CONFERENCE PROGRAM CONFERENCE FEBRUARY 3–6, 2016 FEBRUARY WASHINGTON, DC WASHINGTON, 104th ANNUAL CONFERENCE 104th ANNUAL

CONFERENCE PROGRAM COLLEGE ART ASSOCIATION 104th ANNUAL CONFERENCE WASHINGTON, DC 2016 104th Annual Conference in Washington, DC Wednesday, February 3–Saturday, February 6, 2016

CONTENTS 5 Social Media Map 9 Conference at a Glance 10 SESSIONS at a Glance 22 CAA Membership 22 CHECK-IN AND ONSITE Registration 23 Badges, Program, Abstracts 2015, Directory of Attendees 24 Lodging and Travel 24 Conference Hotels 24 Travel and Transportation 25 Services 25 Business Center 25 Child Care 25 Special Accommodations 26 Career Services 26 Orientation 26 Candidate Center 26 Interview Hall: Booths and Tables 27 Professional-Development Workshops 29 Mentoring Sessions 29 Professional-Development Roundtables 29 Student and Emerging Professionals Lounge 31 Book and Trade Fair 31 Exhibitor Sessions 32 CAA Business 32 Annual Members’ Business Meeting 32 CAA Committee Meetings 34 ARTspace 35 ARTexchange 36 MEDIA LOUNGE 39 PROGRAM SESSIONS 52, 63 Poster Sessions 76 Special Events 81 Museums and Galleries 83 Reunions and Receptions 85 CAA Board AND Staff 86 PAST CAA Presidents 87 CAA COMMITTEE MEMBERS 90 Conference Floor Plans 94 Index of Exhibitors 96 Index of Advertisers 97 Index of Participants

SAVE THE DATE! NEW YORK, NY 105th ANNUAL CONFERENCE FEBRUARY 15–18, 2017 The Conference Program is published in conjunction A special thanks to our conference sponsors: with the 104th Annual Conference of the College Art Welcome to Washington DC! Association. For the detailed, chronological listing of sessions, meetings, and events, see the conference website at www.conference.collegeart.org. Please note that information is subject to change. Dear Friends: The conference will be held at the Washington Marriott Wardman Park Hotel, 2660 Woodley Road NW, Washington DC, with its incomparably diverse array of cultural attractions, provides the setting for Washington DC, from February 3–6, 2016. the 2016 Annual Conference, the world’s largest forum for the visual arts. This exciting gathering of Unless otherwise noted, all activities will take place artists, art historians, critics, museum curators, arts administrators, and art educators will return to at this location. the Nation’s Capitol after 25 years. Join us for the best in new scholarship, innovative art, and lively CAA is not responsible for lost or stolen articles. discussion of the arts and culture today.

Thank You! The conference will be launched on Wednesday evening with Convocation, at which this year’s We extend our special thanks to the CAA Annual Awards for Distinction recipients will be honored. The keynote address will be delivered by Tania Conference Committee responsible for the 2016 program: Bruguera, the distinguished Cuban installation and performance artist, who is serving as the first Gail Feigenbaum, Getty Research Institute, Vice President Artist-in-Residence for the New York Mayor’s Office of Immigrant Affairs. Following Convocation, the for Annual Conference; Kate Bonansinga, University of The Katzen Art Center at American University will host this year’s Opening Reception. Cincinnati; Francesca Fiorani, University of Virginia; Ray Hernández-Durán, University of New Mexico; Jennifer Milan, University of Sidney; Andrea Pappas, Santa Clara This year’s meeting will include four full days of sessions in all areas of studio art and art history, rang- University; Sheila Pepe, Pratt Institute; Doralynn Pines, ing from panels in which artists, critics, and scholars present their most current work, to sessions on Metropolitan Museum of Art, retired; John Richardson, professional practices, career development, pedagogy, and museum and curatorial issues. Wayne State University. A special note of appreciation is extended to Regional Representatives Helen Frederick, Among the special highlights are the Distinguished Scholar Session devoted to Richard J. Powell, the George Mason University, and Bibi Obler, George eminent scholar of African-American art, and the Distinguished Artists Interviews in ARTspace, which Washington University. We thank all the volunteers and staff members who made the conference possible. will be headlined by Joyce Scott, George Ciscle, Rick Lowe, and LaToya Ruby Frazier. The confer- ence this year will also feature a conversation between Jane Chu, Chair of the NEA, and William “Bro” CAA is also deeply grateful to the Katzen Art Center Adams, Chairman of the NEH, on celebrating fifty years of supporting the arts and humanities. at American University for hosting this year’s opening reception. As the world’s best-attended international art conference, CAA’s 2016 meeting will facilitate network- ing opportunities and enable the exchange of information and ideas with colleagues from across the Design: Ellen Nygaard globe. Career opportunities abound in conjunction with the single largest job placement service for art professionals in all fields. Mentoring workshops will help students, emerging scholars, and early- Printing: Kent Associates career artists to develop professional résumés and portfolios. You also don’t want to miss the annual Cover: Images courtesy of Freer Gallery of Art and Book and Trade Fair, where you can view exciting new publications, artists’ products, and educational Arthur M. Sackler Gallery Smithsonian Institution, Hirsshorn Museum and Sculpture Garden, The Phillips services. Collection, National Gallery of Art, and Smithsonian American Art Museum and the Renwick Gallery Many of Washington’s most prestigious museums will be hosting openings and receptions and offering free admission to all conference attendees.

We look forward to seeing you in DC!

DeWitt Godfrey Linda Downs CAA President CAA Executive Director

2 college art association February 3 –6, 2016 3

Sponsors and Exhibitors Social Map #CAA2016 Conference Sponsor Twitter Instagram Art in America @aianews @aianews ArtForum/BookForum @artforum/@bookforum Blick Art Materials @blick_art @blickartmaterials Bloomsbury Publishing @bloomsburypub @bloomsburypublishing Frieze @frieze_magazine @frieze_magazine Laurence King Publishing @laurencekingpub @laurencekingpub National Endowment for the Arts @neaarts @neaarts Pearson @pearson Prestel Publishing @prestel_US @prestel_usa Richmond, the American International @richmonduni Join the Conversation #CAA2016 Routledge/Taylor & Francis @routledgebooks/@tandfonline The Getty Foundation @gettyfoundation University in London @richmondunl @collegeart Yale University Press @yalepress @yalebooks

Conference Exhibitors Twitter Instagram Abbeville Press @abbevillepress @collegeartassociation Art in America @aianews @aianews Art Forum/BookForum @artforum/@bookforum Art Table @artTable @arttableinc ARTstor @artstor Social Media Wall Ashgate Publishing Company @ashgate Asian Pacific American Institute/NYU @apa_institute Azusa Pacific University @azusapacific Blick Artist Materials @blick_art @blickartmaterials conference.collegeart.org/social-wall Bloomsbury Publishing @Bloomsburypub @bloomsburypublishing Bookmobile @bookmobileprint T I N T Brill Publishing @brillpublishing Livestream Canson Inc. @cansonpaper Casemate Art @casemateart Celebrating Print Magazine @celebratingprnt Cengage Learning @cengagelearning @cengagelearning voutube.com,user,caanyc Chartpak @chartpak_inc Youim Christie’s Education @christiesed_ny @christiesedu Chroma Inc. @chroma_inc @chromainc Columbia College Chicago @columbiachi @columbiachi Consortium Book Sales & Distribution @consortiumbooks D. Giles Ltd. @gilesltd D.A.P. Distributed Art Publishers @artbook De Gruyter @degruyter_TRS Duke University Press @dukepress Dumbarton Oaks Research Library @dumbartonoaks and Collection

4 college art association February 3 –6, 2016 5 Conference Highlights

Sponsors and Exhibitors Social Map #CAA2016 Choose from more than 200 stimulating sessions, panel discussions, roundtables, and meetings on a plethora of topics in art scholarship and practice. Conference Exhibitors Twitter Instagram Frieze @frieze_magazine @frieze_magazine Though we can’t possibly list them all, here are a few of the special events we have in store: Gamblin Artist Colors @gamblin_colors @gamblincolors Getting Your Sh*t Together/GYST Ink @gystInk @gyst_ink • Sessions led by distinguished artists and art historians Getty Publications @gettypubs • Convocation Keynote address by Tania Bruguera, titled “Aest-ethics: Art with Consequences” Golden Artist Colors Inc. @goldenarcrylics @goldenpaints Holbein Artist Materials @holbeinusa @hobeinusa • Opening Reception at The Katzen Art Center I.B. Tauris Publishers @ibtauris • The Fourteenth Annual Distinguished Scholar session honoring Richard J. Powell Institut National d’Histoire de I’Art INHA@inha_fr Intellect Books @intellectbooks • The CAA Awards for Distinction, including the Distinguished Artist Award for Lifetime Kremer Pigments Inc. @kremerpigments Achievement, the Charles Rufus Morey Book Award, and others Laurence King Publishing @laurencekingpub @laurencekingpub Marist College Florence Branch @marist • The Annual Distinguished Artists’ Interviews Oxford University Press @oupacademic • At the Book and Trade Fair, the latest books, catalogues, and art journals; paints, inks, and Pearson @pearson brushes; educational services and teaching tools—and more Penguin Random House @penguinrandom @penguinrandomhouse Penn State University Press @psupress @pennstate • Free Wi-Fi in the session rooms, Interview Hall, and Exhibit Hall at the Washington Marriott Prestel Publishing @prestel_us @prestel_usa Wardman Park Princeton University Press @princetonupress Professional Artist Magazine @proartistmag R&F Handmade Paints @rfpaints Download the FREE CAA Annual Conference Mobile App Richmond, The American International @richmonduni All the information you need to navigate the conference right at your fingertips. Rizzoli International Publications @rizzoli_books Routledge, Taylor & Francis @routledgebooks/@tandfonline Download the app and you can: Savoir Faire @savoirfairecie @savoir_faire_art • Search and browse sessions and events The MIT Press @mitpress The Scholar’s Choice @scholarschoice @scholarschoice • Create a personalized schedule School of Art and Design at @iubloomington @iubloomington Indiana University, Bloomington • Find your way with maps of the conference venue Sierra Nevada College @snclaketahoe @sierranevadacollege • Browse exhibitors in the Book and Trade Fair Skyhorse Publishing @skyhorsepub @skyhorsepub Soberscove Press @soberscove @soberscove • Share events and post on Twitter and Facebook SRISA-­‐Santa Reparata International @srisaflorence • Connect with other attendees via activity feeds School of Art Thames & Hudson @thameshudsonusa The Henry Moore Institute @hmileeds @henrymoorefoundation The app works on most mobile platforms including iPhones and iPads, Android devices, The Monacelli Press @monacellipress University of California Press @ucpress and Blackberries. To download, visit conference.collegeart.org/app or search the Apple App Store or University of Chicago Press @uchicagopress Google Play store for College Art Association. University of Michigan-­‐Flint @umflint @umflint University of New Mexico Press @unmpress University of Oklahoma Press @oupress University Press of New England @upnepub University of Texas Press @utexaspress @utpress University of Washington Press @uwapress @uwpress Western State Colorado University @westerncolou @westerncolou Wiley @wileyupdates Yale University Press @yalepress

6 college art association February 3 –6, 2016 7 CONFERENCE AT A GLANCE

Tuesday Wednesday Thursday Friday Saturday February 2 February 3 February 4 February 5 February 6 Conference Registration 5:00–7:00 PM 8:00 AM–7:00 PM 8:00 AM–7:00 PM 8:00 AM–7:00 PM 8:30 AM–2:30 PM

CAA Membership 5:00–7:00 PM 8:00 AM–7:00 PM 8:00 AM–7:00 PM 8:00 AM–7:00 PM 8:30 AM–2:30 PM

Career Services

Orientation 6:30–8:00 PM

Interviewer Center 8:00 AM–7:00 PM 8:00 AM–7:00 PM 8:00 AM–7:00 PM

Candidate Center 9:00 AM–7:00 PM 9:00 AM–7:00 PM 9:00 AM–7:00 PM

Interview Hall 9:00 AM–7:00 PM 9:00 AM–7:00 PM 9:00 AM–7:00 PM 9:00 AM–12:00 PM

Mentoring Sessions 8:00 AM–5:00 PM 8:00 AM–5:00 PM

Sessions 7:30–9:00 AM 7:30–9:00 AM 7:30–9:00 AM 7:30–9:00 AM

9:30 AM–12:00 PM 9:30 AM–12:00 PM 9:30 AM–12:00 PM 9:30 AM–12:00 PM

12:30–2:00 PM 12:30–2:00 PM 12:30–2:00 PM 12:30–2:00 PM

2:30–5:00 PM 2:30–5:00 PM 2:30–5:00 PM 2:30–5:00 PM

5:30–7:00 PM 5:30–7:00 PM

ARTspace and 8:00 AM–5:00 PM 8:00 AM–5:00 PM 8:00 AM–5:00 PM 8:00 AM–5:00 PM Media Lounge

ARTexchange 5:30–7:30 PM

CAA Annual CAA 5:30–9:00 PM Business Meeting, Convocation, and Reception (open to all CAA members)

Book and Trade Fair 9:00 AM–6:00 PM 9:00 AM–6:00 PM 9:00 AM–2:30 PM

School and 7:30–9:00 AM 7:30–9:00 AM 7:30–9:00 AM Department Reunions and Receptions 12:30–2:00 PM 12:30–2:00 PM 12:30–2:00 PM

5:30–7:00 PM

February 3 –6, 2016 9 “Thinking through the Body”: Visual Passion in Medieval Art Historians Interested in Pedagogy and Technology Wednesday, February 3 SESSIONS AT A GLANCE and Early Modern Art A Signature Pedagogy for Art History in the 2:30–5:00 PM Washington 6, Exhibition Level Twenty-First Century All sessions will be held at the Washington Chairs: Mati Meyer, The Open University of Israel; Assaf Pinkus, Washington 1, Exhibition Level Marriott Wardman Park Hotel unless otherwise noted. The Modernities of French Art and its History, 1780 Tel Aviv University Chairs: Nathalie N. Hager, University of British Columbia Okanagan; to the Present Sarah Jarmer Scott, Wagner College Washington 1, Exhibition Level Wednesday, February 3 Something in the Dirt: Discourses of Hygiene, Health, and Chairs: Natalie A. Adamson, University of Saint Andrews; Progress in the North American Landscape Education Committee 9:30 AM–12:00 PM Richard Taws, University College London Wilson B, Mezzanine Level The College Studio Practice, Academic Theory and the Chairs: Sarah J. Moore, University of Arizona; John-Michael Howell Tactile Experience: from Margin to Center Taking Stock: Future Direction(s) in the Study of Collecting Sensorial Regimes: Reflections on Postcolonial Art History Warner, Kent State University Coolidge, Mezzanine Level Washington 5, Exhibition Level in Latin America Chairs: Andrew Hairstans, Auburn University Montgomery Chair: Christina M. Anderson, University of Oxford Salon 1, Lobby Level Performance Art as Portraiture Chairs: Jens Baumgarten, Federal University of São Paulo; Washington 1, Exhibition Level American Academy in Rome Beyond Featherwork: Mexican Visual Identity Between Tristan Weddigen, Universität Zürich Conquest and Independence Chairs: Dorothy Moss, National Portrait Gallery, Smithsonian Key Sets: Photographic Collections and Visual Art Institution; Jamie L. Smith, CONNERSMITH Gallery Washington 6, Exhibition Level Delaware Suite B, Lobby Level The Community-Based Museum in Global Context Chair: Lindsay R. Harris, American Academy in Rome Chairs: Aliza M. Benjamin, Temple University; Bradley Cavallo, Wilson C, Mezzanine Level The Artist-Critic: History, Identity, Work Temple University Chairs: Remei Capdevila-Werning, El Museo del Barrio; Joy Liu, Virginia Suite, Lobby Level International Center for the Arts of the Americas Museum of Chinese in America The Institutionalization of Social Art Practice Chairs: Christa Noel Robbins, University of Virgina; Living Archives: Latin American and Latino Art Materials Zachary Robert Cahill, University of Chicago in U.S. Institutions Delaware Suite A, Lobby Level Beyond the Pictures Generation: New Approaches to Harding, Mezzanine Level Chairs: Charlotte Bonham-Carter, Central Saint Martins, University Photography in the 1980s Historians of German, Scandinavian, and Central European Art Chair: Olga U. Herrera, University of Illinois at Chicago of the Arts, London; Nicola G. Mann, Richmond, The American Washington 4, Exhibition Level and Architecture International University in London Chairs: Heather Diack, University of Miami; Erina Duganne, There’s No Such Thing as Visual Culture CAA Task Force on Design Texas State University ARTspace Washington 4, Exhibition Level CAA Promotion and Tenure Guidelines for Design Faculty Chair: Corine L. Schleif, Arizona State University Hoover, Mezzanine Level Public Art Practice—Clearing the Hurdles and Avoiding The Art of Assembly: Urban Space and Crowd Control in the Chair: Jim Hopfensperger, Western Michigan University the Pitfalls Middle Ages Thurgood Marshall Ballroom South/East, Mezzanine Level Delaware Suite A, Lobby Level Wednesday, February 3 Society for the Study of Early Modern Women Chair: Hilary A. Braysmith, University of Southern Indiana Chair: Gillian B. Elliott, Corcoran School of the Arts & Design 12:30–2:00 PM Emotion, Status, and Memory in Early Modern Italy Delaware Suite A, Lobby Level Here and Abroad: The Globalization of K(Korean)-Art and The “Unity of the Arts:” Writing about Fine and Decorative Chair: Andrea G. Pearson, American University Other Myths Pacific Arts Association Art Together Washington 2, Exhibition Level Business Meeting Maryland Suite, Lobby Level International Committee Chairs: Dong-Yeon Koh, Hongik University; Gyung Eun Oh, Delaware Suite B, Lobby Level Chair: Imogen Hart, University of California, Berkeley Wonkang University Roundtable: Between Democracies 1989–2014: Remembering, Narrating, and Reimagining the Past in Eastern and Central National Endowment for the Arts Mines and Matter: How Images Make Meaning of an Industry Europe and Southern Africa (EESA) Negotiating Chronology and Geography in Museum Spaces: Artist as Entrepreneur: Preparation for Life after Delaware Suite B, Lobby Level Wilson A, Mezzanine Level Africa and Egypt on Display Higher Education Chair: Shannen L. Hill, National Museum of African Art, Chair: Judy Peter, University of Johannesburg Washington 3, Exhibition Level Maryland Suite, Lobby Level Smithsonian Institution and Baltimore Museum of Art Chairs: Rachel P. Kreiter, Emory University; Amanda H. Hellman, Chairs: Meg Brennan, National Endowment for the Arts; Emily Hall Tremaine Foundation Michael C. Carlos Museum Wendy Clark, National Endowment for the Arts Society of Historians of East European, Eurasian, and Russian Art To Stay or To Go? Preparing Artists for Career Opportunities and Architecture Locally and Elsewhere From Local to Global: Ancient and Contemporary Òrìsà ARTspace Exploring Native Traditions in the Arts of Eastern Europe Washington 3, Exhibition Level Imagery within and outside Africa Services to Artists Committee and Russia—Part I Chair: Heather Pontonio, Emily Hall Tremaine Foundation Wilson C, Mezzanine Level MetaMentors: Time. Space. Money. Washington 2, Exhibition Level Chair: Babatunde Lawal, Virginia Commonwealth University Thurgood Marshall Ballroom East/South, Mezzanine Level Chair: Alison L. Hilton, Georgetown University Southeastern College Art Conference Chairs: David J. Brown, Western Carolina University; Niku Kashef, Art In the Trenches: Visual Culture at, of, and in the Face of War Cultivating an Ecology of Networked Knowledge and California State University, Northridge Awareness→Professionalization→Career Opportunities? Washington 4, Exhibition Level Innovation through Collaborations among Sciences, Teaching Provenance Research within the Field of Art History Chair: Elizabeth Rivenbark, University of South Alabama Engineering, Arts, and Design Association of Art Museum Curators Wilson A, Mezzanine Level Wilson A, Mezzanine Level Curators on Paths to a Curatorial Art Museum Career Chairs: Chairs: Jane C. Milosch, Smithsonian Provenance Research Chairs: Roger F. Malina, SEAD/Leonardo/University of Texas Dallas Washington 2, Exhibition Level Initiative, Smithsonian Institution; Paul B. Jaskot, DePaul University and Leonardo Publications; Carol Strohecker, SEAD Co-PI/Rhode Chair: Helen C. Evans, Association of Art Museum Curators/ and CASVA Fellow Island School of Design (RISD) Metropolitan Museum of Art 2014–16, National Gallery of Art

Task Force on Design AIGA | the professional association for design Design Incubation Colloquium 2.4 Designers as Writers, Authors, and Makers Hoover, Mezzanine Level Virginia Suite, Lobby Level Chairs: Steven McCarthy, University of Minnesota; Aaris Sherin, Chair: Kenneth Fitzgerald, Old Dominion University St. John's University

10 college art association February 3 –6, 2016 11 Between the Ephemeral and the Virtual: Reactivating Art Thursday, February 4 Establishing Ownership: The Image of the Installations through Digital Reconstructions Indigenous American National Endowment for the Arts and National Endowment 9:30 AM–12:00 PM Washington 5, Exhibition Level Washington 2, Exhibition Level for the Humanities Chairs: Laura Moure Cecchini, Duke University; Chiara Di Stefano, Chairs: Elizabeth Ann Klimek, Corcoran College of Art and Design, The NEA and NEH at 50: NEA Chair Jane Chu and (Mis)Representing “Justice” in Mesoamerica, AD 100–1650 Independent Scholar George Washington University NEH Chair William “Bro” Adams in Conversation Salon 1, Lobby Level Salon 3, Lobby Level Chairs: Angélica J. Afanador-Pujol, Arizona State University; ARTspace Expanded Fieldwork: Art and Research-Based Practice Free and open to the public Cecelia F. Klein, University of California, Los Angeles Choreographic Thinking Washington 5, Exhibition Level Thurgood Marshall Ballroom South/East, Mezzanine Level Chairs: Mary Leclère, Core Residency Program, Museum of Window/Lens/Mirror: The Materiality of Glass in Modern and Community College Professors of Art and Art History Chair: Lauren O’Neal, Phillips Exeter Academy Fine Arts, Houston; Lily Cox-Richard, Core Residency Program, Contemporary Art In and Out of the Studio: New Ideas for Art Appreciation Museum of Fine Arts, Houston Washington 6, Exhibition Level Coolidge, Mezzanine Level Space and the Sacred in the Ancient Mediterranean Chairs: Virginia M. G. Anderson, Maryland Institute College of Art; Chair: Susan M. Altman, Middlesex County College and Near East Design Studies Forum Dalia Habib Linssen, Rhode Island School of Design Virginia Suite, Lobby Level Design on Display: Staging Objects in the Museum and Beyond Professional Practices Committee Chairs: Isabelle Pafford, San José State University; Kristen Seaman, Hoover, Mezzanine Level Anthropocene and Landscape CAA’s MFA Standards University of Oregon Chairs: Paula R. Lupkin, University of North Texas; Anca I. Lasc, Virginia Suite, Lobby Level Delaware Suite A, Lobby Level Pratt Institute Chairs: Thomas R. Beachdel, Hostos, City University of New York; Chairs: Thomas G. Berding, Michigan State University; John Kissick, Museum and Cultural Sector Internships, Now and Dorothea Dietrich, Smithsonian Institution University of Guelph for the Future Race, Remembrance, and Reconciliation: International Washington 6, Exhibition Level Dialogue in National Museums CAA Publications Committee Association of Academic Museums and Galleries Chairs: Martha M. Schloetzer, National Gallery of Art; Stephanie Salon 3, Lobby Level Why Review? Activating The Archive Mayer Heydt, High Museum of Art Chair: Julie L. McGee, University of Delaware Harding, Mezzanine Level Washington 2, Exhibition Level Chair: Juliet Bellow, American University Chair: Joyce S. Hertzson, Vignelli Center for Design Studies, Renaissance Society of America Digital Art History: New Projects, New Questions Rochester Institute of Technology The Language of Fame and Failure in the Renaissance Maryland Suite, Lobby Level Draping the Middle Ages: Moveable Textile Patterns in Salon 3, Lobby Level Chair: Nancy Micklewright, Freer|Sackler Smithsonian Institution East and West, c. 500-1500 Association for Textual Scholarship in Art History Chair: Jeffrey Chipps Smith, University of Texas-Austin Washington 3, Exhibition Level The ‘Art’ of Dying Well: Virtuous, Horrific, and Spectacular Picturing Death, 1200–1600—Part I Chairs: Patricia D. Blessing, Society of Architectural Historians Deaths in Art, History and Literature Delaware Suite A, Lobby Level Washington 3, Exhibition Level Wednesday, February 3 Chairs: Stephen G. Perkinson, Bowdoin College; Noa Turel, Everything Disappears Chairs: Liana Cheney, Università di Aldo Moro; Barbara Watts, University of Alabama at Birmingham 5:30 PM–7:00 PM Washington 4, Exhibition Level Florida International University Chairs: Alexander Dumbadze, George Washington University; Non-Aligned: Art, Solidarity, and the Emerging “Third World” Annual CAA Members’ Business Meeting and CAA Convocation Frazer D. Ward, Smith College Catalogue Raisonné Scholars Association Delaware Suite B, Lobby Level and Awards Presentation Artists and Their Collaborators Chairs: Adair Rounthwaite, University of Washington; Announcement of the New Members of the CAA Board of Directors The Fulbright U.S. Scholar Program and the Terra Foundation for Harding, Mezzanine Level Atreyee Gupta, Forum Transregionale Studien, Berlin Keynote Address: Tania Bruguera the History of American Art Chairs: Susan Cooke, The Estate of David Smith, New York; Salon 2, Lobby Level Grant Opportunities for Supporting American Art Shaina D. Larrivee, The Hedda Sterne Foundation, Inc. Connoisseurship—or Connoisseurs? in Europe and China Wilson C, Mezzanine Level Wilson A, Mezzanine Level Association for Modern and Contemporary Art of the Arab World, Chair: Catherine B. Scallen, Case Western Reserve University Thursday, February 4 Chairs: Maria Gahan, Institute of International Education; Sophia Iran, and Turkey Yang, Institute of International Education Curating the Middle East in America: A Roundtable Discussion 7:30–9:00 AM European Postwar and Contemporary Art Forum Washington 5, Exhibition Level Geometric Abstraction, Op, and Kinetic Art in a Mapping Feminist Art Networks Chairs: Jessica Gerschultz, University of Kansas; Sarah-Neel Smith, Leonardo Education and Art Forum Trans-National Perspective Washington 1, Exhibition Level University of California, Los Angeles Business Meeting Wilson B, Mezzanine Level Chair: Joanna P. Gardner-Huggett, DePaul University Coolidge, Mezzanine Level Chairs: Lily Woodruff, Michigan State University; Daniel R. Quiles, National Council on Education for the Ceramic Arts School of the Art Institute of Chicago New Media Caucus ARTspace NCECA Session Business Meeting Services to Artists Committee Wilson A, Mezzanine Level Hoover, Mezzanine Level Art Happens: New Models for DIY Initiatives Thursday, February 4 Chair: Joshua Green, National Council on Education for the Thurgood Marshall Ballroom East/South, Mezzanine Level Ceramic Arts 12:30–2:00 PM Northern California Art Historians Chairs: Reni Gower, Virginia Commonwealth University; and Business Meeting Melissa Potter, Columbia College, Chicago American Society for Hispanic Art Historical Studies Association of Historians of American Art Washington 3, Exhibition Level Who Made Me? Patronage Without Patrons in Medieval Iberia Defining theT hird Wave: Art, Popular Culture, and Business Meeting Washington 1, Exhibition Level Millennial Feminism Washington 6, Exhibition Level Chair: Julie Harris, Spertus Institute of Jewish Learning Coolidge, Mezzanine Level and Leadership Chair: Deborah J. Johnson, Providence College Queer Caucus for Art Business Meeting American Folk Art Museum Wilson B, Mezzanine Level Art + History = Folk Art Salon 1, Lobby Level Chair: Stacy C. Hollander, American Folk Art Museum

12 college art association February 3 –6, 2016 13 Historians of German, Scandinavian, and Central European Art Landscape into History Making A Killing: Art, Capital, and Value in the 21st Century Arts Council of the African Studies Association and Architecture Salon 1, Lobby Level Delaware Suite A, Lobby Level African Arts and Italian Colonialism: A Missing Historians of German, Scandinavian, and Central European Art Chairs: John M. Beardsley, Dumbarton Oaks; Jennifer Raab, Chair: Tom McDonough, State University of New York Africanist History and Architecture Emerging Scholars Yale University Binghamton University Washington 2, Exhibition Level Maryland Suite, Lobby Level Chair: Tenley Bick, University of California, Los Angeles Chair: Juliet Koss, Scripps College International Center of Medieval Art Re-examining the Art History Survey: What do We Retain; Out of Time and Out of Place: Comparative Approaches What do We Transform? Museum Committee Society of Historians of East European, Eurasian, and Russian Art in Art History Wilson A, Mezzanine Level Neither Fish nor Fowl: Assessing the Work of Academic Art and Architecture Washington 3, Exhibition Level Chairs: Anne R. Norcross, Kendall College of Art and Design; Museum Professionals in a Tenure-Track, Peer-Reviewed World Collecting, Curating, Canonizing, Critiquing: Chairs: Jennifer R. Borland, Oklahoma State University/ Suzanne M. Eberle, Kendall College of Art and Design Delaware Suite A, Lobby Level The Institutionalization of Eastern European Art Material Collective; Benjamin C. Tilghman, Lawrence Chairs: Tracy S. Fitzpatrick, Neuberger Museum of Art; Jill J. Deupi, Washington 4, Exhibition Level University/Material Collective Without Borders: The Promise and Pitfalls of Inter-American Lowe Art Museum Chair: Ksenia Nouril, Rutgers, The State University of New Jersey, Art History and MoMA The Art of Animal Activism: Critical Parameters Washington 4, Exhibition Level The College Board’s Advanced Placement (AP) Art History Program Wilson C, Mezzanine Level Chairs: Breanne Robertson, American University; Fabiola Martinez, Comparative Investigations of Monuments and their Contexts: Women’s Caucus for Art Chairs: Alan C. Braddock, College of William & Mary; Keri Cronin, Saint Louis University Constructing Understanding in AP Art History Women’s Caucus for Art Keynote Address Impact: Brock University Virginia Suite, Lobby Level Stephanie Sherman Altered Visions: Revisiting the Trials and Tribulations Chairs: Wendy Free, The College Board; Ed DeCarbo, Pratt Institute Salon 2, Lobby Level ARTspace of the Single Collection Museum Chair: Brenda R. Oelbaum Services to Artists Committee Hoover, Mezzanine Level National Council of Arts Administrators Another 5x5: Mining the DC Area’s Distinct Culture Chairs: Brian Seymour, Community College of Philadelphia; Narratives by the Numbers: Employing Data and Analytics to International Association of Word and Image Studies Thurgood Marshall Ballroom East/South, Mezzanine Level Leanne M. Zalewski, Central Connecticut State University Tell Compelling Stories In the Light of Modern Media: Word and Image Analysis Chairs: David J. Brown, Western Carolina University; Maryland Suite, Lobby Level as Heuristic Tool and Zoe Charlton, American University Digital Cultural Heritage as Public Humanities Collaboration Chairs: Jim Hopfensperger, Western Michigan University; Wilson C, Mezzanine Level Washington 1, Exhibition Level Nan Goggin, University of Illinois at Urbana-Champaign Chair: Jorgelina Orfila, Texas Tech University Digital Artists’ Books: New Critical Vocabularies Chair: Victoria E. Szabo, Duke University Washington 5, Exhibition Level Art Libraries Society of North America Committee on Women in the Arts Chairs: Kathryn J. Brown, Tilburg University; Anna S. Arnar, Transforming Japonisme: International Japonisme in an Digital Collaborations: Successful Partnerships between Pink Collars or Pink Shackles? How the Adjunct Teaching Crisis Minnesota State University Moorhead Age of Industrialization and Visual Commerce Librarians and Faculty in the Digital Humanities Threatens Women’s Lives and Careers Virginia Suite, Lobby Level Washington 1, Exhibition Level Delaware Suite B, Lobby Level Committee on Diversity Practices Chairs: Gabriel P. Weisberg, University of Minnesota; Chairs: Eumie Imm Stroukoff, Georgia O’Keeffe Museum; Chairs: Miriam Schaer, Columbia College Chicago; Jean Shin, Curating Diversity: Ideologies & Methodologies Elizabeth J. Fowler, Independent Scholar Sarah Falls, The Ohio University Pratt Institute Salon 3, Lobby Level Chair: Amanda Cachia, University of California, San Diego Japan Art History Forum National Art Education Association Thursday, February 4 Contemporary Japanese Art and the Social Turn The Art of Teaching Art & Design: Realigning Critical & Creative Afrotropes 5:30–7:00 PM Wilson C, Mezzanine Level Pedagogy for 21st Century Professional Development Maryland Suite, Lobby Level Chair: Justin Jesty, University of Washington Virginia Suite, Lobby Level Chairs: Huey Copeland, Northwestern University; Chairs: Sara Wilson McKay, National Art Education Association Krista A. Thompson, Northwestern University The Power of Storytelling: Finding and Engaging International Association of Art Critics and VCU; Renee Y. Sandell, George Mason University New Audiences Art Criticism and Art History: The Fluid Edge Public Art and Historical Memory in the U. S. Capitol Rotunda Salon 2, Lobby Level Washington 5, Exhibition Level CAA Task Force on Design Delaware Suite B, Lobby Level Free and open to the public Chair: Aaron Levy, University of Pennsylvania Communication Design Scholarship: Opportunities Chairs: Debra W. Hanson, Virginia Commonwealth University; Jarl Mohn, President and CEO of National Public Radio, will and Approaches Michele Cohen, Office of the Architect of the Capitol speak on the visual arts and the public. Northern California Art Historians Hoover, Mezzanine Level Pacific StandardT ime North: San Francisco Art, 1960–1980 Chair: Dan Wong, New York City College of Technology, CUNY Diagram Aesthetics in the 20th Century: Histories and Theories Washington 3, Exhibition Level Wilson B, Mezzanine Level Catalogue Raisonné Scholars Association Chair: Elaine J. O’Brien, California State University, Sacramento Chair: Natilee Harren, The University of Houston Business Meeting Thursday, February 4 Harding, Mezzanine Level Society of Contemporary Art Historians 2:30–5:00 PM Very Generally Ignorant, Flippant: Art Criticism and Exhibition History as Contemporary Art History Mass Media in the Nineteenth Century Historians of Islamic Art Association Hoover, Mezzanine Level Harding, Mezzanine Level Business Meeting Chair: John Tain, Getty Research Institute Distinguished Scholar Session Honoring Richard Powell Chairs: Wendy J. Katz, University of Nebraska-Lincoln; Washington 6, Exhibition Level Salon 2, Lobby Level Eleanor Jones Harvey, Smithsonian American Art Museum Pacific Arts Association Committee on Diversity Practices Photography In and Of the Pacific: Collecting the Past, Mobilities in/of American Art Pre-Columbia in Nineteenth-Century Art and Science Art and Citizenship in Contemporary Social Practice Visualizing the Future Washington 2, Exhibition Level Coolidge, Mezzanine Level Coolidge, Mezzanine Level Washington 4, Exhibition Level Chairs: Lacey Baradel, Vassar College; Nenette Luarca-Shoaf, Chairs: John F. López, Skidmore College; Lisa Trever, University Chairs: Ann H. Albritton, Ringling College of Art and Design; Chair: Heather L. Waldroup, Appalachian State University The McNeil Center for Early American Studies of California, Berkeley Edith A. G. Wolfe, Tulane University

