our battery life. Our aim is to provide a wide range of reports from the !eld, to give a sense of current projects Islands and Insularity: Representing Di!erence engaging these topics and technologies, and perhaps forge new Chair(s): André Bideau, Universita della Svizzera italiana collaborative possibilities within this group of participants as well Email(s): [email protected] as attendees to the panel discussion.

Islands entertain a speci!c relationship with power – either Potential Subject Areas: 1) Interdisciplinary-Studio Art & intentionally deployed for a community or the product of Design; 2) Studio Art & Design-Film/Video; 3) Studio Art & Design- di"erence in an evolving social fabric. Within the tradition of Sculpture/Installation/Environmental Art utopia, the island provided a metaphor of hope as an ideal form of social or spatial organization. It was an essential metaphor in modernist architecture: discourses of economic productivity, of What Do (Should) Artists Know? social welfare and of aesthetic reform all relied upon conceptional Chair(s): Frank V. Boyer, State University of New York-New Paltz abstractions of space. Insularity became a by-product of the Email(s): [email protected] functionalist tabula rasa where mass housing was cast as self- su#cient world of aesthetic and social cohesion. Postmodernism According to Confucius, in order to change things (that is, to have turned the representation of di"erence into a strategic instrument control over them) it is necessary to call them by their correct for the reterritorialization of capital: Real estate and urban names. This session is about accurate naming. For art educators governance today encourage the production of themed space, to e"ectively answer questions regarding what art education a commodity that relies on private investment to stimulate should be, an inquiry needs to be made into what artists do know, identity and place. Examining the embodiments of a spatial that is, what “knowledge” is for artists. If we don’t specify and metaphor, this session welcomes multidisciplinary inquiries describe clearly what knowledge is associated with the role of with either a historical or a contemporary focus. Contributions the artist, how can we possibly specify what components need may relate insularity to the fate of modernist utopias, especially to be included in that “body of knowledge” or what experiences

2017 Call For Participation 6 need be part of the training of artists? If art educators cannot bear out such questions. Frederic Church’s dramatic 1859 display answer the question, “What is knowledge in the arts?” in terms around The Heart of the Andes included opera glasses for close commensurate with those used in the sciences and social scrutiny of painted surfaces, emphasizing viewership’s physical sciences, they are left with descriptions of the arts in terms of spectacle while also releasing a mobile or otherly-embodied eye. entertainment, catharsis, self-expression, etc., etc., and e!ectively In 1962, Barnett Newman announced that his paintings could cede the realm of knowledge, broadly de"ned, to other "elds. make viewers feel “full and alive in a spatial dome of 180 degrees,” The result is that in contexts where the discourses of knowledge cutting against the historical grain of linear perspective. Today, are dominant, including liberal arts education, the arts are at Jacqueline Humphries asks what new spaces of experience her a distinct disadvantage in a competition with other "elds for monumental abstractions might open onto at the same time institutional resources. This panel seeks various answers to the that her slick, silvery passages re#ect light and repel vision. What title question, viewing the arts as a knowledge discourse, and in historical episodes and artworks portray the dissolution of this particular exploring the making of art as an activity that creates binary between illusion and embodiment? To what extent have and communicates semiotic content that can be described in the core concerns of phenomenology, a!ect, new materialism, epistemological terms. and formalism created tensions between surface legibility and corporeal presence? How have new technologies, materialities, Potential Subject Area: Studio Art & Design-Art Education and environments enabled readings that spill beyond a work’s framing planes? How might the “bodying forth” of painting implicate multiple regimes of vision or reframe tendencies toward Erasures and Eradications in Viennese Modernism ocularcentrism? Following the work of scholars like Martin Jay, Chair(s): Megan Brandow-Faller, City University of New York, Caroline Jones, and Nicholas Mirzoe!, this panel invites papers Kingsborough; Laura Morowitz, Wagner College that explore more fully sensorial approaches to American painting. Email(s): [email protected]; [email protected] Potential Subject Areas: 1) Art History-Art of the United States; 2) During the last two decades Viennese Modernism has exploded in Interdisciplinary-Art History popular culture and academia: in countless exhibitions dedicated to Viennese modernist painting, architecture, and the applied arts, in myriad books on every well-known Viennese designer, Arts-Based Disciplines in the Face of a Carbon-Challenged and in the “Klimtomania” that covers umbrellas, scarves and Future shopping bags. Yet the popularity of Viennese Modernism and Chair(s): John Calvelli, Alberta College of Art + Design; Carmela the commercial “Vienna 1900” industry uneasily co-exists with Cucuzzella, Concordia University a series of problematic historiographical erasures and "ssures. Email(s): [email protected]; [email protected] All too often, the glittering culture of ‘Vienna 1900’ is studied in isolation from the political exigencies of 1938 and thereafter. Even The human activity of making art has been practiced for millennia as certain individuals have faded in the shadow of larger Viennese prior to settling, at the beginning of the industrial era, into the superstars, our panel interrogates the intentional neglect and current disciplinary structures of what we now name craft, design, repression of speci"c "gures, organizations and movements. This art and architecture. Given the rise of atmospheric carbon since panel seeks to widen the "eld of artists, questions, exhibitions then and the projection of catastrophic climate change, how and issues surrounding the heyday of Viennese modernism, may this ecology of disciplines change in response? This session from 1890 to the Anschluss. Topics to be explored may include: is proposed as a means to gauge what kinds of shifts within and understudied artists active in Vienna, particularly women and amongst current practices are taking place today that might point those of minority descent and/or Jewish descent; con#icting and to the emergence of a new con"guration of arts-based disciplines alternative narratives of modernity within the realm of Viennese in response to a projected future of radical climate change. Modernism; historiographies of Viennese art from the "n-de-siècle Proposals from studio practitioners, theorists and historians are through the twentieth century; major exhibitions held in Vienna welcome that explore current as well as possible shifts within during the Anschluss; examination of other areas of eradication or and between the arts-based disciplines in response to this major obliteration related to Viennese Modernism, such as art historical epochal change. erasures in the context of postwar Austrian “amnesia.” Please be sure to submit all correspondence and application materials to Potential Subject Areas: 1) Interdisciplinary-Studio Art & Design; both co-chairs. 2) Interdisciplinary-Art History; 3) Art History-Critical Theory/ Gender Studies/Visual Studies Potential Subject Area: Art History-Twentieth-century Art

Early Modern Objects and the Boundaries of Materialities Fictive Worlds No More: Sensorial Apprehension in American Chair(s): Lauren R. Cannady, Clark Art Institute; Valérie Kobi, Painting Universität Bielefeld Chair(s): Elizabeth Buhe, Institute of Fine Arts, New York University; Email(s): [email protected]; [email protected] George Philip LeBourdais, Stanford University Email(s): [email protected]; [email protected] This session will explore objects situated at the boundaries of materialities, such as plaster painted to resemble terracotta, This panel asks how the vitality of American painting has been wax portraits or specimens reproducing the properties of #esh, bound to bodily apprehension, to the spaces painting creates, and, glass and porcelain #owers, tapestries framed as paintings, and especially, to entanglements of the two. What are the possibilities gardens designed as grottoes. These are just a few examples of of non-visual hermeneutics, proprioception, or methodologies the ambivalent materiality of certain early modern artifacts. One that embrace a broader suite of the human sensorium? Is seeing might say that these are equivocal art objects—things that resist enough for believing? Many moments in American painting precise classi"cation. Questions we are interested in pursuing

2017 Call For Participation 7 include: what might it mean to substitute one material for another, The Renaissance Filtered to translate an object or concept into a di!erent medium? How Chair(s): Lynn Catterson, Columbia University; Deborah Krohn, do we reconcile the mutability and instability of things? How were Bard Graduate Center such objects theorized then and how are they now? How does Email(s): [email protected]; [email protected] an object’s materiality—and the questions of likeness, illusion, allusion, metonymy, and metaphor potentially associated with As the nineteenth century drew to a close, the desire on the part of it—substantiate and/or complicate the interdisciplinary claims wealthy American and European collectors for Italian Renaissance of art historians and material culture specialists? In addition art was exorbitant. The newly global art market, with its dealers, to addressing the creation, reception, and categorization of decorators, mediators, experts and auction houses, rose to meet such objects, this panel will be an opportunity to question the that demand with ample quantities of supply. The Bostonian intersections between the arts and other "elds including but not Quincy Adams Shaw wrote to the Florentine dealer, Stefano limited to the sciences or landscape and garden studies. We invite Bardini in 1877 that he would be interested to hear more about contributions that introduce new historical and methodological a bust of Donatello that Bardini had described to him, asking, “Is approaches. Proposals that seek to go beyond the case study are the bust of St. John that was in the Bargello [sic] by Donatello, especially encouraged. still for sale—It was in a room adjoining that containing many Della Robbia.” Incredibly, Shaw believed he might be able acquire Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art a masterwork from the Bargello. Thousands of objects entered History-General Art History; 3) Art History-Critical Theory/Gender private and newly formed institutional collections during this Studies/Visual Studies period, setting benchmarks for taste, style and connoisseurship, and establishing an enduring canon. These objects thus represent the Italian Renaissance for Americans. It was, "guratively Imagining Bodies, Picturing Identities: Self-Portraiture as speaking, the art market that built the bridge upon which this Performance culture crossed the Atlantic. This session seeks to explore still Chair(s): Chanda Laine Carey, New York University canonical objects, styles and genres, examined via the "lter of Email(s): [email protected] the late nineteenth-century art market. We are interested in the circumstances of the transaction of Italian Renaissance paintings, Picturing the self is a process that marks key avant-garde sculpture and decorative arts to collections outside of Italy. We practices like that of Claude Cahun’s photography and Duchamp’s welcome new research and case studies of objects, their acquirers performance of alter ego Rrose Selavy. In Contemporary art, the and their settings and display. role of photography in performance ranges from the work of art to documentation, as artists take their own bodies as their subject, Potential Subject Areas: 1) Art History-Renaissance/Baroque Art; often eliding, transforming, or performing identity. Photographers 2) Art History-Nineteenth-century Art; 3) Art History-Decorative and Yasumasa Morimura have depended on their Arts/Textiles/Design History performative bodies and costumes to de"ne their projects, while artists including Tehching Hsieh and Eleanor Antin have relied on photography to mediate the process of changes to their bodies Dismantling the Center/Periphery Model in Global Art History: in durational performances. Artists of African descent including Art and Politics from the 1960s to the 1980s Carrie Mae Weems, Lyle Ashton Harris, Renee Cox, and Omar Chair(s): Sooran Choi, The Graduate Center, The City University of Victor Diop have used photography as a performative medium to New York; Young Min Moon, University of Massachusetts Amherst represent intersections of race, gender, sexuality, and diaspora. Email(s): [email protected]; [email protected] Ana Mendieta investigated her own appearance through the cosmetic, while Liu Bolin erases perception of a distinct identity In the wake of the World Wars and the successive ending of with chameleon-like costume and cosmetics that allow his body political colonialisms, the period of the Cold War from the 1960s to perform the appearance of space. Examining the body at the to the 1980s witnessed major and signi"cant student and civilian nexus of identity, representation, the moment of the photograph protests against oppressive political regimes. In these decades, and the #uidity of performance, this panel invites papers that the connection of art to political resistance steadily evolved and investigate the performative dimensions of photographic self- became prominent as repressive conditions intensi"ed globally portraiture, and the importance of self-portraiture to performance but were ironically accompanied by rapid economic development. practices. Papers may address artists’ concerns with gender, These conditions set the stage for diverse and dynamic tactics race, sexuality, art history, popular culture, duration, costume, in art to combat hopelessness and political apathy. This session cosmetics, gesture, control, and creative independence among invites scholarship articulating the dynamic relationship between other interests central to the intersection of performance, art and politics during the tumultuous Cold War decades focusing photography, and self-portraiture. on speci"c local contexts within Asia, Latin America, Africa and Eastern Europe, and seeks an alternative discourse to the center Potential Subject Areas: 1) Art History-Performance Studies/ and periphery model that has been prevalent in global art Installation/Environmental Art; 2) Art History-Contemporary Art; 3) history. What are e!ective strategies in dismantling Eurocentric Art History-Twentieth-century Art frameworks in approaching the heterogeneity of non-Western art conditioned by the (cultural) politics of the Cold War? What tools can implement, borrowing Kuan-Hsing Chen’s words, decolonization, deimperialization, and de-cold war, in interpreting the art of these decades? Possible topics include, but are not limited to: case studies on local art scenes that were historically understudied and underrepresented; the mutual in#uences and interactions of art between Western and non-Western cultures

2017 Call For Participation 8 which reframed artistic discourses within diverse socio-political consciousness about the way that some bodies make other contexts; and art movements/styles appropriated or adapted to bodies feel.” Extending the challenge of Siebers’ prompt, Crip di!erent socio-political and cultural aims. A!ects takes seriously the expansive possibilities of “crip” as an adjectival modi"er to welcome a generous rethinking of non- Potential Subject Areas: 1) Art History-World Art; 2) Art History- normative a!ects. Pushing the question of how disability feels as Twentieth-century Art; 3) Art History-Japanese/Korean Art material object(s) or in performance art, Crip A!ects asks about feeling crip. In addressing how crip may be felt not simply in a solitary body, but in the friction, attraction, or vibration of multiple Art/Magazines bodies (human and non-human) that interact, collide, or enmesh, Chair(s): Lori Cole, New York University Crip A!ects also contends with cripping’s power to a!ect. Crip Email(s): [email protected] A!ects seeks papers from a wide variety of contributors (artists, art historians, curators, and scholars of visual culture, disability This panel will consider the magazine as a material object, a studies, etc.) to constellate a space to collectively reimagine how platform for display, and a changing technology that shapes the art objects, performance art, and curatorial practice produce, production, distribution, and reception of art. It seeks papers challenge, and perform the vertiginous possibilities of crip while that historicize the art magazine and trace its international also holding onto the lived experiences of disability and its circulation, ranging from work on the experimental publications political and cultural stakes. of the historical avant-garde, such as Der Dada, De Stijl, Lef, and 291, to groundbreaking magazines of the 1960s and 1970s, Potential Subject Areas: 1) Art History-General Art History; 2) including Avalanche, Aspen, and 0 to 9, to analyses of print and Interdisciplinary-Studio Art & Art History; 3) Interdisciplinary- digital platforms today. Submissions are welcome from across Museum Studies/Curatorial Studies/Art Criticism time periods and geographies that theorize the magazine as a collaborative art object, an exhibition space, and an evolving site for art criticism. Alternative Art Histories of the World Chair(s): Kate Cowcher, Stanford University; Nikolas Drosos, Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art Independent Scholar History-Critical Theory/Gender Studies/Visual Studies; 3) Art Email(s): [email protected]; [email protected] History-Contemporary Art In recent years, Art History in the Western academy has been partly driven by two parallel tendencies: a turn towards historiography Rethinking Foundation Studies Curriculum and a concern for the “global.” Yet the two have rarely met: as the Chair(s): Nicole Condon-Shih, Cleveland Institute of Art art historical canon is expanding, the history of the discipline Email(s): [email protected] remains focused on a few, mostly Western European, writers. This panel proposes an expanded historiography of art history, This session examines emerging pedagogy in foundation studies encompassing twentieth-century scholarship outside the within an art and design curriculum. How do we meet the Western European and American corpus. Particular emphasis varying needs of art and design students who enter programs will be given to writings with a wide geographical scope, or with with such vastly di!erent backgrounds in the arts? Are skills and transregional and transcontinental approaches that predate the techniques taught in tandem with critical thinking and how institutionalization of “global art” and some phenomena that are does research play a role in foundation curriculum? How can readily associated with that term, such as contemporary biennial we set the stage for interdisciplinary environments and engage culture and post-1989 globalization. How did scholars from Asia, students in both individual and group learning experiences? Latin America, Africa, the Middle East and Eastern Europe conceive Should context play a role in foundation studies? Contributors are of the study of art beyond their own national or continental invited to share speci"c pedagogical structures, projects, and case borders as an international project, or a pressing geopolitical studies demonstrating an innovative approach to reconsidering endeavor during the twentieth century? How was such scholarship foundation studies for art school today. in#uenced by transnational political formations with global claims, such as communism and the non-aligned movement? One Potential Subject Area: Studio Art & Design-Foundations example is the work of Soviet Africanist scholars in the 1960s who, following the advice of W.E.B. Du Bois and the USSR’s anti-colonial agenda, set out to write complex histories of African art that proposed a “polycentric supersystem” for the continent. Through Crip A!ects: New Approaches to Disability Studies in Art exploring such alternative historical models for studying the art History of the world we may glean new perspectives for current global art Chair(s): Jessica Cooley, University of Wisconsin-Madison; Stefanie history. Snider, Kendall College of Art and Design

Email(s): [email protected]; [email protected] Potential Subject Areas: 1) Art History-World Art; 2) Art History-

General Art History Tobin Siebers’ Disability Aesthetics formulates a new way of understanding disability studies as central to art history and its methods. With the turn to conceive disability as not merely a matter of representation, biography, or biology but also and especially as a style, an aesthetic, and a tactic that produces interactions and emotions, Siebers’ Disability Aesthetics alters both the role and value of disability: “disability is properly speaking an aesthetic value, which is to say, it participates in a system of knowledge that provides materials for and increases critical