14 college art association February 3 –6, 2016 15 Friday, February 5 Museum Committee Association for Critical Race Art History Task Force on Advocacy New Studies in Museum, Gallery, and Exhibition History Art, Race, and Christianity #CAAadvocacy 7:30–9:00 AM Salon 3, Lobby Level Wilson B, Mezzanine Level Harding, Mezzanine Level Chairs: Antoniette M. Guglielmo, Getty Leadership Institute; Chairs: Phoebe E. Wolfskill, Indiana University; James Romaine, Chairs: Sandra L. Esslinger, Mt. San Antonio College; Amy Hamlin, Association for Latin American Art Anne Manning, Nelson-Atkins Museum of Art The Association of Scholars of Christianity in the History of Art St. Catherine University; Karen J. Leader, Florida Atlantic University Business Meeting Washington 1, Exhibition Level Formalism Before Clement Greenberg—Part I International Committee Maryland Suite, Lobby Level Friday, February 5 Exile Community College Professors of Art and Art History Chairs: Katherine M. Kuenzli, Wesleyan University; Marnin Young, Wilson A, Mezzanine Level Business Meeting 12:30–2:00 PM Stern College for Women of Yeshiva University Chairs: Jennifer S. Griffiths, American Academy in Rome; Washington 5, Exhibition Level Valérie Rousseau, American Folk Art Museum American Society for Hispanic Art Historical Studies Mountains and Rivers (without) End: Eco-Art History Diasporic Asian Art Network Business Meeting in East Asia Art Libraries Society of North America and the Committee Business Meeting Washington 5, Exhibition Level Washington 6, Exhibition Level on Intellectual Property Washington 6, Exhibition Level Chair: De-Nin D. Lee, Emerson College Putting the Fair Use Code to Work: Case Studies National Art Education Association from Year One Foundations in Art: Theory and Education (FATE) Business Meeting Surface and Significance Delaware Suite B, Lobby Level Business Meeting Hoover, Mezzanine Level Washington 5, Exhibition Level Chair: Judy Metro, National Gallery of Art Washington 2, Exhibition Level Chairs: Lisa Lee, Emory University; Kate Nesin, The Art Institute Society of Historians of East European, Eurasian, of Chicago Visual Culture Caucus Historians of British Art and Russian Art and Architecture Changing American Landscape Business Meeting Business Meeting Italian Art Society Washington 4, Exhibition Level Washington 3, Exhibition Level Off-Site: CW Post Center, Hillwood Museum, Beyond Texts and Academies: Rethinking the Education Chair: Kristen Oehlrich, Williams College 4155 Linnean Avenue, NW of the Early Modern Italian Artist Italian Art Society Washington 1, Exhibition Level Women’s Caucus for Art Business Meeting Coalition of Women in the Arts Organization Chair: Jesse M. Locker, Portland State University Critical Contact: Non-Traditional and Multicultural Washington 4, Exhibition Level Technology and Women Artists Mentoring through Art-Making Coolidge, Mezzanine Level South to North: Latin American Artists in the United States, Salon 2, Lobby Level Chair: Kyra Belan, Broward College 1820s–1890s Chairs: Brenda R. Oelbaum; Molly Marie Nuzzo, Friday, February 5 Washington 2, Exhibition Level Montgomery College ARTspace 9:30 AM–12:00 PM Chair: Katherine E. Manthorne, City University of New York Services to Artists Committee American Council for Southern Asian Art MetaMentors: Creative Outsourcing/Partnerships: Modernism and Medicine—Part I The Visual Politics of Play: On the Signifying Practices of New Developments in the Study of Southeast Asian Art Making Big Projects Come True Delaware Suite B, Lobby Level Digital Games Washington 1, Exhibition Level Thurgood Marshall Ballroom East/South, Mezzanine Level Chairs: Gemma Blackshaw, Plymouth University; Allison Morehead, Washington 3, Exhibition Level Chair: Melody N. Rod-ari, Loyola Marymount University Chairs: Carissa Carman, Indiana University Bloomington; and Queen’s University Chair: Soraya Murray, University of California, Santa Cruz Natalie Campbell, Independent Curator Exhibitor Session: Golden Artists Colors, Inc. Spool to Spool: Audio Tape as Historical Evidence On the Visual Front: Revisiting World War II and American Art Pigments in a Bind (er) Historians of Netherlandish Art Wilson C, Mezzanine Level Virginia Suite, Lobby Level Virginia Suite, Lobby Level Before the Selfie: Promoting the Creative Self in Chair: Jane Blocker, University of Minnesota, Minneapolis Chairs: John W. Ott, James Madison University; Melissa Renn, Chair: Sarah Sands, Golden Artist Colors Early Modern Northern Europe Harvard Business School Delaware Suite A, Lobby Level Education Committee Association of Print Scholars Chair: Jacquelyn N. Coutre, Agnes Etherington Art Centre, Teaching Western and Non-Western Art History: Geoaesthetics in Early Modern and Colonial Worlds The Art of Collecting Queen’s University Starting a Global Conversation Hoover, Mezzanine Level Washington 6, Exhibition Level Wilson A, Mezzanine Level Chairs: Sugata Ray, University of California, Berkeley; Hannah Chairs: Freyda Spira, The Metropolitan Museum of Art; Association of Historians of American Art Chairs: Aditi Chandra, University of California, Merced; Leda Baader, Kunsthistorisches Institut in Florenz, Max-Planck-Institut Elizabeth M. Rudy, Harvard Art Museums Claiming the Unknown, the Forgotten, the Fallen, Cempellin, South Dakota State University the Lost, and the Dispossessed Housework: Contemporary Art and the Domestic Italian Art Society Salon 1, Lobby Level The Study of World Art in Washington D.C. Washington 4, Exhibition Level Rethinking the Rhetoric and Force of Images Chair: Robert Cozzolino, the Pennsylvania Academy of the Fine Arts Salon 2, Lobby Level Chair: Elyse D. Speaks, University of Notre Dame Maryland Suite, Lobby Level Chairs: M. Elizabeth Cropper, Center for Advanced Study in the Chairs: Robert J. Williams, University of California, Santa Barbara; American Society for Eighteenth-Century Studies Visual Arts, National Gallery of Art; Therese O’Malley, Center for The Mystery of Masonry Brought to Light: Freemasonry Anna Marazuela Kim, The Courtauld Institute of Art Eros & Enlightenment Advanced Studies in the Visual Arts, National Gallery of Art and Art from the Eighteenth Century until Now Washington 2, Exhibition Level Delaware Suite A, Lobby Level Student and Emerging Professionals Committee Chairs: Nina Dubin, University of Illinois at Chicago; Institutionalizing Socially Engaged Art in the 21st Century Chair: Reva J. Wolf, State University of New York at New Paltz Mentoring in the 21st Century Hérica Valladares, University of North Carolina, Chapel Hill Salon 1, Lobby Level Washington 3, Exhibition Level Chairs: Izabel Galliera, McDaniel College; Sabine M. Eckmann, Chairs: Megan K. Young, Arts Council of New Orleans; Washington University in St. Louis Brittany Lockard, Wichita State University

16 college art association February 3 –6, 2016 17 Friday, February 5 Contemporary Art in Historic Settings Association of Print Scholars Saturday, February 6 Wilson C, Mezzanine Level Business Meeting 2:30–5:00 PM 9:30 AM–12:00 PM Chair: Ronit Milano, Ben-Gurion University of the Negev Washington 6, Exhibition Level ARTspace ARTspace Historians of Eighteenth-Century Art and Architecture Historians of Netherlandish Art Annual Distinguished Artists’ Interviews Services to Artists Committee Pastel: The Moment of a Medium in the Eighteenth Century Business Meeting Thurgood Marshall Ballroom East/South, Mezzanine Level Simultaneous Roundtables: Arts Tune-Up Washington 6, Exhibition Level Maryland Suite, Lobby Level Joyce Scott with George Ciscle; Rick Lowe with Thurgood Marshall Ballroom East/South, Mezzanine Level Chairs: Iris J. Moon, Pratt Institute; Esther Bell, Fine Arts Museums LaToya Ruby Frazier of San Francisco Public Art Dialogue Smithsonian Artist Research Fellow Roundtable Public Art: Process and Practice—A Roundtable with Leader: Jane Milosch, Provenance Research Initiative at the Picturing Black Power in American Visual Culture Kirk E. Savage Association for Latin American Art Smithsonian Institution Maryland Suite, Lobby Level Salon 1, Lobby Level New Geographies of Abstract Art in Postwar Latin America Washington Project for the Arts Roundtable Chair: Jo-Ann Morgan, Western Illinois University Chairs: Cameron Cartiere, Emily Carr University of Art + Design; Washington 1, Exhibition Level Leader: Samantha May, Washington Project for the Arts Jennifer Wingate, St. Francis College Chairs: Mariola V. Alvarez, Colby College; Ana M. Franco, Greater Baltimore Cultural Alliance Roundtable International Committee Universidad de los Andes, Bogotá Leaders: Jeannie Howe, Greater Baltimore Cultural Alliance; Going Beyond: Art as Adventure Foundations in Art: Theory and Education Lauren Saunders, Greater Baltimore Cultural Alliance Salon 3, Lobby Level Controversy, Censorship, and Conundrums: Finding UnAmerican Art Provisions Library: Arts for Social Change Roundtable Chair: Rosemary M. O’Neill, Parsons - The New School Connections in Teaching Salon 1, Lobby Level Leader: Donald Russell, Provisions Library Washington 2, Exhibition Level Chairs: Julia Bryan-Wilson, University of California, Berkeley; Washington Area Lawyers for the Arts Roundtable Unmapped Routes: Photography’s Global Networks Chairs: Naomi J. Falk, St. Lawrence University; Ruth Stanford, Richard E. Meyer, Stanford University Leader: John D. Mason, Washington Area Lawyers for the Arts of Exchange Georgia State University The Contemporary (Grit Fund) Roundtable Washington 2, Exhibition Level Association of Historians of American Art Leaders: Deana Haggag, and Lu Zhang, The Contemporary Art and Invention in the U.S. Chairs: Giulia Paoletti, Columbia University; Beth Saunders, European Postwar and Contemporary Art Forum Washington 3, Exhibition Level Metropolitan Museum of Art Publishing in European Postwar and Contemporary Art: New Prospects in Research and Translation Chairs: Ellery E. Foutch, Middlebury College; Hélène Valance, 9:30 AM–12:00 PM Université de Franche-Comté Washington 5, Exhibition Level National Endowment for the Humanities Chair: Stephanie C. Jeanjean, Pace University Past, Present, and Future: NEH at 50 Montage before the Historical Avant-Garde: Photography Female Piety and Visual Culture in the Late Medieval Salon 2, Lobby Level in the Long Nineteenth Century and Early Modern Hispanic World Midwest Art History Society Free and open to the public Washington 5, Exhibition Level Hoover, Mezzanine Level Icons of the Midwest: Archibald Motley, Jr. Chairs: Carol T. Peters, National Endowment for the Humanities; Chair: Matthew Nicholas Biro, University of Michigan Chair: Cristina C. González, Oklahoma State University Wilson B, Mezzanine Level Stefanie Walker, National Endowment for the Humanities Chairs: Mark B. Pohlad, DePaul University; Amy Mooney, Modernism and Medicine—Part II Columbia College Chicago Society of Historians of East European, Eurasian, and Wilson C, Mezzanine Level Russian Art and Architecture Forming Letters: New Research in Renaissance Chairs: Gemma Blackshaw, Plymouth University; New Media Caucus Exploring Native Traditions in the Arts of Eastern Europe Calligraphy and Epigraphy Allison Morehead, Queen’s University Augmented Reality—Invention/Reinvention and Russia—Part II Wilson B, Mezzanine Level Washington 4, Exhibition Level Off-Site: CW Post Center, Hillwood Museum, Chair: Debra Pincus, Independent Scholar American Council for Southern Asian Art Chair: Renate Ferro, Cornell University 4155 Linnean Avenue NW Looking Askance at ‘Himalayan Art’ Chair: Alison L. Hilton, Georgetown University Modes of Architectural Translation: Objects and Acts Washington 1, Exhibition Level Association for Latin American Art Washington 5, Exhibition Level Chair: Nachiket Chanchani, University of Michigan Emerging Scholars of Latin American Art The Explicit Material: On the Intersections of Cultures Chairs: Jeffrey E. Saletnik, Indiana University; Karen Koehler, Washington 1, Exhibition Level of Curation and Conservation Hampshire College American Society for Hispanic Art Historical Studies Chair: Maya S. Stanfield-Mazzi, University of Florida Coolidge, Mezzanine Level Polychrome Sculpture in Iberia and the Americas, 1200–1800 Chairs: Hanna Barbara Hölling, Max Planck Institute for the History Virginia Suite, Lobby Level of Science Berlin; Francesca G. Bewer, Harvard Art Museums Friday, February 5 Friday, February 5 Chair: Ilenia Colón Mendoza, School of Visual Arts and Design, University of Central Florida Singing LeWitt: Sound and Conceptualism 5:30–7:00 PM 5:30–7:30 PM Delaware Suite B, Lobby Level Taking Stock: Early Modern Art Now Art Historians Interested in Pedagogy and Technology Chair: Seth G. Kim-Cohen, School of the Art Institute of Chicago ARTspace Salon 1, Lobby Level Business Meeting ARTexchange Chairs: Hanneke Grootenboer, University of Oxford; Amy Knight Delaware Suite A, Lobby Level Association of Historians of Nineteenth-Century Art Atrium, Exhibition Level Powell, University of California, Irvine Between the Covers: The Question of Albums in the Free and open to the public; a cash bar will be available Arts Council of the African Studies Association Nineteenth Century—Part I Copy That: Painted Replicas and Repetitions before the Business Meeting Washington 4, Exhibition Level Age of Appropriation Delaware Suite B, Lobby Level Chair: Marilyn S. Kushner, New-York Historical Society Saturday, February 6 Delaware Suite A, Lobby Level 7:30–9:00 AM Chair: Valerie L. Hellstein, The Willem de Kooning Foundation An Art History of the Archive?—Part I Association of Historians of Nineteenth-Century Art Delaware Suite A, Lobby Level Business Meeting Mid-America College Art Association Building an Alternative Modernity: Artistic Exchange Chairs: Dana Leibsohn, Smith College; Aaron M. Hyman, Wilson A, Mezzanine Level Business Meeting between Postwar Socialist Nations University of California, Berkeley Hoover, Mezzanine Level Washington 6, Exhibition Level Chair: Vivian Li, Worcester Art Museum

18 college art association February 3 –6, 2016 19 Forum Discussion: Rethinking Online Pedagogies Diasporic Asian Art Network Exhibitor Session: Taylor & Francis Aesthetics of Displacement: The Graphic Evidence for Art History Asian Latino Art and Visual Cultures: Current Scholarship How to Get Published and How to Get Read Washington 2, Exhibition Level Wilson A, Mezzanine Level and Institutional Practices Washington 2, Exhibition Level Chair: Cecilia Mandrile, University of New Haven Chairs: Anne L. McClanan, Portland State University; Washington 5, Exhibition Level Chairs: Sarah Sidoti, Taylor & Francis Group; Tara Golebiewski, Virginia G. Hall, Johns Hopkins University Chair: Alexandra Chang, Asian/Pacific/American Institute, Taylor & Francis Group Picturing Death, 1200–1600—Part II New York University Delaware Suite B, Lobby Level Algorithmic Pollution: Artists Working with Data, Chairs: Stephen G. Perkinson, Bowdoin College; Noa Turel, Surveillance and Landscape Radical Art Caucus Saturday, February 6 University of Alabama at Birmingham Washington 3, Exhibition Level Old Country in the New Country: Exhibitions, Museums, 2:30–5:00 PM Chairs: Lisa Moren, University of Maryland, Baltimore County; and Early Twentieth-Century American Immigration Biblical Imagery in the Age of Spectacle Ingrid Bachmann, Concordia University Virginia Suite, Lobby Level Wilson B, Mezzanine Level American Council for Southern Asian Art Chairs: Heidi A. Cook, Truman State University; Diana Greenwold, Chair: Sarah C. Schaefer, University of Wisconsin-Milwaukee Conservation Challenges in India and the Himalayas: From Wood Type to Wheat Paste: Posters and American University of California, Berkeley Yesterday, Today, and Tomorrow Visual Culture Identity Politics as Counterhegemonic Practice Salon 3, Lobby Level Washington 2, Exhibition Level Association for Critical Race Art History Washington 3, Exhibition Level Chair: Nachiket Chanchani, University of Michigan Chair: Austin L. Porter, Kenyon College Behind the Veil: An Inside Look at the Smithsonian National Chairs: Nizan Shaked, California State University, Long Beach; Museum of African American History and Culture (NMAAHC) John Tain, Getty Research Institute Meanings of Marginalia in Early Modern Art and Theory Beyond ‘Postmodern Urbanism’: Reconsidering the Forms Washington 1, Exhibition Level Washington 6, Exhibition Level and Politics of Late 20th-Century Urban Design Chairs: Jacqueline Francis, California College of the Arts; Back to Arabia: Arts and Images of the Peninsula after 1850 Chair: Stephanie S. Dickey, Queen’s University Wilson B, Mezzanine Level Michelle Joan Wilkinson, Smithsonian Institution, National Washington 4, Exhibition Level Chair: Anthony Raynsford, San José State University Museum of African American History and Culture Chairs: Eva Maria Troelenberg, Kunsthistorische Institute in Visual Representations of Plant Knowledge in Pre-Columbian, Florenz - Max Planck Institute; Avinoam Shalem, Columbia Early Colonial, and Early Modern European Art London: Capital of the Nineteenth Century Society for Paragone Studies University, New York Delaware Suite A, Lobby Level Salon 3, Lobby Level Colliding Worlds Chair: Helen Ellis, Getty Research Institute Chairs: Jason Rosenfeld, Marymount Manhattan College; Harding, Mezzanine Level Aesthetics and Art Theory in the Socialist Context Timothy J. Barringer, Yale University Chair: Sarah J. Lippert, University of Michigan-Flint Wilson C, Mezzanine Level The Ancient Art of Transformation Chairs: Alla Vronskaya, Swiss Federal Institute of Technology (ETH), Wilson A, Mezzanine Level Closing in on “The Wall”: The Vietnam Veterans Memorial Spectator Under Siege Zurich; Angelina Lucento, Higher School of Economics, Moscow Chairs: Renee Marie Gondek, The College of William & Mary; at Thirty-Five Coolidge, Mezzanine Level Elizabeth M. Molacek, Harvard University Art Museums Washington 4, Exhibition Level Chair: Steven Henry Madoff, School of Visual Arts, New York The Hudson River School Reconsidered—Part II Chair: Kim S. Theriault, Dominican University Maryland Suite, Lobby Level “Your Name Here”: The Tax Collector as Art Collector SGC International Chair: Alan Wallach, The College of William & Mary Washington 5, Exhibition Level The Hudson River School Reconsidered—Part I Print Cocktail II Chair: Anne Hilker, Bard Graduate Center Maryland Suite, Lobby Level Washington 3, Exhibition Level Social Sculpture after Beuys: a Critical Re-evaluation Chair: Alan Wallach, The College of William & Mary Chair: Kimiko Miyoshi Salon 1, Lobby Level Art of the Street: Tyrannized Urban Spaces as Sites for Chair: Alison Weaver, Moody Center for the Arts, Rice University Radical Politics “The Black Craftsman Situation:” A Critical Conversation Coolidge, Mezzanine Level about Race and Craft Saturday, February 6 Chairs: Jodi Kovach, Columbus College of Art and Design; Wilson B, Mezzanine Level 12:30–2:00 PM Liz Trapp, Independent Scholar Chairs: Bibiana K. Obler, George Washington University; Mary Savig, Archives of American Art Association of Historians of Nineteenth-Century Art Formalism Before Clement Greenberg—Part II Future Directions in Nineteenth-Century Art History Hoover, Mezzanine Level Mid-America College Art Association Salon 1, Lobby Level Chairs: Katherine M. Kuenzli, Wesleyan University; Marnin Young, Young and Not so Young Guns of MACAA Chair: Sarah Betzer, University of Virginia Stern College for Women of Yeshiva University Wilson A, Mezzanine Level Chair: Christopher S. Olszewski, Savannah College of Association of Historians of Nineteenth-Century Art Art and Design Linda Nochlin: Passionate Scholar Between the Covers: The Question of Albums in the Salon 2, Lobby Level Nineteenth Century—Part II Queer Caucus for Art Chair: Suzanne Preston Blier, Harvard University Harding, Mezzanine Level Queer Exhaustion Chair: Marilyn S. Kushner, New-York Historical Society Maryland Suite, Lobby Level Historians of British Art Chairs: Alpesh Kantilal Patel, Florida International University; An Art History of the Archive?—Part II Re-Forming Pre-Raphaelitism in the Late 20th & 21st Tina Takemoto, California College of the Arts Virginia Suite, Lobby Level Centuries: New Contexts, Paradigms, and Visions Chairs: Dana Leibsohn, Smith College; Aaron M. Hyman, Washington 4, Exhibition Level Visual Resources Association University of California, Berkeley Chair: Susan P. Casteras, University of Washington Digital Humanities in the Classroom: An Exchange Salon 3, Lobby Level Chair: Jeannine Keefer, University of Richmond

20 college art association February 3 –6, 2016 21 MEMBERSHIP Career Services at the Annual Conference offers: Check-In and Onsite Registration Location Onsite Registration at the Conference • Online Career Center job postings Lobby Level Convention Registration Desk, Washington Marriot If CAA did not receive your complete registration form with pay- Wardman Park Hotel: ment by December 21, 2015, you must register onsite at the CAA MEMBERS SAVE ON • Interviews for positions at colleges, universities, museums, and highest onsite registration rate. Onsite registrants are not guaran- CONFERENCE REGISTRATION. other nonprofit institutions • Information teed inclusion in the Directory of Attendees. NOW IS THE TIME TO RENEW • Workshops related to the job search • Membership • Onsite Registration YOUR MEMBERSHIP AND • Roundtable discussions about on-the-job issues in the visual arts Single-Time-Slot Registration TAKE ADVANTAGE OF CAA’S • Purchase of single-time-slot, single-day, special-event, and • Mentoring sessions and portfolio reviews with established Book and Trade Fair tickets, and Abstracts 2016 Single-time-slot registration is available onsite only, during MANY BENEFITS. professionals in the visual arts • Replacement badges registration hours. Single time-slot refers to morning (9:30 • Check-in for early, advance, complimentary, exhibitor, and AM–12:00 PM) or afternoon (12:30–2:00 PM; 2:30–5:00 PM; 5:30– • Orientation session on Tuesday evening, open to all, that Become a CAA member and save money on your conference press registrants 7:00 PM) sessions. With the purchase of a single-time-slot ticket, provides an overview of Career Services registration. The Annual Conference is CAA’s premier membership you may enter any and all sessions within that particular time event. If you are not a current member or if your CAA membership Registration Hours period. Purchase of a single-time-slot ticket does not include a has lapsed or is about to, we urge you to join, rejoin, or renew Membership Online Tuesday 5:00–7:00 PM conference badge, Conference Program, conference tote, Abstracts your CAA membership now to save money on your registration, Wednesday–Friday 8:00 AM–7:00 PM 2016, entrance to the Book and Trade Fair and to select area and take advantage of the many other benefits of membership Visit www.collegeart.org/membership to join, rejoin, or renew Saturday 8:30 AM–2:30 PM museums and galleries, or Directory of Attendees. throughout the year. For a list of membership benefits, and your membership online. Online membership requires payment to join, rejoin, or renew your membership online, please visit: by MasterCard, Visa, American Express, Discover credit card, Price per ticket: $70 (nonmember); $50 (member); $35 (CAA To receive the member rate for registration, you must first be a www.collegeart.org/membership. or via PayPal. student, retired and part-time/independent member); pay by current CAA member (see page 20). MasterCard, Visa, American Express, or Discover credit card; by CAA members save up to $225 on conference registration! Now’s Membership Onsite check drawn from a US bank, payable to College Art Association; the time to renew your membership and take advantage of CAA’s or cash. The lines for single-timeslot registration are often long so many benefits: You may also join, rejoin, or renew your CAA individual MemberSHIP ONSITE Single-Time- REgistration slot ticket be sure to arrive at least forty minutes before the session starts. membership at the conference in the registration areas, Lobby • NEW! Access new issues online along with the back catalogue Discount Member Prices Level, during the following hours: of The Art Bulletin, the preeminent journal for art historians first CAA Student $60 $160 $35 Institutional Member Registration MEMBER published in 1913, and Art Journal, a cutting-edge publication of Tuesday 5:00–7:00 PM Faculty and staff cannot register through their institution’s CAA Retired $80 $195 $35 contemporary art and ideas Wednesday–Friday 8:00 AM–7:00 PM membership onsite. Only individuals may register at the Saturday 8:30 AM–2:30 PM Part-time • Receive print copies of The Art Bulletin or Art Journal in Faculty/ $90 $195 $35 onsite rate. your mailbox Independent Onsite membership may be paid by MasterCard, Visa, American Regular Member Prices Express, or Discover credit card; by check drawn from a US bank Badges, Conference Program, Directory of • NEW! Online access to three additional journals in the Taylor & Basic Member $125 $495 $50 Attendees, Abstracts 2016 Francis collection (Word and Image, Design & Culture, and Public (payable to College Art Association); or by cash. Premium $195 $295 $50 Art Dialogue) at no extra cost Donor Circle Member Prices You will receive your conference badge, Conference Program, and SUSTAINING $300 $295 $50 tote at the conference registration and check-in area beginning • Take advantage of CAA’s Online Career Center, the best job PATRON $600 $295 $50 on Tuesday at 5:00 PM. Each registrant is entitled to one Program search tool in the arts to post and apply for jobs online, LIFE $5,000 $295 $50 and online access to Abstracts 2016 and the Directory of Attendees. post and search CVs, and make use of other professional- REGISTRATION NonMember — $595 $70 When purchased in advance, tickets to special events will also be development aids Conference registration includes: Access in your registration packet. • Participate in Career Services at the Annual Conference and Sessions — ✓ ✓ • Access to all sessions Badges: A conference badge entitles you to attend all sessions, the interview for jobs, take part in mentoring sessions, and attend Book & Trade Fair — ✓ ✗ • Access to the Book and Trade Fair Book and Trade Fair, and free admission to select area museums. professional-development workshops Select Museums — ✓ ✗ Please wear your badge at all times. There will be a $50 charge, • Conference Program and Galleries • Network with professionals in the visual arts at the conference payable by credit card, check, or cash, to replace a lost badge. • Online Directory of Attendees Career ✓ ✗ ✗ Services and via the online Member Directory, which is searchable by first • Online Abstracts 2016 Conference Program: Additional copies of the Conference Program Promotional Items and last name, organization or institution name, and city, state, • Conference tote may be purchased onsite for $10, by credit card, check, or cash. and country • Special access to select area museums and galleries Conference — ✓ ✗ Tote Directory of Attendees: The online Directory contains the name, • List your recent solo exhibition, book published, new position, To attend Career Services at the conference, you must be a current Conference — ✓ ✗ Program address, affiliation, email address, and phone number of all early or grant received on the CAA website CAA member and you will need your CAA membership ID card Online Diretory registrants. It will be available online only to all registrants. If you and password for entry (conference registration is not required). — ✓ ✗ • Receive special rates on products and services such as of Attendees do not want to be listed, please check the appropriate box on the Conference registration for nonmembers does not include access to subscriptions to more than forty art magazines and journals, Online — ✓ $30 registration form. Only early registrants are eligible to be listed in Career Services. Abstracts payable onsite including Artforum, Art in America, the Oxford Art Journal, and a 2015 with credit card, the Directory. check, or cash). 50 percent discount on JPASS, JSTOR’s individual access plan There are no refunds on Annual Conference registration. Abstracts 2016: The online Abstracts 2016 is free for conference Registration is not transferable. • Receive the online weekly newsletter, CAA News registrants and $35 for non-registrants (payable onsite with credit card, check, or cash). • Nominate and vote for candidates for the Board of Directors and serve on the Board of Directors and CAA committees