2017 Call For Participation 9 Art Writing in the Expanded Field crowdsourcing, technological singularity, transhumanism, and Chair(s): Claire Daigle, San Francisco Art Institute beyond. Email(s): [email protected] Potential Subject Areas: 1) Studio Art & Design-Graphic/ Contemporary prose writing is increasingly characterized by Industrial/Object Design; 2) Studio Art & Design-Digital Media/ the dissolution of lines that circumscribe literary categories. The Animation; 3) Interdisciplinary-Studio Art & Design phenomenon is demonstrated by the broad appeal of recent books like those by Maggie Nelson, Claudia Rankine, Ben Lerner, and Rebecca Solnit. To what extent might such widespread “So near and yet so foreign:” Negotiating Touristic Experience genre-bending inform and include writing about art? This session through Design foregrounds how the production of art history, theory, and Chair(s): Sara Desvernine Reed, Virginia Commonwealth University criticism might be considered as a creative endeavor. Examples Email(s): [email protected] include writings as diverse as T.J. Clark’s The Sight of Death (2008), Javier Sierra’s The Master of the Prado, Chris Kraus’ I Love Dick (2006), Cuban graphic designer Conrado Massaguer’s promotional Rebekah Rutko!’s The Irresponsible Magician (2015), and Daniel advertisement, featuring a voluptuous Cuban woman holding Arasse’s Take a Closer Look (2013). How might we turn the gaze maracas and boasting the slogan, “So near and yet so foreign,” onto the discipline and consider what it might mean to read and was utilized by the Cuban Tourist Commission in a promotion write about art as creative non-"ction? What distinguishes the craft to its U.S. neighbors in the 1950s. Today, the messages in the of art historians or art critics from that of essayists, memoirists, or promotion are ironically prescient. Normalizing relations between novelists? How might a shift of balance toward invention inform the United States and Cuba has yielded heightened interest our practice as scholars? What might be the perils and losses among U.S. citizens and already throngs of American tourists have accompanying such a shift? How might it impact readership? traveled to Cuba, many of whom aim to experience Cuba “before What insights are to be gleaned from forays to other shelves in the it changes.” But what will shape their experience? Contemporary bookshop? Papers addressing existing art writing that mobilizes theories of tourism embrace the concept of a “tourist gaze” as "ctional and creative non-"ctional elements and strategies are the performative, embodied practices of being a tourist, which encouraged, as are those that perform e!orts to push beyond are focused on the visual, as well as other sensorial experiences. traditional disciplinary methods and conventions. This panel seeks to address the understudied, though integral, role that design plays in tourism practices. From promotional Potential Subject Areas: 1) Art History-Contemporary Art; 2) visual material, to luggage design, to “indigenous” crafts, to hotel Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism; furniture and landscaping, how does design mediate the tourist 3) Interdisciplinary-Art History experience? How does design normalize the tourist’s life back home by creating an experience of an other? Likewise, how does design o!er a space for locals to exert agency in negotiating their Ethics in Design representation? How does design interrogate the dichotomies that Chair(s): Andrew DeRosa, Queens College, City University of New are negotiated in touristic experiences--near/far, familiar/foreign, York; Laura Scherling, Teachers College, Columbia University. inclusive/exclusive, comfort/discomfort, authentic/inauthentic? Email(s): [email protected]; Papers may explore the ways in which design, as experienced by [email protected] any or all of the senses, has either perpetuated the stereotypes of otherness or has contradicted and counteracted these stereotypes. Communication designers have long been in the position to in#uence culture and persuade audiences, and design educators Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Studio have a unique position to impart social responsibility while Art & Design-Graphic/Industrial/Object Design; 3) Studio Art & teaching their craft. Historically, the "eld of communication design Design-Architecture/Interior Design has closely evolved with the latest developments in art, media, and technology. In recent years, advances in digital technologies has led to its rapid transformation. Through this change, design Design: Context and Dialogue educators and practitioners are not only faced with staying Chair(s): Mark John DeYoung, Independent Scholar connected to relevant epistemologies and educational materials, Email(s): [email protected] but also with emerging ethical considerations. With the quickly changing state of the "eld, it is imperative for educators to develop The days of support for the designer as neutral savant conveying approaches to address ethical issues that designers face. Design the message of the authoritative client are waning. Human is largely aligned with commercial practices and servicing the context is increasingly the focus within design practices and interests of businesses. These motivations can be at odds with pedagogy. In Poynor’s book on Jan van Toorn, the author lays designers’ abilities to apply their problem solving skills to social out the designer’s case for a more inclusive, dialogic approach to good. The close relationship between commerce and design design. Rather than authoritarian monologue, this re-envisioning presents challenging ethical decisions. Some of these ethical of design respects the viewer, encourages exchange and is dialogic issues lack clarity. In order to explore these issues, this research is in pursuit of what German author Hans Magnus Enzensberger guided by the following questions: Is the primary responsibility of would call emancipatory media. In this brave new world, iterative the educator to train students for successful careers in industry? design thinking processes are employed in order to develop Is it possible for educators to combine industry training with more complete solutions that are integrative in their approach, participatory action research and cooperative inquiry? How can taking into account user, client, and community. Indeed, scholars alternative models of design––critical, social, and activist–– "t from Davis to Norman, McCoy to Heller, along with industry in? Are these models co-opted or commodi"ed? How can design champions Martin and Brown are advocating for continuing the educators and practitioners address ethical issues related to digital trend of a people-focused approach through design thinking, surveillance, interface design, disruptive innovation, user research, systems thinking and integrative design, coordinating cognitive

2017 Call For Participation 10 abilities with practical facility. Re!ecting on the pedagogical and governmental social engineering. These deconstructions all and theoretical underpinnings of a recently developed media target at a new kind of individual - the Maker, the independent independent, collaborative design course where students work creative, empowered by new digital tools, open source platforms for real clients in the non-pro"t sector, will serve as a springboard and a sense of solidarity within the networked society. How is the for this session. This session is open to designers and educators Maker represented in contemporary art? How are engineers, like implementing socially engaged activities to improve on the quality Natalie Jeremijenko, using artistic venues to conduct experiments of human interactions through design practice or curriculum. too extreme for the sciences? In what ways are artists venturing Whether comprehensive organizational shifts or pilot projects, critically into the worlds of sustainable design and engineering? the session is interested in case studies on the challenges and In what ways are technologists gaining from the humanities to successes of such endeavors. assess their creations in a broader scope? How has the Maker mentality shaped pedagogy? Are art programs engaged with new Potential Subject Areas: 1) Studio Art & Design-Graphic/ on-campus Maker spaces, and do they perform critically within Industrial/Object Design; 2) Interdisciplinary-Studio Art & Design them? Are there more exchanges between science and art across campuses, and what are the results? This panel invites projects and papers from artists, architects, historians, scholars, educators, Society of Architectural Historians (SAH) activists and amateurs that demonstrate or deconstruct the Maker Architecture and Comedy Mentality. Chair(s): Edward Dimendberg, University of California, Irvine; Steven Jacobs, University of Ghent Potential Subject Areas: 1) Interdisciplinary-Studio Art & Design; Email(s): [email protected]; [email protected] 2) Interdisciplinary-Studio Art & Art History; 3) Studio Art & Design- 3-dimensional Design Architects and scholars frequently invoke tragedy to describe the mismatch between built form and the world, yet the links between architecture and notions of the funny, the witty, the ludicrous, the Is There an Aesthetics of Decolonization? New Perspectives ridiculous, or the sarcastic are no less suggestive. Papers in this from South Asia session may approach the comic dimensions of architecture and Chair(s): Natasha Eaton, University College London; Emilia cities through historical or theoretical case studies or treatments Terracciano, University of Oxford of the built environment in media such as literature, theater, "lm, Email(s): [email protected]; [email protected] photography, or visual art. They may consider examples from any time period or geographic region and treat speci"c architects, What is the impact of decolonization movements on modernism? individual buildings; typologies; spatial characteristics; varieties “Decolonisation is always a violent phenomenon,” wrote Frantz of ornament; the role of materials, scale, or color; or and the utility Fanon in The Wretched of the Earth (1961), a study devoted to the of psychoanalysis, phenomenology, and other critical theories in dehumanising e#ects of colonialism upon the individual as well as explaining comic architectural phenomena. In what manner is the a call for the decolonization of people. International commentary comic e#ect of architecture dependent on the way it interacts with on the current Greek debt crisis in the EU scarcely considers the bodies of its dwellers, taking into account Bergson’s de"nition prior experiences of structural adjustment, labour exploitation, of humor as a con!ation of the human and the mechanical? Do migration, refugee crisis and debt intransigence beyond Europe. new forms of architectural technology present new opportunities But decolonization has a peculiarly non-European history, for architectural humor? Rather than enumerate examples, referring to political agendas arising in the South, which claimed presentations should take seriously the linkage between comedy self-determination from colonial rule. The aim of this panel is to and destruction noted by Hegel and ponder to what extent, if at identify the processes, politics and aesthetics of decolonization all, design, construction, and dwelling entail the suppression of for art and art history in South Asia. Through a history marked by comic impulses. How might comedy advance, rather than merely ruptures and displacements, we explore how artists endorsed, upend, architecture? In what ways could architectural comedy challenged and negotiated the present, as imperialism weakened push beyond stale oppositions and overcome nostalgic, cynical, or its grip and took new forms. Artists resisted and recon"gured small-minded impulses in contemporary culture and recon"gure domination and homogeneity, ramifying struggles for self- the contemplation of the divine or the cosmic for a secular age? determination on an international scale. This panel calls for new and urgent research initiatives around art and decolonization Potential Subject Areas: 1) Art History-Architectural History/ as for example that carried out by the special issue of Third Text: Historic Preservation; 2) Art History-Critical Theory/Gender “Partitions: Art and South Asia” (2017, Editor: Natasha Eaton). Studies/Visual Studies; 3) Interdisciplinary-Art History We welcome papers that address decolonization across a range of media and technologies: Comparative ‘Partitions’; ‘Islanding’; Border and Border Cultures; Violence, Nostalgia and Longing; The Maker Mentality Imagination and Struggles; Carto-imaginations and Uneven Chair(s): Ruth Dusseault, Georgia State University Geographies; De-territorialization; Labor Exploitation; Violence in Email(s): [email protected] the Postcolony; The Potentialities of Revolution; Refugee Crisis; Migration and Diaspora; Political Economy of Emergency. Cory Doctorow characterizes his 2009 novel Makers as a response to “the amazing blossoming of creativity and energy that I saw Potential Subject Areas: 1) Art History-Twentieth-century Art; in Silicon Valley after the dotcom crash, after all the money dried 2) Art History-South/Southeast Asian Art; 3) Art History-Critical up.” Media theorist Fred Turner characterizes the Maker culture as Theory/Gender Studies/Visual Studies traditional capitalism cloaked in 60’s countercultural romanticism. California’s “computer utopians,” as described by Adam Curtis in his 2011 BBC series All Watched Over by Machines of Loving Grace, see the digital transformation as an opportunity for corporate

2017 Call For Participation 11 Systems Thinking for Sustainable Design Preservation by Other Means: Contemporary Art and the Chair(s): Rachel Beth Egenhoefer, University of San Francisco Destruction of Cultural Heritage Email(s): [email protected] Chair(s): Chad Elias, Dartmouth College; Mary Co#ey, Dartmouth College Design for Sustainability is a pressing topic that industry and Email(s): [email protected]; education faces today. However, we need to think beyond Mary.K.Co#[email protected] reusable tote bags, recycled plastic and low-VOC ink, to tackle the underlying issues at hand. This panel seeks to explore sustainable In 2012 Mexican artist Eduardo Abaroa proposed the “total design from a deeper, holistic perspective that uses systems destruction of the National Museum of Anthropology” in an thinking as a tool for design strategy and implementation. Today’s installation in which he littered the gallery with rubble that designer work in an interdisciplinary !eld. Singular graphic simulated the explosion of not only the building but also its designers, product designers, and web designers no longer work collection of indigenous artifacts. Drawing upon avant-garde in individual silos. Design requires a holistic approach that works gestures and local critiques of the museum’s role in shoring up in tandem with urban planners, social psychologists, politicians, the claims of an authoritarian government, Abaroa’s provocative chemists, engineers and a plethora of other practitioners. A proposal suggested that indigenous communities might be better product may appear to meet the criteria of sustainability on served if their culture was destroyed rather than preserved for paper, but if it is not presented in a broader system that promotes museological display. In the same year, Lebanese artist Akram underlying sustainable change, the message will be lost. This Zaatari buried artworks in his Time Capsule project, recalling panel situates the design practice in relationship to systems the precarity of cultural artifacts in con"ict zones (during the thinking, taking into consideration the power design can have in Lebanese Civil War the National Museum in Beirut sealed most of the in"uence of structures, systems, and interactions that underlie its collection inside huge concrete blocks) as part of a ongoing our decisions, values, ethics and identities. In addressing issues exploration of informal economies of preservation. While this of design for behavior change, systems and strategy, circular panel recognizes the importance of protecting collections from economy, humanitarian design, ethics and values, this panel looting, vandalism, and physical destruction—particularly in the attempts to present a unique and powerful design. This panel will wake of the Islamic State’s spectacular attacks on cultural heritage- be presented in a hybrid format that includes short presentations -we seek papers which take up contemporary artistic interventions on theoretical perspectives, physical examples, and how to that either complicate or challenge the custodial claims of the implement these ideas in the classroom. national museum. We invite scholars who are interested in critically examining museums and heritage industries in nations or regions Potential Subject Areas: 1) Interdisciplinary-Studio Art & Design; shaped by violent histories of (de)colonization and/or ongoing 2) Studio Art & Design-Graphic/Industrial/Object Design military con"icts. Papers addressing methodological issues as well as concrete case studies of contemporary artworks or curatorial practices that engage the museum from any number of post- or Surrealist Gestures and Material Transformations in Interior neocolonial contexts are equally welcome. Decor, 1930–70 Chair(s): Marianne Eggler, Fashion Institute of Technology Potential Subject Areas: 1) Art History-Contemporary Art; 2) Email(s): Marianne_Egglergeroz@!tnyc.edu Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism; 3) Art History-World Art The impact of Surrealism on twentieth century interior design, at least in its most spectacular manifestations, has been thoroughly explored by scholars, including Beatriz Colomina Women’s Caucus for Art (WCA) and Anthony Vidler, and the subject was included in a 2007 Maternal Art Activism exhibition at the V&A titled “Surreal Things: Surrealism and Chair(s): Rachel Epp Buller, Bethel College; Margo Hobbs, Design.” Such masterpieces of the irrational as Le Corbusier’s de Muhlenberg College Beistegui Apartment in Paris of 1929, Salvador Dali’s fantastical Email(s): [email protected]; [email protected] furnishings inspired by Mae West, or Frederick Kiesler’s Art of this Century Gallery, 1942, in New York, have received considerable This panel considers the work of mothers engaged in creative attention. However, the Surrealist urge toward the irrational and practice who position themselves as agents of cultural change. the challenge to the “functional” in interior design lurks in less These artists situate individual works, or even entire careers — well-known examples, manifesting itself in interiors as diverse as much as Kathe Kollwitz did in the early-twentieth century — as Andy Warhol’s aluminum foil-clad Factory of the 1960s and the activist endeavors in"uenced by and often directly tied to their 1980s postmodern masterpieces of the Italian group Memphis. status as parents. Building on the feminist expression that “the Even the work of such canonical “high” modern architects as Mies personal is political,” Adrienne Rich opened a path for writers van der Rohe, as Rosemarie Bletter has shown, exhibit irrational to take on an activist maternal voice in her well-known text, “Of tendencies, and this session encourages proposals that continue Woman Born: Motherhood as Institution and Experience,” In the this investigation, venturing inside less well scrutinized examples decades since, a host of creative producers around the globe - to consider surrealist gestures and material transformations in many of whom are not parents themselves - have answered her interior design. call, not only to grant visibility to hitherto obscured experiences of mothering, but also to engage in social and political protests Potential Subject Areas: 1) Studio Art & Design-Architecture/ from maternal viewpoints. Presenters might address creative work Interior Design; 2) Art History-Decorative Arts/Textiles/Design that disrupts expectations of maternal behavior and identity; History; 3) Art History-Twentieth-century Art community engagement, public art, or interventions in public spaces in"uenced by experiences of motherhood; creative work that interrogates the representation of mothers in art, media or the marketplace; art about the censorship of the maternal body

2017 Call For Participation 12 or discrimination against mothers; art that intersects with the authored discussion around new ways of teaching and learning in politics of immigration, economics, transnational con!icts or the art history classroom. Modeled on the AHTR Weekly, a peer- environmental destruction. This panel invites artistic and scholarly populated blog where art historians from international institutions submissions that engage with the challenges, strategies and share assignments, re!ections, and teaching tools, this session will possibilities of these and other aspects of contemporary maternal o#er a dynamic “curriculum slam” in which six lightning speakers, art activism. two key respondents, and attendees will engage in dialogue and re!ection on successes, failures, and future paths forward in the art Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art history classroom. The session is dedicated to scholarly discourse History; 2) Art History-Contemporary Art; 3) Art History-Critical that articulates research and practice in art history pedagogy, Theory/Gender Studies/Visual Studies and seeks to raise the pro"le and value of those who identify as educators.

Committee on Diversity Practices Potential Subject Areas: 1) Interdisciplinary-Professional Engaging Diversity in the Arts Curriculum of Designated Development/Pedagogy/Publishing; 2) Studio Art & Design-Art Colleges and Universities Education; 3) Other Chair(s): Lisandra Estevez, Winston-Salem State University; Julie McGee, University of Delaware Email(s): [email protected]; [email protected] Museums, Artists, and Social Change Chair(s): Laura Flusche, Museum of Design Atlanta This panel considers the arts curriculum of minority-serving Email(s): [email protected] institutions: Historically Black Colleges and Universities (HBCUs), Hispanic-Serving institutions (HSIs), Asian American and Native In 2010, the American Alliance of Museums (AAM) issued a American Paci"c Islander-Serving Institutions (AANAPISIs) and challenge to museums to become active, visible players in Tribal Colleges (TCUs), among others, and the types of diversity civic life and trusted incubators of change. With this session, and inclusion practices being implemented to foster creativity, the CAA Museum Committee seeks to identify, understand, critical thinking skills, and greater cultural awareness. This session and learn from museums that have formed partnerships with seeks to address pedagogies and practices of inclusion and pose artists with the explicit goal of creating exhibitions, programs, relevant questions. How do the arts curricula of these institutions or other o#erings intended to e#ect social change at the local address identity formation as part of the educational experiences or global level. Because the challenges presented to artists and they o#er? What speci"c pedagogical practices, curricula, and museums by this social change agenda are signi"cant, papers programs do these programs advance to foster a distinct and may discuss successful e#orts or failed ones, though in either dynamic learning environment? What does it mean to be an case, presentations should include initial goals, processes or educator at a designated university in the twenty-"rst century? methodologies employed, and outcomes (or preliminary results What transformational strategies might we learn and apply if programs are currently underway). The goal of the session is to across institutions? This open-call session invites proposals from present case studies that will inform a panel discussion. Scholars, educators specializing in art, visual culture, and art history from artists, and museum practitioners are invited submit proposals. national and international institutions of higher learning. Potential Subject Areas: 1) Interdisciplinary-Museum Studies/ Potential Subject Areas: 1) Interdisciplinary-Professional Curatorial Studies/Art Criticism; 2) Interdisciplinary-Studio Art & Development/Pedagogy/Publishing; 2) Interdisciplinary-Studio Art Art History & Art History; 3) Interdisciplinary-Art History

Interpreting Degas: A Centennial Perspective State of the Art (History): Pedagogy Laboratory Chair(s): Michelle Foa, Tulane University; Kathryn Brown, Chair(s): Michelle Millar Fisher, The Graduate Center, The City Loughborough University University of New York Email(s): [email protected]; [email protected] Email(s): michellemillar"[email protected] This session commemorates the centenary of Edgar Degas’s death This session invites proposals for seven-minute lightning talks on in 1917 by inviting a critical re-examination of the artist’s work the state of art history teaching today. What is the most critical and its reception during and after his lifetime. Since scholarship and compelling facet of pedagogical practice and philosophy in on Degas has long re!ected important developments in the art history now, and how might this be communicated by sharing "eld of art history, including debates about the representation a successful assignment, methodology, re!ection, a teaching of class, gender, race, and labor, among other themes, our hope philosophy, or an instructive failure? Possible springboards might is that an exploration of past and current approaches to Degas’s include: Engaging non-art history majors ; The art history survey work will o#er broader insights into the history and present state textbook ; Chronological vs. thematic survey; Creating scaleable of the discipline. We thus seek papers that foreground issues of Open Educational Resources (OERs); Flipped, hybrid, and online historiography and methodology in their analyses of Degas’s multi- teaching; Crafting measurable learning goals and outcomes; faceted body of work or the critical and art historical frameworks Teaching as a political act; The digital humanities ; Non-traditional that have been used to interpret it. Topics might include, but are teaching methods; Teaching with/without museums and galleries; not limited to, aspects of Degas’s work, materials, and practice that Teaching with material objects; Letting go of the lecture/the would bene"t from re-consideration, key critical or art historical canon; Teaching writing about art; Generating/analyzing course texts on the artist, Degas’s in!uence on his contemporaries or later data ; Struggling with “coverage”; Addressing plagiarism. The artists, and the role of dealers, museums, and publishers in shaping session will be facilitated by ArtHistoryTeachingResources.org our understanding of his work. On the unique occasion of this (AHTR), founded in 2011 as a constantly evolving and collectively

2017 Call For Participation 13 centenary, our aim is to present a reassessment of Degas’s work architecture and heritage management in the face of contested and legacy from a variety of distinct and innovative perspectives, and increasingly global cultural and political landscapes. and we encourage submissions from curators and conservators as well as art historians at any stage of their careers. Potential Subject Areas: 1) Art History-Architectural History/ Historic Preservation; 2) Art History-African Art (sub-Saharan); 3) Potential Subject Area: Art History-Nineteenth-century Art Art History-Art of the Middle East/North Africa