22 college art association February 3 –6, 2016 23 AVIS (You may also take the Washington Flyer bus to the Wiehle- If you will be using the Metro frequently during the conference, LODGING AND TRAVEL Discounted fares on rental cars! Reston East Metrorail station on the Silver Line. To find out when to avoid the paper farecard surcharge, we recommend that you Use code D173699 the Washington Flyer leaves the airport and its cost, go to the purchase the SmarTrip card. The card costs $2 and can be ordered Conference Hotels Special discounts are available on a wide selection of vehicles Washington Flyer website: www.washfly.com) online and shipped to your current address before you arrive in from eco-friendly and fuel-efficient compacts and hybrids to DC. The cards may also be purchased in Metrorail stations or at WASHINGTON MARRIOTT WARDMAN PARK stylish premium and luxury sedans. Reserve online using the From the Baltimore/Washington International Thurgood certain retail locations upon your arrival in DC. Having this card will (Headquarters Hotel) Avis book now link or contact Avis at 1-800-331-1600 using code Marshall Airport–BWI, connect to Metrorail using Metrobus. save you $1 per ride. For more information and to order see: 2660 Woodley Rd NW, Washington, DC 20008 D173699. Offer valid for reservations between January 27 and For $7 per person ($3.50 for seniors and people with disabilities; www.wmata.com/fares/smartrip/ (202) 328-2000 February 13, 2016. exact change required), you may take the B30 Metrobus to the Greenbelt Metrorail station on the Green Line. Take the Green For Metro maps and trip estimators/planners, visit the When you arrive at the Washington Marriott Wardman Park, Washington Metropolitan Area Transit Authority website: TO AND FROM AIRPORTS line in the direction of Fort Totten or Branch Avenue and transfer you’ll find a charming neighborhood in the heart of Washington, to the Red Line at Fort Totten. Take the Red line towards Shady www.wmata.com/ DC filled with amazing restaurants and quaint shops. Just a few (Please note that the Washington Marriott Wardman Park does not Grove and get out at the Woodley Park-Zoo station. To find out By Taxi steps away, you’ll discover the eclectic stores and ethnic cuisine offer shuttle service to and from the airports.) when the bus leaves the airport, see the B30 schedule: www. of Adams Morgan or the exciting night life of Dupont Circle. Or Within the District of Columbia itself, the minimum taxi fare is From Ronald Reagan Washington National Airport–DCA: wmata.com/bus/timetables/md/b30.pdf. venture into the hotel’s natural surroundings to enjoy a quiet hike $3.25. The mileage charge is $0.27 per 1/8 mile. Each additional Estimated taxi fare: $30 USD (one way). Taxicabs are dispatched or invigorating run through Rock Creek Park. With a Metro stop (You may also take a shuttle from the airport to the MARC rail passenger is $1.00. A luggage charge may be charged of $.50 from the arrivals curb just outside the baggage claim areas of each just outside the doors and area airports close by, it’s a premier city station and take the MARC train to Union Station. From there, per item placed in the trunk. There is a surcharge for each trip terminal. Uniformed taxicab dispatchers are stationed at each destination just two Metro stops from everything DC has to offer. you may transfer to Metrorail’s Red Line and take the Red Line in originating at the Reagan National Airport taxi stand is $2.50. taxicab dispatch area to assist passengers with selecting a taxicab the direction of Shady Grove and get off at the Woodley Park – Phone dispatch fee is $2.00. Dismissal without use (after cab has based on destinations in Washington DC, Virginia, or Maryland. No Zoo stop. arrived) is $1.50. And, there is a $25 per hour surcharge for waiting OMNI SHOREHAM hotel advance reservations are required—service is on a first-come, first- fee. Be aware that interstate fares apply if you are traveling to 2500 Calvert Street NW, Washington, DC 20008 served basis. By Car Maryland or Virginia. (202) 234-07005 From Ronald Reagan Washington National Airport–DCA: By Taxi For a list of dispatch taxicab services in the DC area, see the District Follow the signs to Washington DC (George Washington Parkway). From Washington Dulles International Airport–IAD: of Columbia Taxicab Commission website: www.dctaxi.dc.gov/ Since 1930, the luxurious Omni Shoreham Hotel in Washington, Take I-395 North to Route 1 (Route 1 is the 14th Street Bridge). Estimated taxi fare: $60 USD (one way). Dulles is serviced exclusively page/dispatch-companies DC has played host to presidents, world leaders, and inaugural Merge to the far left lane on the bridge and follow the signs for by the Washington Flyer Taxi company. Follow the signs for Ground balls, making it a true Washington landmark. Today, the hotel 14th Street. Take 14th Street for 1 mile. Turn left onto K Street. Transportation or Taxi to the lower level of the main terminal where fuses modern comforts with distinguished service, creating a Continue on K for 5 blocks. Turn right onto Connecticut. Ave. a customer service representative will be available. Washington Flyer truly monumental experience. The hotel is located across the Follow Connecticut. Ave. for 1 mile. Cross over the William Taft SERVICES accepts cash, credit, or airline voucher. No advance reservations are street from the Washington Monument Wardman Park Bridge. Make a left turn at the 3rd light after the bridge onto necessary, and service is on a first-come, first-served basis. Internet Access (Headquarters Hotel). Woodley Rd. The Hotel entrance is on left. Complimentary high speed internet access is available in all guest From Baltimore/Washington International Thurgood Marshall From Washington Dulles International Airport–IAD: rooms at the Washington Wardman Park Hotel. Complimentary STUDENT ROOM BLOCKS (Available at both hotels) Airport–BWI: Estimated taxi fare: $88 USD (one way). The taxi stand Follow the signs to Interstate 66 east to Washington. Follow internet access in guestrooms at the Omni Shoreham Hotel is is located just outside of the baggage claim area of the Lower Level A valid student ID card will be required at check-in I-66 to the Theodore Roosevelt Bridge (US Route 50). Take the available for members of the hotel’s select guest program (free to of the BWI Marshall terminal. Please note that this service is available to secure the discounted student rate. Constitution Ave exit off of the bridge. Continue on Constitution join). For other guests, there is an additional fee. from BWI Marshall only. BWI Marshall taxicabs are prohibited from for 6 blocks and make a left turn onto 17th Street. This will change charging flat rates. All taxis from BWI accept cash or credit. Business Center to Connecticut Ave. Continue on Connecticut. Ave. for 1 mile. Cross The Marriott business center is located on the Mezzanine Level TRAVEL AND By Metrorail and Metrobus over the William Taft Bridge. Make a left turn at the 3rd light after and is open 7:00 AM to 7:00 PM. Services include copy services, TRANSPORTATION The hotel is located “on top of” the Woodley Park-Zoo/Adams the bridge onto Woodley Ave. The hotel entrance is on the left. faxing, shipping and computer access. Complimentary Wi-Fi is also Morgan Metrorail stop on the Red Line. From Baltimore/Washington International Thurgood Marshall available in the main Lobby Bar and there are six complimentary Airport–BWI: computer kiosks in the Lobby Lounge. Amtrak From the Ronald Reagan Washington National Airport–DCA, Take I-95 South to I-495 West. Take Exit 33, Connecticut Ave. Child Care Save 10% on Amtrak! connect directly to the Metrorail’s Yellow line. Follow the signs to the Southbound. Continue on Connecticut Avenue for about 6.5 miles. Hotels maintain a list of licensed, bonded agencies offering onsite Use code X12Z-936 covered walkways and into the Metro Station. Take the Yellow Line Turn right onto Woodley Road. The hotel entrance is on the left. child-care services. You must make your own arrangements. Amtrak offers 10-percent off the lowest available rail fare to towards Fort Totten or Greenbelt and transfer to the Red Line at the Contact your hotel’s concierge for additional information. Washington, DC between January 31 and February 9, 2016. To Gallery Place Chinatown stop. Take the Red Line in the direction of book your reservation, call Amtrak at 1-800-872-7245 or contact GETTING AROUND Washington dC Shady Grove and get out at the Woodley Park-Zoo station. Food and Beverage your local travel agent and use convention fare code X12Z-936. By Metrorail or Metrobus The Marriott has several dining options: Stone’s Throw Restaurant The discount code cannot be used when booking travel online. From the Washington Dulles International Airport–IAD, connect Metrorail has two fares: Peak and Off-Peak. Peak fares are in effect and Bar, a classic steakhouse; Illy’s Woodley Market, a coffeehouse This offer is not valid on the Auto Train and Acela Service, but can to Metrorail using Metrobus. For $7 per person ($3.50 for seniors weekdays from opening to 9:30 a.m. and between 3:00 and 7:00 and gourmet deli; Harry’s Pub, a tradition pub with an old English be applied to Business or First Class seats and Sleepers. Fare is valid and people with disabilities; exact change required), you may take p.m. and from midnight until closing on Friday and Saturday menu and modern American fare. on Amtrak Regional for all departures seven days a week, except the 5A Metrobus to Rosslyn Metrorail station on the Orange, Silver nights. Off-Peak fares are in effect all other times. Fares are for holiday blackouts. and Blue Lines with just one stop in between. Take The Blue or Silver determined on a per-ride basis based on the starting and ending Special Accommodations towards Largo Town Center or the Orange towards New Carrollton stations. During Peak times, fares run from a $2.15 minimum (plus CAA is committed to providing access to all individuals attending and transfer at the Gallery Place Chinatown stop to the Red line. a $1 surcharge if a paper farecard is used) to a $5.90 maximum the conference. Those needing any special accommodations Take the Red line towards Shady Grove and get out at the Woodley (plus a $1 surcharge if a paper farecard is used). Off-peak fares (e.g., sign-language interpretation, large-type print materials, or Park-Zoo station. To find out when the 5A bus leaves the airport, range from a $1.75 minimum (plus a $1 surcharge if a paper transportation) should email Paul Skiff at [email protected] by see the 5A schedule online: www.wmata.com/bus/timetables/ farecard is used) to a $3.60 maximum (plus a a $1 surcharge if a January 9, 2016. dc/05a.pdf paper farecard is used).

24 college art association February 3 –6, 2016 25 CAREER SERVICES Candidate Center Onsite Booth and Table Rental Professional Development Wednesday, February 3–Friday, February 5, 9:00 AM–7:00 PM Tables may be rented onsite at the Interview Center, subject to Workshops CAA Career Services at the Annual Conference is the most Saturday, February 6, 9:00 AM–12:00 PM availability, starting on Wednesday, February 3, and must be paid in effective job market in the visual arts and art scholarship. Roosevelt 3, Exhibit Hall A, Exhibition Level full by MasterCard, Visa, American Express, or Discover credit card. Workshop enrollment is by preregistration only. No onsite Career Services comprises: No table or booth cancellations will be accepted and no refunds enrollment is offered. At the conference, the Candidate Center is open to all current CAA • Candidate Center offered. members. It offers computer access to the Online Career Center so Wednesday, February 3 • Interviewer Center that you can review up-to-the-minute job listings, post a résumé, apply for positions, request interviews, and receive interview- Included in your Interview Booth/Table Purchase: 9:30–11:30 AM • Interview Hall (interview booths and tables) related messages during the conference. Check emails often, as • One job posting in the Online Career Center for one position with Driving from Adjunct to Full-Time Teaching: Making Your messages are sent regularly. Access to computers is timed and on a unlimited word count. Job posting will be marked as to indicate Part-Time Experiences Work for Your Search Events and services include: first-come, first-served basis. participation in Annual Conference Career Services and will be Presenter: Susan M. Altman, Middlesex County College listed on CAA’s website throughout the conference. Roosevelt 2, Exhibit Hall A, Exhibition Level • Up-to-the-minute job listings in the Online Career Center A conference registration badge is neither required nor accepted • Semiprivate booths and convenient tables for job interviews for admission to the Candidate Center. Bring your CAA member • Booth package includes 10-feet wide x 8-feet deep interview Driving from job to job? Unsure about how to take the next step ID—you will need it and your member password to enter the booth with one 6-feet long x 30-inches wide skirted table, 3 grey to a full-time position? This workshop will help you to use your • Workshops related to the job search center and use the computers there. side chairs, and 3 side rails. Table package includes a 6-feet long x varied experiences to reach your professional goals in academia. • Professional-development roundtable discussions about 30-inches wide skirted table and 3 grey side chairs We will discuss many relevant issues regarding the job search including practical approaches to finding a full-time position, on-the-job issues in the arts • Complimentary Wi-Fi in the Interview Hall and Interviewer Center, preparation of materials, preparing for interviews and how to • Mentoring sessions and portfolio reviews with senior Interviewer Center Exhibit Hall A, Exhibit Level maximize your adjunct experience and strengths. Whether you professionals in the visual arts Wednesday, February 3– Friday, February 5, 8:00 AM–7:00 PM • Employers can review job applications, résumés, and schedule are a studio artist or art historian, working in a small or large Exhibit Hall A, Exhibition Level • Networking and job-search advice interviews by logging into their Employer account on CAA’s department, this workshop will help you prepare for the next Online Career Center • Career Services Orientation to get you started The Interviewer Center provides services for employers. You need step in your career. not be a CAA member to be an interviewer at the conference, nor • And more! must you register for the conference. On arrival at the conference, 2:30–4:30 PM please visit the Interviewer Center to receive your 2016 CAA Booth Rental Rates Making Sense of Digital Images Career Services Orientation and Interviewer ID card. This card will give you access to the Interview Presenter: Blaise Tobia, Drexel University Navigating the Conference Hall and to the center’s computers. During the conference you Institutional Member Nonmember Roosevelt 2, Exhibit Hall A, Exhibition Level may use these computers to post last-minute job listings, update Tuesday, February 2, 6:30–8:00 PM First Additional First Additional Digital images are now the transactional standard in the visual current job listings, mark listings with the Career Services icon to Booth Booths Booth Booths Marriott Ballroom, Salon 1, Lobby Level arts. Film slides are disappearing, and virtually every application let candidates know you are interviewing onsite, search and view Onsite (as available) $345 $250 $425 $300 for arts employment, grants or exhibitions requires the Job candidates, interviewers, and others interested in using Career résumés, communicate with job seekers, schedule interviews, and submission of images in digital form. But, despite the ubiquity Services are urged to attend this Orientation. Learn the various rent tables and booths. components of Career Services—the Candidate Center, the of the medium, there remains a great deal of confusion. What is Interview Hall, and the programs and services CAA provides for Instructions for using the online career services are posted at: Table Rental Rates a “JPEG” file, exactly? What is image resolution, and how should www.conference.collegeart.org/careers/ it be specified? How are print resolution and screen resolution interviewers and candidates—so that you can best take advantage Institutional Member Nonmember of it. You may also receive advice on your job search in a relaxed information-for-employers. related? What are color profiles and are they important? How Q&A session. You will be given a copy of CAA’s Career Services First Additional First Additional does all this apply to Power Point or to PDFs? What are the best Table Tables Table Tables Guide, which can help you navigate Career Services events and methods for scanning existing images? Should archival digital files be kept in a specific format? This workshop will answer provide answers to frequently asked questions. The guide will also Interview Hall: Booths and Tables Onsite (as available) $300 $195 $380 $275 be made available on the conference website. Wednesday, February 3–Friday, February 5, 9:00 AM–7:00 PM these questions in detail and will help both those who need to Saturday, February 6, 9:00 AM–12:00 PM specify image parameters and those attempting to meet them. Exhibit Hall A, Exhibition Level Participants will be provided with online reference resources.

The Interview Hall offers two formats for interviews: interview 2:30–4:30 PM booths and interview tables. The interview booths are ideal Job Hunt 101: Essential Steps in Securing a Job in the Arts for prearranged interviews. Each booth is semiprivate and Presenter: David M. Sokol, Professor Emeritus, University of encourages a calm, focused interview environment. Staff at the Illinois, Chicago check-in table will escort interviewees to booths. The interview Roosevelt 1, Exhibit Hall A, Exhibition Level tables are ideal for employers who have not prescheduled interviews. Job seekers can drop off résumés and portfolios Learn the essentials of a successful job hunt in the arts. This informally and meet prospective employers at tables; interviews workshop is valuable for both artists and art historians; it is may also be conducted. scheduled at the beginning of the conference because it offers good preparation for Career Services, guiding you through professional practices of the job search, including interview etiquette, preparation of materials, follow up, and other essential information to prepare you for your next job opportunity, especially a first job in teaching, museum work, or alternative careers. This is the time to ask the questions you have always wondered about concerning the ins and outs of looking for a job in the arts.

26 college art association February 3 –6, 2016 27 Thursday, February 4 2:30–4:30 PM 2:30–4:30 PM Professional Development Introduction to Scalar 9:30–11:00 AM Neatline for the Art Historian Roundtable Discussions Presenter: Lisa Reilly, University of Virginia; and Ronda Grizzle, Presenter: Curtis Fletcher, University of Southern California Your Artist Talk: How to Talk to Anyone Anywhere Thursday, February 4, 12:30–2:00 PM Scholars’ Lab, University of Virginia Library Roosevelt 2, Exhibit Hall A, Exhibition Level about Your Art Roosevelt 1, Exhibit Hall A, Exhibition Level Roosevelt 2, Exhibit Hall A, Exhibition Level Presenter: Gigi Rosenberg This workshop will serve as an introduction to Scalar, a free, open Join your colleagues in informal discussions about the Roosevelt 2, Exhibit Hall A, Exhibition Level Using Neatline, anyone can create beautiful, interactive maps, source authoring and publishing platform designed for scholars challenges, opportunities, and issues that affect your career. timelines, and narrative sequences from collections of objects, writing media-rich, long-form, born-digital scholarship. Developed In this lively, hands-on workshop, artists learn ten tips for giving an Roundtable leaders will address a wide range of topics that architectural models, archives and artifacts, which tell scholarly by The Alliance for Networking Visual Culture at the University of outstanding presentation whether it’s to one person or a crowd. relate to career choices, professional life, and work strategies. stories in a whole new way. Neatline is a remarkable digital Southern California, Scalar allows scholars to assemble media from From formal artist talks, to informal, social conversations, an artist’s presentation tool that allows art & architectural historians to multiple sources and juxtapose that media with their own writing ability to cogently discuss her work can ensure opportunities, Professional Networking for Artists and Art Historians show change over time. Art historians can use it to create visual in a variety of ways; to annotate video, audio, images, source code, connections, and sales. Learn the difference between an elevator Led by: Michael Aurbach, Vanderbilt University presentations which reveal building sequences, mapping of and text using the platform’s built-in media annotation tools; speech and an artist statement. Discover how to structure your artistic influences and patterns of historic change. Join us for and to structure essay- and book-length works in ways that take talk and manage a question and answer session. Explore ideas How Can We Make CAA More Relevant for Today’s this hands-on introduction to Neatline which will also discuss advantage of the unique capabilities of digital writing, including for where you can start speaking right now. Come prepared to Academic Job Seekers? applications for our discipline. See www.neatline.org for more nested, recursive, and non-linear formats. The workshop will practice with a supportive coach and learn how to use your artist Led by: Dennis Ichiyama, Purdue University information. This will be a hands-on workshop; attendees are first cover basic features of the platform, including a review of talk to connect with and grow your audience. encouraged to bring their own laptops to participate. existing Scalar books and a hands-on introduction to paths, tags, Instructors and Adjuncts: Navigating Higher Education in a annotations, and importing media, and then move onto more Busted Economy advanced topics including the effective use of visualizations, 9:30–11:00 AM Led by: Peter Kaniaris, Anderson University; and Brian Curtis, annotating with media, and a primer on customizing appearances Advice for Beginning/Inexperienced Instructors Friday, February 5 University of Miami in Scalar.​ Presenter: Mika Cho, California State University, Los Angeles 9:30–11:00 AM The Syllabus: Mapping Out Your Semester If Not Teaching, What Then? Roosevelt 1, Exhibit Hall A, Exhibition Level 2:30–4:30 PM Presenter: Steven Bleicher, Coastal Carolina University Led by: Suzanne Lemakis, Art Advisor and former Director, As with any new position, beginning and/or inexperienced Introduction to Sketchup Roosevelt 2, Exhibit Hall A, Exhibition Level Department of Fine Art at Citigroup instructors in higher education will find the challenges that face Presenter: Christopher Coleman, University of Denver them to be exhilarating and perhaps initially overwhelming. The syllabus is a contract with the student. It should clearly state Roosevelt 1, Exhibit Hall A, Exhibition Level Balancing Your Creative and Academic Life Negotiating matters such as pedagogical performance, the what is expected of the student and the professor’s requirements This workshop will offer a short introduction to the digital Led by: Leo Morrissey, Georgian Court University collegial support system, student evaluations, professional for the course. In addition, various accrediting bodies and modeling tool Sketchup, specifically the free for non-commercial development, and the retention and tenure process can all associations have their own requirements that may need to be use version called Sketchup Make. Sketchup is one of the most prove daunting. My experience as a faculty member and the addressed. Learn what should go into a syllabus and how to intuitive 3D modeling tools for those not used to working department chair in higher education has provided me with break down the course content into individual class sessions. The in 3D space and basic fluency can be achieved very quickly STUDENT AND EMERGING considerable knowledge and insight into these issues, especially components of an effective lesson plan, and how to use it as a relative to most other programs. This allows for easy creation of in the training and mentoring of part-time art instructors and new successful teaching document, will also be discussed. Issues to PROFESSIONALS LOUNGE architectural spaces most notably, but can also be used to create faculty members. In the workshop, issues to be presented and be addressed include how much can actually be accomplished models for 3D printing and other digital fabrication processes. Wednesday–Friday, February 3–5, 9:00 AM–8:00 PM discussed include the following: constructing an effective syllabus; in a single class period, what homework and/or preparations are The workshop will focus on creating spaces to scale for various Saturday, February 6, 9:00 AM–5:00 PM interaction with students, colleagues, and administrators; the needed for the next class session, classroom management issues, mockup and diagramming purposes. Use cases include: museum Thurgood Marshall Ballroom North, Mezzanine Level importance of university policy on ownership of instructional and and strategies for success. A well-constructed syllabus can be a spatial planning, art proposals, installation mockups, providing Open to all conference attendees professional materials; plagiarism, student disabilities, grievances, valuable teaching tool and an aid to the faculty member regarding “walkthru”s of lost historical spaces, giving a sense of scale and and sexual harassment; and grading and student evaluation. student grade disputes. This course is invaluable for graduate TAs, Sponsored annually by the Student and Emerging Professionals comparing interiors or exteriors for diagrams or educational recent MFA graduates who have just landed their first teaching Committee, the SEP Lounge is a space devoted to you. It is a purposes, and much more. 12:30–2:00 PM positions, and anyone who would like a refresher on the finer place where you can meet friends, network to make new friends, Introduction to Omeka for Art Historians points of setting up the term’s classes. find information about CAA and the committee, and relax with Presenter: Sharon M. Leon exceptional company. Roosevelt 2, Exhibit Hall A, Exhibition Level 12:15–2:15 PM Grant Writing for Artists Mentoring Sessions Omeka, an open-source web publishing platform, offers Presenter: Barbara Bernstein, University of Virginia and Wednesday, February 3 art historians a flexible tool to build digital collections and Virginia Center for the Creative Arts Thursday, February 4, and Friday, February 5 contextualize them with interpretive content. The platform is Roosevelt 2, Exhibit Hall A, Exhibition Level Johnson and Jackson Rooms, Mezzanine Level 2:00–4:00 PM ideal for teaching and for designing non-essay culminating Mock Interviews Registration for Artists’ Portfolio Review and Career Development student project assignments. While the software itself is free and This workshop demystifies the process of grant writing for both In a competitive job market, everyone could use the opportunity Mentoring is closed. No onsite enrollment is offered. CAA cannot open source, the Omeka.net system offers a hosting solution for individual artists and collaborative projects. In a step-by-step to get feedback on interviewing and presentation. Take accommodate substitutions. individuals or institutions that do not have access to web hosting. approach, it covers the complete cycle of grant writing, including advantage of this opportunity to have a twenty-minute interview, This workshop will introduce participants to Omeka basics, research, interaction with funders, budget development, writing which includes five-ten minutes of feedback from a seasoned including: proposals, and project assessment. The information is also useful professional. Pre-registration began in October. There will be VERY for residency applications and research opportunities. • building digital collections, limited signup space onsite. • describing those collections with Dublin Core Metadata, • configuring site settings and appearance, • building digital exhibits, • and adding functionality through popular web 2.0 plugins, including Shared-Shelf Link.

28 college art association February 3 –6, 2016 29 4:30–5:30 PM Friday, February 5 BOOK AND TRADE FAIR EXHIBITOR SESSIONS Brown Bag Talk: Networking and Interview Follow-Up 9:00–11:00 AM The topic of this Brown bag Session focuses on the etiquette Mock Interviews Thursday–Friday, February 4–5, 9:00 AM–6:00 PM Friday, February 5 of following up after an interview and how to increase your In a competitive job market, everyone could use the opportunity Saturday, February 6, 9:00 AM–2:30 PM 12:30–2:00 PM professional networking capabilities. This session further discusses to get feedback on interviewing and presentation. Take Exhibit Hall C, Exhibition Level Virgina Suite, Lobby Level how to build a professional network and how to maintain one advantage of this opportunity to have a twenty-minute interview, Pigments in a Bind (er) once built. The Book and Trade Fair hosts approximately 100 publishers, art which includes five-ten minutes of feedback from a seasoned materials manufacturers, and services in the arts. Stop by to explore Chair: Sarah Sands, Golden Artist Colors professional. Pre-registration began in October. There will be VERY their wares and projects and talk to them about yours. Meet an Mention a well-known pigment, like Ultramarine or Cobalt Blue, limited signup space onsite. Thursday, February 4 editor, find a great book, test a new ink, chat with authors, and more! and we instantly call to mind a very particular and unwavering color. And why not—it is easy to think of pigments as having 8:30–9:45 AM 11:00 AM–12:00 PM • See the newest art books, journals, and magazines characteristics that remain constant as one moves between SEPC Welcome Breakfast and Meet and Greet Brown Bag Talk: RefiningY our Online Presence • Attend book signings different mediums such as acrylics, oils or watercolors. Even if we Join members of the SEP Committee for a free continental style Today’s world is a digitally driven one. This Brown Bag Session accept that the handling properties or the pigment load changes, breakfast and meet and greet! This breakfast is a great way to find shares tips and strategies for building and maintaining a long • Test the latest materials and tools and watch demonstrations certainly the color is constant, no? In this talk we explore the your way at the Conference, catch up with old friends, and meet lasting professional online presence for those who work in all • Discuss your book ideas with experienced art editors surprising answer to that question and examine some of the new colleagues! aspects of the visual arts. • Meet the editors of The Art Bulletin, Art Journal, and caa.reviews ways pigments change when used in six different systems: acrylic, oil, egg tempera, encaustic, casein, watercolor, and distemper. 10:00–11:00 AM 1:00–2:00 PM • Learn about new survey textbooks and teaching aids for Physical sample boards with examples of pigments in all seven Brown Bag Talk: Interview Techniques and Elevator Speech Brown Bag Talk: Tenure Expectations your classroom binders will be available for the first 75 attendees and should serve This morning panel will be an honest and frank discussion on In this Brown Bag of this year’s conference, join time professionals • Try out those brushes you’ve been eyeing and test the newest as a wonderful item for reference, study, or as a teaching aid. interviewing techniques. Gauging and adapting to the cues of as they decode “tenure expectations.” This panel is an excellent portable easel Presenters: Richard Frumess, Founder, R&F Encaustics, and Sarah the interviewer, appropriate levels of intellectual detail, and how follow up to the Teaching Portfolio brown Bag the day before and • Investigate digital-image resources for your classroom or library Sands, Senior Technical Specialist, Golden Artist Colors, Scott to keep your “elevator speech” crisp will be discussed, among a great way to wrap up the Conference! Gellatly, Product Manager, Gamblin Artists Colors other topics. • Pick up brochures for programs in advanced degrees and 2:30–3:30 PM foreign studies 11:00 AM–1:00 PM Brown Bag Talk: Application 101 • Join a national arts-advocacy organization Mock Interviews Join SEPC members as they host a round table discussion on how Saturday, February 6 In a competitive job market, everyone could use the opportunity to put together a professional application packet and what exactly • Apply for a residency program 12:30–2:00 PM to get feedback on interviewing and presentation. Take should and should not be included. This is a must attend for those • Learn about academic testing and research firms Washington 2, Exhibition Level advantage of this opportunity to have a twenty-minute interview, just starting out on their job searches! How to Get Published and How to Get Read • Meet with representatives from professional associations which includes five-ten minutes of feedback from a seasoned Chairs: Sarah Sidoti and Tara Golebiewski, Taylor & Francis Group professional. Pre-registration began in October. There will be VERY 4:30–5:30 PM This panel discussion is designed for scholars and artists looking limited signup space onsite. Brown Bag Talk: Teaching Portfolios A wide variety of art materials will be on view, and many of the to submit an article or book proposal for academic publication. Co-Sponsored by the Education Committee. experts who manufacture them will be on hand to discuss their Whether you are a seasoned publishing veteran or new to the 1:00 –2:00 PM What is a teaching portfolio and how do you put one together? products, which include: publishing landscape, this session offers practical advice on how to Special Round Table Talk What do you include and how should it be organized? This brown get published and how to get read with helpful tricks and tips from Advocacy in the Arts: Charting a New Course bag session will cover the nuts and bolts of the unwieldy organism • Paints and brushes journal editors, book authors, and visual arts Routledge staff. Co-Sponsored by the Task Force on Advocacy known as the teaching portfolio! • Graphic materials and graphic-design supplies Join members of the CAA Task Force on Advocacy to share your • Paper concerns and hear about the current state of advocacy in the arts. Student and Emerging Professionals • Frames 2:00–4:00 PM Committee Events in Other Locations • Easels and tools Mock Interviews SEPC-Sponsored Session • Digital-studio supplies In a competitive job market, everyone could use the opportunity Mentoring in the 21st Century to get feedback on interviewing and presentation. Take Admission is FREE with your conference registration badge. For Friday February 5 advantage of this opportunity to have a twenty-minute interview, those not registered for the full conference, Exhibit Hall tickets are 12:30–2:00PM which includes five-ten minutes of feedback from a seasoned available onsite in the registration area during the conference. Washington 3, Exhibition Level professional. Pre-registration began in October. There will be VERY Member: $15, with credit card, check, or cash limited signup space onsite. Mentoring students pursuing degrees in the visual arts is a challenging arena. This session looks at different methods of Nonmember: $25, with credit card, check, or cash 4:30–5:30 PM mentoring both in the academic, museum, and non-profit f Brown Bag Talk: Financing Your Graduate ields. Here from several presenters on the differing avenues of Degree/Paying It Back mentorship they use and how that impacts students who are Get tips and information about different ways to research investigating traditional and non-traditional career tracks in financing your advanced degree and information on paying back the arts. your student loans. This Brown Bag is an informational gathering of current trends and opportunities and is NOT meant to provide SEPC Business Meeting specific legal or financial advice. Saturday February 6 12:30–2:00 PM Park Tower Suite 8206, Lobby Level

30 college art association February 3 –6, 2016 31 CAA BUSINESS CAA Committee Meetings 10:00–11:00 AM Saturday, February 6 Task Force on Advocacy 7:30–9:00 AM Taft Room, Mezzanine Level Cast Your Vote in CAA’s 2016 Board of Directors Election Meetings are open to committee or task force members only. Committee on Intellectual Property Unless otherwise stated, all meetings are at the Washington Park Tower Suite 8205, Lobby Level The election of four new members to CAA’s Board of Directors Marriott Wardman Park Hotel, 2660 Woodley Road NW, 11:00 AM–12:00 PM began in early January 2016, when CAA posted on its website the Washington, DC. Task Force on Annual Conference 9:00–11:00 AM Taft Room, Mezzanine Level statements, biographies, endorsements, and video presentations Publications Committee of the six candidates who are running for the 2016-2020 term. Wednesday, February 3 Park Tower Suite 8216, Lobby Level All current CAA members received an email with instructions for 12:30–2:00 PM online voting and may cast their votes or submit their proxies until 7:30–9:00 AM International Committee 10:00 AM–12:00 PM Taylor Room, Mezzanine Level 5:00 PM (Eastern Standard Time) on Wednesday, February 3, 2016. Professional Practices Committee Task Force on Committees with PIPs Chairs, Board Liaisons Taylor Room, Mezzanine Level Madison Room A/B, Mezzanine Level The results of the board election will be announced at CAA’s 12:30–2:00 PM Annual Members Business Meeting. 9:00–10:00 AM Museum Committee (Meeting 1) 12:30–2:00 PM Questions? Contact Vanessa Jalet, CAA executive liaison, Truman Room, Mezzanine Level Task Force on Governance Student and Emerging Professionals Committee at [email protected]. Park Tower Suite 8205, Lobby Level Park Tower Suite 8206, Lobby Level 5:30–7:00 PM 9:00–12:00 PM Services to Artists Committee 12:30–2:00 PM Park Tower Suite 8206, Lobby Level Wednesday, February 3 Terra Foundation for American Art Jury Task Force on Fair Use Park Tower Suite 8216, Lobby Level Taylor Room, Mezzanine Level 5:30 PM Annual Members’ Business Meeting 10:00–11:00 AM Friday, February 5 4:30–7:30 PM Announcement of New Members of the CAA Affiliated Societies 7:30–9:00 AM Executive Committee Board of Directors Madison Room A/B, Mezzanine Level Committee on Women in the Arts Taft Room, Mezzanine Level CAA Convocation and Awards Presentation Taylor Room, Mezzanine Level Salon 2, Lobby Level 12:00–2:30 PM Art Journal Editorial Board 7:30–9:00 AM Sunday, February 7 This year, a short business meeting and announcement Park Tower Suite 8206, Lobby Level of new CAA Board members will immediately precede Museum Committee (Meeting 2) 8:00 AM–1:30 PM Park Tower Suite 8206, Lobby Level the annual Convocation and presentation of CAA 12:30–2:00 PM Board of Directors Awards by DeWitt Godfrey, CAA President. Wilson Room, Mezzanine Level Annual Conference Committee 7:30-9:00 AM Park Tower Suite 8205, Lobby Level Please stay after the meeting and awards presentation caa.reviews Editorial Board Park Tower Suite 8209, Lobby Level for the Keynote Address by Tania Bruguera starting 12:30–2:00 PM around 6:30 PM. (See page 46). Committee on Diversity Practices 8:30–10:00 AM Park Tower Suite 8209, Lobby Level Feminist Art Project Regional Coordinators and National Committee Roosevelt 1, Exhibit Hall A, Exhibition Level Thursday, February 4 7:00–9:30 AM 9:30–11:00 AM The Art Bulletin Editorial Board Nominating Committee Park Tower Suite 8205, Lobby Level Park Tower Suite 8205, Lobby Level

8:00–9:00 AM 9:30 AM–12:00 PM RAAMP (Resources for Academic Art Museum Task Force on Design Professionals) Meeting Location to be announced to Task Force members Wilson A, Mezzanine Level 12:30–2:00 PM 8:30–9:45 AM Education Committee Student and Emerging Professionals Welcome Breakfast Taylor Room, Mezzanine Level SEP Lounge, Thurgood Marshall Ballroom North, Mezzanine Level 4:00–5:30 PM caa.reviews Council of Field Editors 10:00–11:00 AM Park Tower Suite 8206, Lobby Level Task Force on Committees Taylor Room, Mezzanine Level

32 college art association February 3 –6, 2016 33 Measuring the Outreach of Public Art without a Ruler Thursday, February 4 ARTSPACE Samantha May, Washington Project for the Arts 2:30–5:00 PM 9:30 AM–12:00 PM Annual Distinguished Artists’ Interviews Thurgood Marshall Ballroom East/South, Mezzanine Level Budgets for Public Art Commissions and Planning for Hidden Costs Services to Artists Committee Thurgood Marshall Ballroom East/South, Mezzanine Level Scott Ross, Kentucky State University Art Happens: New Models for DIY Initiatives ARTspace is a conference within the conference that is tailored Joyce Scott with George Ciscle, Maryland Institute College Walls into Wisdom: Lessons Shared from the Public Art Practice of Thurgood Marshall Ballroom East/South, Mezzanine Level to the interests and needs of artists but is open to all attendees. of Art Muralist Judy Baca Chairs: Reni Gower, Virginia Commonwealth University; Organized by CAA’s Services to Artists Committee, it includes a Judith F. Baca, University of California, Los Angeles and Melissa Potter, Columbia College, Chicago Rick Lowe with LaToya Ruby Frazier, Independent Artist and large-audience session space and a media lounge. ARTspace is the The School of the Art Institute, Chicago site of the Annual Artists’ Interviews held on Friday afternoon. Each Taking Charge–Research on How and Why Artists Choose to Go the DYI Route morning begins with coffee, tea, and juice. 12:30–2:00 PM Stacy Miller, Parsons School of Design Free Wi-Fi will be available in the room throughout the conference. Services to Artists Committee ARTspace is partially funded by a generous grant from the National MetaMentors: Time. Space. Money. Bridging the Gap: Using Social Practice to Connect 5:30–7:30 PM Endowment for the Arts. Thurgood Marshall Ballroom East/South, Mezzanine Level Disparate Communities ARTexchange Chairs: David J. Brown, Western Carolina University; and Niku Margaret Leininger, University of Louisville Atrium, Exhibition Level Free and open to the public; a cash bar will be available Kashef, California State University, Northridge Not the Map, but the Territory Catalog Exhibition: Art2Code Spending Time: Supporting the Cultural Producers of the Future Anna Kunz, Columbia College of Chicago The Services to Artists Committee invites artist members to Curators: Tiffany Funk, University of Illinois at Chicago; Lisa Dent, Creative Capital participate in ARTexchange, the annual meet-up for artists Conrad Gleber, La Salle University, Philadelphia; Chris Manzione, An Examination of Artists Communities in an International Context and curators at CAA’s unique pop-up exhibition. This social Stevens Institute of Technology; Ivan Martinez, Independent Artist; Be Our Guest: Time and Space to Create Rhys Himsworth, Johan Granberg, and Byrad Yyelland, Virginia event provides an opportunity for artists to share their work Mat Rappaport, Associate Professor, Columbia College Chicago; Caitlin Strokosch, Alliance of Artists Communities Commonwealth University, Qatar and build affinities with other artists, historians, curators, and Gail Rubini, Professor Emeritus, Florida State University Open Wide and Say Ahh: Arts and Health Research at VCU and cultural producers. Matt King, Virginia Commonwealth University Art2Code is a digitally available catalog that exhibits the work 2:30–5:00 PM of artists who use computer programming and code to create Services to Artists Committee work that manifests as screen imagery, sculptural objects, Another 5x5: Mining the DC Area’s Distinct Culture 2:30–5:00 PM Saturday, February 6 installation environments, or time-based performance. The Thurgood Marshall Ballroom East/South, Mezzanine Level Choreographic Thinking collected artworks and critical essays highlight the various ways Chairs: David J. Brown, Western Carolina University; and 9:30 AM–12:00 PM Thurgood Marshall Ballroom East/South, Mezzanine Level algorithms and computer coded instructions are used to create Zoe Charlton, American University Simultaneous Roundtables: Arts Tune-Up Chair: Lauren O’Neal, Phillips Exeter Academy artwork that expands the interactive relationships between art, Thurgood Marshall Ballroom East/South, Mezzanine Level Amy Sherald, Independent Artist artists and audience. What is the Museum, and What is the Dance?: Grant Hyde Code, Smithsonian Artist Research Fellow Roundtable Performance Curator Lisa Gold, Hirshhorn Museum and Sculpture Garden The College Art Association and the artists’ collective, v1b3, will Leader: Jane Milosch, Provenance Research Initiative at the Amanda Jane Graham, Northwestern University be distributing this printable PDF catalog digitally during the Henry Thaggert, Collector Smithsonian Institution conference. Each artist’s project will have links on the v1b3 website “All body movements are choreographed”: The Running-Body Philippa Hughes, the Pink Line Project Participants: Annet Couwenberg, Maryland Institute College of Art; highlighting additional information and/or dynamic media such as Continuum in Dance, Performance Art, and the Everyday Lynne R. Parenti, National Museum of Natural History, Smithsonian Laure Drogoul, 14Karat Cabaret and Art Place video, audio and interactive elements. The catalog and links will be Meg R. Jackson, University of Arizona Institution; Barbara Stauffer, National Museum of Natural History, found at: http://v1b3.com/project/art2code/ Dancing in Plain Sight: Recovering the Choreographic in the Smithsonian Institution; Jocelyn Chateauvert, Independent Artist Art of the 1970s Friday, February 5 Washington Project for the Arts Roundtable Wednesday, February 3 Jennie H. Goldstein, Stony Brook University, State University Leader: Samantha May, Washington Project for the Arts of New York 12:30–2:00 PM Greater Baltimore Cultural Alliance Roundtable 9:30 AM–12:00 PM Services to Artists Committee Everyday Performances in the Museum Leaders: Jeannie Howe, Greater Baltimore Cultural Alliance; and Public Art Practice—Clearing the Hurdles and Avoiding MetaMentors: Creative Outsourcing/Partnerships: Mireia C. Saladrigues, Finnish Academy of Fine Arts Lauren Saunders, Greater Baltimore Cultural Alliance the Pitfalls Making Big Projects Come True Modern Memory: Curating the Merce Cunningham Dance Thurgood Marshall Ballroom East/South, Mezzanine Level Thurgood Marshall Ballroom East/South, Mezzanine Level Provisions Library: Arts for Social Change Roundtable Company Collection Chair: Hilary A. Braysmith, University of Southern Indiana Chairs: Carissa Carman, Indiana University Bloomington; and Leader: Donald Russell, Provisions Library Mary Coyne, Walker Art Center Natalie Campbell, Independent Curator Session Keynote Address: Public Art—Trials, Tribulations, and Delight Washington Area Lawyers for the Arts Roundtable Lisa D. Freiman, Institute for Contemporary Art, Virginia Milagros Collective (Felici Asteinza and Joey Fillastre) Leader: John D. Mason, Washington Area Lawyers for the Arts Commonwealth University Mary Mattingly, Independent Artist The Contemporary (Grit Fund) Roundtable A Walk on the Wild Side Edgar Endress: Floating Lab Collective Leaders: Deana Haggag, and Lu Zhang, The Contemporary Mary Miss, Independent Artist Gown and Town Public Art Collaborations—Uniting University Expertise with City Funding Hilary A. Braysmith, University of Southern Indiana

34 college art association February 3 –6, 2016 35 MEDIA LOUNGE Thursday, February 4 Friday, February 5 Saturday, February 6 Friday’s VISIBLE/INVISIBLE programming is organized by the 9:00–10:30 AM Thurgood Marshall Ballroom West, 9:00 AM–1:00 PM New Media Caucus TRANSFORMERS: A Code and Data-Driven Animation Mezzanine Level Video Box: The Invisible Scent of History Video Screening Free and open to the public Thurgood Marshall Ballroom West, Mezzanine Level 9:00–11:00 AM Thurgood Marshall Ballroom West, Mezzanine Level Theme: VISIBLE/INVISIBLE, Art & Politics Video screening followed by Q&A discussion with video artists Intersections: Cinema, Performance, Networked Media, Works selected by Mat Rappaport, Columbia College, Chicago; Media Lounge Committee: Jenny Marketou, Stacy Miller, and and curators and Politics Darren Douglas Floyd, Artist/Filmmaker; and A. Bill Miller, Mat Rappaport Curators: Berta Sichel, Museo Nacional Centro de Arte Reina Sofía, Madrid and Bureau Phi Art Projects; Jenny Marketou, Artist Thurgood Marshall Ballroom West, Mezzanine Level University of Wisconsin, Whitewater Media Lounge is a platform that hosts discussions, workshops, Consultants: Yasmina Reggad, Curator; Ava Ansari, Artist Chair: Darren Douglas Floyd, Independent Artist/Filmmaker screenings, and off-site events that investigate an annual theme Organizers: Sid Branca, School of the Art Institute of Chicago; The selected works will be screened during CAA and Repeat presentation. See Wednesday list for video artists and titles. of importance to artists. Participation is free and it is open to all. Lydia Grey, Raritan Valley Community College; and Mat Rappaport, simultaneously have an online presence through the New Media Columbia College, Chicago Caucus Vimeo Channel: www.vimeo.com/groups/transformers. This year’s theme, VISIBLE/INVISIBLE, Art & Politics, explores Participants: the legacy of identity and representation politics, considered in the 12:00–1:30 PM Nathan Halverson, Tulane University context of our present culture where individuals, organizations and Film Screening: Unbearable Presence of Asmahan Marc Tasman, University of Wisconsin-Milwaukee 11:00 AM–3:00 PM ideas can be easily captured, tracked, exposed, and appropriated Thurgood Marshall Ballroom West, Mezzanine Level Hello Velocity, LLC (Kevin Wiesner, Jian Shen Tan, and Lukas Bentel) DC Live: Artist Walks from the circulation of digital material that simultaneously feeds Film by Azza El-Hassan (Egypt). 2014, color, film, 1 hour 20 min. Laura Nova, Bloomfield College Media Lounge and various off-site locations capitalist media assembly lines and alternative economies. Through Alpha Award winner at Beirut international Film Festival. Belit Sağ, Independent artist Curators/Coordinators: Carissa Carman, Natalie Campbell, and Media Lounge programming we aim to foster a dialogue centered Sanaz Sohrabi, School of the Art Institute of Chicago Mat Rappaport on emerging artistic sensibilities that mix art and a politics of representation amid a transforming sociopolitical landscape. The 2:00–4:30 PM Media Lounge Saturday Programming extends beyond the setting of CAA 2016 in Washington DC and on an election year, Post-Internet and How Digital Technologies Influence 12:00–2:00 PM conference walls and invites participants to work and walk, learn offers a unique opportunity to engage in these discussions. Artistic Practices Ecologies of Creative Activism and feel.* Check the New Media Lounge Walks website during Thurgood Marshall Ballroom West, Mezzanine Level Thurgood Marshall Ballroom West, Mezzanine Level the conference for full details: www.medialoungewalks Round Table Discussion and Video Screening Chair: Stacey Stormes, University of South Florida .wordpress.com. Wednesday, February 3 Discussants: Stacy Miller, Parsons School of Design, The New Organizers: Thomas Asmuth, University of West Florida; Elizabeth 10:00 AM–12:00 PM School; Jenny Marketou, Artist Demaray, Rutgers University-Camden and New Brunswick; Renate GPS Portraits: A Portrait of William Temple Hornaday Ferro, Cornell University; Lydia Grey, Raritan Valley Community Off-Site: Smithsonian National Zoo Art in Response to Conflict Participating artists include: Rosana Liang, Magali Duzant, and College; and Byron Rich, Allegheny College Artists: Nate Larson, Maryland Institute College of Art; Thurgood Marshall Ballroom West, Mezzanine Level John Mignualt. Roundtable discussion followed by Q&A with audience Participants: Marni Shindelman, Lamar Dodd School of Art at the University Chairs: Jenny Marketou, Artist; Lyne Sneige, Middle East Institute Andreas Zingerle of Georgia Leila Nadir + Cary Peppermint | (ecoarttech) in Washington, DC 2:00–5:00 PM Desert Art Lab Outside/In Performance/Event: Choreographing Thinking – FLOWS Fictilis Off-Site: Various Locations Media Lounge and Corridors at Washington Marriott Artist: Mary Clare Rietz, University of Cincinnati College of Design, 1:00–5:00 PM Wardman Park Architecture, Art and Planning Video Box: The Invisible Scent of History Curator/Coordinator: Jenny Marketou, Artist 3:00–5:00 PM Thurgood Marshall Ballroom West, Mezzanine Level Artist: Mireia C. Saladrigues, University of the Arts Helsinki Video screening followed by Q&A discussion with video Procedural Art: Game Platforms for Creative Expression *Participation in the walks is open to all. Additional information artists and curators Participation in the event is open to all. Additional information Thurgood Marshall Ballroom West, Mezzanine Level about specific walk times and starting locations will be provided Curators: Berta Sichel, Museo Nacional Centro de Arte Reina Sofía, will be provided online and onsite at the Media Lounge. A live Moderators: Victoria E. Szabo, Duke University; Joyce Rudinsky, online (www.medialoungewalks.wordpress.com) and onsite in the Madrid; and Bureau Phi Art Projects; Jenny Marketou, Artist online broadcast will also be presented simultaneously in the University of North Carolina at Chapel Hill Media Lounge. Documentation and a live online broadcast will be Consultants: Yasmina Reggad, Curator; Ava Ansari, Artist Media Lounge. Participants: presented simultaneously in the Media Lounge. Hye Young Kim, Winston-Salem State University Doa Aly (Egypt). Hysterical Choir of the Frightened. 2014 5:00–6:30 PM Soraya Murray, University of California, Santa Cruz Negar Behbahani (Iran) (in collaboration with Merhwnoush Alia). Film Screening: The Unbearable Presence of Asmahan Paolo Pedercini, Carnegie Mellon University Irreversible. 2014 Thurgood Marshall Ballroom West, Mezzanine Level Susana Ruiz, University of California, Santa Cruz Adel Abidin (Iraq). Consumption of War. 2011 Myfanwy Ashmore, Independent Artist Film by Azza El-Hassan (Egypt). 2014, color, film, 1 hour 20min. Neil Beloufa (Algeria/United Kingdom). Untittled. 2010 Alpha Award winner at Beirut international Film Festival. Taysir Batniji (Palestine). Ma Merè, David et moi. Atef Berredjem (Algeria). Living with the Aliens. 2011 Ismaïl Bahri (Tunisia). Fiim. 2012 Fayçal Baghriche (Algeria/France). Point, Lligne, Particles. 2008 Amir Kabriri (Iran). ONE-FIFTH. 2015 Katia Kameli (Algeria/France). Untitled. 2011 Ymane Fakhir (Morocco). Graines. 2011 Larissa Mansour (Palestine). The Nation Estate. 2012 Zeinab Shahidi Marnani (Iran). Histories. 2015 Zaher Omareen (Syria). Breathless. 2015; and In To This. 2015 (from the X-Rays series) Zineb Sedira (Algeria). Middle Sea. 2008 Amil Yatziv (Israel). This is Jerusalem, Mr. Pasolini. 2013

36 college art association February 3 –6, 2016 37 Wednesday Swimming Upstream: Small Visual Art Organisations (SVAOs) PROGRAM SESSIONS in the midst of the Ethical Turn Ana Bilbao, University of Essex Wednesday, February 3 How Social Value Became an Audience Numbers Game 9:30 AM–12:00 PM Charlotte Bonham-Carter, Central Saint Martins, University of the Arts, London Taking Stock: Future Direction(s) in the Study of Collecting Washington 5, Exhibition Level ARTspace Chair: Christina M. Anderson, University of Oxford Public Art Practice—Clearing the Hurdles and Avoiding the Pitfalls Rembrandt’s Inventory as Display Thurgood Marshall Ballroom South/East, Mezzanine Level H. Perry Chapman Chair: Hilary A. Braysmith, University of Southern Indiana Death and Taxes: The American-ness of American Collecting Session Keynote Address: Public Art—Trials, Tribulations, and Delight Elizabeth A. Pergam Lisa D. Freiman, Institute for Contemporary Art, Virginia Non-Displayed Objects and Meaning Construction in the Museum: Commonwealth University The Japanese Ceramics of Sir William Van Horne (1843–1915) at A Walk on the Wild Side Canadian Museums Mary Miss, Independent Artist Akiko Takesue Gown and Town Public Art Collaborations—Uniting University Towards a dynamic theory of collecting? Art dealers Agnew’s and their Expertise with City Funding networks in Manchester (1850–1890) Hilary A. Braysmith, University of Southern Indiana Barbara Pezzini Measuring the Outreach of Public Art without a Ruler Fact and Fantasy Bring History Alive in a Fictional “Collection” Samantha May, Washington Project for the Arts Fo Wilson Budgets for Public Art Commissions and Planning for Hidden Costs Scott Ross, Kentucky State University Beyond Featherwork: Mexican Visual Identity Between Conquest and Independence. Walls into Wisdom: Lessons Shared from the Public Art Practice of Delaware Suite B, Lobby Level Muralist Judy Baca Chairs: Aliza M. Benjamin, Temple University; Bradley Cavallo, Judith F. Baca, University of California, Los Angeles Temple University

“Cool Gardens with Many Trees”: La Alameda as a Transcultural Arena. Here and Abroad: The Globalization of K(Korean)-Art and Diantha Steinhilper, University of Texas at Arlington Other Myths Washington 2, Exhibition Level Framing the Otherness: Picturesque Atlases of Mexico. Chairs: Dong-Yeon Koh, Hongik University; Gyung Eun Oh, Elisa Garrido, Smithsonian Institution Wonkang University Twoness and Criollismo: A Better Understanding of Nepantla and From Seoul to the World: Exhibiting Minjung “Nationalism” Abroad Aztec Metaphysics Could Change the Narrative. during the 1988 Seoul Olympics Janice Lynn Robertson Douglas Gabriel, Northwestern University Relentless Negotiation of Identities: Contemporary Korean The Institutionalization of Social Art Practice Photography since the 1990s Delaware Suite A, Lobby Level Boyoung Chang, Rutgers, The State University of New Jersey Chairs: Charlotte Bonham-Carter, Central Saint Martins, University of the Arts, London; Nicola G. Mann, Richmond, The American Two Narratives of Globalization: Reading the K-Art with Public and International University in London Private Lenses Jimin Cha, Ohio State University Between Utility and Imagination: Healing a Cultural Memory Disorder called Industrial Amnesia with Affect and Poetics Negotiating Urban Identities: Spectacles and Conflicts in the Seoul Leila Nadir, University of Rochester Olympic Sculpture Park and the Gwangju Biennale Yuri Chang, Binghamton University, State University of New York Collecting Social Things Joey Orr, Museum of Contemporary Art Chicago Tourist, Explorer, and Researcher: Curatorial Networks in South Korea and Other Asian Countries Arts Awareness at the Metropolitan Museum of Art: Art Museum Eunyoung Park, University of Kansas Education as Artistic and Political Practice Alyssa Greenberg, University of Illinois at Chicago

February 3 –6, 2016 39 Wednesday Negotiating Chronology and Geography in Museum Spaces: Learning and Education Performance Art as Portraiture Wednesday, February 3 Africa and Egypt on Display Nettrice Gaskins, STEAM Lab, Boston Arts Academy Washington 1, Exhibition Level 12:30–2:00 PM Washington 3, Exhibition Level Chairs: Dorothy Moss, National Portrait Gallery, Smithsonian Collaboration and Partnership Chairs: Rachel P. Kreiter, Emory University; Amanda H. Hellman, Institution; Jamie L. Smith, CONNERSMITH Gallery Laurie Baefsky, ArtsEngine / a2ru / University of Michigan Pacific Arts Association Michael C. Carlos Museum Fluid Stillness: The “Attitude” between Performance and Portraiture Business Meeting Discussants: Carol LaFayette, SEAD PI / Department of An Examination of Temporary Exhibitions Combining African and Cordula Grewe, University of Pennsylvania Delaware Suite B, Lobby Level Visualization, Texas A&M University; Robert Thill, SEAD / The Egyptian Visual Culture in Europe and North America Cooper Union for the Advancement of Science and Art Performing the Sami Experience Elizabeth A. Cummins, University of Nevada, Reno Kristine Nielsen, Illinois Wesleyan University National Endowment for the Arts Egypt in Africa: Perspectives on Exhibiting African Art and Knowledge Artist as Entrepreneur: Preparation for Life after CAA Task Force on Design Video Performance as Self-Portrait: A Case Study of Christine Mullen Kreamer, National Museum of African Art, Higher Education Design Incubation Colloquium 2.4 Lynn Hershman’s Binge Smithsonian Institution Maryland Suite, Lobby Level Hoover, Mezzanine Level Helen Westgeest, Leiden University Chairs: Meg Brennan, National Endowment for the Arts; Expanding “Africa”: Displaying Egyptian and African Art for a Chairs: Steven McCarthy, University of Minnesota; Aaris Sherin, Portrait of the Artist as a Young God Wendy Clark, National Endowment for the Arts Shared Audience St. John's University Hlynur Helgason, University of Iceland Kevin D. Dumouchelle, Brooklyn Museum; Edward Bleiberg, Brooklyn Museum LIVE (at the Guggenheim): María Magdalena Campos-Pons, ARTspace “Thinking through the Body”: Visual Passion in Medieval Carrie Mae Weems, and Black Feminist Performance Services to Artists Committee Preconceived Notions: Using Visitor Expectations to Enrich Interaction and Early Modern Art Nikki Greene, Wellesley College MetaMentors: Time. Space. Money. with Ancient Egyptian and African Objects Washington 6, Exhibition Level Thurgood Marshall Ballroom East/South, Mezzanine Level Clare Fitzgerald, Independent Scholar Chairs: Mati Meyer, The Open University of Israel; Assaf Pinkus, Chairs: David J. Brown, Western Carolina University; Niku Kashef, Tel Aviv University The Artist-Critic: History, Identity, Work California State University, Northridge Virginia Suite, Lobby Level From Local to Global: Ancient and Contemporary Òrìsà Experiencing Carved Deposition Groups Chairs: Christa Noel Robbins, University of Virgina; Spending Time: Supporting the Cultural Producers of the Future Imagery within and outside Africa Julia Perratore, The Metropolitan Museum of Art Zachary Robert Cahill, University of Chicago Lisa Dent, Creative Capital Wilson C, Mezzanine Level Propaganda through Blood Vengeance: The Martyrdom of Franciscan Chair: Babatunde Lawal, Virginia Commonwealth University Video as Criticism Be Our Guest: Time and Space to Create Friars in India and the Fresco Cycle in San Fermo in Verona Solveig Nelson, University of Chicago Caitlin Strokosch, Alliance of Artists Communities Òrìsà Art and Iconography at Home and Abroad Alessandro Simbeni, Rikkyo University Babatunde Lawal, Virginia Commonwealth University Bad at Sports Open Wide and Say Ahh: Arts and Health Research at VCU Somaesthetic Devotion: Violence and Identity in Late Medieval Duncan G. MacKenzie, Columbia College Chicago Matt King, Virginia Commonwealth University Sacred Art of Meaning: Òrìsà Altars in Cuba and New York City Books of Hours Marta Moreno Vega, Caribbean Cultural Center African Diaspora Sherry Lindquist, Western Illinois University The Critic as Feminist Artist: Carla Lonzi and Lucy Lippard’s Institute, NY Writing as Art Association of Art Museum Curators Prosthetic Pilgrimage and the Somaesthetics of Style at the Jennifer Kennedy, University of Ottawa Curators on Paths to a Curatorial Art Museum Career Conjoining the Physical and the Spiritual within a Sacred Space: The “New Jerusalem” of San Vivaldo in Tuscany Washington 2, Exhibition Level Òrìsà Gardens at the Olá Olú Retreat, Central Florida Allie Terry-Fritsch, Bowling Green State University No Destination: Regina Rex’s Consensus Chair: Helen C. Evans, Metropolitan Museum of Art Robin Poynor, University of Florida Katie Geha, Dodd Galleries, University of Georgia. Joe D. Horse Capture, National Museum of the American Indian, Political Orixás: Art and the Civil Rights Movement in Brazil, 1950s–80s Something in the Dirt: Discourses of Hygiene, Health, Discussant: Zachary Robert Cahill, University of Chicago Smithsonian Institution Abigail Lapin Dardashti, Graduate Center, City University of and Progress in the North American Landscape New York Wilson B, Mezzanine Level Rita E. Freed, Museum of Fine Arts, Boston Historians of German, Scandinavian, and Central European Art Chairs: Sarah J. Moore, University of Arizona; Wielding the Power “That-Makes-Things-Happen”: Òrìsà Èsù and the and Architecture Naima J. Keith, The Studio Museum in Harlem John-Michael Howell Warner, Kent State University Aesthetics of Àse in the African Diaspora There’s No Such Thing as Visual Culture Arturo Lindsay, Spelman College Travels in the Sanitary Landscape: St. Louis and Chicago, 1904 Washington 4, Exhibition Level AIGA | the professional association for design Emily K. Morgan, Iowa State University Chair: Corine L. Schleif, Arizona State University Designers as Writers, Authors, and Makers Cultivating an Ecology of Networked Knowledge and Growing Children Out of Doors: California’s Open-Air School German Romanesque Tomb Effigies and the Multisensory Animation Virginia Suite, Lobby Level Innovation through Collaborations among Sciences, Landscape and Children’s Health of the Deceased Chair: Kenneth Fitzgerald, Old Dominion University Engineering, Arts, and Design Camille Shamble, University of Virginia Thomas E. A. Dale, University of Wisconsin-Madison type/image/structure: A Bookish Experiment in Collaborative Teaching Wilson A, Mezzanine Level Other Landscapes: The Early Earthworks of Dennis Oppenheim The Haptic Visuality of German Gothic Sculpture Julie Spivey, University of Georgia Chairs: Roger F. Malina, SEAD / Leonardo / University of Texas Randall Edwards Jacqueline E. Jung, Yale University Dallas; Carol Strohecker, SEAD Co-PI / Rhode Island School of Digital Book Design: An Inquiry Design (RISD) Dirtying Suburban Space: Gregory Crewdson’s Twilight and The Hidden Power of Touch: Inside the Finger Ring Helen Armstrong, North Carolina State University Beneath the Roses Genevra Kornbluth, Kornbluth Photography Culture and Economic Development Fulfilling the Aspirations of Designer as Author Corey Dzenko, Monmouth University Nickolay Hristov, Biological Sciences, Winston-Salem State The Indulgent Viewer: How the Theory of Kitsch-Man Depreciates Ned Drew, Rutgers University-Newark University Just Dirt? Sensuous Aesthetic Experiences to Illustrate Personal Value Systems John-Michael Howell Warner, Kent State University and Weltanschauungen Research and Creative Work Sebastian Loewe, University of Art and Design, Halle, Germany Jichen Zhu, Westphal College of Media Arts & Design, Drexel University Smelling “Perfume: The Story of a Murderer” Holly Dugan, George Washington University Discussant: Bissera Pentcheva, Stanford University

40 college art association February 3 –6, 2016 41 Wednesday Art Historians Interested in Pedagogy and Technology International Center for the Arts of the Americas Emily Hall Tremaine Foundation Sensorial Regimes: Reflections on Postcolonial Art History A Signature Pedagogy for Art History in the Living Archives: Latin American and Latino Art Materials To Stay or To Go? Preparing Artists for Career Opportunities in Latin America Twenty-First Century in U.S. Institutions Locally and Elsewhere Salon 1, Lobby Level Washington 1, Exhibition Level Harding, Mezzanine Level Washington 3, Exhibition Level Chairs: Jens Baumgarten, Federal University of São Paulo; Chairs: Nathalie N. Hager, University of British Columbia Okanagan; Chair: Olga U. Herrera, University of Illinois at Chicago Chair: Heather Pontonio, Emily Hall Tremaine Foundation Tristan Weddigen, Universität Zürich Sarah Jarmer Scott, Wagner College Documents of 20th-Century Latin American and Latino Art Project David Terry, New York Foundation for the Arts Introduction: Sensorial Regimes: Reflections on Postcolonial Art Demonstration: Using a Neatline Syllabus in the Introductory Art Maria C. Gaztambide, Museum of Fine Arts, Houston History in Latin America Marcus Civin, Maryland Institute College of Art History Survey Jens Baumgarten, Federal University of São Paulo; Tristan Latina/o Presence in the Archives of American Art Caroline A. Bruzelius, Duke University; Hannah Jacobs, Megan Koza Young, Arts Council New Orleans Weddigen, Universität Zürich Josh Franco, Smithsonian Institution, Archives of American Art Duke University ‘It Seems to Me an Inhuman Traffic’: Black Baroque In Nueva Granada. Laberinto Projects: An Archive of Central American Art and Socially Challenging the Canon: Using a Digital Platform for a Survey Southeastern College Art Conference Tom Cummins Engaged Art Practices of World Architectures Art In the Trenches: Visual Culture at, of, and in the face of War Muriel Hasbún, Corcoran School of Arts & Design, George Testigo de ojos”: Portraits and the Art of Witnessing in the (Global) Solmaz Mohammadzadeh Kive, University of Colorado Denver Washington 4, Exhibition Level Washington University Catholic Monarchy Chairs: Elizabeth Rivenbark, University of South Alabama The Implications of Augmented Reality in the Art History Curriculum: Felipe Pereda Discussant: Olga U. Herrera, University of Illinois at Chicago The Future of the Next Generation of Art Historians From the Wounds of Slavery to the Wounds of War: Visual Culture Contemporary and Local Appropriations of Andean Colonial images. R. Dean Turner, The Art Institute of Austin in Support of the American Civil War Touching, Seeing and Feeling Sacred Materials CAA Task Force on Design Rachel E. Stephens, The University of Alabama, Tuscaloosa Gabriela Siracusano CAA Promotion and Tenure Guidelines for Design Faculty Education Committee Embattled Careers in Wartime China: Chinese Women Artists Hoover, Mezzanine Level Gerhard Wolf The College Studio Practice, Academic Theory and the Tactile Go to War Chair: Jim Hopfensperger, Western Michigan University Experience: from Margin to Center Amanda S. Wright, University of South Carolina Decolonial Uses of the Baroque/Neobaroque in the U.S. Latino Coolidge, Mezzanine Level Carma Gorman, University of Texas-Austin Rasquache Baroque ‘A Painting is a Poem and Nothing Else’: Performance and Abstraction Chairs: Andrew Hairstans, Auburn University Montgomery Monika Kaup John Richardson, Wayne State University in Jose Clemente Orozco’s “Dive Bomber and Tank” Drawing on Cognitive Neuroscience: A Pedagogical Approach to Meredith Bagby Fettes, University of Arkansas at Little Rock Teaching Drawing with the Brain In Mind The Community-Based Museum in Global Context Society for the Study of Early Modern Women Drafted in World War II: The Skowhegan School Barb Bondy, Auburn University Wilson C, Mezzanine Level Emotion, Status, and Memory in Early Modern Italy Elizabeth Rivenbark, University of South Alabama Chairs: Remei Capdevila-Werning, El Museo del Barrio; Joy Liu, Perceptual Experience/Physical Engagement: Teaching from Delaware Suite A, Lobby Level Museum of Chinese in America Direct Observation Chair: Andrea G. Pearson, American University Erin Palmer, Southern Illinois University, Carbondale Community and Creativity: Documenting Creativity in Washington Mona Lisa’s Smile and the Significance of Women’s Laughter in Wednesday, February 3 DC’s East of the River Communities the Italian Renaissance 2:30–5:00 PM Sharon A. Reinckens, Anacostia Community Museum, American Academy in Rome Theresa Flanigan, The College of Saint Rose Smithsonian Institution Key Sets: Photographic Collections and Visual Art Vannozza Cattanei: Papal Mistress and Pious Art Patron The Modernities of French Art and its History, 1780 Washington 6, Exhibition Level Partnership in Preservation of Rustbelt Queer History Cynthia Stollhans, Saint Louis University to the Present Chair: Lindsay R. Harris, American Academy in Rome Katie Madonna Lee, Pokagon Band of Potawatomi Indians; Washington 1, Exhibition Level The Mantua Holy Ark and Jewish Feminine Patronage in Catherine Page-Vanore, Independent Museum Professional; and Alfred Stieglitz’s Key Set: Defining an Art of Photography Chairs: Natalie A. Adamson, University of Saint Andrews; Renaissance Italy Alison Stankrauff, Indiana University South Bend Sarah Greenough, National Gallery of Art Richard Taws, University College London Andreina Contessa, The U. Nahon Museum of Italian The Development of Caribbean Museums and the Formation of Luigi Sacchi and the Nationalist Origins of the Brera Jewish Art, Jerusalem Modern Landscape and the Particularities of Place in Post- National and Cultural Identities. Academy’s Fototeca Revolutionary France Daniela Fifi, Miriam and Ira D. Wallach Art Gallery, Beth Saunders, The Metropolitan Museum of Art Kelly Presutti, Massachusetts Institute of Technology International Committee Columbia University Imagining a Nation’s Capital: Rome and the John Henry Parker Roundtable: Between Democracies 1989–2014: Remembering, Beyond Cézanne: Joachim Gasquet and the Contradictions of Tradition and Transition: the Community Museum of San Juan Photography Collection (1864-79) in the Digital Age Narrating, and Reimagining the Past in Eastern and Central Cultural Nationalism Guelavía, Oaxaca, Mexico Lindsay R. Harris, American Academy in Rome Europe and Southern Africa (EESA) Neil F. McWilliam, Duke University Ellen Hoobler, Cornell College Wilson A, Mezzanine Level Equivalents: Photo-Conceptualism and “Paradigmatic” Photography Taking back Tehe’amana: Feminist Interventions in Gauguin’s Legacy Chair: Judy Peter, University of Johannesburg Artifact and Allegiances: How Museums Put the Nation and the Robert Slifkin, Institute of Fine Arts, New York University Elizabeth C. Childs, Washington University in St. Louis World on Display Karen Von Veh, University of Johannesburg, South Africa Toward A French Photography: From New Vision to Return to Order in Peggy Levitt Richard Gregor, Dom umenia/Kunsthalle Bratislava, Slovakia Photographie (1930-1940) Yusuke Isotani, The Graduate Center, The City University of Cristian Nae, George Enescu University of Arts, Romania New York French Art at the End of Modernism: The Case of Supports/Surfaces Allison Myers, University of Texas at Austin