Historians of Netherlandish Art (HNA) Issues in Teaching Latin American Art History The Netherlands and the Global Baroque (1580–1750) Chair(s): Patrick Frank, Independent Author Chair(s): Caroline Fowler, Yale University Email(s): [email protected] Email(s): [email protected] This session will examine issues and problems related speci"cally For the Kochi-Muziris Biennale (in Kochi, Kerala, India) in 2012, to teaching the history of Latin American art. Submissions are seventeenth-century Dutch warehouses built by the Dutch East invited from experienced instructors who have grappled with India Company (Vereenigde Oost-Indische Compagnie, or VOC) issues such as background knowledge to be required of students, became sites for contemporary art installations. Many of these the relevance of interdisciplinary approaches, addressing racial works engaged with the history of the VOC in the region of the issues, access to original art works, relationship to more canonical Indian Ocean and its continuing in!uence in economics, trade and art (and to other faculty members who specialize in it), access to urbanism. Following in the footsteps of the Kochi-Muziris Biennale digital teaching materials, availability of research materials for and the more recent exhibition Asia in Amsterdam (Amsterdam students, and the relevance of language competence, or other and Salem, MA), this panel seeks to explore the architectural, issues. Submissions should deal with one issue only, discuss artistic and urban imprint of the Dutch in the regions of their the problem, bring to bear the experience of the presenter, and global trade centers, as well as the in!uence of the Indian and include possible solutions. To encourage information sharing, Atlantic regions and their cultures on Dutch artistic practice and proposals for briefer presentations (lasting less than 15 minutes) theory. This panel will examine the economic, environmental and will also be considered. visual impact of both the VOC and the WIC (De Geoctroyeerde West-Indische Compagnie, or West India Company) in early Dutch Potential Subject Area: Art History-Latin American/Caribbean Art colonial enterprises. Papers will explore a visual archaeology of how ideas and objects from Dutch trade and territorial enterprises in!uenced concepts of art, material culture, and religion in Accelerated Art History: Tools and Techniques for a Fast- the Netherlands, as well as the impression of the Dutch on the Changing Art World landscapes of trade partners such as Brazil, India, Indonesia, South Chair(s): Charlotte Frost, City University of Hong Kong; Sarah Cook, Africa, Sri Lanka, Suriname, and the United States in architecture, Duncan of Jordanstone College of Art and Design material culture, and urbanism in the seventeenth and eighteenth Email(s): [email protected]; [email protected] centuries. During Hong Kong’s Umbrella Revolution thousands participated Potential Subject Areas: 1) Art History-Renaissance/Baroque Art; in creative acts of protest. Like many major cultural events, 2) Art History-World Art activities were distinguished by how they simultaneously unfolded on and o$ine. In one instance, an art project that let anyone anywhere tweet messages of support to protesters was broadcast Islamic Architecture and Contested Cultural Heritage in Africa online, projected live on government building walls, and shared and the Middle East across social media in rapid-"re mass social documentation. There Chair(s): Barbara E. Frank, Stony Brook University; Michelle Apotsos, have been investigations into participatory culture (Jenkins: 2009; Williams College Allan: 2013); the hypermediation of the event (Bolter and Grusin: Email(s): [email protected]; [email protected] 2000; Kember and Zylinska: 2012); documentation of time-based art events (Butt: 2005; Jones and Heath"eld; 2012) curation of new This panel explores historic Islamic architecture in Africa and media art (Grau: 2004; Graham and Cook: 2010); and digital cultural the Middle East through the lens of contested contemporary heritage (Cameron and Kenderdine: 2007; Jackson and Kidd: 2010). culture and politics, particularly surrounding ideas of heritage Yet art history has produced no clear models for live data capture. management. How do de"nitions of Islamic architectural heritage Inspired by a range of ‘hypermediated’ cultural events from the in the eyes of global organizations such as UNESCO or the Agha Umbrella Revolution to the Ukraine’s Lenin monument removal, Khan compare to or con!ict with the way particular states value or this panel will bring together art historians, archivists and curators devalue these sites in their own agendas? What constitutes Islamic to discuss methods for archiving and historicising live mediated architectural heritage in the eyes of community members? How cultural events. We will address questions such as: What new forms do these de"nitions di#er from the way scholars might view such of live- or hyper- mediated cultural event exist as a result of the heritage? The panel considers to what extent private architectural social web? What models for documenting time-based arts exist forms within Islamic contexts deserve our attention in addition and how might they apply to these emerging events? What data to understandable preoccupations with “major” monuments, and can and should we capture and how? In what ways are museums theorizes how we might take into account broader, potentially developing events-driven approaches to collecting or archiving? non-Islamic, cultural factors that nonetheless contribute to more universal de"nitions. By analyzing how these forms are conceptualized (used and abused) by multiple stakeholders, the panel advocates for context-speci"c approaches to Islamic

2017 Call For Participation 14 How have artists created new social media tools and connected !nancial, societal, and art-world institutions that seem to artworks as a result of collective events? possess limitless power. We seek to investigate the very notion of ammunition, encompassing the representation of artillery in art Potential Subject Areas: 1) Art History-Digital Media/Animation; and visual culture, as well as more expansive metaphors of armed 2) Interdisciplinary-Museum Studies/Curatorial Studies/Art propaganda, shooting/being shot (photographically), historical Criticism mis!ring, and caliber/morality. Papers may also investigate how artworks have constructed legible “enemies,” engaged with the relationship between the spectacular and the mundane upon Graphic Growth: Discovering, Drawing, and Understanding which guerrilla tactics subsist, and operated under conditions Nature in the Early Modern World of being outmanned, outgunned, and up in arms. Additionally, Chair(s): Catherine Girard, Williams College; Jaya Remond, Max we are interested in papers that confront our current landscape Planck Institute for the History of Science of violence, the polarizing rhetoric surrounding gun ownership, Email(s): [email protected]; and the ways in which the possession or appropriation of artillery [email protected] has been instrumentalized to protect mythologies of American exceptionalism. This panel explores how drawing and related graphic media were used to gain insight into nature during the early modern period. Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art Naturalists and artists faced a natural world in expansion, which History-World Art; 3) Art History-Twentieth-century Art they sought to describe in detail as new realms of natural history emerged, facilitated by a conjunction of events ranging from geographic explorations to the invention of the microscope. As Gauguin Redux rich scholarship in the history of science and of art has shown, Chair(s): Linda Goddard, University of St Andrews; Elizabeth C. images could function as powerful instruments of knowledge Childs, Washington University in St Louis and as repositories of newly gained information about plants, Email(s): [email protected]; [email protected] animals, and minerals. Addressing the epistemological encounter between artists, scientists, and the natural world, this panel zooms Paul Gauguin (1848–1903) has long held a privileged position in on how this moment of intersection called for innovative in the historiography of modernism in western art history. His strategies of visualization and shaped new graphic conventions case is often taken as paradigmatic in debates about avant-garde in the production of images. It interrogates how techniques practice, artistic identity, the fraught histories of primitivism of up-close observation, connected to technological progress, (as an aesthetic strategy and mode of cultural production), and informed innovative modes of depiction and vice-versa, as the racial and gendered biases and exclusions of the discipline exempli!ed by !gures as diverse as Robert Hooke, Claude Aubriet, as commonly de!ned in Europe and North America. Beginning and Maria Sybilla Merian. When exposed to lush tropical botany with his reception in the early twentieth century, responses or seemingly hybrid organisms (such as polyps and corals), to his art have often been inseparable from reactions to his how did naturalists and artists use drawing to stabilize nature? controversial life and self-curated persona, fuelled by his own What were the operations that transformed observation into semi-autobiographical writings as well as by art criticism, both a graphic act? How did experienced observers respond to this contemporary and posthumous. His self-conscious equation of abundance of information and translate into lines the sensorial the artistic life with exile – or exoticist adventure – has attracted overload triggered by unfamiliar morphologies? Papers using the interest of anthropologists, and scholars of literature and interdisciplinary approaches and with a focus on France and Paci!c Studies, as well as art historians. Emblematic not just of a Northern Europe in a global context are particularly welcome. style of modern art, but of an uncompromising, even destructive, commitment to creativity, Gauguin’s example has been analysed Potential Subject Areas: 1) Art History-Eighteenth-century Art; in moral philosophy, imagined in !ction and !lm, and critically 2) Art History-Renaissance/Baroque Art; 3) Art History-Drawings/ reworked in contemporary Paci!c culture. This session invites Prints/Photography/Works on Paper papers that investigate artistic, literary and popular responses to Gauguin’s art and/or life, or that consider his uneven fortunes in the critical literature since 1903. We also welcome investigations Outmanned and Outgunned of the exhibition and curatorial strategies that have aspired to Chair(s): Faye Gleisser, Indiana University; Delia Solomons, Drexel rethink his art and critical legacies in a broad variety of formats University (monographic, media-driven, comparative, movement-speci!c, Email(s): [email protected]; [email protected] cross-culturally informed) since the early twentieth-century, both within and outside the Euro-American sphere. In 1961, Che Guevara outlined a key strategy for implementing counterinsurgency: “the principal source of provision for Potential Subject Areas: 1) Art History-Nineteenth-century Art; the guerrilla force is precisely in the enemy armaments.” This 2) Art History-Oceanic/Australian Art; 3) Art History-Twentieth- mandate—to steal your enemy’s weapons—appeared in century Art Guerrilla Warfare, a manual designed to assist small oppositional bands across the globe in potential uprisings against colonial, neocolonial, and dictatorial governments. Che’s methods were also quickly adapted for artistic and cultural production. Since the 1960s, artists in urban cosmopolitan centers have appropriated the literal and !gurative weaponry of their adversaries to intervene in asymmetrical power structures. This panel invites papers that examine how artists have incorporated and reinvented enemy armaments in order to expose or challenge the governmental,

2017 Call For Participation 15 When Art Claims to Do Good: Assessing the Impact of Socially design educators, design historians, and collaborative teaching Engaged Art teams. Chair(s): Elizabeth Grady, A Blade of Grass; Steve Lambert, Purchase College - State University of New York Potential Subject Areas: 1) Studio Art & Design-Graphic/ Email(s): [email protected]; [email protected] Industrial/Object Design; 2) Art History-Decorative Arts/Textiles/ Design History Artistic activism has come to play an increasingly prominent role in social movements, in art education, and in the public discourse on art in general. Political art is nothing new, of course, but it seems Genesis of Video Art in Latin America (1970s and 1980s) the stakes have been raised in recent years. It can be a great way Chair(s): Juan Carlos Guerrero-Hernandez, Universidad de Los to make a splashy statement at a protest, or make a commentary Andes on injustice through a clever critique. But these forms of activism Email(s): [email protected] are largely representational; they raise awareness, but stop short of direct action. What happens when artists instead go further Many of the art historical studies and discussions on video art and work to enact change? Then pithy wit and biting critique of in Latin America have been devoted to the works produced so much political art gives way to the messiness of community during the 1990s, a time when video art was #nally and widely meetings, and the contingencies of real life, as artists engage in recognized by the art scene in that region. Nonetheless, the a more long-term way, co-creating solutions alongside people emergence of video art in the two preceding decades is still an whom they hope to serve. When compared to social service unexplored area that, as Christine Mello has suggested, needs to organizations, an artist’s project often appears small-scale in be studied by paying attention to explorations, experimentations, terms of the number of people a!ected. Does this mean it is less and “contaminations” with other practices and media, such as impactful? Or does it simply aim for di!erent kinds of outcomes? sculpture, painting, dance, performance, and music. In this order How can artists leverage their strengths toward larger activist of ideas, the panel invites researchers and graduate students goals? How can artists and organizers e!orts combine, align, and interested in circumventing the traditional isolation of video from resonate? This panel invites papers that explore the question of the larger artistic context, and the old tendency of focusing on whether social practice projects that profess activist goals live up the ‘limits of the medium.’ We invite papers interested in revealing to their ambitions, and if so, what their impact can be, either in the less mythological, more complex geneses of video art in the short-term or the long-term. region. Proposals dealing with the following, or similar, issues are welcome: contamination of video art production in the context of Potential Subject Areas: 1) Art History-Public Art; 2) Art History- contemporary art, artists and works ignored by current and past Contemporary Art; 3) Studio Art & Design-Public Art scholarship, and revision of video art in art exhibitions organized in the period.

Teaching Design History in the Studio Potential Subject Areas: 1) Art History-Latin American/Caribbean Chair(s): Dori Gri"n, Ohio University Art; 2) Art History-Film/Video; 3) Interdisciplinary-Art History Email(s): gri"[email protected]

Studio design programs incorporate design history into the Appetite for Destruction: The Impulse to Destroy in Art curriculum in a variety of ways: as traditional lectures and Chair(s): Terence Hannum, Stevenson University seminars, as hybrid seminar/studio courses, and as studios Email(s): [email protected] with a focus on projects informed by historical encounters. This session will explore models and begin to establish best practices Object to be Destroyed was famously destroyed and resurrected for incorporating historical education into the design studio. by Man Ray many times over a period of decades starting in 1922. Traditionally, such studio projects have been based on students Composed of a simple cut out photograph of a lover’s eye (a lover discovering and copying stylistic models. The typeface specimen who became an ex-lover, hence its initial destruction) adhered poster project is a prime example for graphic design; this project to the arm of a metronome, Object to be Destroyed bridged a gap generally asks students to research a typeface and its designer, between sculpture, collage and time based media very poetically. then make a specimen poster inspired by the visual style and Eventually its destruction became a part of the piece – the artist historical context of the particular typeface. The possibilities for demanded that it be smashed with a hammer – and it became engaging critically with historical ideas and information are far a limited edition in 1965. This panel is seeking presentations on richer and more complex than simple style-based studio projects destruction in art with attention to collages, sculpture, video would suggest, however. This session seeks case studies from and performance, including but not limited to works and artists design educators who have successfully incorporated critical such as Yves Klein’s ‘Fire Paintings,’ Fluxus, Barry Le Va’s ‘Shatter historical engagement into their studio design classes through Scatter’ works, Viennese Actionism, Jean Tinguely’s Homage the making process. What are the themes and parameters of to New York, Gustav Metzger, Man Ray’s Object to be Destroyed, such learning activities? How are they structured? What kinds Yoko Ono, Alberto Burri, the relation to the concept of l’informe of readings and research activities support them? How do they (formlessness), anti-art, and the problems of the archive when engage students with history in ways that traditional lecture or considering work like this. seminar classes do not? How is the process of critical making capable of enriching design students’ experiences with the history Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art of their discipline? What successes and failures have emerged from History; 2) Art History-Contemporary Art; 3) Art History-Twentieth- the process of developing historically-informed studio design century Art projects? The session welcomes papers from designers, studio

2017 Call For Participation 16 Mexico City Today from museums, library archives, and independent research, are all Chair(s): Kevin Hatch, Binghamton University; Josh T. Franco, welcome. Smithsonian Archives of American Art Email(s): [email protected]; [email protected] Potential Subject Areas: 1) Art History-Drawings/Prints/ Photography/Works on Paper; 2) Art History-Critical Theory/ It has been over a decade since Rubén Gallo published his Gender Studies/Visual Studies; 3) Art History-World Art important book New Tendencies in Mexican Art: The 1990s, and twenty since a group of young artists, ambitious locals and foreigners based in Mexico City, began to gain international Beaumont Newhall’s History of Photography from 1937 to the recognition for work done in, and often about, the Mexican capital. Present Day (Rethinking Newhall’s History at Eighty) Since then a number of those artists have moved from showing in Chair(s): Jason Hill, University of Delaware; Nadya Bair, Ryerson alternative spaces to major galleries abroad, while new art spaces Image Center and museums have opened in the city at a remarkable clip, most Email(s): [email protected]; [email protected] notably the David Chipper!eld-designed Museo Jumex in 2013. Concurrently, neoliberal economic policies only accelerate, in 2017 marks the 80th anniversary of the publication of Beaumont Mexico as elsewhere, further concentrating capital not just within Newhall’s Photography, 1839-1937. This volume, which began as the city’s con!nes but in speci!c precincts; meanwhile perennial a short catalogue accompanying the Museum of Modern Art’s political tensions with the US persist, from immigration and border landmark 1937 exhibition of the same name, and which assumed issues to drug law enforcement and organized crime. Mexico its familiar form in 1949 as the History of Photography from 1839 City is now an undeniable node of the international art circuit, to the Present Day, virtually invented the history of photography but it is also a site of deep political and economic contradiction. as a problem for American art history. Written from Newhall’s This dual status throws into high relief the tensions that attend position outside academia, as a museum librarian and curator, the speci!cities of place within the globalized circulation of art. The History of Photography emerged as a chronological narrative, We solicit papers that deal with any aspect of contemporary art technical history, and pedagogical resource that addressed a production in Mexico City and its immediate environs. Papers may general public excited by the increasingly ubiquitous medium. address speci!c artists, collections, institutions, or transnational Although this initially lauded book soon became the primary relations. As a panel, we hope to go beyond the idea of Mexico City textbook on photography in the United States, postmodern critics as merely another stop on the global art-world circuit, and instead all but dismissed Newhall’s work during the 1980s for its apparent address its particularity as a locus for art production with its own privileging of photography’s aesthetic value, and his contributions history, commitments, and paradoxes. have only recently begun to be reclaimed by scholars who have taken an interest in Newhall’s social context and his fascination Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art with the camera as a technology. As such, Newhall’s book now History-Latin American/Caribbean Art sheds as much light on the development of photo history as a !eld of scholarly inquiry as it once did on the medium it promised to explain. We propose a ninety-minute colloquium whose Rethinking Photographic History Online !ve invited speakers, chosen by open call, will each o"er brief Chair(s): Eleanor M. Hight, University of New Hampshire provocations and extended discussion. We invite proposals for Email(s): [email protected] ten minute presentations re#ecting new thinking concerning Newhall’s foundational canon, analytical framework, and/or While print has long been the accepted, and required, format for disciplinary migrations within the United States and beyond. academic publications, in recent years there has been a movement to disseminate photographic research and archives online. The Potential Subject Areas: 1) Art History-General Art History; 2) increase in the costs of print media has resulted in the decrease Art History-Drawings/Prints/Photography/Works on Paper; 3) Art in production at academic publishers. And who can a"ord these History-Critical Theory/Gender Studies/Visual Studies photography books now anyway? More important, however, is the search for new ways to interpret and provide broader access to photographic collections. This has led museums, libraries, Arts Council of the African Studies Association (ACASA) archives, and scholars to develop innovative and thought- Flesh provoking digital projects. These projects o"er great potential Chair(s): Shannen Hill, Baltimore Museum of Art for creating an interdisciplinary and international forum for Email(s): [email protected] rethinking photography’s impact on both art and the formulation of visual culture. How might we look at photographs di"erently? Artists have long ruminated on boundaries levied against In this session, participants will demonstrate how their websites bodies in the name of varied and often intersecting concerns, present photographic material in ways that go beyond, “Here are be they political, cultural, religious, philosophical, medicinal, or our photographs. Do with them what you may.” How might new otherwise. This panel engages artistic activity that centers #esh, tools from the digital humanities and GIS mapping enable us to membrane, or skin as a site for questioning boundaries imposed think creatively about photography and visual culture? What is the from without. Although restricted to Africa and its diasporas, the proper balance between access, interpretation, and didacticism? panel is otherwise open to scholarly analysis of art work around Project presentations and theoretical papers from across academic this theme. For instance, panelists may consider artistic treatment disciplines, including projects developed with students, as well as of human, animal, or architectural #esh; haptic, optic, or other sensory experience wherein the #esh is principle conduit; #esh as fabric for mind-body exploration; (trans)national, psychoanalytic, or biopolitical studies that prominently situate #esh; censoring the representation of #esh and artful activist endeavors to override

2017 Call For Participation 17 it; or the poetics of !esh as material or metaphor for personal and experimental media as a means of capturing supernatural purpose. Other approaches to this topic are also welcome. phenomena; the visual and material culture of occult movements; and artistic experimentation with esoteric ideas and practices, Potential Subject Areas: 1) Art History-Contemporary Art; 2) including Spiritualism, Spiritism, Theosophy, séances, and Art History-Critical Theory/Gender Studies/Visual Studies; 3) Art automatic drawings/paintings. We are particularly interested in History-African Art (sub-Saharan) how artists met the challenge of depicting what was, by nature, intangible, mysterious, and ine#able.