42 college art association February 3 –6, 2016 43 Wednesday Beyond the Pictures Generation: New Approaches to Mines and Matter: How Images Make Meaning of an Industry Awareness➞Professionalization➞Career Opportunities? “All body movements are choreographed”: The Running-Body Photography in the 1980s Delaware Suite B, Lobby Level Teaching Provenance Research within the Field of Art History Continuum in Dance, Performance Art, and the Everyday Washington 4, Exhibition Level Chair: Shannen L. Hill, National Museum of African Art, Wilson A, Mezzanine Level Meg R. Jackson, University of Arizona Chairs: Heather Diack, University of Miami; Erina Duganne, Smithsonian Institution and Baltimore Museum of Art Chairs: Jane Milosch, Smithsonian Provenance Research Initiative, Dancing in Plain Sight: Recovering the Choreographic in the Texas State University Smithsonian Institution; Paul B. Jaskot, DePaul University and Mining and the Making of Ethnic Specificity in Beadwork in Art of the 1970s CASVA Fellow 2014–16, National Gallery of Art From Image to Object: Re-Examining the Photographed Body Natal and the Eastern Cape in the 20th Century Jennie H. Goldstein, Stony Brook University, State University in the 1980s Anitra Catherine Elizabeth Nettleton, Centre for the Creative Arts of “Teaching Provenance Research at the Free University of Berlin: of New York Marta Joanna Zarzycka, Utrecht University Africa, Wits Art Museum Exploiting the Advantage of Location” Everyday Performances in the Museum Meike Hoffman, Forschungsstelle Entartete Kunste , Pictures In Dispute: Documentary Photography in Striking Gold: Miners, Modernity, and South African Photography Mireia C. Saladrigues, Saladrigues, Finnish Academy of Fine Arts Freie Universität Berlin Sandinista Nicaragua Mid-Century Ileana Lucia Selejan, Davis Museum at Wellesley College Shannen L. Hill, National Museum of African Art, “Teaching Provenance Research at the Ludwig Maximilians Modern Memory: Curating the Merce Cunningham Dance Smithsonian Institution University, Munich” Company Collection The Body in Pieces: Radical East German Photography in the 1980s Christian Fuhrmeister, Zentralinstitut für Kunstgeschichte, Munich Mary Coyne, Walker Art Center Sara Blaylock, University of California Santa Cruz My Name is Uranium: Mining Images in Niger Amanda Gilvin, Skidmore College “Teaching Provenance Research at the University of Glasgow” 1984: Pictures from United States Forces Korea Camptowns Nicholas Pearce, University of Glasgow Space and the Sacred in the Ancient Mediterranean Jung Joon Lee, Rhode Isand School of Design Radioactive Images: Confronting Resource Extraction in the and Near East Navajo Nation “Putting Provenance Research in Context” Pinched Pictures: Gabriel Orozco and Photography Virginia Suite, Lobby Level Michaela Rife, University of Toronto Christel Force, The Metropolitan Museum of Art Claire Grace, Wesleyan University Chairs: Isabelle Pafford, San José State University; Kristen Seaman, ‘Pitman painters’ and adult education in mid-20th century England “Provenance Research and its Applications: A Museum Perspective” University of Oregon Veronica Davies, Open University Megan Fontanella, Solomon R. Guggenheim Museum The Art of Assembly: Urban Space and Crowd Control The Space Beside: The Simultaneous Reformulation of Ritual and in the Middle Ages Representing Architectural Resources MaryKate Cleary, Art Recovery International Representational Space on Late Prepalatial Crete Delaware Suite A, Lobby Level Christian A. Stayner, Herberger Institute, Arizona State University Emily S. K. Anderson, Johns Hopkins University Chair: Gillian B. Elliott, Corcoran School of the Arts and Design Between the Ephemeral and the Virtual: Reactivating Art Sacred Moments in Ancient Near Eastern Doorways Crowds and the Carnival: The Changing Faces of Djama’ al-Fna Society of Historians of East European, Eurasian, and Russian Art Installations through Digital Reconstructions Ann Shafer, Fashion Institute of Technology, State University of Riyaz Latif, Vanderbilt University and Architecture Washington 5, Exhibition Level New York Exploring Native Traditions in the Arts of Eastern Europe Chairs: Laura Moure Cecchini, Duke University; Chiara Di Stefano, Storming the Palace: Crowd Incursions into Aristocratic Spaces in Hermes, Hekate, and Herakles: Defining and Defending the Oikos and Russia—Part I Independent Scholar Medieval Revolts in the Greek World Washington 2, Exhibition Level Michael Sizer, Maryland Institute College of Art Blank Walls and Jarring Gaps: Reconstructing the Paris Barbara Tsakirgis, Vanderbilt University Chair: Alison L. Hilton, Georgetown University Salon du Louvre Provocative Processions Constructing the Sacred Experience at the Sanctuary of Hekate Ryan L. Whyte, OCAD University Kathleen M. Ashley, University of Southern Maine On the Inside Looking Out: The Polish “Sztuka” Society at Lagina Jan C. Cavanaugh, Independent Scholar Virtual Histories: Reconstructing Boydell’s Shakespeare Gallery Amanda Elaine Herring, Loyola Marymount University Heather A. McPherson, University of Alabama at Birmingham The “Unity of the Arts:” Writing about Fine and The Artel Cooperative (1908-34): Crafting Czech Modernity Visualizing the Venerable: The Rhetoric of “Antiques” in the Decorative Art Together for the Nation ‘Re-construct them with the materials of your epoch’: 3D Printing Embellishment of Ancient Sanctuaries Maryland Suite, Lobby Level Lyndsay D. Bratton, University of Maryland College Park Futurist Sculpture Isabelle Pafford, San José State University Chair: Imogen Hart, University of California, Berkeley Rosalind McKever, Metropolitan Museum of Art Multiculturalism and the Native Landscape in Latvia and Materials for Living History in Early Nineteenth-Century France Estonia, circa 1900 “Demonstrationsraum”: Re-/Activating the Past and Present of El Museum and Cultural Sector Internships, Now and Marina Kliger, Institute of Fine Arts, New York University Bart C. Pushaw, University of Maryland Lissitzky’s “Abstract Cabinet” for the Future Yvonne Bialek, Braunschweig University of Art Washington 6, Exhibition Level Between “High” and “Low,” Surface and Expression: “Symbols of Everything Fateful and Sacred” - The Native Art Chairs: Martha M. Schloetzer, National Gallery of Art; Gender, Flächenkunst, and the Childlike Aesthetic of Early Movement and the Evolution of Bulgarian Modernism Digitally Reactivating Museums for Expanded Disability Access Stephanie Mayer Heydt, High Museum of Art Viennese Expressionism Kathleen Weigand, University of Maryland, College Park Michael Tymkiw, University of Essex Megan Brandow-Faller, Kingsborough Community College, Interns Are the Answer: Disciplinary, Institutional, and Student On the Edge: The Paradigm of the Cut in Russian Modernism Discussant: Kristin Love Huffman, Duke University City University of New York Success via Experiential Learning Masha Kowell, Mt. San Antonio College Ashley Busby, Susquehanna University Reading Race in Abstraction: The Case of Art and Design at ARTspace Mid-Century VCU School of the Arts and VCU Career Services Portfolio Exchange: Choreographic Thinking Kristina F. Wilson, Clark University A New Twist on the Old Career Fair Thurgood Marshall Ballroom South/East, Mezzanine Level Jeanette W. Hickl, Virginia Commonwealth University Apocalyptic Wallpaper: Hammer Prints and the Brutalist Environment Chair: Lauren O’Neal, Phillips Exeter Academy Ben Highmore, University of Sussex Investing in the Future Generation of Art Museum Curators What is the Museum, and What is the Dance?: Grant Hyde Code, Hilary L. Walter, Los Angeles County Museum of Art “Decorative” Objects of the École de Tunis: Tunisian Modernism Performance Curator and Artistic Enrichment in the 1960s Amanda Jane Graham, Northwestern University Jessica Gerschultz, University of Kansas

44 college art association February 3 –6, 2016 45 We d nes da Renaissance Society of America Thursday, February 4 CAA Publications Committee The Fulbright U.S. Scholar Program and the Terra Foundation The Language of Fame and Failure in the Renaissance Why Review? for the History of American Art 9:30 AM–12:00 PM Salon 3, Lobby Level Harding, Mezzanine Level Grant Opportunities for Supporting American Art in Chair: Jeffrey Chipps Smith, University of Texas-Austin Chair: Juliet Bellow, American University Europe and China (Mis)Representing “Justice” in Mesoamerica, AD 100–1650 Wilson A, Mezzanine Level Colossal Failures: The Language of Derision and Large Size Salon 1, Lobby Level Philip Kennicott, The Washington Post Chairs: Maria Gahan, Institute of International Education; Sophia Felicia Else, Gettysburg College Chairs: Angélica J. Afanador-Pujol, Arizona State University; Leon Wieseltier, Brookings Institution Yang, Institute of International Education y, Thu r s da Cecelia F. Klein, University of California, Los Angeles Vasari and Pontormo: Narrative History and Foucault’s Madman Chloe Wyma, The Brooklyn Rail Chrystine Keener, Lander University In Search of the Toltec Ethos: Violence, Power, and Polity in the Mapping Feminist Art Networks Art of Tula Caroline Jones, Massachusetts Institute of Technology Karel van Mander’s Narratives on Artistic Failure Washington 1, Exhibition Level Keith Jordan, California State University, Fresno Ricardo De Mambro Santos, Willamette University Rosalind McKever, Metropolitan Museum of Art Chairs: Joanna P. Gardner-Huggett, DePaul University On Parity and Iniquity in the Art of Postclassic Mexico Professione as a Term of Architectural Praise Matt Morris, School of the Art Institute of Chicago Networks of Precious Gems, Metals, and Vellum: Mapping the

William T. Gassaway, Columbia University y Elizabeth Merrill, University of Virginia Circulation of Art by Women in Fourteenth-Century France Discussant: David Raskin, School of the Art Institute of Chicago Evidencing Boundaries: Text, Image, and Experience in the Mariah Proctor-Tiffany, California State University, Long Beach; ‘Tan universal aplauso’: Communal Praise in 17th-Century Madrid Techialoyan Manuscripts Tracy Chapman Hamilton, University of Richmond Abigail Newman, Princeton University Jessica Stair, University of California, Berkeley Draping the Middle Ages: Moveable Textile Patterns in East A Digital Analysis of Feminist Art Manifestos and West, c. 500–1500 Discussant: Lori B. Diel, Texas Christian University Michelle Moravec, Rosemont College Wednesday, February 3 Washington 3, Exhibition Level Chairs: Patricia D. Blessing, Society of Architectural Historians Aché: Crafting the House of Difference Window/Lens/Mirror: The Materiality of Glass in Modern María Ochoa, Chabot College Gemstones in Cloth and Stone: Medium, Materiality and the Late 5:30–6:30 PM and Contemporary Art Antique Jeweled Aesthetic Feminists/Hackers/Artists: A Genealogy of Miss Baltazar’s Laboratory Washington 6, Exhibition Level Annual CAA Members’ Business Meeting and CAA Elizabeth Dospel Williams, Dumbarton Oaks Research Library and Rachelle Beaudoin, College of the Holy Cross Chairs: Virginia M. G. Anderson, Maryland Institute College of Art; Convocation and Awards Presentation Collection, The George Washington University Dalia Habib Linssen, Rhode Island School of Design Picturing the Movement/Remembering the Movement: Feminist Announcement of the New Members of the CAA Board Beyond the Veiled Wall: Textile Obsession in the Umayyad Palace Networks in Art and Art History of Directors The Emperor’s New Clothes: The Material Politics of Glass in Modern at Khirbat al-Mafjar (Jericho) Amy Tobin, University of York, U.K. Salon 2, Lobby Level German Design Hana Taragan, Tel Aviv University Ramat-Aviv Freyja T. Hartzell, Parsons The New School for Design Discussant: Anne K. Swartz, Savannah College of Art and Design This year, a short business meeting and announcement Textile, Body and Identity in Chinese Sogdian Art of new CAA Board of Directors members will immediately Shattered Glass: Shop Windows and Surrealist Art in Wartime Jin Xu, University of Chicago precede the annual Convocation and presentation of New York ARTspace CAA Awards by DeWitt Godfrey, CAA President. Jennifer Rose Cohen, University of Chicago Wrapped in Silk: The Marriage Charter of Theophanu (972) Services to Artists Committee Nino Zchomelidse, Johns Hopkins University Art Happens: New Models for DIY Initiatives Seductive Reflection: The Mirror-Object of Contemporary Art Thurgood Marshall Ballroom East/South, Mezzanine Level Sophie Knezic Metamorphoses of Cloth: Textile Dynamics in Medieval Tuscany Chairs: Reni Gower, Virginia Commonwealth University; and 6:30–7:00 PM Mirror Friction: The Ethics of the Gaze in the Works of Agnes Denes, and the Mediterranean Melissa Potter, Columbia College, Chicago Ivan Navarro, and Kader Attia Vera-Simone Schulz, Kunsthistorisches Institut Florenz Keynote Address: Tania Bruguera Taking Charge—Research on How and Why Artists Choose to Cristina Albu, University of Missouri-Kansas City Salon 2, Lobby Level Go the DYI Route Immediately following the CAA Convocation and Awards Sublime Transformation with Dichroic Glass and Ceramic Glass Frit Everything Disappears Stacy Miller, Parsons School of Design at Carnegie Mellon University Washington 4, Exhibition Level Presentation, artist Tania Bruguera will give the keynote address: Bridging the Gap: Using Social Practice to Connect Michelle LaFoe, AIA, OFFICE 52 Architecture Chairs: Alexander Dumbadze, The George Washington University; Aest-ethics: Art with Consequences Disparate Communities Frazer D. Ward, Smith College Margaret Leininger, University of Louisville Anthropocene and Landscape Agnes Martin, In the Midst of Life Not the Map, but the Territory Virginia Suite, Lobby Level Suzanne Hudson, University of Southern California Thursday, February 4 Anna Kunz, Columbia College Chicago Chairs: Thomas R. Beachdel, Hostos, City University of New York; 7:30–9:00 AM Making us all Precarios: Cecilia Vicuña and Ana Mendieta’s Dorothea Dietrich, Smithsonian Institution An Examination of Artists Communities in an International Context Disappearing Acts Rhys Himsworth, Johan Granberg, and Byrad Yyelland, Virginia Leonardo Education and Art Forum Ocean Semiosis and the Plasticene Age Suzanne Herrera Li Puma, University of California, Berkeley Commonwealth University, Qatar Business Meeting Abigail Susik, Willamette University Gutter Art: Stephen Varble and the Disruption of the Business of Coolidge, Mezzanine Level The Emotional Life of Water: Materialism and Affect in Ecoart (History) Art in the 1970s Mark A. Cheetham, University of Toronto David Getsy, School of the Art Institute of Chicago New Media Caucus Business Meeting Terra Incognita: Exhibiting Ice in the Anthropocene Disappearance as Decoy: Adrian Piper’s The Mythic Being Hoover, Mezzanine Level Julie H. Reiss, Christie’s Education Faye Gleisser, Northwestern University De-extinction and the Anthropocene in Museological Perspective: “Transubstantiate my form”: After USCO Northern California Art Historians A Case Study of the Huia Zabet Patterson, Stony Brook University Business Meeting Rosie Ibbotson Washington 3, Exhibition Level Photographing Slow Violence in the Global South Ila Sheren

46 college art association February February 11 3–14, –6, 20162015 47 Thursday Defining theT hird Wave: Art, Popular Culture, and Design Studies Forum Crossing Divides/Creating Communities: Integrating Digital Connoisseurship—or Connoisseurs? Millennial Feminism Design on Display: Staging Objects in the Museum and Beyond Humanities into a Multi-institutional Course Wilson C, Mezzanine Level Coolidge, Mezzanine Level Hoover, Mezzanine Level Polly R. Hoover, Wright College Chairs: Catherine B. Scallen, Case Western Reserve University Chair: Deborah J. Johnson, Providence College Chairs: Paula R. Lupkin, University of North Texas; Anca I. Lasc, Discussant 3: Celeste Tuong Vy Sharpe Connoisseurship and Caravaggio's Card Sharps on Trial: Pratt Institute Miranda July’s Feminist Handbag: Unpacking the Legacy of Riot Grrrl Thwaytes v. Sotheby's Full-Session Discussants: Gretchen K. Mckay, McDaniel College; for Contemporary Art The Parade and Viennese Exhibition Culture in the Nineteenth Century Richard E. Spear, University of Maryland, College Park Pamela Fletcher Cara Smulevitz, University of Illinois Eric Anderson, Rhode Island School of Design René Gimpel in Dialogue with Connoisseurs and Museums: The Gaze in Millennial Culture: Selfies, Instagram, and Richard Prince’s The Position and Meaning of Objects from Wunderkammern to Between the Art Market and Production of Artistic Knowledge Picturing Death, 1200–1600—Part I New Portraits Shop Windows Pamella Guerdat, Institute for Art History & Museology, Delaware Suite A, Lobby Level Jenny Marie Beene Gunn, Georgia State University Jane Kromm, Purchase College University of Neuchâtel Chairs: Stephen G. Perkinson, Bowdoin College; Noa Turel, On Cultivating Her Garden: Contemporary Women Artists and Labor From the Beautiful to the Useful: Design at the Triennale de Milano, University of Alabama at Birmingham Trading, Travelling, Taking Notes. The Art Dealer John Smith’s Jovana Stokic, School of Visual Arts 1933–1954 Methods of Connoisseurship Dissecting for the King: Guido da Vigevano and the Anatomy of Death Jonathan Mekinda, University of Illinois, Chicago Antoinette Friedenthal, Independent Scholar Having It Both Ways: Tabaimo As Third-Wave Feminist Peter Bovenmyer, University of Wisconsin, Madison Kirstin Ringelberg, Elon University (Back)Stage. Exposing the Equipment Words for Pictures: Vitale Bloch, Max Friedländer, Roberto Longhi. Sensory Inversions Yvonne Schweitzer, University of Bern Edward Grasman, Leiden University Centre for the Arts in Society Discussant: Maura Reilly, National Academy Museum, New York Elina Gertsman, Case Western Reserve University Creating Connoisseurship as London Art Dealers: William and Sculpting the Moment of Death in Renaissance Italy Race, Remembrance and Reconciliation: International Morland Agnew, 1880–1920 Establishing Ownership: The Image of the Katerina Harris, Institute of Fine Arts, New York University Dialogue in National Museums Alison Clarke, University of Liverpool and National Gallery, London Indigenous American Salon 3, Lobby Level Not Quite Dead: Imaging the Miracle of Infant Resuscitation Washington 2, Exhibition Level Chairs: Julie L. McGee, University of Delaware Frederika H. Jacobs, Virginia Commonwealth University Chairs: Elizabeth Ann Klimek, Corcoran College of Art and Design, European Postwar and Contemporary Art Forum George Washington University NMAAHC and the Deep Memory of Black Spaces ‘Coemeterium Schola’: The Emblematic Imagery of Death in Jan Geometric Abstraction, Op, and Kinetic Art in a Mabel O. Wilson, Columbia University David’s ‘Veridicus Christianus’ Trans-National Perspective Represent: Images of and by Native American Peoples in the Walter S. Melion, Emory University Wilson B, Mezzanine Level Library of Congress Collections Remembrance: An African American Museum Dialogue Chairs: Lily Woodruff, Michigan State University; Daniel R. Quiles, Katherine Blood, The Library of Congress David C. Driskell, University of Maryland, College Park School of the Art Institute of Chicago Non-Aligned: Art, Solidarity, and the Emerging “Third World” Finding the Unidentified Museums and Reconciliation during the Civil Rights Movement: Delaware Suite B, Lobby Level Synthesis in Parallax Gina Adams The Case of the Studio Museum in Harlem Chairs: Adair Rounthwaite, University of Washington; Monica M. Amor, Maryland Institute College of Art Susan E. Cahan, Yale University Athena LaTocha Atreyee Gupta, Forum Transregionale Studien, Berlin Cosmopolitanism and Belonging in South American Abstraction Museums for ALL: Toward a Critical Approach to the Reclaiming History through Printmaking ‘Contemporary Art of the South’: Rethinking the Contemporary Art Megan A. Sullivan, University of Chicago Re-conceptualization of Museums Melanie Yazzie, University of Colorado, Boulder of the Non-Aligned Countries exhibition of 1995. Wayne Alexander, Iziko Museums of South Africa, Cape Town Op Art on the Other Shore: Masking Vision in the Revolutionary Amanda K. Rath, Cornell University Inside/Outside Cultural Reclamation: Positives and Negatives A Mediterranean Collaborative Dialogue Between Neal Ambrose-Smith and Jaune Solidarities of the Seventies: Graphics in a Global Field Anneka E. Lenssen Digital Art History: New Projects, New Questions Quick-to-See Smith Klara Kemp-Welch, Courtauld Institute of Art Maryland Suite, Lobby Level The Poetics and Politics of Light: The Center for Advanced Visual Jaune Quick-to-See Smith; Neal Ambrose Smith Chair: Nancy Micklewright, Freer|Sackler Smithsonian Institution Building Alliances: Modern Architecture and Egypt’s Studies and the Global Cold War Third World Politics John Blakinger, Stanford University Old Art Historical Questions and New Digital Tools: Investigating Expanded Fieldwork: Art and Research-Based Practice Mohamed K. Elshahed Iconographic Change in Italo-Byzantine Panel Painting Colorful Montreal: Modern Architecture, Urban Life, and the 1960s Washington 5, Exhibition Level Gretchen K. Mckay, McDaniel College Inventing ‘Iranian Modernism’ in the 1960s: the Problem of Abstract Murals of Jean-Paul Mousseau Chairs: Mary L. Leclère, Core Residency Program, Museum of Temporal Anomaly Nicola Pezolet, Concordia University, Montreal Fine Arts, Houston; Lily Cox-Richard, Core Residency Program, Using Digital Platforms to Generate New Research: The Illinois Women Combiz Moussavi Museum of Fine Arts, Houston Artists Project Discussant: Kaira M. Cabanas, University of Florida, Gainesville Sarah R. Glover, Bradley University Art in a Third Space: New Tendencies and the non-aligned The Research and Teaching of Art in the 1960s: A Project in avant-gardes Multiple Dimensions Discussant 1: Megan Brett Armin Medosch Tim Ridlen, University of California, San Diego, and Al Quds Bard Updates on "Mapping Paris: Social and Artistic Networks, 1855–1889" Form/Site/Source: Three Approaches to Research-Based Practice Claire L Kovacs, Augustana College Hilary Wilder, Virginia Commonwealth University Digital Art History and the Spatial Turn Meet the Maya: Mapping the Knowledge, Power, and Art: The Politics of Art as Research City of Chichén Itzá Hillary Mushkin, California Institute of Technology (Caltech) Cynthia B. Kristan-Graham, Auburn University The Poetry of Prisms: The Artist as Researcher Discussant 2: Matthew Lincoln, University of Maryland Dario Robleto, Independent Artist The Eye of the Map Daniela Sandler, University of Minnesota

48 college art association February 3 –6, 2016 49 Thursday Thursday, February 4 Using Archival Exemplars for Innovative Teaching and Association for Modern and Contemporary Art of the Arab World, Do Not Look Into Gypsy Eyes: Selma Selman’s Politics of Resistance Learning Opportunities Iran, and Turkey 12:30–2:00 PM Jasmina Tumbas, University at Buffalo, SUNY Joyce S. Hertzson, Vignelli Center for Design Studies, Rochester Curating the Middle East in America: A Roundtable Discussion Institute of Technology Washington 5, Exhibition Level Somnambulist Montage: Karl Hubbuch and George Grosz in Dialogue Shannon Connelly, Lebanese American University Association of Historians of American Art Chairs: Jessica Gerschultz, University of Kansas; Sarah-Neel Smith, Activating the Archives through Information Design: Students’ Business Meeting University of California, Los Angeles Explanatory Diagrams and Time–based Solutions for the Vignelli Erna Lendvai-Dircksen and the German Face Washington 6, Exhibition Level Center Design Archives Mitra M. Abbaspour, Independent Curator and Scholar Elizabeth Cronin, New York Public Library Deborah Beardslee, School of Design, Rochester Institute Kimberly Masteller, Nelson-Atkins Museum Queer Caucus for Art of Technology Society of Historians of East European, Eurasian, and Russian Business Meeting Shiva Balaghi, Brown University Tales from the Pressroom: Teaching with Letterpress Artifacts Art and Architecture Wilson B, Mezzanine Level Collecting, Curating, Canonizing, Critiquing: The Amelia Hugill-Fontanel, Cary Graphic Arts Collection, Rochester Valerie Hillings, Abu Dhabi Project, Solomon R. Guggenheim Institutionalization of Eastern European Art Institute of Technology Foundation Washington 4, Exhibition Level National Endowment for the Arts and National Endowment Beyond Encouraging “Research” with Primary Resources: Novel Chair: Ksenia Nouril, Rutgers, The State University of New Jersey, for the Humanities Approaches for Engaging Students in Archives National Council on Education for the Ceramic Arts and Museum of Modern Art Becky Simmons, Archives, Rochester Institute of Technology NCECA Session The NEA and NEH at 50: NEA Chair Jane Chu and Institutionalization of Female Crafts in Late Imperial Russia: Wilson A, Mezzanine Level NEH Chair William “Bro” Adams in Conversation Women Collectors, Exhibitors and Patrons for Embroidery, Chair: Joshua Green, National Council on Education for the Salon 3, Lobby Level Association for Textual Scholarship in Art History Lace and Needlework Ceramic Arts Free and open to the public The ‘Art’ of Dying Well: Virtuous, Horrific, and Spectacular Hanna Chuchvaha, University of Alberta Deaths in Art, History and Literature Jane Chu, Chair of the NEA, and William “Bro” Adams, How Malevich Became the Most Expensive Russian Artist Washington 3, Exhibition Level American Society for Hispanic Art Historical Studies Chairman of the NEH, discuss their organizations turning 50 Ekaterina Kudryavtseva, Stetson University and half a century of supporting the arts and humanities. Chairs: Liana Cheney, Università di Aldo Moro; Barbara Watts, Who Made Me? Patronage Without Patrons in Medieval Iberia Florida International University Washington 1, Exhibition Level Cracking the Canon, Wooing the Museum, Luring the Market: Chair: Julie Harris, Spertus Institute of Jewish Learning Respecting the Dead: The Seventh Work of Mercy and the The Integration of the East European Neo-Avant-Garde into and Leadership Community College Professors of Art and Art History Florentine Misericordia Global Art Structures Maja Fowkes, Translocal Institute for Contemporary Art, Budapest; In and Out of the Studio: New Ideas for Art Appreciation Wiliam Levin, Centre College No Artist, No Patron, No Owner: The Iberian Haggadot as an Reuben Fowkes, Translocal Institute for Contemporary Art, Coolidge, Mezzanine Level Anonymous Genre Colonel Bro. Géricault and Sainte-Domingue Budapest Chair: Susan M. Altman, Middlesex County College Julie Harris, Spertus Institute for Jewish Learning and Leadership Albert Alhadeff, University of Colorado, Boulder Discussant: Bettina Jungen, Mead Art Museum, Amherst College Petty Donors Dismissed, Famous Founders Imagined: Aspirational John William Waterhouse’s The Awakening of Adonis: A Lament Professional Practices Committee Patronage in a Romanesque Church Jennifer Ehlert, Harvard University CAA’s MFA Standards Amanda Dotseth, Courtauld Institute of Art Women’s Caucus for Art Delaware Suite A, Lobby Level Women’s Caucus for Art Keynote Address Impact: The ‘Unthinkable’ Patronage of a Code-Switching Queen Chairs: Thomas G. Berding, Michigan State University; Catalogue Raisonné Scholars Association Stephanie Sherman Therese Martin, Consejo Superior de Investigaciones John Kissick, University of Guelph Artists and Their Collaborators Salon 2, Lobby Level Científicas, Madrid Catherine Pagani, University of Alabama Harding, Mezzanine Level Chair: Brenda R. Oelbaum Chairs: Susan Cooke, The Estate of David Smith, New York; Discussant: Glaire Anderson, University of North Carolina, John Richardson, Wayne State University Shaina D. Larrivee, The Hedda Sterne Foundation, Inc. Chapel Hill Michael Wille, Illinois State University Isamu Noguchi and Edward A. Rumely: The Artist and His Patron International Association of Word and Image Studies In the Light of Modern Media: Word and Image Analysis as Deborah A. Goldberg American Folk Art Museum Katherine Sullivan, Hope College Heuristic Tool Art + History = Folk Art Authorship and the Workshop: The Case of Joaquín Torres-García’s Wilson C, Mezzanine Level Salon 1, Lobby Level Project for a Monument Chair: Jorgelina Orfila, Texas Tech University Association of Academic Museums and Galleries Chair: Stacy C. Hollander, American Folk Art Museum Susanna Temkin, Cecilia de Torres, Ltd. Activating The Archive Manhatta: The Legacy of Charles Sheeler and Paul Strand’s 1921 American Selfies: Folk Portraits, Daguerreotypes, and Smartphones Washington 2, Exhibition Level The Name of the Game: On the 1985 Collaboration Between Cinematic Experiment Elizabeth Mankin Kornhauser, The Metropolitan Museum of Art Chairs: Leonie Bradbury, Montserrat College of Art; Nancy Graves and Trisha Brown Keri Watson, University of Central Florida Chair: Joyce S. Hertzson, Vignelli Center for Design Studies, Susan Rosenberg, St. John’s University and Trisha Brown Dance Co.; Folk Art’s Footprint in the 21st Century Museum What is Digital Humanities and Why Is It Not in the Rochester Institute of Technology Christina Hunter, Nancy Graves Foundation, New York Katherine Laura Jentleson, High Museum of Art Art History Classroom? Gilbert & George: How the Premise “Art for All” Became a Changing Perspectives: Self-taught Art and the Museum Model Ronald R. Bernier, College of Arts and Sciences, Wentworth Working Methodology Stacy C. Hollander, American Folk Art Museum Institute Technology David Platzker, The Museum of Modern Art, New York Shedding Light on Digital Art History’s Supplementary Texts Historians of German, Scandinavian, and Central European Art and Images and Architecture John A. Tyson, Emory University Historians of German, Scandinavian, and Central European Art and Architecture Emerging Scholars Maryland Suite, Lobby Level Chair: Juliet Koss, Scripps College