Beautiful Lies: Artists Working with Digital Simulation and Potential Subject Area: Art History-Nineteenth-century Art Illusion Chair(s): Stephen Hilyard, University of Wisconsin-Madison Email(s): [email protected] Ancient Sculpture in Context Chair(s): Anne Hrychuk Kontokosta, New York University; Peter De The entertainment industry in various forms has been at the Staebler, Pratt Institute cutting edge of digital technology since the beginning. We are Email(s): [email protected]; [email protected] all familiar with the “digital magic” created by digital tools which were developed to ful"ll the demands of cinema, gaming and For an ancient Greek or Roman viewer, sculpture was the most commerce. Artists working with still images were early adopters of widespread and consequential form of public art, one that the technologies of illusion. However it is only in the last decade enriched almost all aspects of the built environment. Cicero, Pliny, that "ne artists have begun to make use of the full range of Pausanias, and others, all emphasize the multiplicity of critical time-based and 3D digital tools which can now create ever more roles – political, social, economic – that sculptures and sculptural convincing simulations. This technology creates the kind of media groups once played. The modern study of Greek and Roman objects we are accustomed to accepting is evidence of the world sculpture, however, is "rmly rooted in antiquarian traditions and beyond our immediate experience. Both in the commercial and has often focused narrowly on issues of style, date, manufacture, "ne art contexts digital simulations are paradoxical because they material, workmanship, or identi"cation. While contemporary can remain convincing as a visceral experience in spite of the fact scholarship has shifted the discourse towards socio-cultural that the viewer knows that they are lies. What are the implications and political frameworks, conclusions must often be tenuous as for these capabilities for artists? They may be used as tools for the many ancient sculptures – including many of the most famous – creation of poetic devices, on the other hand the act of simulation lack documented "nd spots (Marlowe 2013). This session seeks itself may become content. Do these tools provide a new approach papers that will (re)contextualize Greek and Roman sculpture to the uncanny? This panel seeks papers by artists whose work within their known or hypothesized architectural contexts, their incorporates sophisticate digital illusions, particularly 3D time- archaeological contexts, or both. We welcome proposals that based simulation, including frame-rendered video and real-time employ a holistic approach to address sculpture within broad and rendering, both interactive and coded. multi-format frameworks and that address ancient viewers as well as modern ones. We are interested in both the original display Potential Subject Area: Studio Art & Design-Digital Media/ of sculpture and secondary or re-use contexts, whether ancient Animation or modern. Shifts in meaning that occur between contexts are of particular signi"cance. We seek to identify how architectural and archaeological contextualization can illuminate the social, Haunted Modernity: Visions, Enchantments, and Apparitions historical and economic value of ancient sculpture. Proposals in Nineteenth-Century European Art with interdisciplinary approaches are especially welcome, as Chair(s): Alison Hokanson, The Metropolitan Museum of Art; are presentations of new "nds or reanalysis of old ones. We also Melissa Buron, Fine Arts Museums of San Francisco encourage innovative theoretical perspectives on the role of Email(s): [email protected] context for the interpretation of ancient sculpture.

The spirit world was a signi"cant source of inspiration for a Potential Subject Area: Art History-Greek/Roman Art wide range of artists in Europe during the second half of the nineteenth century. In an era marked by growing dissatisfaction with the perspectives that scienti"c rationalism and traditional Exploring Art Markets of the Past: Tools and Methods in the religion o#ered on modern life, the prospects of otherworldly Age of “Big Data” communication and supernatural visions galvanized new ways Chair(s): Christian Huemer, Getty Research Institute of looking at, responding to, and representing contemporary Email(s): [email protected] existence. The manifestations of this fascination with unearthly realms were rich and varied, from adherents of Spiritualism The recent proliferation of data and the emergence of new including James Tissot and James McNeill Whistler; to a"cionados computational techniques are not only in!uencing decision of the arcane and eerie, such as Fernand Khnop#; and occult- making processes in contemporary culture; they also have an in!uenced groups like the Nabis. Despite the profound visual increasing impact on our understanding of the past. Big data and conceptual appeal of mystical beliefs, their creative impact analytics, de"ned as the process of examining large amounts of has been largely underappreciated in art historical scholarship. information to uncover hidden patterns and unknown correlations, This panel seeks papers that address the role played by lend themselves to the study of art markets. Yet, contrary to more unconventional forms of spirituality and by the paranormal quantitatively inclined disciplines such as cultural economics in the development of later nineteenth-century European art. (which usually focus on contemporary data), art history has barely Papers might consider: representations of apparitions, visions, started to endorse this new opportunity. The study of art markets ecstatic trances, reincarnation, and the psyche or soul; the critical, more generally has gained remarkable momentum in recent years. literary, or popular context for such depictions; new technologies Numerous conferences are being held on the topic worldwide;

2017 Call For Participation 18 case studies are covering a wide array of subjects ranging from in history have also introduced contemporary art into their the transalpine art trade of the !fteenth century to the emerging programmes. As institutions with often substantial international markets of Asia and South America and their impact on our pro!les these museums have the resources to o#er curators and globalized contemporary culture. For many of the core questions artists potentially lucrative and, on occasion, career changing addressed in this burgeoning sub!eld of art history we now have opportunities to respectively commission and create new work. large aggregations of data at our !ngertips, prepared in formats These opportunities often involve artists of colour and appear to amenable to computational analysis. There are digital records from be celebrated as evidence of on-going strides towards cultural auction catalogs, dealer stock books, probate inventories, artist’s pluralism, equality and inclusion. Scholars have, for some time account books, price indices, receipts of payments, etc. To name now, been opening up debates about the politics and problems just a few possible areas of inquiry, this session invites papers that surrounding ethnographic collections and displays in western make use of larger datasets to analyze the networks and aggregate museums. Precious little attention however, has been paid to the behavior of agents on the art market, shifting tastes and values in consequences and implications of contemporary art being added history, or the "ow of objects through time and space. to what are often already very problematic environments. What function does contemporary art serve within already culturally Potential Subject Areas: 1) Art History-General Art History; 2) charged museum contexts, particularly when raced artists are Interdisciplinary-Art History used in such endeavours? Does contemporary art represent an unequivocal rejection of antiquated but long-held views of non- western art and culture? Do the favoured types of contemporary Decoding Destruction and Decay art exhibitions staged in ethnographic and other museums Chair(s): Maile S. Hutterer, University of Oregon; Sarah Thompson, ultimately exist in a cultural and historical vacuum, sti"ing Rochester Institute of Technology criticality and rea$rming western museums’ cultural hegemony? Email(s): [email protected]; [email protected] Using case studies and other approaches, this session sets out to critically examine the role of contemporary art when strategically In recent years, theoretical concepts of the ruin as memorial, as co-opted by museums. inspiration, and as symbol have generated scholarly inquiry and public fascination alike. The physical study of ruinous buildings Potential Subject Areas: 1) Interdisciplinary-Museum Studies/ tends to be overshadowed by the current emphasis on meaning Curatorial Studies/Art Criticism; 2) Art History-Contemporary Art; and morality, and yet ruins and their conservation or restoration 3) Art History-African Art (sub-Saharan) have long been sources for both new scholarship and the reevaluation of existing scholarly constructs. By making visible what was never intended to be visible, fragmentation provides Association of Historians of Nineteenth-Century Art (AHNCA) signi!cant insight into structure, materials, and architectural Cross-Cultural Encounters in the Long Nineteenth Century practices. Divergent interpretations of architectural fragments can Chair(s): Ruth E. Iskin, Ben-Gurion University of the Negev lead to vastly di#erent constructs of the history of style; processes Email(s): [email protected] of cleaning and restoration provide opportunities to examine building materials with new technology while simultaneously One of the reasons Charles Baudelaire chose Constantin Guys preventing—perhaps permanently—the chance for future to represent the painter of modern life was that in his view Guys scholars to perform the same kinds of evaluations. Restoration was “a man of the world,” who “wants to know, understand and may create substantively new buildings that await incorporation appreciate everything that happens on the surface of the globe,” into the history—and historiography—of architecture and the and thus he de!ned him as a “spiritual citizen of the universe.” built environment. We propose a session that examines loss, Baudelaire’s insight notwithstanding, the notions of modernity destruction, fragmentation, and restoration in the context of developed in art history have been tied to metropolitan centers, intellectual inquiry. Potential questions include: what are the even though the nineteenth century was very much a period of rami!cations of studying buildings in their less-than-complete mobility, travel, and cross-cultural encounters: Guys, for example, states? How does decay, disaster, or resurgence lead to the traveled as a visual reporter to send illustrations documenting reordering of architectural canons? What are we able to see, the Crimean war to the Western press; universal expositions understand, or imagine in architectural fragments that would displayed the art, culture and industry of nations from around otherwise be impossible in a complete or restored structure? the globe; artists and collectors traveled abroad -- Americans to What can we learn from buildings via processes of preservation Paris, Europeans to Asia, and visitors from many regions around or restoration, and how do such processes open or close di#erent the globe travelled to the international expositions in Europe means of investigation? and America. In addition, photographic and !lm companies sent representatives all over the world to take photographs and to !lm Potential Subject Area: Art History-Architectural History/Historic in numerous regions including, for example, the Middle East. This Preservation session proposes to broaden the formation of modernity in art and visual culture of the long nineteenth century by focusing on the signi!cance of cross-cultural encounters, spanning painting, Contemporary Art, Ethnography, and the Western Museum sculpture, photography, early !lm, illustration, exhibitions, and Chair(s): Richard Hylton, University for the Creative Arts collecting. It asks, to what extent we can re-envision nineteenth- Email(s): [email protected] century modernity by positioning cross-cultural exchanges in art and visual and material culture as central to modernity. Over the past two decades or so, contemporary art has increasingly become an integral feature of major international Potential Subject Area: Art History-Nineteenth-century Art museums primarily focused on displaying collections of ethnography, antiquities, history and culture. Equally, museums dedicated to narrating and commemorating traumatic chapters

2017 Call For Participation 19 Pedagogy of Social and Environmental Justice the king’s speech calling for world peace and social and economic Chair(s): Michele Jaquis, Otis College of Art and Design progress as visitors stood under the shadow of the monumental Email(s): [email protected] stainless steel 335ft Atomium. While many artists and designers have embraced the compelling forms of the atom, others have Droughts on the West coast, super-storms on the East, and a protested militaristic applications of nuclear power and the renewed activism for economic and racial equality across the negative environmental consequences of nuclear energy. Today whole country – this is the current context in which we live, create (sixty years since the !rst commercial civilian nuclear power and teach. Artists, designers, historians, and scholars are exploring station opened in Calder Hall, England, in October 1956), 442 new ways to bring practices of social and environmental justice nuclear power plant units operate in 31 countries around the into the classrooms of art and design. What new pedagogical globe and, in the wake of nuclear disasters including Windscale models are out there? What radical experiments have spawned (1957), Three Mile Island (1979), Chernobyl (1986), and Fukushima innovation and failures? What new approaches to art and design (2011), nuclear power continues to elicit contentious debate. This education are needed? How can we encourage and empower our session investigates the topic of nuclear power, as artists, writers, students to better their world in the context of climate change, scientists, philosophers, economists, and politicians continue to economic crisis, and social/racial inequalities? Artists, designers address the risks and hopes of a nuclear future. Papers are invited and educators are invited to engage the audience in presentations that explore the legacy of nuclear power across a broad history and/or workshops around these important issues. of contemporary architecture, art, and visual culture. Objects and practices under study may belong to any country or decade. Potential Subject Area: 1) Interdisciplinary-Studio Art & Design; 2) Topics that address international dialogues and interdisciplinary Interdisciplinary-Professional Development/Pedagogy/Publishing approaches are particularly welcomed.

Potential Subject Areas: 1) Art History-Twentieth-century Art; 2) Society for Paragone Studies Art History-Contemporary Art; 3) Interdisciplinary-Art History Animals, Art, and Theology: Ethics versus Economics in Art before the Twentieth Century Chair(s): Linda Johnson, University of Michigan-Flint The Last Frontier: Current Trends in the Visual Culture of the Email(s): [email protected] Circumpolar North Chair(s): Zoë Marie Jones, University of Alaska Fairbanks; Annie Artists painted animals in a myriad of ways – usually as pendants Du"y, University of Alaska Fairbanks to human life in pastoral scenes, landscapes, still-life paintings, Email(s): [email protected]; adu"[email protected] and genre scenes. In addition to these traditional settings, scenes including warfare, agriculture, scienti!c experimentation, hunting, As a large and relatively unpopulated region, the art and aesthetic and slaughter were also depicted, as the relationship between history of visual culture in the Circumpolar North often gets humans and nonhumans was being rede!ned in western art. overlooked in favor of areas that have a more circumscribed The right to exploit those species for personal advantage was historical past in art and culture. However the North has sharply challenged, due to the causal discoveries of scientists undergone escalated study and consideration by both scholars, and beliefs of prevalent theologians, who believed that animals studio practitioners, and other interested observers around the were integral to the doctrine of creation and were part of a future world in recent years. Among the many reasons for this are global biblical vision. Many artists were sensitive to these !ndings and, resources becoming increasingly overtaxed in multiple areas of in many instances, challenged the social order by questioning and the world and developers refocusing and looking toward the reconciling the ethical values toward animals that arose from the North and its relatively underexploited resources. Increasing realities of scienti!c inquiry and biblical criticism. A close reading development and greater attention from geopolitical groups of subject matter, medium, and style demonstrates that below the also accompanied a population boom. This change in population surface, there were many traces of guilt, unease, and defensiveness brought with it a heightened interest in the art and culture of about the treatment of animals. This panel seeks to highlight the Circumpolar North, both indigenous and nonindigenous. works of art that progress from being merely representational, to This includes those who support conservation and preservation morally instrumental, in order to examine humanity’s complicated through a record of the North as it exists today, as well as those relationship with nonhuman animals in the context of scienti!c who want to interpret the changing landscapes, and those who and theological developments of western society. want to advocate ideas for moving the North forward to the future. Due to the increased importance of the North in global politics, Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art there has been a rise in Arctic institutes dedicated to studying History-General Art History the North through the various !elds of science, policy, history, visual culture, and aesthetics. With the abundance of new research taking place this is an opportune time to hold a conference session Euratom at Sixty: Art and Atomic Energy which aims to gather ideas from these diverse disciplines through Chair(s): Catherine Jolivette, Missouri state University the lens of art. Email(s): [email protected] Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art 2017 sees the sixtieth anniversary of the Euratom Treaty that History-World Art; 3) Interdisciplinary-Studio Art & Art History established the European Atomic Energy Community in March 1957. The EAEC was created by six founding states (Belgium, France, Germany, Italy, Luxembourg and the Netherlands) to foster co-operation in the nuclear !eld and to coordinate research programs for the peaceful use of nuclear energy. The following year, “Expo 58” (also known as the Brussels World’s Fair) opened to

2017 Call For Participation 20 Association for Latin American Art (ALAA) design? That is to say, what new roles do design museums seek to The Evolving Canon: Collecting and Displaying Spanish play in design education, design scholarship and discourse, or the Colonial Art business of design? Chair(s): Ilona Katzew, Los Angeles County Museum of Art; Ellen Dooley, Los Angeles County Museum of Art Potential Subject Areas: 1) Interdisciplinary-Museum Studies/ Email(s): [email protected]; [email protected] Curatorial Studies/Art Criticism; 2) Art History-Decorative Arts/ Textiles/Design History This panel seeks to critically address the place of Spanish colonial art within the larger canon of art history through the lens of collecting and display. Despite a long-held interest among Lost, Abundant, and Fugitive Sound: Listening, Seeing, collectors in Spanish colonial art, it has only been in the last two Meaning, Experience decades or so that museums, universities, and the art market Chair(s): Lynn Marie Kirby, California College of the Arts; Barbara have seriously engaged with the material. Spanning a wide McBane, Independent Scholar chronological range—from the early modern period to the Email(s): [email protected]; [email protected] present—this panel will explore the history of collecting Spanish colonial art globally, and how interest in the !eld is actively Acts of listening – of apprehending and processing sound-image shifting the art historical canon and the ways we look at this relations – shape the practices of artists and their audiences period of artistic production. How have collectors, both individual across many media: !lm, video, performance, sculpture. This and corporate, in"uenced trends and tastes? How do we classify session invites presentations by artists and writers with a special and categorize artists not traditionally considered mainstream? interest in the relationships between what we see and what Has growing access to objects and scholarship a#ected perceived we hear. How do listening and seeing play with or against each notions of quality and authorship? How do scholars navigate this another to produce meaning and experience? Interest areas for quickly expanding !eld of inquiry? Possible topics may include presentations might include: deaf, hearing, blind, or low-vision historiographical ones addressing the history of collecting art, sound, and reception; translation and intercultural experience Spanish colonial art in the Americas, Europe, and Asia; theoretical and gaps between the seen and the heard; desynchronized sound ones dealing with notions of connoisseurship and the evolving and image in experimental !lm and video; visual and aural image canon; valorizations of the material (current and past) and the tensions in queer representation; rips in the aural-visual fabric and implications of these assessments for the future of the !eld. Case the experience of ‘unbelonging’; the politics of representation and studies as well as broader historical contributions are welcome, reception with respect to sound and acts of listening. as well as papers that look at a wide range of media—paintings, sculpture, decorative arts, textiles, and so forth. Potential Subject Areas: 1) Studio Art & Design-Sound; 2) Art History-Film/Video; 3) Art History-Critical Theory/Gender Studies/ Potential Subject Areas: 1) Art History-Latin American/Caribbean Visual Studies Art; 2) Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism Manifesta at Twenty Chair(s): Kathryn Kramer, State University of New York at Cortland Design Museums: The New Wave Email(s): [email protected] Chair(s): Elizabeth Keslacy, University of Michigan Email(s): [email protected] Ever since its !rst manifestation in Rotterdam twenty years ago, the roving biennial Manifesta has been presenting contemporary Designed objects have been collected in museums since the mid- art in the context of the European Union’s ongoing geopolitical nineteenth century. At that time they were most often assembled development. I propose a session that would examine this history under the rubric of decorative or industrial art and aimed towards of two decades. Possible topics may address how Manifesta’s audiences of design students and the artisan and manufacturing itinerancy matches/clashes with the EU’s ideas about borders classes. Beginning in the mid-1970s with the establishment of the (perhaps in terms of the Schengen Agreement’s current peril); Museum der Dinge and the Cooper Hewitt, and more recently evaluations of relative successes or failures of speci!c exhibitions with new and refashioned institutions opening in Toronto, New in terms of Manifesta’s mission to critically examine the cultural York, and Kingston, Australia, museums speci!cally devoted to topography of Europe (Manifesta 6 comes to mind); assessments design have jettisoned their predecessors’ raisons d’etres—the of Manifesta’s exhibition of post-Soviet Eastern European promotion of national design industries, the inculcation of good contemporary art; comparisons of the global biennial circuit and taste in producers and consumers, and the taxonomic approach the circuit that Manifesta has crafted over 20 years (for example, to collections primarily via style. In their place, late-twentieth and examination of how Manifesta’s circuit preceded, even inspired, early-twenty-!rst century design museums have engendered the phenomenon of biennialization); case-study comparisons of a multiplicity of approaches that range from the populist focus European Capital of Cultures’ (ECoC’s) showcasing approaches on everyday experience, the artistry of craft, experimental or to European cities with Manifesta’s urban presentations. The avant-garde design, and local vernacular traditions. This session possibilities are myriad. is interested in distinguishing the operations of this latter wave of design museums from their nineteenth and early-twentieth Potential Subject Areas: 1) Art History-Contemporary Art; 2) century antecedents, particularly with respect to two questions: Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism How has the category of design expanded or morphed to include and exclude certain modes of creative activity, types of production, aesthetic concerns, and material or political engagements? Secondly, how have museums’ institutional missions evolved to re"ect their changed forms of agency in the larger sphere of

2017 Call For Participation 21 The Exhibition as Event: From the 1990s to Now promote cross-disciplinary pollination? What di"erent curricular Chair(s): Janet Kraynak, Columbia University; Monica Amor, approaches exist in beginning education today? Are there radical Maryland Institute College of Art propositions? Is the foundations studio a room, a complex, or an Email(s): [email protected]; [email protected] extended learning environment? What is or might be its extended !eld? The 1990s witnessed the emergence of new post-object and post- studio forms of production, where artists sought to expand upon Potential Subject Areas: 1) Studio Art & Design-Foundations; 2) models introduced by the avant-garde of the 1950s-1960s, who Interdisciplinary-Studio Art & Design; 3) Studio Art & Design-Art similarly confronted the boundaries of medium and institution. Education New modalities of institutional critique, collaborative forms of production and reception, and the rise of research-based practices all participated in this questioning. Central to many Emerging Technology and Contemporary Art: What is Twenty- of these developments was the expansion of the exhibition as First Century Craft? artistic object, medium, frame, and ultimately staging ground: Chair(s): Michelle R. LaFoe, OFFICE 52 Architecture; Isaac Campbell, reconceived as a series of temporally unfolding, multi-sensory OFFICE 52 Architecture events, through the integration of cinema, theater, sound, lighting, Email(s): mlafoe@o#ce-52.com; icampbell@o#ce-52.com design, inside and/or beyond the gallery itself. This panel seeks to examine these practices and their legacy in contemporary How do we de!ne twenty-!rst century craft, and what do we art through individual case studies or key issues. How do these mean by ‘craft’? In the dictionary, craft is “a special skill, art or developments speak to the changing technological and social dexterity.” It’s tradition and innovation and how one transforms an conditions of the last twenty-!ve years? How do they negotiate idea into material form and the intuitive skill of working with that the two poles of post-medium art––towards an integration of material to transform it. This occurs in one’s studio with available the arts and di"erent sensory experience; or the disintegration of tools, which change with innovation, such as the intertwining of disciplinary boundaries through what Fluxus artist Dick Higgins advanced digital processes with traditional hand craftsmanship. termed intermedia? In what ways does the very dispersal of the One can see this at Haystack Mountain School of Craft with MIT’s object/exhibition demand new forms of audience engagement, Center for Bits and Atoms and their joint fab lab digital fabrication and how does the latter relate to the “interactivity” of digital facility that augments studio practices, with interdisciplinary work culture? Similarly, how is authorship managed in collaborative at both the School of the Art Institute of Chicago and UCSD in art, endeavors where authorial identity is multiplied, and the science and engineering, in the material ecology of designer Neri lines between artist and curator (and their forms of labor), are Oxman, in ceramics with digitally controlled kilns and traditionally continuously blurred? Last, in what ways do these events approach constructed ones, and in the making of physical study models the theatrical and how can we understand this condition in during the architectural design process. The studio is the place contemporary terms? where one experiments with a process, makes discoveries, and tests new ideas, tools and techniques, whether by hand, digital Potential Subject Area: Art History-Contemporary Art fabrication or a combination of both, to foster a dialogue about the creative process, technology, ingenuity, the work of the hand, and the physical embodiment of ideas. Yet is it still the hand that First Frames assembles the !nal work, even if components are generated Chair(s): Samantha Krukowski, University of Cincinnati digitally? This panel will generate vibrant discussions about the Email(s): [email protected] topic of twenty-!rst century craft, and we invite papers from artists, designers, architects, curators, historians, visionary leaders, What are the lenses through which beginning art and design and interdisciplinary collaborators. students !rst perceive their disciplines? What do the current frameworks and structural models of foundations art and Potential Subject Areas: 1) Interdisciplinary-Studio Art & Design; design education reveal about the attitudes of educators 2) Studio Art & Design-3-dimensional Design; 3) Studio Art & and administrators towards history, tradition, technology, Design-Ceramics/Metals/Fiber Arts/Glass interdisciplinarity, critical thinking and skill sets? How have !rst-year experiences for art and design students changed (or not changed) given the radical shifts in information access, New Materialisms in Contemporary Art dissemination and acquisition of the last twenty years? This session Chair(s): Lex Morgan Lancaster, University of Wisconsin-Madison invites inquiries into the nature and form of beginning art and Email(s): [email protected] design education in the twenty-!rst century landscape. Papers might address topics like the role of history and/or tradition in Though contemporary art may be understood as fundamentally curricular design, disciplinary and/or interdisciplinary approaches, digital and dematerialized, it also continues to be compelled by the character and experience of the beginning design studio, matter and medium. As an activating tendency in contemporary speci!c courses and/or projects, alternative learning environments art, materiality demands our critical attention and potentially a (!elds), curricular structure and nomenclature, the relationships shift in our methods. Staging an interdisciplinary conversation and interactions of beginning design students – with each among scholars of art history and visual culture, this session other and with more advanced students, the role and status of seeks papers that take medium and material processes seriously foundations faculty. Is there an essential body of knowledge that in order to explore the critical signi!cance and possibilities of all art and design students should engage? Are certain historical materiality as an analytical apparatus. Addressing the radical precedents more valuable than others? Have some precedents a"ective and a"ecting work of materiality in contemporary art become outdated and/or irrelevant? How long does or should alongside the explosion of interdisciplinary scholarship on “New a foundations education last? Should beginning art and design Materialisms” in the twenty-!rst century, this session asks not only studios be discipline-speci!c, or should they introduce and what engagement with “new materialism” and materialist modes

2017 Call For Participation 22 of analysis may bring to contemporary visual theories and art for change in political and employment arenas, classroom historical scholarship, but also what this scholarship contributes innovations that rejuvenate the discipline for a twenty-!rst century to the bourgeoning !eld called “New Materialisms.” The session audience, museum practices that capture the centrality of the is focused on artworks produced since 1960, but in terms of the physical encounter with the object in the digital age, or ideas broadest possible range of media from the sculptural and painterly catalyzed by collective or civic activity. We invite proposals for to the digital and performative. Of particular interest are papers short presentations on results-oriented initiatives that are concrete that consider the a"ective and visceral textures and relational versus anecdotal and that are grounded in best practices. The dimensions of materiality; contemporary abstraction; queer and “2017 Edition” builds on our successful “Open Forms” session of feminist ontologies and phenomenologies; race and racialization; the same title from CAA 2015, where ten presenters o"ered, to a postcolonial studies; disability studies and crip theory; cybernetics robust and enthusiastic crowd, promising art history initiatives. and posthumanism; animacies and agential life. Our respondent, Pat Mainardi, suggested that we repeat the e"ort, and “gather together...the best ideas for teaching and Potential Subject Areas: 1) Art History-Contemporary Art; 2) reinvigorating art history. By keeping this mission in the forefront Art History-Critical Theory/Gender Studies/Visual Studies; 3) of CAA, we can make a di"erence.” And so here we go again! What Interdisciplinary-Art History have you done for art history lately? A project website contains an archive of the 2015 session, and more extensively describes our vision:https://sites.google.com/site/arthistorythat/. We would also Global Conceptualism(s), Revisited like to invite posters featuring similar projects, presented in visual Chair(s): Tina Bui Le, University of Michigan form. These will be on view throughout the day in this room. Email(s): [email protected] Potential Subject Area: Interdisciplinary-Art History In an essay accompanying the exhibition “Global Conceptualism: Points of Origin, 1950-1980s,” Apinan Poshyananda suggests that artists from Southeast Asia understood conceptual art Art in the Age of Financial Crisis as an amalgamation of “happenings, performances, lettrism, Chair(s): Marisa Lerer, Manhattan College; Conor McGarrigle, documentation, earthworks.” He further notes, “This practice Dublin Institute of Technology of de!ning conceptual art through textbooks and lumping Email(s): [email protected]; [email protected] it with all kinds of other ‘isms’ has often led to confusion and misinterpretation, and conceptual art was translated…and passed The recent release of the Panama Papers revelation is just one on to students in variable ways.” Since the exhibition nearly two in many that highlight the link between art and ethically (if not decades ago, questions regarding the formation of a global art legally) corrupt !nancial markets. The relationship between history and the necessity of calibrating art historical terms to !nancial speculators and emerging artists is another example of speci!c moments remain pervasive. Artists around the world the complicated and compromised control that !nance holds on have employed strategies of conceptualism and conceptual art the art market. In addition, historically and recently artist activists throughout the twentieth century in a variety of di"erent media have been calling attention to and transforming the relationship and forms, including installation, text art and performance art. of corporate patronage within art institutions. This session aims This panel invites papers that include discussion of conceptualism to explore patronage, collaboration, and alternative systems in art and conceptual art within a broad range of contexts during the and !nance. This panel seeks papers that examine speci!c aspects twentieth century. What are the points of entry to a history of of the !nancial crisis and projects that critique existing models and global conceptualism, or must a range of histories be calibrated present alternatives such as crypto-currency models to !nancial to speci!c places? How is conceptual art or conceptualism infrastructures and calls for divestment. Can there be a system of translated during the twentieth century? How do we understand ethics surrounding art’s role within the exchanges of capital? How varying instances of textual and visual translation related have artists working in public art in the expanded !eld translated, to conceptualism? What are the politics and stakes involved shifted and reframed !nancial structures? What is the arts and art within global conceptual practices? How do we account for institutions’ role in visualizing the complex networks of successive contemporaneous developments in conceptual practices in Asia, !nancial crises and presenting alternatives that may rebuild Africa, North and Latin America, Europe and beyond? Can we systems of trusts between the public and global !nancial markets? theorize how and why conceptual art emerged from di"erent Case studies are welcome as are proposals for future projects. origin points? This session encourages participation from artists, art historians, curators, and theorists. Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art History-Critical Theory/Gender Studies/Visual Studies Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art History-Critical Theory/Gender Studies/Visual Studies; 3) Art History-Public Art What Have You Done for Art History Lately? 2017 Edition Chair(s): Karen J. Leader, Florida Atlantic University; Amy K. Hamlin, St. Catherine University Site-Speci!c Art in the Age of the Internet 2.0 (Social Media) Email(s): [email protected]; [email protected] Chair(s): Cyriaco Lopes, John Jay College, City University of New York; Rachel Nelson, University of California, Santa Cruz This session is part of “Interventions in the Future of Art History,” a Email(s): [email protected]; [email protected] Day-by-Design theme of Saturday programming curated by Amy K. Hamlin and Karen J. Leader. This session’s title aims to address In this panel we are interested in artworks that are being created individuals working alone and collaboratively on sustainable speci!cally to be experienced in Social Media or that are directly initiatives for the future of art history that are also ideally about it, in which that context is not taken for granted or transferable to the humanities at large. Proposals may advocate understood as being transparent (i.e. we are not looking for work

2017 Call For Participation 23 that ‘lives’ elsewhere and is just promoted through social media). AIDS and Cultural Activism The literature in the 1970s that theorized the site-speci!c artwork Chair(s): Joe Madura, Emory University; Ryan Conrad, Concordia wrote about a work that is contingent, that is physically connected University to the place of its reception. Later on immaterial issues were Email(s): [email protected]; [email protected] added to that discussion of site: its political, social, and historical dimensions. Nowadays we live in this intimate public space, that The global spread of HIV/AIDS has directly a"ected the of Social Media, which is carefully designed and tightly ruled by conventions of contemporary artistic practice. It likewise generates corporations (mimicking the role of the state on physical public successive debates regarding the legibility and in#uence of art spaces), and at the same time, a space where those corporations in times of crisis. Early critics identi!ed two generations of artists sell involucres that must be !lled by their own consumers. We responding to the epidemic: the !rst relied on personal re#ection produce, consume, and curate a daily stream of information, and and narrative to give visibility to people with AIDS; the second, the added value of that process is packaged and sold back to us politicized generation—catalyzed by the emergence of AIDS through advertisements in a feedback loop. We are interested in Coalition to Unleash Power (ACT UP) in 1987—seized forms of projects by artists, writings by art historians and theorists, that direct collective action. Despite structural changes including the address work created speci!cally for that prevalent space of our dissolution of large-scale activism and improved medical regimens lives, be it as poetical interventions, critical confrontations, or in the mid-1990s, this division has largely persisted in art historical parasitic (but self aware) propositions. scholarship. Select AIDS practices in the visual arts have become canonized over the past two decades, while artists continue Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art to document and to interrogate living with HIV/AIDS now. The History; 2) Art History-Contemporary Art; 3) Studio Art & Design- current surge in museum exhibitions, artistic production, and Digital Media/Animation public discourse has reignited longstanding discussions about the personal and political stakes of cultural activism. This panel solicits artist presentations and scholarship that integrate the history and Methods for the Study of Colonial Visual and Material Culture continued lived reality of the AIDS crisis. Investigations of present Chair(s): John F. López, Skidmore College day pressures that shape how we visualize and make meaning Email(s): [email protected] from the recent past; shifts in artistic strategies employed to analyze and to transform the epidemic; the e$cacy of separating With the turn towards visual and material culture, art and individual vs. collective and activist vs. memorial work; the architectural historians have put to task the periphery-metropole a"ective range of cultural responses to medicine, sexuality, and binary, questioning the applicability and validity of art historical kinship; and erasures and omissions inherent to the process of categories such as “artist,” “art,” and “genius” in colonial artworks. canonization are welcome, as are other relevant topics. Inherent in this binary was the belief that hermetically sealed “superior” civilizations bestowed culture upon socially backward Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art and morally corrupt societies in far away places. The discipline History; 2) Art History-Contemporary Art; 3) Interdisciplinary- has already acknowledged that this unidirectional movement of Studio Art & Design culture is more myth than fact and that the periphery was not just a passive receptor of metropolitan models, but rather, a mutually constitutive body in a global network of artistic ideas, material Playing Art History / Gaming the Museum exchanges, and aesthetic concerns. Attuned to the asymmetrical and incongruent relationship between colonial artworks and Chair(s): Michael Maizels, University of Arkansas; Michael canonical art historical categories, scholars have o"ered a Mans!eld, Smithsonian American Art Museum myriad of models, such as “mestizaje,” “prime object,” or “mutual Email(s): [email protected]; [email protected] entanglement” to name but three, as methodological inroads for locating and scrutinizing the production of art and architecture in Where contemporary artists continue to re!gure the traditional a colonial context. boundaries between performance, interactivity, theater and the Open to any geographic location and time period, the aim of visual arts, museums are tasked with seeking out novel means this panel is to engage in a trans-regional discussion about to representing these increasingly complex media practices; the interpretative frames employed in the study of colonial recon!guring the interdependencies between distribution African, Asian, and Latin American art and architecture. In doing and display. This panel draws its inspiration from the recent so, the session chair welcomes papers that examine historical #orescence of museum-based interest in the videogame form and historiographical themes, concepts, or problems from a and was conceived with three primary objectives. First, we aim methodological standpoint that aid understanding strategies for to historicize the longstanding connection between art and considering colonial visual and material culture. play – from traditional interactive works through video gaming as an artist’s medium – inviting contributions on topics such as Potential Subject Areas: 1) Art History-Critical Theory/Gender the history of games as a viable mode of expression, the cultural Studies/Visual Studies; 2) Interdisciplinary-Art History; 3) Art record of speci!c interactive forms, or Surrealist and Fluxus History-World Art games. Second, we intend to broaden the current conversations about videogames in the museum, soliciting work from scholars, curators and educators concerning issues of interactivity and play (especially in connection with computer technologies) within the cultural and civic space of a gallery. Third, we seek to address the future of the !eld, with a focus on the preservation of interactive or

2017 Call For Participation 24 procedural works in light of the increasingly frequent acquisition The Desert: Image, Site, Environment and exhibition of videogames by major collecting institutions. Chair(s): Lyle Massey, University of California, Irvine Email(s): [email protected] Potential Subject Areas: 1) Interdisciplinary-Museum Studies/ Curatorial Studies/Art Criticism; 2) Art History-Digital Media/ In light of climate change and the global surge in temperatures, Animation we are confronted with the probability of increasing deserti!cation, the process through which land becomes resistant to human habitation and cultivation. The desert is, along with Open Session for Emerging Scholars of Latin American Art the coasts, the Cassandra of the Anthropocene. Historically the Chair(s): Elisa C. Mandell, California State University, Fullerton; Ana desert has evoked sets of binaries: deprivation vs the pleasures of Mannarino, Federal University of Rio de Janeiro the oasis; existential terror vs spiritual redemption; lifelessness vs Email(s): [email protected]; [email protected] ecological and cultural richness. In 1950s America, for instance, it was a landscape of modernity: it promised rich natural resources Each year increasing numbers of scholars are awarded doctoral ripe for exploitation; development that could depend on the degrees in Latin American art history. This session seeks to engineered harnessing of water; and the solitude necessary for highlight the scholarship of advanced graduate and recent Ph.D. military secrets. By the 1970s, it came to signify modernism’s scholars. Papers may address any geographic region, theme, or failures: military industrial debacles, the threat of nuclear waste temporal period related to the study of Latin American art or art disposal, corporate ecological disasters and Quixotic attempts at history, including Caribbean, Central American, and Latinx topics. dwelling and development. As such, from the twentieth century, the desert has attracted artistic and architectural interventions Potential Subject Areas: 1) Art History-Latin American/Caribbean that give visual and embodied form to its contradictions. From Art; 2) Art History-Pre-Columbian Art utopian architectural projects like Arcosanti to dystopian and alternative spaces of impermanent habitation such as Slab City, from isolated land art in Nevada and installations in Qatar to the neon sign labs of Las Vegas, from nuclear test sites to “junk” On the Dialectics of Procedural Violence in Post–WWII sculpture, the desert has been the staging ground for a dialectic European Art, 1949–65 of art, the built environment, ecology and landscape. This session Chair(s): Jaleh Mansoor, University of British Columbia; Vanessa invites interdisciplinary papers that explore some aspect of the Parent, University of British Columbia desert as subject, site, place or concept in the American and global Email(s): [email protected]; [email protected] visual imaginary.