50 college art association February 3 –6, 2016 51 Thursday Committee on Women in the Arts Thursday, February 4 Mobilizing the Home Front: Presentation Swords in the The Art of Animal Activism: Critical Parameters Pink Collars or Pink Shackles? How the Adjunct Teaching Civil War-Era Imagination Wilson C, Mezzanine Level 12:30–2:00 PM Crisis Threatens Women’s Lives and Careers R. Ruthie Dibble, Yale University Chairs: Alan C. Braddock, College of William & Mary; Keri Cronin, Delaware Suite B, Lobby Level Brock University Crossing Boundaries: Public Monuments and the Image of Chairs: Miriam Schaer, Columbia College Chicago; Jean Shin, Female Citizenship Unwatched Death: Animal Spectators and Species of Perception Pratt Institute POSTER SESSIONS Thurgood Marshall Ballroom Foyer, Mezzanine Level Lindsay E. Shannon, North Central College in Ruskinian Painting Professor Staff and All of Her Students: Women, Contingency, and the Brian Lukacher, Vassar College Poster sessions are informal presentations for small groups Complex Mobilities: Billboard Art, Migration, and Latina/o Feminization of the Professoriate displayed on poster boards by an individual. The poster Urban Visual Culture Franz Marc’s Animal Images and the Attributes of Einfühlung Marisa Allison, New Faculty Majority Foundation display is usually a mixture of a brief narrative paper Mary Margaret Thomas, University of California, Santa Cruz Jean Marie Carey, University of Otago Administration Perspectives on Part time Faculty Employment intermixed with illustrations, tables or graphs, and other Competing Vision, Competing Movement: Warhol’s Animal Advocacy John Richardson, Wayne State University presentation materials. With a few concisely written areas Katharina Grosse’s psychylustro Anthony E. Grudin, University of Vermont of focus, the poster display communicates the essence of Adjunct Life on the Street: The Fight for Pay Equity and Job Security Laura Holzman, Indiana University-Purdue University Indianapolis the presenter’s research, synthesizing its main ideas and James Ensor’s ‘Conférence sur la protection de l’animal’ (1931) in Baltimore research directions. Poster displays will be on view for and Single-Issue Activism Leslie Shellow, Maryland Institute College of Art (MICA) the duration of the conference, beginning on Thursday Landscape into History Arnaud Gerspacher, The Graduate Center, City University Of Supply Chains morning. On Thursday and Friday, from 12:30 to 2:00 PM, Salon 1, Lobby Level of New York BFAMFAPhD (Caroline Woolard, The New School; Susan Jahoda, presenters will be available at the Poster area. Chairs: John M. Beardsley, Dumbarton Oaks; Jennifer Raab, Discussant: Stephen F. Eisenman, Northwestern University University of Massachusetts Amherst) Yale University Portfolio Exchange Better Living Thru Adjunct Appointments: Securing Work, and Jeanette W. Hickl, Virginia Commonwealth University Rocks and Arts in Medieval Le Puy-en-Velay: The Virgin’s Volcanoes ARTspace Developing Strategies to Avoid the Dark Side Danielle B. Joyner, Southern Methodist University; Juliette Calvarin, Aggressive Drawing: A Figurative Foundation Services to Artists Committee Karla Stinger-Stein, University of the Arts Harvard University; and Gavin Wiens, Johns Hopkins University Michael Mosher, Saginaw Valley State University Another 5x5: Mining the DC Area’s Distinct Culture Metro Organizing: The Philly Experience An “Art History” of Landscape? Interpreting Mamallapuram’s Great Thurgood Marshall Ballroom East/South, Mezzanine Level Figuring the World, Art, and the Diagram Jennie Shanker, Tyler School of Art, Temple University Penance Relief Chairs: David J. Brown, Western Carolina University; Jo Stockham, Royal College of Art Divya Kumar-Dumas, University of Pennsylvania and Zoe Charlton, American University The Overflow of Affect in Esoteric Programming National Art Education Association Painting the “Illusory Transformings” of a Chinese Mountainscape Amy Sherald, Independent Artist Daniel Temkin, International Center of Photography The Art of Teaching Art & Design: Realigning Critical & Creative Elizabeth Kindall, University of St. Thomas Lisa Gold, Hirshhorn Museum and Sculpture Garden Pedagogy for 21st Century Professional Development Contested Spaces of the Medical Body in the Islamic Art Sacred Geographies: Cross-Cultural Landscapes in the Bay of Islands, Virginia Suite, Lobby Level World Henry Thaggert, Collector New Zealand, 1814–1845 Chairs: Sara Wilson McKay, National Art Education Association and Alan Weber, Weill Cornell Medical College in Qatar; and Julia Lum, Yale University Philippa Hughes, The Pink Line Project VCU; Renee Y. Sandell, George Mason University Thomas Himsworth, Virginia Commonwealth University in Qatar Topographic Regimes, Visual Persuasion, and the German Laure Drogoul, 14Karat Cabaret/Art Place Construction of the Ottoman Railway Network CAA Task Force on Design Peter Hewitt Christensen, University of Rochester Communication Design Scholarship: Opportunities Digital Artists’ Books: New Critical Vocabularies and Approaches Thursday, February 4 Washington 5, Exhibition Level Hoover, Mezzanine Level International Center of Medieval Art 2:30–5:00 PM Chairs: Kathryn J. Brown, Tilburg University, Netherlands; Chair: Dan Wong, New York City College of Technology, CUNY Out of Time and Out of Place: Comparative Approaches Anna S. Arnar, Minnesota State University Moorhead in Art History Mike Zender, University of Cincinnati The “Values” of Digital Artists’ Books Washington 3, Exhibition Level Distinguished Scholar Session Honoring Richard Powell Philippe Kaenel, University of Lausanne Elizabeth Guffey, State University of New York at Purchase Salon 2, Lobby Level Chairs: Jennifer R. Borland, Oklahoma State University/ Material Collective; Benjamin C. Tilghman, Lawrence University/ Yoko Ono and the Dematerialising and Re-materialising of the Genevieve Hitchings, New York City College of Technology, CUNY A special session honoring Richard Powell, John Spencer Bassett Professor of Art and Art History and Dean of Humanities, Material Collective Artist’s Book David Cabianca, York University Nicole Sully, University of Queensland Duke University. Cross-Communication: A Methodological Comparison of the Discussant: Kathryn Weinstein, Queen's College, CUNY Monumental Stone Crosses of Ireland and New Spain Encoding the Codex: Reimagining Digital Literature through The panel will include: Kobena Mercer, Professor, History Caitlin Hutchison, University of Delaware Quantum Poetics of Art and African American Studies at Yale University; Abraham Avnisan, The School of the Art Institute of Chicago Gwen Everett, Associate Dean of the Division of Fine Arts at Achieving Site-Specificity: Contextualizing Late Antique and Howard University; Kellie Jones, Associate Professor of Art Contemporary Glass Different by Design: The Unique Challenges of Creating Engaging History at Columbia University; and Suzanne Preston Blier, Hallie Meredith, Washington State University and Culturally Relevant Digital Artists’ Books Brita d’Agostino, Daemen College, New York Allen Whitehill Clowes Professor of Fine Arts and of African Between Reality and Transcendence: Byzantine Modernism in the and African American Studies at Harvard University. Mid-Twentieth Century Screen Life and Shelf Life Jessamine Batario, The University of Texas at Austin David Senior, Museum of Modern Art Library, New York

Mobilities in/of American Art Reading American Comics through Medieval Woodcuts Discussant: Kathryn J. Brown, Tilburg University, Netherlands Washington 2, Exhibition Level Christine Elizabeth Mugnolo, University of California, Irvine Chairs: Lacey Baradel, Vassar College; Nenette Luarca-Shoaf, Perfection or Palimpsest? Paolozzi, Goldsworthy and the National The McNeil Center for Early American Studies Museum of Scotland Imag[in]ed Presence: John Singleton Copley’s Mrs. Isaac Royall Heather Pulliam, University of Edinburgh Susan J. Rawles, Virginia Museum of Fine Arts

52 college art association February 3 –6, 2016 53 Thursday Committee on Diversity Practices Diagram Aesthetics in the 20th Century: Histories and Theories Making A Killing: Art, Capital, and Value in the 21st Century Altered Visions: Revisiting the Trials and Tribulations Curating Diversity: Ideologies & Methodologies Wilson B, Mezzanine Level Delaware Suite A, Lobby Level of the Single Collection Museum Salon 3, Lobby Level Chair: Natilee Harren, School of Art, The University of Houston Chair: Tom McDonough, State University of New York, Hoover, Mezzanine Level Chair: Amanda Cachia, University of California, San Diego Binghamton University Chairs: Brian Seymour, Community College of Philadelphia; Leanne “We don’t like still lifes; charts mean more to us.” Otto Neurath and M. Zalewski, Central Connecticut State University What’s a Latino, Anyway? Addressing Diversity at El Museo del Barrio Diagrammatic Practice in the Soviet Union Please Make Check Payable To: Running Fence Corporation Rocio Aranda-Alvarado, El Museo de Barrio Astrit Schmidt-Burkhardt, Free University Berlin D. Jacob Rabinowitz The “Anti-Museum”: Jean Dubuffet’s Collection de l’Art Brut in Lausanne Weighing and Waiting Duchamp’s Sartorial Diagrams: Ready-made Algorithms Between Capital and the Canon: The Case of Jean-Michel Basquiat Christina McCollum, The Graduate Center, CUNY Lynne Cooke, National Gallery of Art T’ai L. Smith, University of British Columbia Jordana Moore Saggese, California College of the Arts Between Art and Life: The Dialogic Potential of the Collection House Disclaimers and the Limits of Tolerance: Sakahán at the National Simultaneity and Totality: Tristan Tzara’s Simultaneous Poem Scores Crypto-currencies and the Propertization of Media Art Conny Bogaard, Institute for Doctoral Studies in the Visual Arts Gallery of Canada Trevor Stark, Harvard University Martin Zeilinger, Ontario College of Art and Design Candice Hopkins, Curatorial Advisor for documenta 14 Life After Death: The Duc d’Aumale’s and Albert C. Barnes’ Quests for Diagrammatic Practices in Arts and Humanities–Elements of an Crowdfunding Tales: Get the Art You Want Ideological Integrity Through Their Collections Diversity in Context: Curating New Social Histories Epistemology of Diagrammatic Thinking Peter Mörtenböck, Goldsmiths College, University of London; Aubrey Knox, Independent Scholar Jonathan Katz, State University of New York at Buffalo Benjamin Meyer-Krahmer, Academy of Visual Arts Leipzig Helge Mooshammer, Goldsmiths College, University of London A Tale of Two Houses: Evolving Museological Practices at Curatorial Activism: Toward an Ethics of Curating The Temptation of the Diagram The Johns Hopkins University Maura Reilly, National Academy Museum, New York Matthew Ritchie, Columbia University Re-examining the Art History Survey: What do We Retain; Elizabeth Rodini, Johns Hopkins University What do We Transform? Wilson A, Mezzanine Level Afrotropes Very Generally Ignorant, Flippant: Art Criticism and Mass Chairs: Anne R. Norcross, Kendall College of Art and Design; Digital Cultural Heritage as Public Humanities Collaboration Maryland Suite, Lobby Level Media in the Nineteenth Century Suzanne M. Eberle, Kendall College of Art and Design Washington 1, Exhibition Level Chairs: Huey Copeland, Northwestern University; Harding, Mezzanine Level Chair: Victoria E. Szabo, Duke University Krista A. Thompson, Northwestern University Crowdsourcing the Art History Survey: How Communities and Chairs: Wendy J. Katz, University of Nebraska-Lincoln; Eleanor Conversations Might Help Shape the Global Survey 3.0 The Regium Lepidi Project 2200 Ivanhoe Martin, “The Harder They Come,” and the Effect of Jones Harvey, Smithsonian American Art Museum Renee McGarry, Sotheby’s Institute of Art Maurizio Forte, Duke University; Nevio Danelon, Duke University Photographic Disappearance in Jamaica Brokered by the Media: Art Criticism, Celebrity Culture, and Krista A. Thompson, Northwestern University Changing Mental Models and Priorities in the Art History Survey Earthquakes, Volcanoes and Bombs. Restoring the Monumental Champmartin’s Portraits at the Salon of 1840 Marie Gasper-Hulvat, Kent State University Landscape of South Italy (The Kingdom of Sicily Image Database) The Image of the ‘Riot’ in Gavin Jantjes’ Political Prints Sean DeLouche, Baylor University Caroline A. Bruzelius, Duke University Allison K. Young, Institute of Fine Arts, New York University Art History as Practice, not Data Set Reproduction, Reciprocation, and Rancour: Press Coverage of Art Jessica Santone, California State University, East Bay Experimenting with 3D Visualizations of the Lost 17th Century Reflecting Black: The Map of Africa in the Afro-Atlantic Imagination at the Early International Exhibitions Labyrinth of Versailles Steven D. Nelson, University of California, Los Angeles Gabriel Williams, University of York The Real & the Ideal: Reforming the Art History Survey Copper Frances Giloth, University of Massachusetts Elizabeth Darrow, Cornish College of the Arts Blackness in Abstraction Progressive Restraint: Art Writing and Criticism in Harper’s Monthly Mapping Ararat and Beyond: Augmented Reality Walking Tours for Adrienne Edwards, New York University Alexander Jackson, Sainsbury Institute for Art, University of Imagined Jewish Homelands East Anglia Without Borders: The Promise and Pitfalls of Inter-American Discussant: Cheryl Finley, Cornell University Louis P. Kaplan, University of Toronto; Melissa Shiff, York University Art History “Within the grade of certain obvious criteria of merit:” Sample Bias in Washington 4, Exhibition Level MQUADRO: a Platform Model for Cultural Heritage Art History and Earl Shinn’s The Art Treasures of America Public Art and Historical Memory in the U. S. Capitol Rotunda Chairs: Breanne Robertson, American University; Fabiola Martinez, Stefania Zardini Lacedelli, Regole of Ampezzo, Cortina; Giacomo Diana Seave Greenwald, University of Oxford Delaware Suite B, Lobby Level Saint Louis University Pompanin, ADOMultimedia, Cortina Chairs: Debra W. Hanson, Virginia Commonwealth University; America in Circulation: Joaquín Torres-García and Stuart Davis on Playing the Scales: the Human Scale in Digital Data Visualization Michele Cohen, Office of the Architect of the Capitol Pre-Columbia in Nineteenth-Century Art and Science View and in Print Radu Leon, Ca’ Foscari University of Venice, Università Thomas Jefferson’s ‘Temple Dedicated to the Sovereignty of the Coolidge, Mezzanine Level Lori Cole, New York University Iuav di Venezia People’: The US Capitol Rotunda, 1791-1812 Chairs: John F. López, Skidmore College; Lisa Trever, University of Manuel Álvarez Bravo's Optical Parable: Mexico's First Modernist Program in Interactive Cultural Technology (PICT): a Partnership Craig Reynolds, Branch Museum of Art and Design California, Berkeley Photographer? between New Mexico Highlands University and the New Mexico State Forging a Federalist Symbolic Form: John Trumbull’s American Scale, Scholarship, and the Nineteenth Century Monica C. Bravo, Brown University Department of Cultural Affairs Revolution Series in the US Capitol Rotunda Andrew J. Hamilton, Princeton University Kerry Loewen, New Mexico Highlands University IBM Art Collections and “Hemispheric Art”: Political Needs, Lauren Jacks Gamble, Yale University Out of the Andes: Paintings of the Inca in Nineteenth-Century Europe Curatorial Inconsistencies The Will to Adorn: African American Diversity, Style, and Identity Politics and Painting: William Henry Powell, Emanuel Leutze, Janet G. Stephens, Georgia Gwinnett College Fabiana Serviddio, Universidad Nacional de Tres de Febrero Diana N’Diaye, Center for Folklife and Cultural Heritage, and the Capitol Rotunda Smithsonian Institution Monumentos Across Medium: Lithography, Photography, Painting Hemispheric Ambitions and Ambivalences at the São Paulo Bienal Barbara J. Mitnick, Independent Scholar Robert J. Kett, Max Planck Institute for the History of Science Adele E. Nelson, Temple University Discussant: Mark J.V. Olson, Duke University Constantine Brumidi’s Apotheosis of Washington: The Centerpiece Pre-Columbia in El Museo Mexicano: A New Vision of the Past Trans-local or Intra-local: The Sheltering Exoticism of the Capitol Adam Temple Sellen, Centro Peninsular en Humanidades y Elisa de Souza Martinez, Universidad de Brasília Barbara Wolanin, Office of the Architect of the Capitol;Tina Ciencias Sociales UNAM Doherty, Lunder Center, Smithsonian American Art Museum Discussant: Stacie G. Widdifield, University of Arizona

54 college art association February 3 –6, 2016 55 Thu r s da Transforming Japonisme: International Japonisme in an Arts Council of the African Studies Association Art Libraries Society of North America Pacific Arts Association Age of Industrialization and Visual Commerce African Arts and Italian Colonialism: A Missing Digital Collaborations: Successful Partnerships between Photography In and Of the Pacific: Collecting the Past, Virginia Suite, Lobby Level Africanist History Librarians and Faculty in the Digital Humanities Visualizing the Future Chairs: Gabriel P. Weisberg, University of Minnesota; Washington 2, Exhibition Level Washington 1, Exhibition Level Washington 4, Exhibition Level Elizabeth J. Fowler, Independent Scholar Chair: Tenley Bick, University of California, Los Angeles Chairs: Eumie Imm Stroukoff, Georgia O’Keeffe Museum; Sarah Chair: Heather L. Waldroup, Appalachian State University

Falls, the Ohio University y,F rida Good or Bad Japonisme. How does Japonisme Fit into the History Belle Arti d’Egitto: Politics of Art between Italy and Egypt, 1930–1950 The Artifactualization of the Human Subject in Hawai’i and of Modern Design? Alex Dika Seggerman, Smith College Annie Johnson, Lehigh University Solomon Islands Etienne Tornier, Université Paris Ouest Nanterre La Défense Deborah Waite, University of Hawai’i Cinema Asmara: The Influence of an Italian Opera House on the Sarah Falls, the Ohio State University Un nouvel art japonais: Kitaro Shirayamadani and Rookwood Evolution of Eritrean Theater Recreating the Gods Donald Juedes, Johns Hopkins University Pottery at the 1900 Exposition Universelle Jane Plastow, University of Leeds Jacqueline Charles-Rault, Université du Havre y Elizabeth J. Fowler, Independent Scholar Jennifer Rinalducci, George Mason University Beyond Somalia Anno Uno: Somali Narrative Film in Postcolonial Carol Mayer, University of British Columbia Museum of Gustav Klimt and Ito Jakuchu: An Unexpected Aesthetic Dialog East Africa Anthropology Svitlana Shiells, George Mason University Tenley Bick, University of California, Los Angeles Japan Art History Forum New Sound²: Studio Portraits, Modernity and the Contemporary Japanese Art and the Social Turn Absorbing Color, Becoming One with Form: Henri Matisse Discussant: David Rifkind, Florida International University Refashioning of Self in the Purari Delta, Papua New Guinea Wilson C, Mezzanine Level between Japanese and Chinese Aesthetics Joshua Bell, National Museum of Natural History, Chair: Justin Jesty, University of Washington Petra Chu, Seton Hall University Smithsonian Institution Museum Committee Socially Engaged but How? The Inflection of Social Awareness in Japonisme and the Birth of Cinema: The Lumière Brothers’ Neither Fish nor Fowl: Assessing the Work of Academic Art Postwar Japanese Art Actuality Films Museum Professionals in a Tenure-Track, Peer-Reviewed World Kenji Kajiya, Kyoto City University of Arts Friday, February 5 Daisuke Miyao, University of California, San Diego Delaware Suite A, Lobby Level Chairs: Tracy S. Fitzpatrick, Neuberger Museum of Art; Jill J. Deupi, Socially Engaged Art in Japan: Mapping the Pioneers 7:30–9:00 AM Japonisme in the Context of Cultural and Transcultural Appropriation Lowe Art Museum Adrian Favell, University of Leeds Elizabeth Mix, Butler University Rebecca Martin Nagy, Samuel P. Harn Museum of Art, Satoyama at the Echigo Tsumari Art Field: Applied Social Arts in Association for Latin American Art University of Florida Post-bubble Japan Business Meeting Thursday, February 4 Ewa Machotka, Leiden University Washington 1, Exhibition Level Jill Hartz, Jordan Schnitzer Museum of Art, University of Oregon 5:30–7:00 PM Participation v Context Creation: How Socially Engaged Public Art Phillip Earenfight, The Art Museum of Dickinson College Projects Mediate Participants and Audiences Community College Professors of Art and Art History Tom Shapiro, Cultural Strategy Partners Business Meeting The Power of Storytelling: Finding and Engaging Justin Jesty, University of Washington Washington 5, Exhibition Level New Audiences Salon 2, Lobby Level The College Board’s Advanced Placement (AP) Art History Program International Association of Art Critics Free and open to the Public Comparative Investigations of Monuments and their Contexts: Art Criticism and Art History: The Fluid Edge Diasporic Asian Art Network Jarl Mohn, President and CEO of National Public Radio, will Constructing Understanding in AP Art History Washington 5, Exhibition Level Business Meeting speak on the visual arts and the public. Virginia Suite, Lobby Level Chair: Aaron Levy, University of Pennsylvania Washington 6, Exhibition Level Chairs: Wendy Free, The College Board; Ed DeCarbo, Pratt Institute Northern California Art Historians Foundations in Art: Theory and Education (FATE) Catalogue Raisonné Scholars Association National Council of Arts Administrators Pacific StandardT ime North: San Francisco Art, 1960–1980 Business Meeting Business Meeting Narratives by the Numbers: Employing Data and Analytics to Washington 3, Exhibition Level Washington 2, Exhibition Level Harding, Mezzanine Level Tell Compelling Stories Chair: Elaine J. O’Brien, California State University, Sacramento Maryland Suite, Lobby Level Conceptual Art in Northern California from the Late Sixties Historians of British Art Historians of Islamic Art Association Chairs: Jim Hopfensperger, Western Michigan University; Nan to the Late Seventies Business Meeting Business Meeting Goggin, University of Illinois at Urbana-Champaign Constance M. Lewallen, University of California Berkeley Washington 3, Exhibition Level Washington 6, Exhibition Level Obedient Numbers, Dictatorial Data: When to Make Analytics Do Your Art Museum and Pacific Film Archive Bidding and When to Sit Back and Listen to What the Numbers are Becoming Robert Colescott in 1970s Oakland Italian Art Society Committee on Diversity Practices Trying to Tell You Matthew Weseley Business Meeting Colin Blakely, University of Arizona Art and Citizenship in Contemporary Social Practice Washington 4, Exhibition Level Coolidge, Mezzanine Level Visualizing Political Prisoners in Third World San Francisco Threshold Concepts: Deep Understanding of Critical Ideas Chairs: Ann H. Albritton, Ringling College of Art and Design; Edith Tatiana Reinoza, University of Texas at Austin Alison Gates, University of Wisconsin-Green Bay; Jennifer Mokren, A. G. Wolfe, Tulane University State University of New York at New Paltz Erina Duganne, Borderland Collective Society of Contemporary Art Historians Collaboration and Culling Data: How Studying Student Engagement Exhibition History as Contemporary Art History Mark Menjivar, Borderland Collective with the Arts on Campus Led to an Unusual Partnership and Hoover, Mezzanine Level Uncovered Important Findings Anthony Romero, Tyler School of Art; Moore College of Art Chair: John Tain, Getty Research Institute Amanda J. Nelson, Virginia Tech Mark Strandquist, Performing Statistics Lynne Cooke, National Gallery of Art Using HEADS Data and NASAD Visitors’ Reports to Leverage Unit-Level Improvements from the College/University Julian Myers-Szupinska, California College of Arts Andrew Graciano, School of Visual Art & Design, University of Glenn Phillips, Getty Research Institute South Carolina

56 college art association February 3 –6, 2016 57 FRIDAY Thu r s da Friday, February 5 Designing Art History Courses: Teaching Local and Thinking Global An African American in Pre-Apartheid South Africa: The Cultural Surface and Significance Nina Murayama, Tamagawa University, Tokyo Biography of a Collection Washington 5, Exhibition Level 9:30 AM–12:00 PM Christa Clarke, Newark Museum Chairs: Lisa Lee, Emory University; Kate Nesin, The Art Institute Discussant: James P. Elkins, School of the Art Institute of Chicago of Chicago The “Bistro Model”: James Johnson Sweeney Redirects Exhibition Modernism and Medicine - Part I Design at the Guggenheim The Flesh of Marble Delaware Suite B, Lobby Level The Study of World Art in Washington DC y,FRIDA M. Alison Reilly, Florida State University Sarah Betzer, University of Virginia Chairs: Gemma Blackshaw, Plymouth University; Allison Morehead, Salon 2, Lobby Level Queen’s University Chairs: M. Elizabeth Cropper, Center for Advanced Study in the Discussant: Jeffrey Abt, Wayne State University; The Adhesive Surface: Rubber, Gypsum, Electricity, and Light Visual Arts, National Gallery of Art; Therese O’Malley, Center for Megan R. Luke, University of Southern California The Surface as Symptom: Medicine, Time, and Toulouse-Lautrec Advanced Studies in the Visual Arts, National Gallery of Art Mary Hunter, McGill University Formalism Before Clement Greenberg—Part I Face/Facies: Alberto Giacometti’s Theory of Sculpture Y Introducing and Studying Islamic Art On and Off the National Mall Maryland Suite, Lobby Level Joanna Fiduccia, University of California, Los Angeles Masculinity, Monstrosity, and the Surgeon’s Art Marianna Shreve Simpson, University of Pennsylvania Chairs: Katherine M. Kuenzli, Wesleyan University; Marnin Young, Anthea Callen, Australian National University Surfaces of Mourning and the Ethics of Vulnerability: Stern College for Women of Yeshiva University The Panamerican City: Ancient American Art in Washington DC, Doris Salcedo’s A Flor de Piel and Plegaria Muda Albert Barnes and the Theory of Discomfort 1914–1964 Schema and Form: Fry, Schäfer, Carpenter, and Schapiro on Löwy Lesley E. Shipley, Kutztown University of Pennsylvania Robin Veder, Pennsylvania State University Joanne Pillsbury, Metropolitan Museum of Art Whitney Davis, University of California, Berkeley Surface Matters: Seeing Medardo Rosso through Erin Shirreff How to Get Modern with Scientific Illustration: Fritz Kahn, Pictured The Formation, Collection and Study of African Art in the Capital City Worlding the Modern: Conceptual Imagery, Formalism, and Sarah Hamill, Oberlin College Knowledge, and the Visual Rhetoric of Modernity, 1916–1950 Steven D. Nelson, University of California, Los Angeles the British Empire Michael Sappol, National Library of Medicine Sam Rose, Peterhouse College, Cambridge University 1906: Freer, Roosevelt, Japan and the Politics of Culture Italian Art Society James Ulak, Freer|Sackler Museum, Smithsonian Institution Bloomsbury Formalism: Secular Spiritualism and the ‘Primitive’ Model Beyond Texts and Academies: Rethinking the Education of the Spool to Spool: Audio Tape as Historical Evidence Elizabeth Berkowitz, The Graduate Center, City University of Early Modern Italian Artist Wilson C, Mezzanine Level How Did Freer and Chinese Art Produce Each Other? New York Washington 1, Exhibition Level Chair: Jane Blocker, University of Minnesota, Minneapolis Eugene Wang, Harvard University Chair: Jesse M. Locker, Portland State University Carl Einstein, African Art, and Cubist Sculpture Nagra or It-will-record: Politics of Synch Sound in Chronicle Nancy Locke, The Pennsylvania State University Li pittori parlano con l’opere: Poetry and Practice in the of a Summer Institutionalizing Socially Engaged Art in the 21st Century Academic Tradition Soyoung Yoon, The New School Salon 1, Lobby Level Discussant: Todd Cronan, Emory University James Lee Hutson, Lindenwood University Chairs: Izabel Galliera, McDaniel College; Sabine M. Eckmann, Audio Cassettes–Their Function as Art Work and Historical Evidence Washington University in St. Louis Imitation and Assimilation: Raphael as Court Artist Anne Thurmann-Jajes, Research Center for Artists’ Publications Mountains and Rivers (without) End: Eco-Art History Kim Butler Wingfield, American University Encountering Cultural Blind Spots in a Socially Engaged Project in East Asia Cassette Tape 1009: David Wilson about Memory Washington 6, Exhibition Level Piero di Cosimo: A Puzzling Case of an Unlearned Artist Creating Claire Daigle, San Francisco Art Institute Karen Frostig, Lesley University and Brandeis University Chair: De-Nin D. Lee, Emerson College Learned Art Sounds of Silence: Dario Robleto and the Transubstantiation of Music Sarah Blake McHam, Rutgers University Red Menaces and Little Monsters: Ultra-red at the Periphery of The Long Landscape Handscroll and Geographies of Empire Jennie Hirsh, Maryland Institute College of Art Institutionalized Social Practice in Song China Ercole Ferrata’s Studio as Rome’s Sculpture School Kyle Lane-McKinley, University of California, Santa Cruz Julia Orell, Academia Sinica Jessica M Boehman, LaGuardia Community College Education Committee Beyond Suitcase City, or How I Found My Social Practice as a Curator Visiting Nankan: Cultural Tourism, Religious Devotion, and Practice and Patronage in the Roman Palace: The Education of Artists Teaching Western and Non-Western Art History: Megan Voeller, University of South Florida Contemporary Restoration Practices at Buddhist Cave Temples in Sichuan, China under Camillo Pamphilj Starting a Global Conversation Art Museum Sonya S. Lee, University of Southern California Lara R. Yeager-Crasselt, Sterling and Francine Clark Art Institute Wilson A, Mezzanine Level Chairs: Aditi Chandra, University of California, Merced; Social Practice in the Classroom: Possibilities and Limitations Fengshui as Ecology: Zhu Xi’s (1130–1200) Cultural Enterprise Leda Cempellin, South Dakota State University Corrina Mehiel, The Art Academy of Cincinnati in the Wuyi Mountains South to North: Latin American Artists in the United States, Yu-chuan Chen, Stanford University 1820s–1890s Mediating the West/Non-West Divide: What is the Significance Discussant: Shannon Jackson, University of California, Berkeley Washington 2, Exhibition Level of Art to Humanity? Old Trees, New Buildings: The Role of Sacred Timbers in Early Ming Chair: Katherine E. Manthorne, City University of New York Kristen L. Chiem, Pepperdine University Imperial Architecture Museum Committee Aurelia Campbell, Boston College South Becomes North: Political Cartoons and the Creation of Teaching Latin American Art and Race in the Global Survey: New Studies in Museum, Gallery, and Exhibition History National Identity during the North American Invasion Deconstructing ‘Western’ and ‘Non-Western’ Art Histories Salon 3, Lobby Level Configuring the Natural World: Changing Perceptions of Nature in Erika Nelson, The Graduate Center, The City University of New York Abigail Lapin Dardashti, The Graduate Center, City University of Chairs: Antoniette M. Guglielmo, Getty Leadership Institute; Joseon Painting at the Turn of the Nineteenth Century New York Anne Manning, Nelson-Atkins Museum of Art Nathaniel Kingdon Ramón Páez and the Depiction of the Wild, Wondrous, and Prodigious Nature of the Llanos A Pedagogical Turn: Shifting Center/Periphery in Qatar’s Art Creating and Dismantling the Pioneering Collection of American Art Re-reading the Imagery of Farming and Weaving of Eighteenth- Anthony P. Mullan, Library of Congress History Curriculum at Smith College Century Korean Genre Painting in the Context of the Little Ice Age Radha J. Dalal, Virginia Commonwealth University, Qatar John H. Davis, Terra Foundation for American Art Sooa Im McCormick, The Cleveland Museum of Art A Hurricane from the North: Francisco Oller’s Portraits of U.S.Politicians Teaching Where It’s At: “Islamic Art” in Cairo Curators and Connoisseurs: Paul Sachs and Museum Training at Edward J. Sullivan, New York University Ellen Kenney, The American University, Cairo Harvard Between the World Wars Andrew L. McClellan, Tufts University Contesting Conventions in an Art History Class—The Pakistani Way Sadia Pasha Kamran, University of the Punjab, Lahore