In 1949, two years after relocating to Milan from Argentina, Lucio Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art Fontana set his life’s work in commercial sculpture and ceramics History-Twentieth-century Art; 3) Art History-Art of the United aside and picked up painting at the age of !fty. He articulated States this sudden new commitment with a series of assaults over the surfaces of elegantly executed monochrome canvases. Reversing the order of the traditional gesture and the tools with which to enact it, Fontana turned the paintbrush around and, puncturing Race and Labor in the Art World the canvas with its opposite end, cast a constellation of holes Chair(s): Hayes Peter Mauro, Queensborough Community College, across a monochromatic plane. In 1962, Austrian artist Herman The City University of New York Nitsch staged a painting-action called Die Bluetorgel in a Vienna Email(s): [email protected] cellar. Part action-painting and part ritual performance, the event consisted of Nitsch slapping red paint onto a large vertical canvas. This session welcomes papers that address the intersection This event was, according to Nitsch, “the conceptual birth” of the of the issues of race and labor in the art world, speci!cally the radical art movement known as Vienna Actionism. In January 1965, experiences of African Americans, Latinos, Native Americans, or Gunter Brus staged Self-Painting and Self-Mutilation. In the !rst other groups traditionally either excluded from or employed on a action he turned himself into a living breathing painting only to marginal basis within art world institutions. The term “art world” is then signal, in the second, a destructive impulse through allusions here de!ned broadly. It can include experiences of artists on the to self-harm in contemptuous opposition to oppressive social market, or experiences of employees at art-related institutions norms in post-war Austria. These vignettes cross both geopolitical and organizations, such as museums, galleries, auction houses, and historical location (Italian economic miracle, 1949–65; Austrian academic departments, non-pro!ts and the like. Papers may also post-war) to reframe symptoms of history at an aesthetic and address the work of artists who depict race and labor in their own political impasse, and to pose a problem: how does violence, both work. Alternately, papers may focus on projects or pedagogical symbolic and gestural, mediate the relationship between aesthetic strategies used by administrators or educators in bringing such and political autonomy, aesthetic and political engagement, and issues to broader public awareness. Papers may be scholarly or the spectrum among those positions along the axes of autonomy/ narrative in tone, but should be critically engaged and consistently engagement and aesthetics/politics? address the topic outlined above. With this in mind, examples of appropriate topics would include: Contemporary or historical Potential Subject Areas: 1) Art History-Performance Studies/ artists who graphically depict the intersection of race and labor Installation/Environmental Art; 2) Art History-Twentieth-century in their work; Artists, curators, or other art market workers who Art; 3) Art History-Contemporary Art through their labor strive to control the depiction of themselves

2017 Call For Participation 25 and their ancestors in museums and galleries; Qualitative or Between Conformism and Subversion: Aesthetic Strategies quantitative analyses of compensation/ employment data within and the Problem of the Political in Contemporary Art art world institutions; and so forth. Chair(s): Conor McGrady, Burren College of Art; Gediminas Gasparavicius, The University of Akron Potential Subject Areas: 1) Art History-Art of the United States; 2) Email(s): [email protected]; [email protected] Art History-Contemporary Art; 3) Interdisciplinary-Art History The two prevailing paradigms that de!ne the scope of political engagement in contemporary art are critical opposition and Fragile Balances: Contemporary Arts, Cultural Integrity, and socially engaged practice. In regards to critical opposition, Slavoj Environmental Change Žižek and Peter Sloterdijk have demonstrated that current political Chair(s): Carol E. Mayer, University of British Columbia Museum of and cultural systems anticipate critique and protest, cynically Anthropology incorporating them into their own systemic functioning. In e"ect Email(s): [email protected] the language of such critique becomes a part of the established social discourse. In socially engaged practice the impact of The power of the environment as a life source and a site of neoliberalism (such as detrimental e"ects of deregulation, narrative permeates the arts of the Paci!c. Artists are producing imposed austerity, or forced migration) is ameliorated through works that have entered the international world of !ne art projects that advocate a sense of temporary community or and are included in exhibitions and galleries throughout the promote cohesion as a form of social service. The operation of western world. Yet, the artists who live in fragile environments normative politics that such projects aspire to critique is left largely face an uncertain future. Logging, mining, over!shing, resource unchanged. Both strategies have become part of the canon of development etc are taking their toll. In this panel we will examine what is considered activist, oppositional, or socially-engaged how this uncertainty is expressed (or not) in contemporary works, art today; both allow for easy slippage into the ideological in exhibitions and performance, and then question whether, or mainstream. how, any of these might serve as agents of change. This predicament puts critically engaged art in an unenviable position. In the current cultural and political conjuncture, is there Potential Subject Areas: 1) Art History-Oceanic/Australian Art; an e"ective political dimension in contemporary art? If that 2) Art History-Contemporary Art; 3) Interdisciplinary-Museum dimension exists, can it resist assimilation into dominant models of Studies/Curatorial Studies/Art Criticism ideological discourse? Can strategies of engagement, opposition or subversion possibly lead to meaningful social transformation? We invite papers that examine strategies of tactical intervention, social critique or opposition in an international context; critical Alternate Revolutions: Reexamining Cuban Art History beyond approaches to socially engaged art; the culture of consensus and 1959 instances of con%ict within contemporary art; artistic strategies Chair(s): Abigail McEwen, University of Maryland, College Park; that look beyond both direct oppositional critique and art as social Susanna V. Temkin, Americas Society service. Email(s): [email protected]; [email protected]

Potential Subject Areas: 1) Art History-Contemporary Art; 2) In December 2014, Presidents Barack Obama and Raúl Castro Interdisciplinary-Studio Art & Art History; 3) Interdisciplinary-Art announced plans to restore full diplomatic relations between the History United States and Cuba, taking a step toward ending the embargo that has impeded travel and commerce between the nations for over !fty years. The pending normalization of relations has stimulated renewed interest in Cuban art, not least predictions of Art Historians of Southern California (AHSC) “a stampede” (The Wall Street Journal) to the island by collectors Art History turning STEM to STEAM and institutions. As the market e"ects of this “Boom” continue Chair(s): Walter Meyer, President, Art Historians of Southern to evolve, the time seems right to revisit the enduring !xation California on Fidel Castro’s Revolution of 1959 in the context of the long Email(s): [email protected] twentieth century, one that witnessed multiply shifting political and cultural relationships between the U.S. and Cuba. Drawing The Art Historians of Southern California calls for proposals on Cuban laureate José Martí’s words that “a revolution of form is regarding how our discipline is uniquely positioned to transform a revolution of essentials,” this session seizes on today’s historical the current obsession on Science Technology Engineering & Math moment in order to consider how periods of transition and or STEM to include the arts and empower our campuses with change on the island have impacted the production and reception Science Technology Engineering Arts and Math or STEAM. Donald of Cuban art at home and abroad. Looking beyond 1959, the Preziosi will be part of the CAA Panel as a follow up to his keynote session encourages papers that explore a broad range of alternate presentation at the AHSC annual conference titled: “If STEM “revolutions” or decisive periods of change in Cuba’s history, expands to STEAM with the insertion of Art, then it also includes including the island’s independence from Spain in 1898; the fall TEAMS, highlighting collegiality and advocacy.” We seek proposals of dictator Gerardo Machado in 1934; and the rise of the Special related to diverse topics including: pedagogy, research in art Period following the dissolution of the Soviet Union in 1989. By history that integrates STEM topics and successful advocacy for considering these critical, if less frequently cited moments, this our discipline. Please email proposals and CV with STEM TO STEAM session provides an opportunity to re-examine Cuban art history in the title. as previous barriers to scholarship begin to diminish. Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Potential Subject Areas: 1) Art History-Latin American/Caribbean Interdisciplinary-Professional Development/Pedagogy/Publishing; Art; 2) Art History-Twentieth-century Art 3) Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism

2017 Call For Participation 26 Biographies of Early Modern Works of Art Operating Manual for Living in the Worst-Case Scenario Chair(s): Anita Moskowitz, Stony Brook University; Virginia Brilliant, Chair(s): Maya Oppenheimer, Royal College of Art; Emily Candela, Ringling Museum of Art Royal College of Art; Francesca Laura Cavallo, Kent University Email(s): [email protected]; Email(s): [email protected]; [email protected] [email protected]; [email protected]

Museum-goers looking at art within gallery spaces view, Originally produced for wartime civil protection campaigns, frequently unbeknownst to themselves, not the pristine state of the survival manual has evolved over recent decades alongside new-born objects, but rather their mature state-- that moment the escalating need for o!cial disaster management policies. akin to the cosmeticized appearance of a successful adult’s public New forms of adventure-seeking and media coverage of global body. While the didactic information generally shared with visitors threats have bred an industry-turned-genre. The survival manual on wall displays tends to be more transparent now than in the embodies a society haunted by potential worst-case scenarios, past, the complex vicissitudes of an object’s life history remain in which scenario design is becoming a prominent feature of di!cult to fully perceive. Most scholars know, however, that a the “safety industry”; from FEMA’s “family disaster plan” to online huge percentage of Old Master museum objects have undergone resources made by so-called “prepping” enthusiasts. Props, restoration and conservation treatments throughout the centuries prompts and the reassurance of expertise are key to the survival and particularly during the golden age of collecting and the art manual’s scenario design. These elements are deployed to market during the decades before and after 1900. This panel seeks neutralize the likelihood of accidents via the imagined control papers that o"er case studies of painting, sculpture and decorative of speculative scenarios. This mirrors the emphasis on designed art demonstrating the additions, subtractions, and alterations scenarios for behavior regulation found across constituencies made, for purposes of religious e!cacy, aesthetic pleasure, thought to train, measure or inform: the laboratory, the classroom, conservation and, not least, successful marketing, during the even the summit conference. The panel focuses on how scenario course of an object’s life history. In addition, papers are welcome design and behavior regulation are negotiated in the format of that confront the legitimacy, social context, and theoretical the survival manual, considered in an expanded sense, which also framework of such interventions, as well as proposals for viewing includes the deployment/design of instructions and expertise in and display strategies that promote a more informed encounter speculative contexts. Including artistic and design contributions between the museum object and the visitor. Is it possible to view to the imagination of the worst-case scenario, the session a work in a gallery space with a dual vision: the object’s present will forge interdisciplinary dialogue on discourses addressing material state as well as—based on visual clues within or didactic the design of behavior from multiple #elds including design information auxiliary to the object—its life history, in order to studies and art history. Critics, artists, designers and historians appreciate both the authentic, i.e., original and the less than are invited to submit proposals (for 15-minute slots) exploring authentic elements before one’s eyes? imaginative strategies for surviving global, interplanetary or mundane worst-case scenarios that will generate critical re$ection. Potential Subject Areas: 1) Art History-Architectural History/ Submissions may include papers, performances, demonstrations, Historic Preservation; 2) Interdisciplinary-Museum Studies/ or presentations of practice. Curatorial Studies/Art Criticism; 3) Art History-General Art History Potential Subject Areas: 1) Art History-Decorative Arts/Textiles/ Design History; 2) Interdisciplinary-Studio Art & Design; 3) Bad Bodies: Inscriptions of Fatigue, Instability, and Resistance Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism Chair(s): Lauren O’Neal, Lamont Gallery at Phillips Exeter Academy Email(s): [email protected] History through Things / Things through History: Design What happens when the body—or text that writes or Objects in the Museum communicates the body—fails in its duties to be clear, Chair(s): Emily Orr, Cooper Hewitt, Smithsonian Design Museum; communicative, and convincing? What is the function of notations Christine Guth, Independent Scholar and gestures that undermine or muddle, rather than advance, an Email(s): [email protected]; [email protected] argument? This panel examines the pose, the gesture, and the interaction, and how strategies of repetition, erasure, assemblage At a time when many museums are reevaluating their collection and deconstruction can enable platforms for dialogue, even if and display practices, this panel proposes to explore how facing a lack or void. This panel welcomes artists, curators, and exhibitionary culture has been and may be productively informed theorists working in installation, performance, drawing, or other by object based design historical thinking. Design history has media who want to critique the neo-liberal, forward-marching, challenged canonical categories and hierarchies and blurred data-driven body, and instead who wish to dwell in spaces where the boundaries between art and commerce. It has promoted lazy, unhelpful, or simply uninterested bodies make space for a new focus on how things materialize the past and brought alternate forms of ethical exchange. to their study interpretive strategies that emphasize processes of production, circulation, and consumption and their global Potential Subject Areas: 1) Interdisciplinary-Studio Art & Design; interconnectedness. Things ranging from Tupperware to iPhones 2) Studio Art & Design-Performance; 3) Studio Art & Design- have been analyzed as valuable repositories of socio-cultural, Sculpture/Installation/Environmental Art historical, and technological information. In so doing the discipline has contributed to critical awareness and preservation of previously overlooked objects whose use, appeal, and impact shape the modern world. What has been and is now the place of design objects in the museum and what display practices and interpretive approaches are best suited for fostering public engagement with the messages their materiality may convey?

2017 Call For Participation 27 What narratives about past and present have they and can they an extended period of time, socially engaged art history seeks to serve to construct? How does their collection and display help the engender a productive dialogue regarding social or political issues public make sense of the contemporary world and also prompt and to foster resilient and sustainable communities. Such practices a reevaluation of history? How have collecting and exhibition address issues including di"erence, division, and inequality in practices shifted over time and what roles have gender and society; they work to establish meaningful interactions within nationality played? This panel invites proposals from scholars and between communities. Because these practices often in any discipline that consider the relationship between design remain outside of scholarly debate, our intent is to consider their history and the collection, circulation, and the display of objects in signi!cance through discussion of the theoretical issues, sharing of the museum context. Papers may focus on any historical period or speci!c examples, and consideration of their potential role in the geography. discipline’s future at a moment in which many art historians have been forced to reevaluate their practices and !nd new relevance Potential Subject Areas: 1) Art History-Decorative Arts/Textiles/ in the face of university and museum budget cuts across the US. Design History; 2) Interdisciplinary-Museum Studies/Curatorial Conceived as a collaborative event, the panel seeks to assess the Studies/Art Criticism theory and practice of socially engaged art history. Proposals should describe speci!c examples of socially engaged art history.

Feminist Temporalities and Art Histories in the Middle East Potential Subject Area: Interdisciplinary-Art History and North Africa Chair(s): Ceren Ozpinar, University of Sussex Email(s): [email protected] Taking Place: Renegotiating Art and Ecology from the Eighteenth Century to Today This session seeks to explore feminist art histories and Chair(s): Kelly Presutti, Massachusetts Institute of Technology; temporalities in the Middle East and North Africa. Despite the Monica Bravo, Yale University global interrogation of patriarchal discourses in art since the Email(s): [email protected]; [email protected] late 1960s, feminist art history has not yet fully acknowledged the geographical and the temporal spaces outside the Euro- “Place,” a concept that remains loosely de!ned, suggests an American map. Feminist art history, which can be called ‘imperial’, inalienable relationship between an individual person or object or ‘normative’ as Meskimmon argues (2007), either in the form and a particular, delimited locale. Since the discipline’s inception, of an exhibition narrative or a scholarly book, tends to present a art historians—often following their artists’ leads—have been linear global narrative, which leaves out everything that does not taking place: claiming or deploying geographical origin as an !t into its temporal trajectory or the idea of progress. Feminist integral part of the art makers’ and objects’ identity and character. art in the Middle East and North Africa has been one of the For Johann Joachim Winckelmann the Laocoön’s majesty could least addressed practices in imperial feminist art history. A few be attributed to its Mediterranean climate; Heinrich Wöl#in took exceptions, including diaspora artists Nil Yalter and Shirin Neshat the concept to an extreme in his formulation of the German have been featured, though only to turn them into stereotypical Renaissance. But are environmental factors or the relations representatives of feminist art outside Euro-America. While the between an individual and physical surroundings such strongly very existence of these feminist art histories intervenes in the determining factors, especially at a moment when the connection progressive narratives of the imperial feminist art history, they between artwork and place seems increasingly tenuous or also have an impact upon both art historical temporality and non-existent? How might we reconsider the sitedness of artistic feminism(s) at large. We welcome papers that discuss modern and production at a moment when humanity’s negative impact on contemporary visual art from the Middle East and North Africa, the environment is becoming increasingly inescapable? And how which investigate notions of sexuality and gender, while they might a theory of autochthony meaningfully engage with issues interrupt patriarchal narratives, or present diverse understandings of art and ecology? Beyond serving as an explanatory mechanism, of feminism. By doing so, this session aims to encourage new place holds potential for the critically-minded art historian to writing and reading strategies that displace both the canon of engage issues of environment, ecology, and nation today. This imperial feminist art history and vernacular art histories that do panel uses “place” as a lens to reconsider the ecological networks— not usually accommodate feminist art. in both a biological and political sense—of art making over a long period of time, in order to reframe the relationship between art Potential Subject Areas: 1) Art History-Art of the Middle East/ and context for a more environmentally responsible history. North Africa; 2) Art History-Critical Theory/Gender Studies/Visual Studies; 3) Art History-Twentieth-century Art Potential Subject Area: Art History-General Art History

De!ning and Exploring Socially Engaged Art History Vital Expression: Pictorialism and Its Legacies Chair(s): Cindy Persinger, California University of Pennsylvania; Azar Chair(s): Andrea Wolk Rager, Case Western Reserve University; Rejaie, University of Houston - Downtown Barbara Tannenbaum, Cleveland Museum of Art; Adrienne Email(s): [email protected]; [email protected] Lundgren, Library of Congress Email(s): [email protected]; [email protected]; While art history is typically understood as a discipline in which [email protected] individuals produce publications that are aimed primarily at other scholars, this panel organized as part of “Interventions in Pictorialism was the !rst international movement to elevate the Future of Art History” (a Day-by-Design theme of Saturday photography into the realm of personal expression in order to programming curated by Amy K. Hamlin and Karen J. Leader) seeks attain the status of a !ne art. The year 2017 marks the centenary to understand the growing movement of socially engaged art of the !nal issue of Alfred Stieglitz’s in$uential journal Camera history. Typically produced within and between social groups over Work and the closure of his 291 gallery, rendering this an apt

2017 Call For Participation 28 moment to reconsider the legacy of Pictorialism through and across geographies can a#ord the intellectual, social and cultural beyond his in!uence and the Photo-Secession. This reexamination aspects of art and design. is also driven by advances in technical analysis that allow us to understand with greater depth and precision the broad range of Potential Subject Areas: 1) Art History-Decorative Arts/Textiles/ experimental processes, techniques, and photographic media Design History; 2) Interdisciplinary-Museum Studies/Curatorial employed by the Pictorialists. Considered in tandem with recently Studies/Art Criticism; 3) Interdisciplinary-Studio Art & Art History digitized archival materials, we are able to grasp as never before the international as well as regional character of Pictorialism and the diversity of practitioners. This interdisciplinary session Conspiracy: The Aesthetics of Paranoia in the Age of will solicit papers from curators, conservators, photographers, Information and academics to explore new avenues of scholarship on the Chair(s): Chris Reitz, University of Louisville Pictorialist movement. What models did the Pictorialists look to Email(s): [email protected] for inspiration? How could the movement accommodate two such disparate approaches as straight and manipulated photography? More anxious than the informational art of conceptualism or How did Pictorialist photographers take advantage of new the archival gestures of the past quarter century, conspiratorial technologies for the dissemination of their work and philosophy? aesthetics give visual language to paranoia about information What was the impact of regional camera clubs on the movement? analysis and instrumentalization. Artwork in this zone is How did Pictorialism help shape collecting practices and the concerned with articulating patterns and connections, not display of photography in museums? What was the relationship conveying information. Although some conspiratorial work between "lm and Pictorialism? How has the legacy of Pictorialism has no relationship to the internet (Mike Kelley’s interest in in!uenced artists today? We particularly encourage papers that Ufology, for example), much of it is unthinkable outside our consider marginalized photographers and groups within the larger hyperlinked world. Metadata and data mining promise to reveal movement. or decode actionable patterns from in"nite information. Hacks and data breeches punctuate daily life with reminders that our Potential Subject Areas: 1) Art History-Drawings/Prints/ information—our identity—can be instantly and irreversibly Photography/Works on Paper; 2) Art History-Twentieth-century thrust into a treacherous world that is seamlessly (if invisibly) Art; 3) Interdisciplinary-Art History connected to quotidian tasks like online shopping, banking, and dating. Conspiratorial art takes up the aesthetics of correlation and pattern "nding, making visible the anxiety induced by Critical Collaborations: Neutralizing Power in Art and Design precarious interconnectedness. Papers for this session situate such History practices historically, not only in relationship to contemporary Chair(s): Sabrina Rahman, University of Exeter; Maya Oppenheimer, information technologies, but to postwar artistic strategies rooted Royal College of Art; Elli Michaela Young, University of Brighton in information and connectivity, including conceptualism and the Email(s): [email protected]; archive, as well as institutional critique, “transitive” painting, and [email protected]; [email protected] glitch and database art.