58 college art association February 3 –6, 2016 59 FRIDAY Rooted in California, but longing for Mexico: Xavier Martinez, Diminution and Discovery: Elemental Landscapes and Painted Association for Critical Race Art History ARTspace an Iterant Artist and his Multiple Worlds Albums in Seventeenth-century Nanjing Art, Race, and Christianity Services to Artists Committee Amy Galpin, San Diego Museum of Art Gregory M. Seiffert, Vassar College Wilson B, Mezzanine Level MetaMentors: Creative Outsourcing/Partnerships: Chairs: Phoebe E. Wolfskill, Indiana University; James Romaine, Making Big Projects Come True Covering to Reveal: Jaime Davidovich and the Expatriate Latin Antagonistic Forces? Geoaesthetics, Materialities, and Art in The Association of Scholars of Christianity in the History of Art Thurgood Marshall Ballroom East/South, Mezzanine Level American Community in 1970s New York South Asian Modernity Chairs: Carissa Carman, Indiana University Bloomington; Aimé Iglesias Lukin Natasha J. Eaton, University College London “Black but Beautiful”: Devotion to the Black Madonna from and Natalie Campbell, Independent Curator Medieval to Modern Conversations Elisa Anne Foster, Brown University Milagros Collective (Felici Asteinza and Joey Fillastre) Gerhard Wolf, Kunsthistorisches Institut in Florenz; Lihong Liu, The Visual Politics of Play: On the Signifying Practices Center for Advanced Study in the Visual Arts, National Gallery Messianic Fulfillments: Staging Salvation in the New World Mary Mattingly, Independent Artist of Digital Games of Art Hayes P. Mauro Washington 3, Exhibition Level Edgar Endress, Floating Lab Collective Chair: Soraya Murray, University of California, Santa Cruz An Anglo-Israelist Monument to Faith: the Ross Sculpture Housework: Contemporary Art and the Domestic Annette Stott, University of Denver School of Art Filmmaking on the Streets of Grand Theft Auto: Phil Solomon Historians of Netherlandish Art Washington 4, Exhibition Level Hava Aldouby, The Open University of Israel Indeterminate Icons: Polysemy and Identity in the Before the Selfie: Promoting the Creative Self in Early Modern Chair: Elyse D. Speaks, University of Notre Dame Christian Iconography of Jean-Michel Basquiat Northern Europe Playable Blackness: Black Masculinity in Grand Theft Auto V Francesca Woodman’s Domestic Arts Chanda L. Carey, University of California, San Diego Delaware Suite A, Lobby Level Derek Conrad Murray, University of California at Santa Cruz Claire Raymond, University of Virginia Chair: Jacquelyn N. Coutre, Agnes Etherington Art Centre, Queen’s Martin Puryear: Identity and Christianity “Dude It’s Just a Game”: Using Critical Discourse Analysis to Examine University Looking Backwards: The Childhood Home in Translady Fanzine Larry M. Taylor the Exclusionary Practices that Lead to the Punishment of Blackness in Anne K. Swartz, Savannah College Of Art Design Bavarian Apelles: Hans Wertinger’s Inserted Self-Portrait from the Video Games Landschut Court of Ludwig X Kishonna L. Gray, Eastern Kentucky University A New Broom Sweeps Clean: Maintenance Labor in Contemporary Catharine Ingersoll, Virginia Military Institute Mexican Art Friday, February 5 Queer Games, Failure, and Inclusivity Jamie L. Ratliff, University of Minnesota Duluth A Tear in Time: Some Cameo Selfies by Caravaggio, Hitchcock, Dietrich Squinkifer, Artist 12:30–2:00 PM and Rembrandt Zarina: Another Kind of Homemaker Rendering Meaning: On the Intersections of Visual Style, Interactivity Nanette Salomon, The College of Staten Island, City University of Sophia Powers, University of California, Los Angeles and Gameplay American Society for Hispanic Art Historical Studies New York John Sharp, Parsons School of Design at The New School The Inseparable Connectivity of It All: Amanda Ross-Ho’s White Business Meeting Rembrandt and Dou: Self-Portraits as Style-Portraits Goddesses and Vintage Macramé Books Washington 5, Exhibition Level H. Perry Chapman, University of Delaware Susan E. Richmond, Georgia State University On the Visual Front: Revisiting World War II and American Art The Brush and The Candle: Nocturnal Viewing in Godefridus Virginia Suite, Lobby Level National Art Education Association Schalcken’s Late Self-Portraits Chairs: John W. Ott, James Madison University; Melissa Renn, Business Meeting The Mystery of Masonry Brought to Light: Freemasonry and Art Nicole Elizabeth Cook, University of Delaware Harvard Business School Hoover, Mezzanine Level from the Eighteenth Century until Now War Rooms and the Question of Mediation Delaware Suite A, Lobby Level Association of Historians of American Art Olga Touloumi Chair: Reva J. Wolf, State University of New York at New Paltz Society of Historians of East European, Eurasian, and Russian Art and Architecture Claiming the Unknown, the Forgotten, the Fallen, the Lost, Targeting Asianness in World War II: Military Manuals, Visual Markers, Peter Pelham, Freemasonry and the Alchemical Cunning of John Business Meeting and the Dispossessed and Racial Fictions Singleton Copley Off-Site: CW Post Center, Hillwood Museum, Salon 1, Lobby Level Jason D. Weems, University of California, Riverside David V. Bjelajac, George Washington University 4155 Linnean Avenue, NW Chair: Robert Cozzolino, The Pennsylvania Academy of the Fine Arts Art and Race in Arizona: The 1943 Exhibition of Negro Art at Building Codes: New Light on F.*. Baron Taylor and Les Voyages Fort Huachuca pittoresques et romantiques dans l’ancienne France Coalition of Women in the Arts Organization Expanding Instructional Resources: Toward an Inclusive Betsy Fahlman, Arizona State University Alisa L. Luxenberg, University of Georgia Technology and Women Artists American Art Survey Sarah Beetham, The Pennsylvania Academy of the Fine Arts Georgia O’Keeffe’s Black Place Reveil de l’Iran: Freemasonry and Artistic Revivalism from Parsi Coolidge, Mezzanine Level Sascha T. Scott, Syracuse University Bombay to Qajar Tehran Chair: Kyra Belan, Broward College Notes from New York: Names, Networks and Connectors in Art History Talinn Grigor, University of California, Davis Susan Greenberg Fisher, The Renee and Chaim Gross Foundation ‘Operation Crossroads’: American Abstraction in the Atomic Age Making Visible: Political Mappings by Laura Kurgan, Jody Patterson, Plymouth University “To Consummate the Plan”: Solomon’s Temple in American Masonic Carol LaFayette, and Amy Balkin At the Margins: The Art of Josephine Tota Art, Architecture, and Popular Culture, 1865–1930 Susanneh Bieber, Texas A&M University Jessica Marten, Memorial Art Gallery of the University of Rochester Discussant: Melissa Renn, Harvard Business School William D. Moore, Boston University The Digital and Social of Net.Art Integrating Disruption: Acquiring the Philip J. and Suzanne Schiller What If Pombal, Goya and Lorca Were Freemasons? New Perspectives Carrie Ida Edinger, Independent Scholar Collection of American Social Commentary Art, 1930–1970 Geoaesthetics in Early Modern and Colonial Worlds on the Masonic and Philo-masonic Presence in Portugal and Spain M. Melissa Wolfe, St. Louis Art Museum Hoover, Mezzanine Level Integrating 3D Software In Fine Art David Martín López, University of Granada Chairs: Sugata Ray, University of California, Berkeley; Hannah Lauren Carr, Montclair State University Baader, Kunsthistorisches Institut in Florenz, Max-Planck-Institut Discussant: Aimee E. Newell, Scottish Rite Masonic Museum Transformation to Thinspiration: Female Body Size, Art, and Library Sirens: Riding the Wave of Geoaesthetic Exchange in Early and the Internet Modern Africa Emily L. Newman, Texas A&M University Suzanne Preston Blier, Harvard University

60 college art association February 3 –6, 2016 61 FRIDAY American Society for Eighteenth-Century Studies Visual Culture Caucus Italian Art Society Friday, February 5 Eros & Enlightenment Changing American Landscape Rethinking the Rhetoric and Force of Images 2:30–5:00 PM Washington 2, Exhibition Level Washington 4, Exhibition Level Maryland Suite, Lobby Level Chairs: Nina Dubin, University of Illinois at Chicago; Hérica Chair: Kristen Oehlrich, Williams College Chairs: Robert J. Williams, University of California, Santa Barbara; Valladares, University of North Carolina, Chapel Hill Anna Marazuela Kim, The Courtauld Institute of Art ARTspace A New World: William Bartram in the East Florida Colony Annual Distinguished Artists’ Interviews Painting of Love as Ideology of Harmony The Evidence of Images Elizabeth Athens, Worcester Art Museum Thurgood Marshall Ballroom East/South, Mezzanine Level Susanna Caviglia, University of Chicago Klaus Krüger, Freie Universität Berlin Charles Bierstadt: Capitalizing the American Landscape Joyce Scott will be interviewed by George Ciscle, Maryland Centralizing Love: Eros and Politics in the Oikéma of “Truth” and Presence: The Power of Portraits in Renaissance Italy Alex Leme, University of Wisconsin, Madison Institute College of Art. Rick Lowe will be interviewed by Claude-Nicolas Ledoux Jeanette Kohl, University of California, Riverside Seeds of Discontent: Cultivating Politics in the American Garden LaToya Ruby Frazier, Independent Artist and The School of Paul Holmquist, Carleton University Kristen Oehlrich, Williams College The Phenomenology of the Mural the Art Institute, Chicago. Eros amongst Eagles: Iconographies of Alliance in Napoleonic France Marius Bratsberg Hauknes, The Johns Hopkins University Camille Mathieu, University of Oxford and St. John’s College Women’s Caucus for Art Why Phenomenology Matters: Edmund Husserl’s “Phantasy, Discussant: Mary Sheriff, University of North Carolina Critical Contact: Non-Traditional and Multicultural Mentoring Image-Consciousness, and Memory” Association for Latin American Art through Art-Making Nicola Suthor, Yale University New Geographies of Abstract Art in Postwar Latin America Salon 2, Lobby Level Washington 1, Exhibition Level CAA Task Force on Advocacy Chairs: Brenda R. Oelbaum; Molly Marie Nuzzo, Chairs: Mariola V. Alvarez, Colby College; Ana M. Franco, #CAAadvocacy Student and Emerging Professionals Committee Montgomery College Universidad de los Andes, Bogotá Harding, Mezzanine Level Mentoring in the 21st Century Chairs: Sandra L. Esslinger, Mt. San Antonio College; Amy Hamlin, Who Gets to Be An Artist? Washington 3, Exhibition Level Carlos Mérida›s Cold War Abstraction St. Catherine University; Karen J. Leader, Florida Atlantic University Robin Meyer, Montgomery College Chairs: Megan Koza Young, Arts Council of New Orleans; Jennifer Josten, Yale University Brittany Lockard, Wichita State University Kimberly Creasap, Colgate University Public Lifescapes: Gonzalo Fonseca’s Designs for Life and Play International Committee (1964–1969) Dorene Quinn, Syracuse University Exile Maria-Laura Steverlynck Wilson A, Mezzanine Level Yvonne Buchanan, Syracuse University Friday, February 5 Fighting for the Abstract: Manuel de la Cruz González and Geometric Chairs: Jennifer S. Griffiths, American Academy in Rome; Valérie 12:30–2:00 PM Abstraction in Costa Rica Rousseau, American Folk Art Museum American Council for Southern Asian Art Lauran Vanessa Bonilla-Merchav How Can Art Fight Back? Refugee artists and the Ukrainian Crisis New Developments in the Study of Southeast Asian Art “Con los ojos de sus pechos ella lo observa”: Zilia Sánchez’s Nazar Kozak, Ethnology Institute, National Academy of Sciences Washington 1, Exhibition Level POSTER SESSIONS Mural in Cement of Ukraine Chair: Melody N. Rod-ari, Loyola Marymount University Thurgood Marshall Ballroom Foyer, Mezzanine Level Abigail J. McEwen, University of Maryland Camouflaging Identity: György Kepes’ Endeavor to Conceal the Self Koh Ker: The City of Linga during the Reign of King Jayavarman IV Poster sessions are informal presentations for small groups Vontade Construtiva: Latin America’s Sensitive Geometry Márton Orosz, Vasarely Museum and Budapest Museum of Chen Chanratana, University of Cambodia displayed on poster boards by an individual. The poster Camila Maroja, Brown University Fine Arts display is usually a mixture of a brief narrative paper Painting Place in the Buddhist Murals of Northern Thailand intermixed with illustrations, tables or graphs, and other The Art of Mira Schendel: Unbelonging Displacement and its Rebecca S. Hall, Virginia Commonwealth University presentation materials. With a few concisely written areas Different Approaches UnAmerican Art ArtJog: The Rise of a New Art Public in Yogyakarta, Indonesia of focus, the poster display communicates the essence of Ana Mannarino, Federal University of Rio de Janeiro Salon 1, Lobby Level Katherine L. Bruhn, University of California, Berkeley the presenter’s research, synthesizing its main ideas and Chairs: Julia Bryan-Wilson, University of California, Berkeley; The Unlived Past in the 1920s Works of Russian Émigré research directions. Poster displays will be on view for Richard E. Meyer, Stanford University Artist Grigory Musatov the duration of the conference, beginning on Thursday Exhibitor Session: Golden Artists Colors, Inc. Daria Kostina, Ural Federal University morning. On Thursday and Friday, from 12:30 to 2:00 PM, Charles Wilbert White and the Lure of Socialist Realism in Pigments in a Bind(er) presenters will be available at the Poster area. Cold War America Virginia Suite, Lobby Level Julia Tatiana Bailey, Tate Modern Art Libraries Society of North America and the Committee on Chair: Sarah Sands, Golden Artist Colors Portfolio Exchange Intellectual Property Jeanette W. Hickl, Virginia Commonwealth University Indian/Vampire: Fritz Scholder between the US Information Agency Putting the Fair Use Code to Work: Case Studies from Year One and the American Indian Movement Association of Print Scholars Aggressive Drawing: A Figurative Foundation Delaware Suite B, Lobby Level Jessica Horton, University of Delaware The Art of Collecting Michael Mosher, Saginaw Valley State University Chair: Judy Metro, National Gallery of Art Washington 6, Exhibition Level Celluloid Sociology: Counter-Cultural Behaviours in Marta Minujín’s Figuring the World, Art, and the Diagram Chairs: Freyda Spira, The Metropolitan Museum of Art; US Happenings Jo Stockham, Royal College of Art Elizabeth M. Rudy, Harvard Art Museums Catherine Elizabeth Spencer, University of St. Andrews The Overflow of Affect in Esoteric Programming A Study in Contrast: Dürer Impressions at the Albertina and Pedagogical Subversion Daniel Temkin, International Center of Photography at the The Metropolitan Museum of Art Allan Antliff, University of Victoria Angela Campbell Contested Spaces of the Medical Body in the Islamic Art World The Romance of Reparation: The Founding Collection of the UCLA Alan Weber, Weill Cornell Medical College in Qatar; Grunwald Center for the Graphic Arts at the Hammer Museum and Thomas Himsworth, Virginia Commonwealth Leslie Cozzi, UCLA Grunwald Center for the Graphic Arts at the University in Qatar Hammer Museum From Marketplace to Museum: Carl Zigrosser as Curator Innis H. Shoemaker

62 college art association February 3 –6, 2016 63 FRIDAY Association of Historians of American Art Blurring Boundaries: Mikhail Vrubel’s Decorative Turn and the Rise of Representing the Profusion of Representation: Illustrated Magazine Historians of Eighteenth-Century Art and Architecture Art and Invention in the U.S. Russian Modernism Page-Design and the Scrap-Book Paradigm: London and Paris Pastel: The Moment of a Medium in the Eighteenth Century Washington 3, Exhibition Level Maria Taroutina, Yale-NUS College ca. 1860–ca. 1900 Washington 6, Exhibition Level Chairs: Ellery E. Foutch, Middlebury College; Hélène Valance, Tom Gretton, University College London Chairs: Iris J. Moon, Pratt Institute; Esther Bell, Fine Arts Museums Insisting on Difference: Ukrainian Artists in Perestroika Moscow Université de Franche-Comté of San Francisco Olena Martynyuk, Rutgers University The Print Album and Privacy in Fin-de-Siècle Paris Combustible Creativity: Image, Imagination, and the Work of Britany Salsbury, Museum of Art, Rhode Island School of Design Pastel (and Other) Portraits Chez Mme Doublet Robert Fulton Rochelle N. Ziskin, University of Missouri Kansas City The Explicit Material: On the Intersections of Cultures ‘Take my lens… See that it is always slightly out of focus.’: Elizabeth Bacon Eager, Harvard University of Curation and Conservation Julia Margaret Cameron’s Legacy in Vanessa Bell and Virginia Woolf’s Painting in Crayons: Pastel as an Artists’ Medium in the Cultural and Capturing “Jove’s Autograph”: Electrical Agency in Late Coolidge, Mezzanine Level Matrilineal Historiographies Commercial Context of the 18th Century Nineteenth-Century Lightning Photography Chairs: Hanna Barbara Hölling, Max Planck Institute for the History Hana Leaper, Paul Mellon Centre for British Art Marjorie Shelley, Metropolitan Museum of Art Laura Turner Igoe, Winterthur Museum & Library of Science Berlin; Francesca G. Bewer, Harvard Art Museums Noel B. Livingston’s Gallery of Illustrious Jamaicans Face Time: Permanence and Pastel Portraiture Facsimile Technology and the Historiography of Failure “Thinking about Thingyness:” The Intersection of Creating Gillian Forrester, Yale Center for British Art Oliver Wunsch, Department of History of Art, Harvard University Miri Kim, Princeton University and Conserving Rachel Rivenc, Getty Conservation Institute; Anya S. Gallaccio, The First Non-Human Action Artist: Charlotte Moorman and An Art History of the Archive?—Part I Picturing Black Power in American Visual Culture University of California, San Diego Nam June Paik in Robot Opera Delaware Suite A, Lobby Level Maryland Suite, Lobby Level Sophie Landres, Stony Brook University The “Compositiones Variae:” An Early Medieval Artisanal Recipe Chairs: Dana Leibsohn, Smith College; Aaron M. Hyman, University Chair: Jo-Ann Morgan, Western Illinois University Collection, Reconsidered of California, Berkeley Interrogating Invention: Electronic Café and the Politics of Technology Styling and Signifying: How Emory Douglas and other Black Artists’ Thea Burns, Independent Scholar Cary Levine, University of North Carolina, Chapel Hill The Archives of Ancient Art Work Spread Liberation Ideology Through Fashion and Style Self-Destructive Photographs: The Image at the Material Limit Nathaniel Jones, Washington University of St. Louis Colette Gaiter, University of Delaware Allison Pappas, The Museum of Fine Arts, Houston Female Piety and Visual Culture in the Late Medieval Secrets Not Revealed: The Making of Lorenzo Boturini’s Posters as Social Media of the Black Power Movement and Early Modern Hispanic World A Cinematic Pedestal for a Monumental Art Collection: The Louvre in Mesoamerican Archive Claiborne B. Beall, Beall Appraisal Service, LLC Hoover, Mezzanine Level Mid-Twentieth Century Art Documentaries Alexander Hidalgo, Texas Christian University HUMOR in HUE: Cartoons as Satire in Black World Magazine during the Chairs: Cristina C. González, Oklahoma State University Birgit Cleppe, Ghent University Architecture, the Osage, and the Archive: Material Holdings, Black Arts Movement, 1970–1976 Garments of the Passion: Nuns’ Habits and Sacred Authority in Would You Like That With or Without Mayo?: How Interdisciplinary Mechanisms of Power, and Immersion in the “Real” Nathaniel Frederick, Winthrop University Colonial Lima Collaboration Slows the Spread of Popular Misconceptions in Modern Janet B. Hess The Black Arts Movement and its Impact on the Curriculum—Howard Tanya J. Tiffany, University of Wisconsin, Milwaukee Art Scholarship The Archival Indeterminacies of Nam June Paik’s Etude University Department of Art/A Case Study Dawn V. Rogala, Smithsonian Institution Queen of the Convent: Exemplars of Female Piety from Arequipa Gregory Zinman, Georgia Institute of Technology Teresia Bush, Howard University and Beyond Re-working Time: Ballroom’s Iterative Archive Afro Modern: Natural Hair Photography, 1965–2015 Kathryn Santner, University of Cambridge, St. John’s College Singing LeWitt: Sound and Conceptualism Carolyn Trench, University of Pennsylvania Jasmine Nichole Cobb, Duke University Delaware Suite B, Lobby Level The Virgin Lactans in Colonial Lima: Maternal and Chair: Seth G. Kim-Cohen, School of the Art Institute of Chicago Spiritual Role Model Contemporary Art in Historic Settings International Committee Christa Irwin, Marywood University Trisha Donnelly’s Refusals Wilson C, Mezzanine Level Going Beyond: Art as Adventure Infernal Patrons, Hellish Critics: Art and Truth in Baroque Madrid Elisa Schaar, Ruskin School of Art, Oxford University Chair: Ronit Milano, Ben-Gurion University of the Negev Salon 3, Lobby Level Adam Michal Jasienski, Harvard University Chair: Rosemary M. O’Neill, Parsons - The New School Sonic Area Studies: Charles Olson, the OWI and Folkways Joseph Marioni at the Kolumba Museum Reconciling Piety and Politics: Isabel Clara Eugenia and the Art of Lytle Shaw, New York University Renata Camargo Sá, Universidade Federal Fluminense, Brazil Vasily Vereshchagin: The Russian Orientalist in India Peter Paul Rubens, 1621–1633 Savita Kumari, National Museum Institute, New Delhi Threshold Shift: Two Case Studies in Activist Sound Striking Currency and Minds: Paul McCarthy at La Monnaie de Paris Niria E. Leyva-Gutierrez, Long Island University Christopher DeLaurenti, College of William & Mary Morgan Labar, Université Paris 1 Panthéon-Sorbonne Digging Historical Narratives from the Global Surface— Discussant: James M. Cordova, University of Colorado at Boulder Allan Sekula’s Fish Story ‘IDEAS MATTER’: Žižek Sings Pussy Riot Curating Life: Using bio-art in medical history museums to launch a Sunhee Jang, University of Illinois at Urbana-Champaign G. Douglas Barrett, Independent Scholar debate on bioethics Society of Historians of East European, Eurasian, and Russian Art Ingeborg Reichle, Humboldt University Berlin Revealing Alternative Narratives Through Participatory and Architecture Art Experiences Association of Historians of Nineteenth-Century Art A-Historical Soundings: contemporary art and the past in some of Exploring Native Traditions in the Arts of Eastern Europe James P. Werner, California Polytechnic State University Between the Covers: The Question of Albums in the Nineteenth Harald Szeemann’s exhibitions, 1988–1999 and Russia—Part II Century—Part I Pietro Rigolo, The Getty Research Institute, Los Angeles FormLAB: Intercultural Discourse and Experimentation in Off-Site: CW Post Center, Hillwood Museum, Washington 4, Exhibition Level Geographically Dispersed Exhibitions 4155 Linnean Avenue, NW The Intersections Series at The Phillips Collection Chair: Marilyn S. Kushner, New-York Historical Society Les Joynes, Birmingham City University Chair: Alison L. Hilton, Georgetown University Vesela Sretenovic, The Phillips Collection In Good Faith: Auguste Salzmann’s Jérusalem Albums of 1856 Pierre Huyghe’s No-Knowledge Zones Monuments and Monumentality: Constructing National Identity Anjuli J. Leibowitz, Boston University and The Metropolitan Amelia Barikin, The University of Queensland in St Petersburg ca. 1780–1835 Museum of Art Trenton Olsen, Ohio State University Hybrid-Traditions: An Encounter in Slavic Occidentalism Allison Leigh, The Cooper Union

64 college art association February 3 –6, 2016 65 FRIDAY Unmapped Routes: Photography’s Global Networks Modes of Architectural Translation: Objects and Acts Foundations in Art: Theory and Education Art for Spooks of Exchange Washington 5, Exhibition Level Controversy, Censorship, and Conundrums: Finding Claudia Costa Pederson, Wichita State University; Nicholas Knouf, Washington 2, Exhibition Level Chairs: Jeffrey Saletnik, Indiana University; Karen Koehler, Connections in Teaching Wellesley College Chairs: Giulia Paoletti, Columbia University; Beth Saunders, Hampshire College Washington 2, Exhibition Level Assemblage and Décollage in Virtual Public Space Metropolitan Museum of Art Chairs: Naomi J. Falk, St. Lawrence University; Ruth Stanford, Pilgrimage Manuscripts and the Materiality of Architectural Will Pappemheimer, Pace University; Tamiko Thiel, Georgia State University Pictorialism in Doubt: Landscape, Art Photography and Translation from Jerusalem to Medieval Europe Independent Artist Mass Media in 1920s Korea Kathryn Blair Moore, Texas State University, San Marcos The Verge: Giving Students a Voice Through Socially Engaged Art AR, Alaska and Augmenting the Circumpolar Hye-ri Oh Meredith Starr, Suffolk County Community College Vernacular Vignola Nathan Shafer, Independent Artist; Patrick M. Lichty, American The Surface of Things in Swahili Coast Studio Photography, Carolina Mangone, Princeton University Digital Literacy and Controversial Art University of Sharjah circa 1890–1970 Pamela Harris, University of North Texas at Dallas Drawing Plans Together: The Administration of 19th-century Prita Sandy Meier, Cornell University Plans of Paris Risk, Failure and Play: Teaching and Learning in a Collaborative, Association for Latin American Art Asymmetrical Transmissions: Mapping the Global Circulation of Min Kyung Lee, College of the Holy Cross Student-Centered Core Emerging Scholars of Latin American Art Modernist Photography in Illustrated Magazines, 1927–37 Lauren A. Kalman; Derek Coté; and Daniel McCafferty, Washington 1, Exhibition Level “Nothing is transmissible but thought”: Le Corbusier’s Radiant Paul W. Ricketts Wayne State University Chair: Maya S. Stanfield-Mazzi, University of Florida Farm Made Real Casting off the Original: Subjectivity and semblance in photographs Michelle Millar Fisher, Graduate Center, CUNY Our Lady of Copacabana in Early Colonial Lima: Investigating an and life casts from the Jesup Expedition European Postwar and Contemporary Art Forum Indigenous Confraternity’s Statue of the Virgin “Aktion 507”: Translating the Politics of Architecture into an Exhibition Deborah Poole, Johns Hopkins University Publishing in European Postwar and Contemporary Art: New Ximena Alexandra Gomez, University of Michigan Florian Kossak, University of Sheffield Prospects in Research and Translation Looking for the “Modern Woman Artist”: The French Example Discussant: Paul B. Jaskot, DePaul University Washington 5, Exhibition Level and its Reception in Fin-de-Siècle Buenos Aires Chair: Stephanie C. Jeanjean, Pace University National Endowment for the Humanities Georgina G. Gluzman, Universidad de San Andrés Past, Present, and Future: NEH at 50 Rewriting the Arts in France since 1945 Lights and Shadows in the Hinterlands: Ethnographic Endeavors of Salon 2, Lobby Level Friday, February 5 Catherine Dossin, Purdue University Free and open to the public Grete Stern and Bárbara Brändli in 1960s Argentina and Venezuela Chairs: Carol T. Peters, National Endowment for the 5:30–7:00 PM « If you can remember anything from the sixties, Michel Otayek, New York University Humanities; Stefanie Walker, National Endowment for the you weren’t really there » Emmanuel Guy, The New School, Parsons, Paris Humanities Art Historians Interested in Pedagogy and Technology Dorothy Kosinski, National Council on the Humanities Business Meeting Rediscovering the Sociological Art Collective Friday, February 5 Delaware Suite A, Lobby Level Maud Jacquin, Independent Curator; Stephanie C. Jeanjean, 5:30–7:30 PM Patricia A. Johnston, College of the Holy Cross Pace University Pauline A Saliga, Society of Architectural Historians Arts Council of the African Studies Association ARTexchange David Silverman, University of Pennsylvania Business Meeting Midwest Art History Society Atrium, Exhibition Level Delaware Suite B, Lobby Level Icons of the Midwest: Archibald Motley, Jr. Free and open to the public; a cash bar will be available Debra Hess Norris, University of Delaware Wilson B, Mezzanine Level Chairs: Mark B. Pohlad, DePaul University; Amy Mooney, Association of Historians of Nineteenth-Century Art Columbia College Chicago Business Meeting Saturday, February 6 Forming Letters: New Research in Renaissance Calligraphy Wilson A, Mezzanine Level Amy Mooney, Columbia College, Chicago and Epigraphy 7:30–9:00 AM Wilson B, Mezzanine Level Romi Crawford, School of the Art Institute of Chicago Association of Print Scholars Chair: Debra Pincus, Independent Scholar Phoebe E. Wolfskill, University of Indiana Mid-America College Art Association Business Meeting Business Meeting From ‘New’ to ‘Old’: Poggio Bracciolini’s Role in the Calligraphic Washington 6, Exhibition Level Jerma A. Jackson, University of North Carolina, Chapel Hill Hoover, Mezzanine Level Revolution of the Early Renaissance Roberta Ricci, Bryn Mawr College Historians of Netherlandish Art New Media Caucus The Visual Acuity of Poggio Bracciolini and Niccolo’ Niccoli Business Meeting Augmented Reality—Invention/Reinvention Philippa Sissis, Universitaet Hamburg Maryland Suite, Lobby Level Washington 4, Exhibition Level Poggio’s Epitaph and the Emergence of the Classical Roman Chair: Renate Ferro, Cornell University Capital in the Quattrocento Public Art Dialogue Introduction Paul Shaw, Parsons School of Design Public Art: Process and Practice—A Roundtable with Renate Ferro, Cornell University Kirk E. Savage The Touch of the Artist: Niccolo’ dell’Arca’s Signature Living on the border between online and offline: exploring augmented Salon 1, Lobby Level on the Dead Christ reality and artificial life in the cultural setting of SE Asia Chairs: Cameron Cartiere, Emily Carr University of Art + Design; David Boffa, Beloit College Jane Prophet, School of Creative Media at City University, Jennifer Wingate, St. Francis College Portable Monuments: Pope Julius II and his Medallic Epigraphy Hong Kong James Fishburne, University of California, Los Angeles Kirk E. Savage, University of Pittsburgh Discussant: William Stenhouse, Yeshiva University Thomas Luebke, U.S. Commission of Fine Arts Lucy Kempf, National Capital Planning Commission

66 college art association February 3 –6, 2016 67 Saturday Saturday, February 6 Mental Illness and Physical Deformation as Metaphor: Wifredo Lam Taking Stock: Early Modern Art Now “Say Thanks to Mr. Brezhnev!” Soviet Sojourns by Ethiopian Artists and the Surrealist Appropriation of Medical Illustration Salon 1, Lobby Level in the 1970s and 1980s 9:30 AM–12:00 PM Claude R. Cernuschi, Boston College Chairs: Hanneke Grootenboer, University of Oxford; Amy Knight Kate Cowcher, Stanford University Powell, University of California, Irvine ARTspace Process and Function at the New Bauhaus in Chicago: Concepts of The Monumental Gifts from North Korea The Paleontology of Print Services to Artists Committee Modernism and the Development of Therapeutic Art Practices Onejoon Che, Artist; Jaeyong Park, Curator Imogen Wiltshire, University of Birmingham Susan Dackerman, Getty Research Institute Simultaneous Roundtables: Arts Tune-Up Discussant: Christina Kiaer, Northwestern University Thurgood Marshall Ballroom East/South, Mezzanine Level Patterns of Attention: Early Modern Art and the Potential American Council for Southern Asian Art Deceleration of Looking Smithsonian Artist Research Fellow Roundtable Forum Discussion: Rethinking Online Pedagogies Looking Askance at ‘Himalayan Art’ Itay Sapir, Université du Québec à Montréal Leader: Jane Milosch, Provenance Research Initiative at the for Art History Washington 1, Exhibition Level Smithsonian Institution Global Encounters Then and Now Wilson A, Mezzanine Level Chair: Nachiket Chanchani, University of Michigan Participants: Annet Couwenberg, Maryland Institute College of Art; Claudia Swan, Northwestern University Chairs: Anne L. McClanan, Portland State University; Lynne R. Parenti, National Museum of Natural History, Smithsonian How Himalayan was ‘Himalayan Art'? Exploring the Case of Virginia G. Hall, Johns Hopkins University The Subject of History in the “Figures de différents caractères” Institution; Barbara Stauffer, National Museum of Natural History, Ancient Kashmir after Watteau The Language of Art History: Building Students’ Fluency through Smithsonian Institution; Jocelyn Chateauvert, Independent Artist Shonaleeka Kaul, University of Delhi, India Washington Project for the Arts Roundtable Marika T. Knowles, Harvard Society of Fellows Digital Tools Stretched to Fit: Commentary and Case Study on the Utility Alicia Wilcox Walker Leader: Samantha May, Washington Project for the Arts Hugo van der Goes and the Slip of Sin of the Term ‘Himalayan Art’ Greater Baltimore Cultural Alliance Roundtable Shira Brisman, University of Wisconsin-Madison Closing the Loop with ArtHistoryTeachingResources.org Robert Linrothe, Northwestern University Leaders: Jeannie Howe, Greater Baltimore Cultural Alliance; Virginia B. Spivey; Parme P. Giuntini, Otis College Lauren Saunders, Greater Baltimore Cultural Alliance Porous Boundaries: Moving Beyond the Geography of a of Art and Design Copy That: Painted Replicas and Repetitions before the Provisions Library: Arts for Social Change Roundtable Nepalese Manuscript Age of Appropriation Collaborative Learning within the LMS Leader: Donald Russell, Provisions Library Neeraja Poddar, Philadelphia Museum of Art Washington Area Lawyers for the Arts Roundtable Delaware Suite A, Lobby Level Thomas Harbison What’s “Himalayan” about the Art of Nepal?: Liminal Spaces of Chair: Valerie L. Hellstein, The Willem de Kooning Foundation Leader: John D. Mason, Washington Area Lawyers for the Arts Flip the Flip: Student Authored Lecture Replacement for Online, Cultural Production and Consumption The Contemporary (Grit Fund) Roundtable Copying the Sacredness: A Case Study of the Portrait of Christ by Hybrid and Traditional Classrooms Dina Bangdel, Virginia Commonwealth University in Qatar Leaders: Deana Haggag and Lu Zhang, The Contemporary Jan van Eyck Walter J. Meyer, Santa Monica College Nagarjuna Interrogates the Asian: The Category ‘Himalayan’ in Miyako Sugiyama, Ghent University Going Medieval: An On-site Seminar’s Experiential Approach to Museum Practice Montage before the Historical Avant-Garde: Photography The Demand for Death: Benjamin West and General Wolfe Website Design Jeffrey Durham, Asian Art Museum of San Francisco in the Long Nineteenth Century Tessa Fleming, Santa Margarita Catholic High School Kathryn Starkey Washington 5, Exhibition Level Rosetti and the Replica Electronic Portfolio Projects in the Art History Survey Chair: Matthew Nicholas Biro, University of Michigan American Society for Hispanic Art Historical Studies Margaretta S. Frederick, Delaware Art Museum Shalon D. Parker, Gonzaga University Nadar’s Signatures: Montage, Caricature, Publicity Polychrome Sculpture in Iberia and the Americas, 1200–1800 Jillian Taylor Lerner, University of British Columbia Virginia Suite, Lobby Level “Who Will Paint New York?” (Again): Georgia O’Keeffe’s City Night Teaching Art History Online with Omeka and Neatline Chair: Ilenia Colón Mendoza, School of Visual Arts & Design, Jonathan F. Walz, Sheldon Museum of Art Nicole Riesenberger Harvard’s Composite ‘Class’ Pictures University of Central Florida Kris K. Belden-Adams, University of Mississippi Discussant: Marian H. Feldman, Johns Hopkins University More than Wood: Sculpture and the Inquisition in Early Seventeenth- Building an Alternative Modernity: Artistic Exchange between Pulling Apart the Picture: The Making and Unmaking of Century New Spain Postwar Socialist Nations Algorithmic Pollution: Artists Working with Data, Henry Peach Robinson’s A Holiday in the Wood Brett Lazer, New York University Washington 6, Exhibition Level Surveillance, and Landscape Emily M. Talbot, University of Michigan Chair: Vivian Li, Worcester Art Museum Visualizing the Paragone in Francisco de Zurbarán’s Crucifixion Washington 3, Exhibition Level Montage and Multiples in Hannah Maynard’s Self-Portraits with a Painter Mobility and Connection: Socialist Art and Its Transnational Chairs: Lisa Moren, University of Maryland, Baltimore County; Monique Johnson Lisandra Estevez, Winston-Salem State University Network in East Asia Ingrid Bachmann, Concordia University Young Ji Lee, Duke University Five Cent Fantasies: Surrealist Experimentation in Early Illustrated No Human Brushes Could Have Imitated It The Algorithmic Pollution of Public and Private Space: A 30 year artist’s Song Slides Pablo F. Amador Marrero, Insituto de Investigaciones Esteticas-U. Exhibiting Contemporary Foreign Art at The State Pushkin Museum inquiry into the implications of our sensed environment Elizabeth A. Carlson, Lawrence University Autonoma de Mexico; Patricia Diaz Cayeros, Instituto de of Fine Arts in Moscow during the 1950s David Rokeby, Ontario College of Art and Design University Investigaciones Esteticas-U. Autonoma de Mexico Maria Mileeva, Courtauld Institute of Art Data into Art: Still Searching for the Technological Sublime Modernism and Medicine—Part II The Sevillian Misterios of Luis Antonio de los Arcos and Luisa Roldán: Between Two Easts: Albania, the USSR, China, and the Ontology of a Tiffany Holmes, School of the Art Institute of Chicago Wilson C, Mezzanine Level Moving Theatres Transnational Socialist Reality in Postwar Albanian Visual Art Direct Experience, Once Removed: Unconcealing the Chairs: Gemma Blackshaw, Plymouth University; Allison Morehead, Cathy Hall-van den Elsen, Independent Scholar Raino Isto, University of Maryland, College Park Queen’s University Environmental Interface Ut Sculptura Poesis: The Virgen de los Remedios as Image in Literary Jason Hoelscher, Georgia Southern University “Old Age Always Comes Too Quickly”: Sculptures of the Elderly Female Sources from Francisco de Florencia in the 17th Century to Carrillo y Media Narcissism and the Production of Authenticity Body in Fin-de-Siècle France Perez in the 18th Century. Dana Dal Bo, Artist Natasha Ruiz-Gomez, University of Essex Luis Javier Cuesta Hernandez, Universidad Iberoamericana, Mexico The Habsburg Asylum and Visual Imagery: Exposure and Transparency Leslie E. Topp