Current work in design history focuses on strengthening inter- and Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art trans-national networks. This comes after decades attempting History-Critical Theory/Gender Studies/Visual Studies to de"ne what histories of design can tell us about socio- historical contexts and those who engage with designed objects, systems and spaces. With cultural and educational institutions Making Objects Speak: Speculative Design, Critical Making, also attempting to launch re!exive and critical discourses that and the Internet of Things critique, de-colonize and pursue post-colonial narratives and Chair(s): Gwyan Rhabyt, California State University East Bay mandates, what do these changes look like after and underneath Email(s): [email protected] this discourse? Power often manifests as a uni-directional !ow of narrative within and across these producers, including institutions Artists, designers, and scientists all “make things to think with” and those that operate within them: researchers, curators, from transgressive sculpture, to the “disobedient objects” recently educators, artists and designers. This panel considers the role featured in the Victoria and Albert’s eponymous show, to the and potential for collaboration as a method of neutralizing these mechanical models of seventeenth century natural philosophy. power structures. The term collaboration provides a speci"c But now, with the advent of low cost embedded computing, platform for thinking about structural, methodological and the things we make can think and talk back literally as well as experiential exchanges in an e#ort to move away from power- metaphorically. 3D printing technologies enable any passing laden vocabularies and timelines. The above question becomes: piece of dimensional visual culture to be scanned, sampled, and What does the implementation of critical collaborations that printed to bricolage in minutes. The way these tools, blossoming neutralize power look like? We welcome submissions that look to in the form of community fab labs and campus makerspaces, histories of art and design collaboration that confront and disarm allow artists and designers to challenge passive consumerism and power structures, be they institutional, research methods-based, interrogate our relationship with the objects around us has been or material. This panel aims to foster a dynamic discussion that termed Critical Making by Matt Ratto and Garnet Hertz. At the will address projects that focus on histories of collaboration and same time, Anthony Dunne and Fiona Raby of the Royal College of engagement practices. Contributions focusing on non-Western Art have noted a growing use of these tools to design not only the contexts will be favored to consider not what history or design present but imagine a range of possible futures, using "ctions to mean in various constituencies, but what present collaboration contest political, social, and aesthetic narratives, which they have called Speculative Design. How have these theoretical frameworks and the object makers themselves elucidated our relationships with our things? How is art and design practice evolving now

2017 Call For Participation 29 that our thermostats, refrigerators, shoes, and artworks can works are welcome, as are studies related to the historiography of all communicate with one another? At what new points are Latin American photography. we !nding or losing agency? Artists, designers, historians, and futurists are invited to submit their practice or vision of the Potential Subject Areas: 1) Art History-Latin American/Caribbean technologically enhanced eloquent object. Art; 2) Art History-Drawings/Prints/Photography/Works on Paper; 3) Art History-Contemporary Art. Potential Subject Areas: 1) Studio Art & Design-Digital Media/ Animation; 2) Art History-Digital Media/Animation min sánit / uqausivut / nitwêwinanân / nindikidowinaan / t’lo sqwéltel / lii moo niiyanaan / nîyanân pikîskwêwina / lip algik / Art after Zero: Making Sense of the Aughts re seqwlut / nilun kolusuwakon / to matou kupu / our words Chair(s): Margaret Richardson, Christopher Newport University; Chair(s): Dylan Robinson, Queen’s University Nicole De Armendi, George Mason University Email(s): [email protected] Email(s): [email protected]; [email protected] Indigenous artists, scholars and art critics are giving increasing What characterizes art in the !rst decade of the twenty-!rst prominence to language—and the concepts and worldviews century? With recent exhibitions de!ning art of the 1990s in expressed by our languages—in our creative and critical writing thematic and historical ways, questions arise about how we might practices. This session seeks to bring together scholars, curators, begin to assess the following decades in the new millennium. Now and Indigenous artists and writers working in two areas: 1) that we have some historical distance on the “aughts,” what new models of Indigenous art criticism and other forms of writing themes and challenges have emerged in the study and practice of that engage with Indigenous concepts and languages; and 2) contemporary art? How have 9/11 and terrorism, the expansion Indigenous artists working with language in their artistic practices. of interactive technologies and social media, and increasing From digital billboards (Digital Natives, 2010) and unsanctioned globalization impacted art in the 2000s? Is the postmodern sign projects that reclaim Indigenous place-names and histories condition still relevant, or might we identify a new situation and (Ogimaa Mikana collective, 2013), to social practice work that set of attitudes? This session invites discussions from historians, asks participants to reconsider the language of apology and critics, and artists on the nature of contemporary art in the new reconciliation (Apology Dice, Garneau and Yeh 2014) and works millennium. Papers might address particular examples of artists’ about Indigenous language loss and resurgence, artists have works that suggest de!nitive themes or o"er more theoretical de!ned new models to express Indigenous logics of place, musings on the recent state of the !eld. history, and belonging. Likewise, Indigenous art critics and art historians have begun to challenge settler models of textuality by Potential Subject Areas: 1) Art History-Contemporary Art; 2) developing place-based and nation-speci!c methodologies that Art History-Critical Theory/Gender Studies/Visual Studies; 3) express Indigenous understandings of responsibility, relationality Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism and cultural protocol. This panel of artists, curators, and scholars seeks to take stock of the ways in which artists are using text and Indigenous languages across visual, media and performance art Photography Undone: Contemporary Re!ections on the forms, and how Indigenous writers are challenging unmarked, Medium in Latin America normative forms of writing. Chair(s): Jodi Roberts, Cantor Arts Center, Stanford University; Natalia Brizuela, University of California, Berkeley Potential Subject Areas: 1) Art History-Native American; 2) Studio Email(s): [email protected]; [email protected] Art & Design-Writing/Word Art; 3) Interdisciplinary-Studio Art & Art History A recent wave of new studies (books, articles, dissertations, and exhibitions) on photographers from Latin America has underscored the medium’s rich history there. Often aimed at ¡Sí Se Puede! Brand Identity, Activism, and Art-Historical injecting individual artists into a global canon, these projects Analyses have also uncovered new information about the medium’s Chair(s): Sam Romero, Florida Southern College; Julia Fernandez, technical development and varied implementations in the region. University of California, San Diego Academics and curators are not the only !gures driving the Email(s): sromero@#southern.edu; [email protected] historicization of photography in Latin America, however. This panel will explore the ways in which contemporary artists based This panel revisits the images of the United Farm Workers, in Mexico, Central America, and South America have engaged including its iconic logo, artwork from its newspaper El Malcriado, directly with photography’s long history. In works that co-opt protest posters, and their cultural impact. The United Farm preexisting photographic imagery, experiment with historical Workers (UFW), a predominantly Mexican-American labor union photographic processes, and press at the boundaries of what from Delano, California led by Cesar Chavez and Dolores Huerta, de!nes a photograph materially, artists like Waldemar Cordeiro, drew public attention in 1965 with the Delano Grape Strike. The Rosângela Rennó, and Oscar Muñoz, among many others, have strike began on September 16, 1965, on Mexico’s independence cast a critical eye on photography’s technical history. They day, when the National Farm Workers Association (NFWA), mainly have also ventured important questions about the vigorous Mexican-American farm workers, joined with the Agricultural international circulation of photographs in the twentieth and Workers Organizing Committee (AWOC), predominantly Filipino twenty-!rst centuries through mass-media sources, books, and American grape workers, to protest against table grape growers’ exhibitions. Submissions examining individual artists and their mistreatment of the low-wage farmworkers. Over the last 30 years, the UFW brand has expanded beyond the scope of farm workers rights and into popular culture as well as a representation of Chicanx Culture. We seek interdisciplinary proposals, ranging

2017 Call For Participation 30 from graphic designers, artists, art historians and cultural critics. form. This will be manifested in their book Beyond Critique, an Proposals should focus on the visual aesthetic of the UFW anthology of seventeen essays – many of which are elaborations movement, its role in activism, and its place in art and graphic on papers presented at the 2013 conference – that examine the design history. longstanding critical orientation of contemporary art and identify alternative methods and aspirations. Like the 2013 panel, this Potential Subject Areas: 1) Interdisciplinary-Studio Art & Design; panel will be aimed at challenging what has come to be referred 2) Interdisciplinary-Art History to as “criticality,” a shorthand for art with an embodied concern with social, political, and economic elements of culture. In the years that have transpired since the 2013 panel, a number of new The Sounds of the Museum perspectives on critique have emerged, perhaps most signi!cantly Chair(s): Lauren Rosati, The Graduate Center, The City University the publication of Rita Felski’s The Limits of Critique (2015). This of New York; Andrew Cappetta, The Graduate Center, The City panel seeks to investigate the historical tradition from which this University of New York approach stems, and to survey current discourse and alternative Email(s): [email protected]; [email protected] models of engagement.

Given the institutionalization of media and performance, today’s Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art art museum has become a far noisier place: an intermedia History; 2) Art History-Critical Theory/Gender Studies/Visual space, where moving images, sounds, and performing bodies Studies; 3) Studio Art & Design-Art Education are regularly put on display in tandem with painting, drawing, photography, sculpture, and other mute artifacts. In addition, the interpretative and educational programming of many Queer Caucus for Art (QCA) art museums has grown increasingly soundful, ranging from Global Queer Art audio guides to interactive digital displays, and live gallery- Chair(s): James M. Saslow, Queens College/The Graduate Center, based initiatives that turn the typically atomized art-viewing The City University of New York (Emeritus) experience into an interactive, social one. This panel will address Email(s): [email protected] the reactionary concept that the silent sanctity of the modern museum space has been replaced by this proliferation of noisy All around the globe, there are long artistic traditions media, transforming the white cube into a “Gray Box,” Diller encompassing what we would now call queer themes and Sco!dio + Renfro’s term for this new mixed-use exhibition sensibilities; the increasing exchanges among all world cultures environment. Following historian Emily Thompson’s conception of demand increased attention from westerners to their cultural the “soundscape of modernity,” in which acoustic advancements at “trading partners.” This panel seeks to present any aspect of queer the turn of the twentieth century led to increasingly quiet listening visual culture, past or present, originating from non-western spaces, this panel will chart a history of the modern museum art traditions and geographies. We would particularly welcome space as one that negotiates between both sound and silence. presentations at the intersection of queer art and African, Latin This panel seeks to engage in the soundscape of the museum American, South and East Asian, or indigenous cultures and through a number of modalities and topics: sound installation; the perspectives. Historical papers may address queer arts from any curatorial “problem” of sound bleed; historical instances of sound non-western culture, or compare two or more cultures outside in the museum; exhibitions of music; museum architecture and the western canon, or examine interactions between western acoustic design; the sounds of interpretative media (podcasts, and non-western sources. Contemporary papers could address audio guides, etc.); and other investigations into the museum any aspect of global queer art in the world of present-day artists, space, its practices, and its infrastructure in relation to sound and curators, and/or critics that deals with issues of sex, sexuality, and the museum’s proposed code of silence. gender expression.

Potential Subject Areas: 1) Interdisciplinary-Art History; 2) Art Potential Subject Areas: 1) Art History-Critical Theory/Gender History-Twentieth-century Art Studies/Visual Studies; 2) Art History-World Art

Beyond Critique: Contemporary Art in Theory, Practice, and Architectural Gesamtkunstwerk Instruction Chair(s): Lisa D. Schrenk, University of Arizona Chair(s): Roger Rothman, Bucknell University; Pamela Fraser, Email(s): [email protected] University of Vermont Email(s): [email protected]; [email protected] The word Gesamtkunstwerk !rst appeared in print in 1827. Two decades later composer Richard Wagner used the term while The notion of “critique,” crucial to so much recent artist and describing his ideas on cohesive synthesis in the theater arts. By theory, derives in large part from the reception of Frankfurt the end of the century the word was widely used in progressive School theory and its attempt, as Max Horkheimer put it, “to architectural circles in both Europe and the United States to refer liberate human beings from the circumstances that enslave them.” to a uni!ed design, in which the architect not only produced As practiced, critique aims above all to unmask and debunk the plans for a building, but also the interior settings, including ideological formations and the power structures they support. lighting, furniture, wall coverings, and decorative objects. To Though there is undeniable value in this project, there is a achieve a total e"ect, some architects on occasion, including growing sense that its limit has been met. In 2013, Pamela Fraser Charles Rennie Mackintosh, Frank Lloyd Wright, and Henry van and Randall Szott organized a CAA panel entitled “Critiquing de Velde, even created clothing for women to wear within their Criticality,” which brought together ten panelists’ ideas on this comprehensive designs. In the twentieth century, the idea of issue. Immediately following the event, Fraser and panelist Gesamtkunstwerk continued to be explored, including at the Roger Rothman began plans to pursue the topic further in book Bauhaus, by industrial designers, and later by architects like Arne

2017 Call For Participation 31 Jacobsen in his SAS Royal Hotel, Copenhagen. This session will institutional critique. This view was established already in the broadly explore the concept of Gesamtkunstwerk in architecture. !rst comprehensive book-length survey of Land Art, Beardsley’s Potential papers could provide new insights into the work of “Earthworks and Beyond” (1984) where he suggested that architects known for their comprehensive designs or explore the “only sculptures in earth and sod can properly be described as cohesive relationship of architecture and decorative elements in earthworks”. However, the last two decades have witnessed a the work of lesser-known designers. Participants in the session shift towards research on the ‘mediated landscapes’ of Land Art: might examine the role of the artist in these designs, the concept’s its abundant use of photography, !lm and television. This session relationship to the rise of industrialization and the growing takes this shift as its starting point and asks, as the editors of the divisions in building design, or further examine Wagnerian recently published exhibition catalogue “Ends of the Earth: Land principles of Gesamtkunstwerk in architecture. Papers that address Art to 1974” formulated it, “whether Land Art can exist without examples of Gesamtkunstwerk in the mid to late twentieth century the media?” This leads to numerous questions, such as: What was or in other cultures or eras are particularly welcome. the aim of the artists working in Land Art by making use of media like photography, !lm and television? How should we perceive Potential Subject Areas: 1) Art History-Architectural History/ the relation between these media and the on-site earthworks? Historic Preservation; 2) Art History-Decorative Arts/Textiles/ In which ways were these mediated landscapes related to Design History pressing political and social issues during Land Art’s time of origin? How have these practices of Land Art in"uenced younger generations of artists, both locally and globally? This session thus Art History for Studio-Art and Graphic-Design Students: aims at providing new understandings of Land Art by providing Seeing the Relationship preliminary answers to these questions, while also generating the Chair(s): Mary B. Shepard, University of Arkansas-Fort Smith basis for a history of Land Art’s mediated landscapes. Email(s): [email protected] Potential Subject Areas: 1) Art History-Twentieth-century Art; 2) For studio-art and graphic-design students, the study of art history Art History-Film/Video; 3) Art History-Contemporary Art often can be perceived as an unwelcome intellectual voyage into an alien land. So too, many art historians have studio and graphic design colleagues who do not “look back” upon their Non-Western Genealogies of Art Criticism own experiences with art history “with undiluted pleasure” (just Chair(s): Sarah-Neel Smith, Maryland Institute College of Art (MICA) to quote Queen Elizabeth II [1992]). And these attitudes can be Email(s): [email protected] unconsciously (or consciously) passed along to students, creating a self-ful!lling prophecy. How can we, as art historians who work Since the early 2000s, there has been an upsurge in debates about in support of Studio Art and Graphic Design programs, embrace the so-called crisis of contemporary art criticism—the idea that, approaches and assessments that are directly applicable to our since roughly the 1960s, criticism has lost its coherence as a set students’ perspectives and experiences? How can we help our of identi!able analytical or ideological approaches and is thus students to see the relationship between their disciplines and threatened with irrelevance. Until now, such debates have been the history of art? This session seeks to highlight innovative largely Euro-American in focus. In their diagnosis of crisis, and in approaches to realizing this goal, while still not compromising the their view of this form’s modern history, they presume a grounding art historical integrity of our curricula. Papers can discuss studio in the socio-political and economic conditions of the capitalist projects integrated within traditional art history curricula that West (what Katy Siegel dubs “the modernist structure of avant- facilitate putting art historical ideas into practice. Papers can also garde art, private dealers, a clueless middle-class public, prescient explore methodological approaches that are directly relevant to critics, and suddenly skyrocketing prices”). But what of art criticism the work of studio artists and graphic designers. Papers can be outside the West? What of modes of critique developed in contexts practical and pragmatic; they can be also theoretical. Ideally, a other than this dealer-critic system, or written in non-hegemonic robust discussion will ensue—prompting inspiration for curricular languages? While an increasing number of scholars use such texts innovation. A respondent from the art studio and/or graphic as sources, few have theorized the forms of authorship, readership, design perspective will help to augment the discussion. and political engagement they entail. How, then, does art criticism connect to other forms of dissent or critique in contexts of Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art decolonization or political upheaval? How does it cross-pollinate History; 2) Interdisciplinary-Professional Development/Pedagogy/ with other literary practices, such as poetry or journalism? What Publishing might we make of criticism’s claims to be an international literary form that matches art’s own alleged universal reach? What might happen to current understandings of criticism’s crisis and history if Mediated Landscapes: The Use of Photography, Film, and such contexts are accounted for? This panel seeks a sustained, in- Television in Land Art depth investigation of understudied non-Western critical traditions Chair(s): Joy Sleeman, University College London; Sajda van der in their original languages, and welcomes papers addressing any Leeuw, University of Oxford, United Kingdom; Jane McFadden, geographic region. ArtCenter College of Design Email(s): Potential Subject Areas: 1) Art History-Contemporary Art; 2) [email protected]; [email protected]; Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism; [email protected] 3) Art History-World Art

This session will explore the increasing interest in the mediated sites of Land Art: the artists’ use of photographs, !lms and television in Land Art. Land Art – or Earth Art – has often been understood to be about presence, site-speci!city and

2017 Call For Participation 32 Syria Now: Architectural, Artistic, and Cultural Heritage in Peril The Centenary of D’Arcy Wentworth Thompson’s On Growth Chair(s): Jochen Sokoly, Virginia Commonwealth University in and Form: Performance Art, Interactive Media, and Bioart Qatar; Radha Dalal, Virginia Commonwealth University in Qatar Chair(s): Charissa N. Terranova, University of Texas at Dallas; Ellen K. Email(s): [email protected]; [email protected] Levy, Institute for Doctoral Studies in the Visual Arts Email(s): [email protected]; [email protected] Since 2011 the war in Syria has left a deep-rooted scar on the country’s artistic and cultural fabric. Images of destruction in In the one hundred years since its publication in 1917, D’Arcy Aleppo, Palmyra, Krak de Chevalier, but also the brutal public Wentworth Thompson’s On Growth and Form has commanded a assassination of Dr. Khaled al-Asaad, a leading member of the large following across "elds, in science and the arts. It inspired country’s archaeologists, have received broad media attention. numerous other scientists, including C.H. Waddington, Alan Turing, Amidst the unfolding humanitarian crisis, these events have Claude Lévi-Strauss, and Stephen Jay Gould. In the world of art, spurred the international community to safeguard Syria’s heritage On Growth and Form is famous for its in#uences on the emergence urgently. The purpose of this panel is to take stock of the loss and of biomorphic shapes in modern painting and sculpture, postwar damage, to provide a forum for discussion on supporting Syria British art, and architecture. Thompson argued the mechanics of in the preservation and conservation of its cultural heritage, and physical force were of central importance in the generation of to discuss how we as practitioners of art history, archaeology, living form. In addition to evolutionary concepts such as selection and museology can collaborate in existing e!orts. Presentation and "tness, his work proposed that constraints, physico-chemical topics might include: E!ects on visual and material culture; Impact reactions, and body structures in#uence the development of on craft traditions in textiles, wood, metalwork, painting and organisms. Part one explores some of these areas and their calligraphy; Management of historical sites and museums; Damage history. For the second panel we seek papers about the role and to buildings and artifacts; Practice of contemporary artists; The in#uence of Thompson’s On Growth and Form further a"eld in psychology of war and oppression; Damage to local and national the arts. In adding a second panel, we especially hope to address identities; Blatant disregard of international statutes and laws the connection between Thompson’s ideas and performance concerning heritage; Appropriation, desecration, and erasure of broadly conceived. Our goal is to tease out the in#uences of sacred sites; The economic factors of war; Illicit trading of artifacts Thompson’s thinking on this "eld at two levels: "rst, in history as a to "nance war; Damage to country’s touristic and academic generative resource in performance art; and second, in the present infrastructure; Comparative framework; Hands on experience as it catalyzes performativity in lived time within bioart and in handling similar crises in Bosnia, Iraq, or Afghanistan; and interactive art. We welcome proposals on the role of Thompson in Institutional and private responses or initiatives. performance art across time and milieu.

Potential Subject Areas: 1) Art History-Art of the Middle Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art East/North Africa; 2) Art History-Architectural History/Historic History; 2) Studio Art & Design-Performance; 3) Art History Preservation; 3) Interdisciplinary-Museum Studies/Curatorial Contemporary Art Studies/Art Criticism

The Meteorological Impulse in Art: Modernity, Postmodernity, Changing Lenses: Contemporary Photography and New Media and the Atmospheric Turn from the Arab World Chair(s): John A. Tyson, National Gallery of Art; Ellen Y. Tani, Chair(s): Woodman L. Taylor, American University in Dubai; Janet Bowdoin College Museum of Art Bellotto, Zayed University Email(s): [email protected]; [email protected] Email(s): [email protected]; [email protected] Meteorology, the science of atmospheric conditions and Photography and new media have quickly become major art phenomena—especially related to weather—emerged as an practices in the Arab world. A growing group of photographers area of study in the seventeenth century. Weather reports have and new media artists from North Africa and West Asia critique regularly appeared in newspapers since the late 1800s. With the their worlds through nuanced visual imagery, as lens based rise of the ecology movement in the 1960s, weather’s intersections practices are widely accessible. Issues addressed in their practices with other systems became an ever more urgent issue; calls to range from problematizing Orientalist framings of the ‘Middle recognize our embeddedness in the atmosphere came soon after East’ to advocating for women’s rights and political expression space travel enabled its "rst images to circulate. This panel will within contemporary Arab societies. Recent exhibitions in analyze artistic corollaries to meteorology, a "eld with a history Europe and North America have focused on this new group of deeply intertwined with modernity’s. Weather is metaphorically photographers and media artists who are now emerging as major rich. In many romance languages the word refers to time and "gures on the global art stage. Within the region there are more climate conditions. From trade winds and Schumpeter’s Gale, to than a hundred annual photography competitions. On the new political storms and racial climates, meteorological invocations media front Cairo, Dubai and Sharjah, with their biennials and art occur in conjunction with systematic shifts in economics and initiatives, have established major platforms for promoting and politics. Artists have depicted weather for numerous reasons: commissioning new work by media artists. For this session we Frederic Church imagined patriotic cloud formations in Our invite scholars, curators and artists to address multiple aspects of Banner in the Sky (1861); Gustave Caillebotte’s paintings re#ected these dynamic and growing art practices from the Arab world. We society’s fascination with meteorology. From the 60s onward, strongly encourage non-traditional and/or multimedia formats of artists transitioned from representing weather to drawing on its presentation. processes. Works with a meteorological impulse, such as Carolee Schneemann’s Viet Flakes (1965) or Robert Barry’s gas releases Potential Subject Areas: 1) Studio Art & Design-Photography; 2) (1969), radically acknowledged #ux and subverted the certainty Studio Art & Design-Digital Media/Animation; 3) Art History-Art of of vision. New understandings of environments, works with a the Middle East/North Africa “systems esthetic” (Jack Burnham), or “dematerialized” art (Lucy

2017 Call For Participation 33 Lippard) emerge when considered in light of an atmospheric political fragmentation, to be reinvented with new borders and turn. We welcome papers that plot art’s meteorological impulses, democratic dispensations. The ‘afterlife’ of socialism is, however, expand notions of art as atmosphere, or examine the role of manifest in current extremism, intolerance towards the refugee weather in art from circa 1850 until today. crisis, corruption and mismanagement; all of which appear to echo the themes and traumas of the twentieth century. The reaction of Potential Subject Areas: 1) Art History-Contemporary Art; 2) some artists appears to subconsciously anticipate a provocative Art History-Critical Theory/Gender Studies/Visual Studies; 3) Art construct of nostalgia for the socialist past, and the question arises: History-General Art History does the term ‘Ostalgia’ have the same meaning in this new historic situation? We invite proposals that interrogate artistic responses to the above scenarios. We envisage that the detailed comparison of The Kinetic Imaginary: Liquid Modernity and the Animation of experiences encountered in di"erent continents will bring about Postwar Art new perspectives for each ‘local’ art-historical discourse. Chair(s): Andrew V. Uroskie, Stony Brook University Email(s): [email protected] Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art History-World Art Fluids, so to speak, neither !x space nor bind time. While solids have clear spatial dimensions but neutralize the impact, and thus downgrade the signi!cance, of time (e"ectively resist its #ow On the Road Revisited: Art and Travel since 1900 or render it irrelevant), #uids do not keep to any shape for long Chair(s): Peter Han-Chih Wang, Temple University; David Smucker, and are constantly ready (and prone) to change it. Introducting Stony Brook University his in#uential (and controversial) investigation of liquidity as a Email(s): [email protected]; [email protected] master metaphor for the novel phase of modernity within which we now reside, Zygmunt Bauman’s framework helps us rethink This year marks the sixtieth anniversary of the publication of Jack the familiar topoi of both animation and kinetic art, allowing Kerouac’s Beat novel On the Road, and the exhibition The Open us to draw associations between new theories of materiality Road: Photography and the American Road Trip is currently on tour and objecthood, perception and spectatorial investment, and in the United States. Thinking outward from Kerouac’s novel and questions of temporality and duration - human or otherwise the automobile road trip in America, our contemporary era also - as they become manifest within a diverse range of aesthetic plays host to the development of self-driving cars, to widespread practices and theories. This panel seeks to re-open the question debates about immigration, and to international politics strongly of kinetic art in the twentieth century and beyond by inquiring in#uenced by oil production and consumption. In light of these broadly into the rhetoric of animation and the philosophy of road-related matters, our panel seeks to historicize and thematize kinesis. Contributions are solicited by emerging and established being on the road. We welcome presentations from scholars, scholars across the history and theory of visual art, !lm, media, artists, and travelers that investigate the ways that being on the and performance. Particular interest will be paid to those historical road becomes a catalyst for art across various mediums, on all and conceptual links between more traditionally understood continents, and through other means of transportation than the models of kinetic sculpture, on the one hand, and a diverse !eld car. Travel mobilizes and contextualizes art and visual culture, of experimental !lm and media practice whose performative basis landscape and society, time and place, self and other, posing a has long been ignored or marginalized within established histories series of related questions: How do we experience travel di"erently of the movement. through the lens of race, gender, class and/or national identity? What e"ects do technologies of transportation have on those of Potential Subject Areas: 1) Art History-Twentieth-century Art; 2) representation, and vice versa? How do artists re#ect the traveling Art History-Contemporary Art; 3) Art History-Film/Video mind and body in states of (im)mobility and in-betweenness? Can methodologies from disciplines like mobility studies, critical theory, or philosophy help us understand travel-related art? Divided Societies: Manifestations of Postsocialist and “On the Road Revisited” solicits papers from a wide variety of Postapartheid “Nostalgia” contributors that reconsider the phenomenon of the road trip in Chair(s): Karen von Veh, University of Johannesburg; Richard art, to better understand the distinct perspectives on the world Gregor, Trnava University that travel provides. Email(s): [email protected]; [email protected] Potential Subject Areas: 1) Interdisciplinary-Studio Art & Art This panel considers two particular geographic areas: South History; 2) Art History-Twentieth-century Art; 3) Art History- Africa and Eastern and Central Europe, where extreme regime Contemporary Art change has occurred within the last twenty !ve years and where political and social reformation was expected to bring about a particular sense of purpose and unity which has not Modernism’s Craft Discourse yet been manifest in practice. South Africa’s history of division Chair(s): Kay Wells, University of Wisconsin-Milwaukee though the politics of apartheid should be ameliorated by the Email(s): [email protected] new democratic dispensation. However, political ineptitude and corruption along with historic divisions based on race and Over the past ten years, the emerging !eld of craft studies culture continue to prevail, indicating a deeply divided social has emphasized the hierarchical and antithetical relationships psyche and pervasive lack of healing. This sometimes results in between modernism and craft. By treating craft as the theoretical a nostalgic longing for the revival of traditional knowledge and limit or dialectical other to modern art, this scholarship has value systems which confront the status-quo through the medium contested earlier assumptions about the need to elevate craft of cultural expression and incisive artworks. Eastern and Central or incorporate it into the modernist canon. But in what ways European countries have emerged from socialism, civil wars and have modernists historically understood their own work in

2017 Call For Participation 34 painting, sculpture, photography, or collage as craft practices? Critical Craft Forum: Gender and Jewelry And how have the discourses de!ning craft—notions of process, Chair(s): Namita Gupta Wiggers, Critical Craft Forum; Benjamin medium, labor, and reform—contributed to the development of Lignel, Art Jewelry Forum modernist art and its criticism? In what ways can we understand Email(s): [email protected]; modernism itself as a craft discourse? This session invites papers [email protected] that investigate the overlaps, intersections, and correspondence between modernist and craft discourses from the late- Despite the connection between jewelry and the body, signi!cant eighteenth to the mid-twentieth centuries. Topics can include critical analysis of the relationship between gender and the appropriation of craft media and historical considerations adornment – particularly of contemporary art jewelry – is nascent of modernist media as crafts; the appropriation of an artisanal at best. We are seeking papers that explore connections between or craftsperson persona; de!nitions of professionalism versus this subject and forms of adornment, ornament, and art jewelry. amateurism; preoccupations with hand labor or anonymity; Proposals should focus on one speci!c question or issue in your the legacy of workshop modes of production; changes in art research or art practice. Selected panelists (six) will be invited to education; the development of medium speci!city and its participate in online private and public discussions preceding the relationship to the doctrine of truth-to-materials; and shared CAA Conference via Art Jewelry Forum (www.art jewelryforum) commitments to Marxism or social praxis. T’ai Smith, author of and Critical Craft Forum (www.criticalcraftforum.com). Panelists Bauhaus Weaving Theory: From Feminine Craft to Mode of Design, will each present a brief, focused eight-minute paper, to be will serve as respondent. followed by a workshop/discussion amongst panelists and attendees and to be led by co-chairs Benjamin Lignel and Namita Potential Subject Areas: 1) Art History-Critical Theory/Gender Gupta Wiggers. The goals: to identify and work collaboratively Studies/Visual Studies; 2) Art History-Decorative Arts/Textiles/ with researchers and artists exploring the relationship between Design History gender and jewelry; to work collectively prior to the panel to build a core group with shared interests; to publicly share individual research investigations in the CAA session; and to use the broader Expanding Modernism: Printmaking in America, 1940–60 collective group of attendees gathered for the session to further Chair(s): Christina Weyl, Independent Scholar questions, thinking and concerns to expand critical frameworks Email(s): [email protected] for further study. Collective project work for this session with panelists and panel attendees will be acknowledged and explored Experimental prints made in America during the 1940s and in a forthcoming publication – the !rst to critically examine gender 1950s do not !t neatly into studies of postwar art or the history and art jewelry - currently being researched by Lignel and Wiggers. twentieth-century printmaking. This period of printmaking activity This session will be the eighth Critical Craft Forum session at CAA. is often overlooked as a “messy” aberration, bracketed between the graphic arts workshops of the Work Progress Administration Potential Subject Areas: 1) Art History-Decorative Arts/Textiles/ and the collaborative printmaking studios opened in the 1960s, Design History; 2) Art History-Critical Theory/Gender Studies/ such as Tamarind Lithography Workshop, Gemini G.E.L., and Visual Studies; 3) Art History-Contemporary Art Universal Limited Art Editions. Made in the two decades preceding the Print Council of America’s standard-setting publication What is an Original Print? (1961), these midcentury prints also do not Art and Caricature conform to today’s guidelines for printed editions: impressions Chair(s): Phoebe Wolfskill, Indiana University are often unique and part of unnumbered editions of unknown Email(s): [email protected] quantities. Despite midcentury prints becoming peripheral to the mainstream history of postwar modernism, artists explored Caricature, from the Italian “caricatura,” essentially meaning, “a printmaking with zeal and enthusiasm. Their prints traversed the loaded picture,” is a form of !gurative distortion used for comic, United States and the globe in the postwar decades, evangelizing political, and sometimes derisive purposes. Although caricatures unfettered modernist expression and American democracy. may target individuals, they also function to categorize speci!c The government recognized this diplomatic potential, and the social groups in terms of race, ethnicity, gender, sexuality, and United States Information Agency (founded 1953) amassed a other identity formations. The caricatured “type” is intended to be collection of more than one thousand six hundred prints to hang immediately recognizable, or to use Barbara Johnson’s words, “an in American embassies around the world. This session welcomes already read text.” Foundational caricaturists in Western art include a broad range of papers that will open scholarly inquiry into this William Hogarth and Honoré Daumier; their tradition is continued understudied period of printmaking in America. Case studies could in the work of twentieth and twenty-!rst century cartoonists, focus on artists (both Americans and international artists working as well as artists including Reginald Marsh, Palmer Hayden, in America), known and under-known communal or academic Betye Saar, Roger Shimomura, Robert Colescott, Kara Walker, printmaking workshops, the midcentury print market and and John Currin. Cultural critic Kobena Mercer applauds the collecting activities of curators and individuals, and exhibitions of subversive power of caricature within the visual arts, writing that prints in the United States or abroad. it can, “subvert the monologic voicing of institutional authority.” The adoption of caricatured types can be explosive, however, Potential Subject Areas: 1) Art History-Art of the United States; 2) depending on its application. For some audiences, the di"culty Art History-Twentieth-century Art; 3) Art History-Drawings/Prints/ and pain associated with stereotype can arguably undermine an Photography/Works on Paper artist’s attempt to challenge it. Contributors to this panel may deal with any aspect of historical or contemporary use of caricature or !gurative distortion. Papers might address the cultural politics of caricature and stereotype, the use of expressive distortion as a modernist device, or the ways in which caricature may be used to subvert or, by contrast, advance existing representational and

2017 Call For Participation 35 power structures. Topics may include a discussion of an individual of the sea in recent art in light of contemporary sociopolitical artist and/or media or more theoretical discussions of the politics and ecological conditions. Approaching the sea as a site of of !gurative distortion. "uidity and transcultural movement, we invite papers that examine articulations of the transnational or the borderless in Potential Subject Areas: 1) Art History-Critical Theory/Gender contemporary art of the global South. Papers that move beyond Studies/Visual Studies; 2) Art History-General Art History formal evocations of political and environmental crisis but that envision alternative networks outside the strictures of state and capital are especially encouraged. In!ltration Art Chair(s): Katharine J. Wright, The Metropolitan Museum of Art; Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art Gillian Pistell, The Metropolitan Museum of Art History-World Art; 3) Art History-Critical Theory/Gender Studies/ Email(s): [email protected]; [email protected] Visual Studies

This panel will focus on renegade, co-optive tactics in contemporary art. Speci!cally, it seeks papers that will address the Reintroducing the Modern: The First Twenty Years at MoMA novel and incisive ways by which artists in!ltrated, interrogated 1929–49 and satirized the art establishment from the 1960s to the present Chair(s): Sandra Zalman, University of Houston; Austin Porter, day. Providing an alternative approach to the study of institutional Kenyon College critique, this panel will center on unsanctioned projects that Email(s): [email protected]; [email protected] commandeered the authority of major art organizations and communication networks—such as museums, galleries, fairs In September 2015 the Museum of Modern Art re-opened its and magazines—to complicate matters of private interest and newly consolidated archives in midtown Manhattan. Scholars now public space, individual agency and institutional power. Prime have an unprecedented opportunity to research the institution examples include Lynda Benglis’s infamous 1974 Artforum ad, that has helped shape our understanding of modern art, especially which harnessed the hegemonic in"uence of the magazine to in the United States. However, because of MoMA’s reputation as lampoon the art world from the inside out, and Dove Bradshaw’s a bastion of formalist modernism, the museum’s early history— 1976 work Performance, which “claimed” creative authorship of arguably the institution’s most experimental years—has gone a !re hose in the Metropolitan Museum to problematize the art largely overlooked by scholars. Between its founding in 1929 historical canon and its proponents. Submissions that consider and a series of twentieth anniversary exhibitions in 1949, MoMA artistic projects across diverse mediums and geographies are created the !rst museum departments of architecture and design, encouraged, as are papers that situate in!ltration art in context !lm, and photography in the United States, marshaled modern art with parallel developments in protest art, performance, public art as a political tool, and positioned modern art as part of a larger and conceptualism. consumer culture. This session will investigate how mid-century museum practice – especially at MoMA – established signi!cant Potential Subject Areas: 1) Art History-Contemporary Art; 2) Art cultural, economic, and artistic trends. We are particularly eager History-Public Art; 3) Interdisciplinary-Museum Studies/Curatorial to present new scholarship on exhibitions rarely, if ever, discussed Studies/Art Criticism by scholars that demonstrate a fresh approach to issues such as corporate sponsorship, exhibition design, technology, gender, and race. Similarly, we seek to expose gaps and biases in the narrative Passages and Crossings: The Sea in Contemporary Art of the of modern art, and to explore what modern art might mean at the Global South beginning of the twenty-!rst century. Chair(s): Allison K. Young, Institute of Fine Arts, New York University; Sean Nesselrode Moncada, Institute of Fine Arts, New Potential Subject Areas: 1) Art History-Twentieth-century Art; 2) York University Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism; Email(s): [email protected]; [email protected] 3) Art History-Art of the United States

Paul Gilroy’s “The Black Atlantic,” published in 1993, proposed the motif of a “ship in motion” in order to bypass the “national” as an organizing framework for artistic, literary, and intellectual histories. Invoking the transnational reality of cultural production, particularly throughout the African diaspora, he writes that “ships immediately focus attention on the middle passage, (…) on the circulation of ideas and activists as well as the movement of key cultural and political artefacts.” The sea continues to resonate as a symbol for the stateless, the fugitive, the postcolonial or the diasporic. Photographs of Syrian refugees attempting the treacherous passage across the Mediterranean have been widely disseminated in mass media, inspiring responses by artists from M.I.A. to Ai Weiwei. Caribbean artists such as Tony Capellán and K’Cho have deployed the imagery of boats, waves, and water crossings to evoke personal histories of exile and emigration. The ocean also represents an extra-political space: activist project “Women on Waves” capitalizes on international waters as an exception to repressive government policies. This panel seeks to reappraise the poetic and political symbolism

2017 Call For Participation 36 Session Participation Proposal Submission Form CAA 105th Annual Conference New York, February 15–18, 2017

Speaker’s Name: ______Speaker’s A!liation: ______CAA Member Number: ______

Current CAA membership through February 18th and conference registration is required; see the General Guidelines for Speakers on the cover page. For a membership application and details, call CAA’s o!ce at 212- 691-1051, ext. 1; or visit www.collegeart.org/membership. The premium level membership o"ers the best discount on registration when attending the Annual Conference. Discount member levels are also available.

Address: ______O!ce/Studio Phone: ______Home/Cell Phone: ______Email: ______Paper title: ______

It is essential that session chairs be apprised of all of your current submissions.

1) If you have submitted proposals to one or more other session chairs in the 2017 Call for Participation, list them below: Chair(s) and Title: ______

2) If your individual paper proposal was accepted to an open/un-chaired session in June, please list accepted paper title below: ______* See #5 in “GENERAL GUIDELINES FOR SPEAKERS,” you must inform CAA of your intention to apply to another ses- sion no later than August 30, 2016.

Send this form, with a preliminary abstract of your paper or proposal, letter of interest, CV, and support materials, directly to session chair(s). Deadline: August 30, 2016

2017 Call For Participation 37