68 college art association February 3 –6, 2016 69 Saturday From Wood Type to Wheat Paste: Posters and American Philistinism and the Financial Industry: Visual Culture of the Saturday, February 6 Chinese American Museum: From Localized Histories to Visual Culture City of London Global Approaches 12:30–2:00 PM Washington 2, Exhibition Level Laura Kalba, Smith College Steven Wong, Chinese American Museum in Los Angeles Chair: Austin L. Porter, Kenyon College L’Esthétique Anglaise: The Belgian Avant-Garde and British Art Building a Cultural Laboratory: the Smithsonian Asian-Latino Association of Historians of Nineteenth-Century Art ‘Ladies and Gentleman, Permit me to introduce to you a Congress Alison R.W. Hokanson, The Metropolitan Museum of Art Project and New Models of Cross-Cultural Exhibition and Education Future Directions in Nineteenth-Century Art History of Rough Riders of the World!’ Lawrence-Minh Bùi Davis, Smithsonian Asian Pacific Salon 1, Lobby Level Stephanie Fox Knappe, Nelson-Atkins Museum of Art American Center Closing in on “The Wall”: The Vietnam Veterans Memorial Chair: Sarah Betzer, University of Virginia Posters in Motion at Thirty-Five Still Life and the Plane of Death: Théodore Géricault’s Dead Cat Jennifer A. Greenhill, University of Southern California Washington 4, Exhibition Level Radical Art Caucus Izabel Gass, Yale University Chair: Kim S. Theriault, Dominican University Old Country in the New Country: Exhibitions, Museums, Food (and Art) Will Win the War: United States Food Administration Etching Paris in the Second Empire and Early Third Republic and Early Twentieth-Century American Immigration WWI Posters Staking a Claim: The Ownership of Trauma and the Vietnam Ashley Dunn, Northwestern University Virginia Suite, Lobby Level Erika Schneider, Framingham State University Veterans Memorial Chairs: Heidi A. Cook, Truman State University; Diana Greenwold, Annalise Flynn, School of the Art Institute of Chicago Mass Media: Newspapers, Objects, and the Paintings of Posters for Public Health: WPA Posters and National Dialogues University of California, Berkeley William Harnett about Health Care Earth as Means and Metaphor in Maya Lin’s Vietnam Nika Elder, University of Florida Joy in Labor: The Material Culture and Performance of the Dori Griffin, Ohio University Veterans Memorial “Homelands” in Rochester, New York Sabrina DeTurk, Zayad University Seeing Direction: Pointing the Way to the Social in American Posters A. Joan Saab, University of Rochester Linda Nochlin: Passionate Scholar Michael J. Golec, The School of the Art Institute of Chicago Examining Context: American Soldiers’ Personal Snapshots and the Salon 2, Lobby Level Crafting Americans: Visual Depictions of Immigrant Craftsmanship Vietnam Veterans Memorial Chair: Suzanne Preston Blier, Harvard University at the Hull-House Labor Museum Sara Hagerty, Dominican University Beyond ‘Postmodern Urbanism’: Reconsidering the Forms Kate Swisher, DuSable Museum of African American History A celebration of Linda Nochlin. Participants will include: and Politics of Late 20th-Century Urban Design “We don’t want another Vietnam”: The Wall, the Mall, History, and Aruna D’Souza, Natalie Frank, Tamar Garb, Jongwoo Kim, “For the Education and Enjoyment of the Public Forever”: Wilson B, Mezzanine Level Memory in the Vietnam Veterans Memorial Education Center Ewa Lajer-Burcharth, Karen J. Leader, Tom McDonough, Immigration and Idealism in Isabella Stewart Gardner’s Curatorial Chair: Anthony Raynsford, San José State University Jennifer K. Favorite, The Graduate Center, The City University of Molly Nesbit, Moira Roth, Ken Silver, Julia Trotta Agenda, 1901–1924 New York Radburn, Imola, and the Modern Oikoumene Casey K. Riley, Isabella Stewart Gardner Museum Andrew Shanken, University of California, Berkeley Codifying the Rules of Remembrance: The Wall’s Impact on Southern Cone Memorialization Projects Historians of British Art Urban Space from Below, Upside-down and Through the Windshield: Association for Critical Race Art History Marisa Lerer, Manhattan College Re-Forming Pre-Raphaelitism in the Late 20th & 21st Play and Fragmentation in the Work of Alison and Peter Smithson, Centuries: New Contexts, Paradigms, and Visions Behind the Veil: An Inside Look at the Smithsonian National 1949–83 Discussant: Pamela J. White, Western Illinois University, Washington 4, Exhibition Level Museum of African American History and Culture (NMAAHC) Giulia Stephanie Smith, University College London Quad Cities Chair: Susan P. Casteras, University of Washington Washington 1, Exhibition Level Chairs: Jacqueline Francis, California College of the Arts; Michelle Pre-Post-Modern Rome: Urbanism at Mid-Century Academies Popular Music and Pre-Raphaelitism(s) in England, 1972–2012 Joan Wilkinson, Smithsonian Institution, National Museum of Denise R. Costanzo, The Pennsylvania State University The Hudson River School Reconsidered—Part I Robyn Asleson African American History and Culture Maryland Suite, Lobby Level Place or Nonplace: The City as Domain or as Field Chair: Alan Wallach, The College of William & Mary Digital Curation and the Pre-Raphaelites Michele Gates Moresi, Smithsonian Institution, National Museum Patricia A. Morton, University of California, Riverside Madeleine Pearce of African American History and Culture Sentimental Landscape and the Hudson River School Revolutions? Modernism and Postmodernism in Late Socialist Rebecca Redell, Wellesley College Our English Ghosts: The Pre-Raphaelite Landscape in Drowning Jacquelyn Serwer, Smithsonian Institution, National Museum of Urban Planning in Poland by Numbers African American History and Culture Lidia Klein, Duke University Skepticism and the Transformation of Landscape Production in Alison Syme New York in the 1860s Tuliza Fleming, Smithsonian Institution, National Museum of Kenneth Myers, Detroit Institue of Arts Animated Archetypes: Disney and the Pre-Raphaelites African American History and Culture London: Capital of the Nineteenth Century Elisa Korb Salon 3, Lobby Level Transports of Vision: Frederic Edwin Church’s Photographic Aaron Bryant, Smithsonian Institution, National Museum of African Chairs: Jason Rosenfeld, Marymount Manhattan College; Collection of the Mediterranean and Middle East American History and Culture Timothy J. Barringer, Yale University Frederick Bohrer, Hood College Diasporic Asian Art Network Asian Latino Art and Visual Cultures: Current Scholarship London: Exhibition Capital of the Nineteenth Century The 3-D Canvas: Nineteenth-Century Landscape Visions and and Institutional Practices Society for Paragone Studies Catherine Roach, Viriginia Commonwealth University Hudson River Artist Frederic Edwin Church Washington 5, Exhibition Level Colliding Worlds Julia Rosenbaum, Bard College Harding, Mezzanine Level William Bernard Cooke and the First Independent Print Chair: Alexandra Chang, Asian/Pacific/American Institute, Chair: Sarah J. Lippert, University of Michigan, Flint Exhibitions in London, 1821–1824 Contestations with Cole: Thomas Charles Farrer and the New York University Nicole Simpson, Baltimore Museum American Pre-Raphaelite Landscape Chinese Export Painting and the Visual Cultures of Racial Labor The Paragone in Hadrianic Imagery Sophie Lynford, Yale University Gerry Hess, University of Michigan, Flint Political and Cultural Power: The Panoramas of Rio de Janeiro in Ana Paulina Lee, Columbia University London and Paris in the First Half of the Nineteenth Century On Circles and Circuits: An Exhibition on Chinese Caribbean Art Animal Experimentation in Eighteenth-Century Art: Joseph Wright of Carla Hermann, Art Institute, State University of at the Chinese American Museum Derby: An Experiment on a Bird in an Air Pump Rio de Janeiro, Brazil Alexandra Chang, Asian/Pacific/American Institute, Linda Johnson, University of Michigan, Flint New York University Rivalry for the Hero’s Image: Sculpture in the World’s Fairs of the American South Chad Airhart, Carson-Newman University

70 college art association February 3 –6, 2016 71 Saturday Spectator Under Siege Role Play: Wearing Hats in the Studio Saturday, February 6 The Ancient Art of Transformation Coolidge, Mezzanine Level Guen Montgomery, University of Illinois Champagne-Urbana Wilson A, Mezzanine Level 2:30–5:00 PM Chair: Steven Henry Madoff, School of Visual Arts, New York Chairs: Renee Marie Gondek, The College of William & Mary; Energy to Synergy Elizabeth M. Molacek, Harvard University, Harvard Art Museums Stéphane Aquin, Hirshhorn Museum and Sculpture Garden Heather Hertel, Slippery Rock University of Pennsylvania American Council for Southern Asian Art Amazons as the Other: Mythological Narratives Transformed as Terry Smith, University of Pittsburgh “Mining the European Tour” Conservation Challenges in India and the Himalayas: Historical Comparisons on the Athenian Treasury at Delphi Jennifer Murray, Loyola University Chicago Yesterday, Today, and Tomorrow Harry Cooper, National Gallery of Art Salon 3, Lobby Level Maryl B. Gensheimer, University of Maryland Alexandra Munroe, Solomon R. Guggenheim Museum, New York Chair: Nachiket Chanchani, University of Michigan Mirrors as Instruments of Sexual and Social Transformation Queer Caucus for Art Mireille M. Lee, Vanderbilt University Queer Exhaustion Kathleen Morrison, University of Chicago SGC International Maryland Suite, Lobby Level Michael W. Meister, University of Pennsylvania Graeco-Egyptian Hybridization in the Elite Tombs of Ptolemaic Egypt Print Cocktail II Chairs: Alpesh Kantilal Patel, Florida International University; Tina Sara Elizabeth Cole, Yale University Washington 3, Exhibition Level Takemoto, California College of the Arts Deborah Klimburg-Salter, University of Vienna / Harvard University Change is in the Hair: Viewing Roman Representational Hairpins Chair: Kimiko Miyoshi Alpesh Kantilal Patel, Florida International University Clare Harris, University of Oxford Marice E. Rose, Fairfield University Shifting Identities: At the Intersection of Printmaking and Technology Xandra Ibarra Debra Diamond, Freer Sackler, Smithsonian Institution Protoplasts and Prophets: The Stucco Reliefs in the Orthodox Michelle Murillo, California College of the Arts Baptistery in Ravenna Nao Bustamante Transitioning to Print Media: printmaking as an interdisciplinary tool Meanings of Marginalia in Early Modern Art and Theory Rachel Danford, Johns Hopkins University Jonathan McFadden, University of Kentucky Tameka Norris Washington 6, Exhibition Level Push-Pull: The Influence of Cultural Tradition on the Adoption and Robert Summers Chair: Stephanie S. Dickey, Queen’s University “Your Name Here”: The Tax Collector as Art Collector Evolution of New Print Technologies Washington 5, Exhibition Level Tina T. Takemoto, California College of the Arts Juan de Herrera and His Books: Between Orthodox Architecture Walter Jule, University of Alberta and Religious Heterodoxy? Chair: Anne Hilker, Bard Graduate Center Fernando Marías, Universidad Autónoma de Madrid Tax Law, Policy, and Museum Practice Visual Resources Association “The Black Craftsman Situation:” A Critical Conversation Patty Gerstenblith, DePaul University College of Law Digital Humanities in the Classroom: An Exchange Reading Alberti with Sixteenth-Century Eyes about Race and Craft Salon 3, Lobby Level Katherine G. Isard, Univeristy of Cambridge Contributions of Cultural Property in the IRS Review Process Wilson B, Mezzanine Level Chair: Jeannine Keefer, University of Richmond Joseph T. Ruzicka, Internal Revenue Service Chairs: Bibiana K. Obler, George Washington University; Lampsonius on Vasari: Marginalia in the Vite Mary Savig, Archives of American Art Changing Pedagogy and the Unexpected: Mapping the Edward H. Wouk, University of Manchester Ego-Seums or Jewel Boxes? The Contradictory Nature of Tax-Exempt Classroom of the Future Private Museums in the Twenty-First Century Sonya Clark, Virginia Commonwealth University Challenging the Concept of Naturalism between the 16th and 17th Kathe Hicks Albrecht, Institute for Doctoral Studies in the Centuries: Annibale Carracci and El Greco as Readers of Vasari’s Lives Katharine J. Wright, The Metropolitan Museum of Art Wesley Clark, Independent Artist Visual Arts José Riello, Universidad Autónoma de Madrid “Gifts of the Magi”: Tax Treatment of Donations of Objects in Early Joan Gaither, Maryland Institute College of Art Themes and Digressions in African Art: Explorations in Linear and Academic Details–Notes on and in Samuel van Hoogstraten’s Twentieth-Century New York Non-Linear Organization Using Scalar for Student Projects Anne Hilker, Bard Graduate Center Diana N’Diaye, Smithsonian Center for Folklife and Cultural Visible World Steve Tatum, Virginia Polytechnic Institutey Heritage Celeste A. Brusati, University of Michigan Upping the Exchange: Why Students and Professors Alike Love Art of the Street: Tyrannized Urban Spaces as Sites for Moderator: Namita Gupta Wiggers, Oregon College of Art and Them Some Digital Humanities Radical Politics Craft and Pacific Northwest College Visual Representations of Plant Knowledge in Pre-Columbian, Tracy Chapman Hamilton, University of Richmond Early Colonial, and Early Modern European Art Coolidge, Mezzanine Level Chairs: Jodi Kovach, Columbus College of Art and Design; Liz Trapp, Mapping Discourses: Integrating Visual Histories and Delaware Suite A, Lobby Level Mid-America College Art Association Independent Scholar Practice-Rich Assignments Chair: Helen Ellis, Getty Research Institute Young and Not so Young Guns of MACAA Gretta Tritch Roman, Bard College Mosireen and the Social Construct of an Egyptian Identity Wilson A, Mezzanine Level Transforming a Common Grass into Corn: A Scientific Katherine E. Hammond Chair: Christopher S. Olszewski, Savannah College of Doing Digital Art History: Learning Digital Humanities Tools in a Achievement Recorded in Aztec Art Art and Design Workshop Environment Helen Ellis, Getty Research Institute From the Cobblestones to the Blogosphere: Street Art in Putin’s Russia Kristen Gallant, Binghamton University Michelle A. Maydanchik Making is part of who I am. Studio practice is what I do. The Imagery of Two Sacred Plants in Ancient Central and Julie M. Abijanac, Columbus College of Art and Design Session Facilitator: Mark Pompelia, Rhode Island School of South American Art Material Practices for Insurgent and Radical Habitus: Two Cases of Design, Visual Resources Association Liaison Rebecca R. Stone, Emory University Counter-Olympic Dissent Filling the Doughnut Hole: Changing Directions as a Jilly Traganou, Parsons The New School for Design Middle-Aged Art Academic The Loggia as Botanical Garden: The Painted Pergola and Plant Scott Thorp, Georgia Regents University Exhibitor Session: Taylor & Francis Studies in Early Modern Rome The Roots and Routes of Conflict Graffiti: An examination of How to Get Published and How to Get Read Natsumi Nonaka, University of Texas at Austin The Separation Wall and the Aida refugee camp outside of Washington 2, Exhibition Level Remedies of the Machis: Mapping Early Modern Botanies in Bethlehem, Palestine Chairs: Sarah Sidoti, Taylor & Francis Group; Tara Golebiewski, Alonso de Ovalle’s Tabula Geographica Regni Chile (1646) John Lennon, University of South Florida Taylor & Francis Group Catherine E. Burdick, Pontificia Universidad Católica de Chile Umbrellas, Universal Suffrage, and Urban Public Space: artistic and creative practices during the Occupy Movement in Hong Kong Minna Valjakka

72 college art association February 3 –6, 2016 73 Saturday Formalism Before Clement Greenberg—Part II “This Place is a Dragon”: Prisons, Feminism, and the Politics of Biblical Imagery in the Age of Spectacle Aesthetics and Art Theory in the Socialist Context Hoover, Mezzanine Level Representation in the Archival Practice of Northern Ireland/the Wilson B, Mezzanine Level Wilson C, Mezzanine Level Chairs: Katherine M. Kuenzli, Wesleyan University; Marnin Young, North of Ireland Chair: Sarah C. Schaefer, University of Wisconsin-Milwaukee Chairs: Alla Vronskaya, Swiss Federal Institute of Technology (ETH), Stern College for Women of Yeshiva University Sarah Rebecca Michelle Feinstein Zurich; Angelina Lucento, Higher School of Economics, Moscow James Tissot’s The Life of Christ and the Visual Cultures of Albert C. Barnes and the Making of a Modern Master: Teaching Renoir Constructing Absent History: Dor Guez’s Christian Palestinian Archive Spiritualism and Spectacle Soviet Museology in the Cultural Revolution: Vulgar Marxism Nathaniel Donahue, Santa Monica College Sascha Crasnow, University of California, San Diego Melissa E. Buron, Fine Arts Museums of San Francisco or an Educational Turn? Masha Chlenova, New School University, New York Dynamic Agencies of Forms: Art Theories of Henri Focillon and The Formation of a National Photographic Archive: Conflicts, Re-inscribing Biblical Reality: The Fusion of Religious Art and Meyer Schapiro Narratives, and Propaganda in Early Twentieth-Century Palestine Spectacle in Early Nineteenth-Century Britain “Within the Revolution, Everything”: Propaganda and Pop Art Kerstin Thomas, Johannes Gutenberg-Universität, Mainz Rotem Rozental, Binghamton University Chris Coltrin, Shepherd University in Socialist Cuba Alfredo Rivera, Center for Advanced Study in the Visual Arts Make Painting, Not Literature! Carlos Mérida and the Form of Marshalling “Modern Israel”: Spectacular History in C. C. A. Nationalist Painting Aesthetics of Displacement: The Graphic Evidence Christensen’s Mormon Panorama Political Iconography and Art Theory in Socialist Harper Montgomery, Hunter College Washington 2, Exhibition Level Nathan K. Rees, University of North Dakota Angola & Mozambique Chair: Cecilia Mandrile, University of New Haven Nadine Siegert, University of Bayreuth Formalism and its Discontents: The Case of Cahiers d’Art and Faith in the Age of Spectacle: Francis Frith’s The Queen’s Bible Surrealism in 1928 The Moon Reader: Touch in Translation Kara Charles Fiedorek, Institute of Fine Arts Art for the People: Socialist Realism and Ink Aesthetics in Mao’s China Raymond Spiteri, Victoria University of Wellington Teresa Jaynes, The Library Company of Philadelphia Yanfei Zhu, The University of Chicago ‘One Such as the World has Never Seen’: Biblical Painting and the Discussant: Richard Shiff, University of Texas, Austin (Non) Graphic Images of Violence: Abstraction, mediation, Spectacle of British Art at the 1887 Manchester Jubilee Exhibition and (dis)placed meaning Kate Nichols, University of Birmingham The Hudson River School Reconsidered—Part II Andrew Super Maryland Suite, Lobby Level Association of Historians of Nineteenth-Century Art Identity Politics as Counterhegemonic Practice Chair: Alan Wallach, The College of William & Mary Between the Covers: The Question of Albums in the Human Automation & the Post-Digital Print Washington 3, Exhibition Level Nineteenth Century—Part II Paul Laidler, Centre for Fine Print Research, UWE, Bristol, UK All But Forgotten Furniture: The Uncontained Body as Chairs: Nizan Shaked, California State University, Long Beach; Harding, Mezzanine Level Hudson River Heuristic Drawn and Printed, From Wall to Paper: Sol LeWitt’s Vertical Lines, John Tain, Getty Research Institute Chair: Marilyn S. Kushner, New-York Historical Society Catherine Holochwost, La Salle University Not Straight, Not Touching Seeing Black: Visibility, Recognition, and Resistance in Black Art Potshot Pastimes: The Cahier des Charges in Early David Sheridan Areford, University of Massachusetts, Boston The Domestic Landscape of the Hudson River School Tobias Wofford Nineteenth-Century Paris William L. Coleman, Washington University, St. Louis Haptic Graphics: The shifting index of the fine art print Kathryn Desplanque, Duke University Curatorial Activism in the Late 1960s Amze Emos, Tyler School of Art,Temple University Rock-Bound: Fitz Henry Lane in 1862 Anne Monahan Flowers for Abolition: The Album Art of Sarah Mapps Douglass Nicholas Robbins, Yale University MIGRATORY IMAGERY: A Dance of Language, Political Thought and her Circle Seeing Differently, Again: Rethinking “Post-identity” and Art Ideal Landscapes in a Humbug City Mia Bagneris, Newcomb Art Department, Tulane University Amelia Jones Donna Moran, Pratt Institute Christopher C. Oliver, Virginia Museum of Fine Arts The Artist’s Photo Album: Dante Gabriel Rossetti’s Photographic Shifting Identifications: Art and Evolving Asian American Imaginaries Potential Print Makings More Lessons from Church’s Great Picture: Viewer Experience and Reproductions of Old Master Paintings Margo Machida Enrique Martinez Leal, University of California, Santa Cruz The Heart of the Andes at the 1864 Metropolitan Sanitary Fair Carolyn Phinizy, Virginia Commonwealth University Rethinking Carrie Mae Weems’ Historic Appropriations Elizabeth A. Spear, University of Iowa The quest for El Dorado: the Album of Antiques from Nueva Granada Cherise Smith Picturing Death, 1200–1600—Part II by Liborio Zerda Delaware Suite B, Lobby Level Social Sculpture after Beuys: a Critical Re-evaluation Verónica Uribe Hanabergh, Universidad de los Andes, Chairs: Stephen G. Perkinson, Bowdoin College; Noa Turel, Back to Arabia: Arts and Images of the Peninsula after 1850 Salon 1, Lobby Level Bogotá, Colombia University of Alabama at Birmingham Washington 4, Exhibition Level Chair: Alison Weaver, Moody Center for the Arts, Rice University The Nude in the Album: Pornography, Materiality, and Erotic Narrative Chairs: Eva Maria Troelenberg, Kunsthistorische Institute in The Living Dead and the Joy of the Crucifixion at Naumburg Heather L. Waldroup, Appalachian State University Florenz - Max Planck Institute; Avinoam Shalem, Columbia Brigit G. Ferguson, University of California, Santa Barbara University, New York Facing Mortality in “The Three Living and the Three Dead” from the An Art History of the Archive?—Part II In the Beginning: Arabia and the Survey of Islamic Art Psalter of Bonne of Luxembourg Virginia Suite, Lobby Level Ellen Kenney Christine Kralik, University of Toronto Chairs: Dana Leibsohn, Smith College; Aaron M. Hyman, Travelling Images: Nineteenth-Century Representations University of California, Berkeley Pictures for Tombs as Perpetual Prayers in Trecento Florence of Mecca and Medina Judith Steinhoff, University of Houston The Valise as Archive: Repositionable Repositories of Duchamp Sabiha Göloğlu and Cornell “Beneath this Marble”: Picturing the Grave and a Daughter’s Grief A 1970s Renaissance: The Arts of Islam and Arabian Countries Sarah S. Archino, Institut national d’histoire de l’art, Paris; in the Tomb of Alfonsina Orsini de’ Medici Monia Abdallah Siofra McSherry, Freie Universität, Berlin Sheryl E. Reiss, Italian Art Society Roads of Arabia: Shifting Paradigms from Material to Oral Culture The Artist’s Recipe: Templates, Propositions, Proposals, and Tara Aldughaither Unrealized Projects in the Archives Aram Han, School of the Art Institute of Chicago Back to School: Images of Education Reform from Sana’a in the Abdülhamid II Albums Erin Hyde Nolan

74 college art association February 3 –6, 2016 75 Directions: Metro Red Line from Woodley Park station to Metro 5:30–7:00 PM Directions: The George Washington University Museum and The SPECIAL EVENTS Station, then switch to the Orange / Blue Line for the Smithsonian Performance by J.J. McCracken Textile Museum is located on GW’s Foggy Bottom campus at 701 For updates on current listings and information on additional Station. Meet the exhibition curator in the museum lobby at the National Portrait Gallery 21st Street, NW. The easiest way to get to the museum is by Metro. offerings, please visit www.conference.collegeart.org/schedule/ security desk. Eighth Street NW and F Street NW From the Woodley Park Metro take the Red Line to Farragut North Station. The museum is a fifteen-minute walk from the Farragut events The artist J. J. McCracken will perform a conceptual portrait of North Red Line Station. 12:30–2:00 PM Ann Newport Royall (1769-1854), a Capitol Hill resident and one Wednesday, February 3 Workshop: Learning to Look, an Introduction to Renaissance of America’s first female journalists. The performance is part of Bronze Sculpture the National Portrait Gallery’s performance art series, IDENTIFY: 6:30–7:30 PM 5:30–7:00 PM National Gallery of Art Performance Art as Portraiture and will take place in the museum’s Director’s Panel and Access to Special Exhibition CAA Convocation and Awards Ceremony Print Study Rooms, East Building, 4th Street and Constitution Great Hall on the third floor. The Phillips Collection Keynote Address Avenue NW 1600 21st Street NW Directions: Gallery Place / Chinatown Metro Station, Green/Red/ Salon 2, Lobby Level, Marriott (Participants will meet at the entrance to Study Center/Library to Yellow lines The Phillips Collection will present a director’s panel titled What Presentation of CAA Awards, DeWitt Godfrey, CAA President receive visitor passes; please bring valid ID.) Keynote Address, Aest-ethics: Art with Consequences, is the Role of the Museum in Society? that will include panelists: Join Dylan Smith, Robert H. Smith Research Conservator, Dorothy Kosinski (Phillips Collection), Johnetta B. Cole (National Tania Bruguera 5:30–7:00 PM and Eleonora Luciano, Associate Curator of Sculpture, for Museum of African Art), Melissa Chiu (Hirshhorn Museum), Reception for the Exhibition: La Scomparsa; the Disappearance The Convocation and Awards Ceremony will immediately follow a an introduction to Renaissance bronze sculpture: materials, David Penney (National Museum of the American Indian), Jack of Italy by Blaise Tobia short business meeting which begins at 5:30 PM. techniques and interpretation. A selection of statuettes, medals, Rasmussen (American University, Katzen Museum), and Judy Drexel University Washington, DC Center and plaquettes, will be examined out of the vitrines and up close. Greenberg (Kreeger Museum). The panel will be moderated by Lafayette Tower – 4th Floor Limited to 20 people. RSVP required by February 2nd to: Rebecca Elizabeth (Buffy) Easton of the Center for Curatorial Leadership. 7:00–9:00 PM 801 17th Street NW Rushfield, [email protected] Following the panel, attendees are invited to the evening’s “Phillips CAA Opening Reception Washington, DC 20006 after 5” program and enjoy early access to the special exhibition: Katzen Art Center Directions: Metro Red Line from Woodley Park station to Judiciary Directions: Metro Red Line to Farragut North station. The Lafayette Seeing Nature: Paul Allen Family Collection. Attendance by RSVP 4400 Massachusetts Avenue NW Square. Use south exit toward front of train. Walk south on 4th Tower is a half-block walk southward along 17th Street. only. Due to limited space, an email RSVP was required for this Price: Members $45; Non-members $60 Street across D Street, ½ block walk on D Street. Then walk south event before January 28, 2016. Ticket required for admission. Limited availability. across plaza between buildings, descending steps, cross C street, Tickets will not be sold at the museum. continue south through park, cross Pennsylvania Avenue on east 6:00–8:00 PM Directions: Take the Woodley Park Metro Red Line one stop in Directions: Metro Red Line from Woodley Park station to the side of 4th Street. Open House and Reception the direction of Glenmont and get off at Dupont Circle. Take the Tenleytown/AU stop on the red line; the Katzen is an 18 minute Georgetown University Spagnuolo Art Gallery Dupont Circle North exit. walk from the Tenleytown/AU stop, but from the Metro, you 5:30–7:00 PM 1221 36th St. NW, First Floor, Washington, DC On view: Ralph L. Wickiser – The Reflected Stream and Covered can also take the AU shuttle bus to Katzen from the corner of Open House and Reception at the Folger Shakespeare Library Apple Tree, Paintings from 1975-1998. Friday, February 5 Albemarle and 40th Street. The bus runs every 10–15 minutes. Folger Shakespeare Library There are also public Metrobus routes that service the Katzen: the 201 East Capitol Street, SE Directions: Metro Red Line to Dupont Circle Station. Take N3, N4, N6, N8 pass the Katzen on Massachusetts Avenue NW; and 9:00 AM Westbound G2 Metrobus from Dupont Circle Metro Station, to the the M4 and N2 pass the Katzen on Nebraska Avenue NW at Ward The Folger Shakespeare Library welcomes conference attendees Open House and Private Viewing corner of Prospect St. and 36th Street NW. Circle. Parking at the museum is free after 5:00 PM. to experience a display of selected collection items in the Library’s National Museum of Women in the Arts Reading Room by Curator of Early Modern Books and Prints 1250 New York Ave NW Caroline Duroselle-Melish and for a presentation about funded 6:00–8:00 PM Private viewing of Pathmakers: Women in Art, Craft and Design, Mid- Thursday, February 4 research opportunities at the Folger Institute by Fellowships Book Presentation of The Flemish Merchant of Venice: Daniel Century and Today; Highlights from the Permanent Collection. Manager Carol Brobeck. A reception will follow this event. Nijs and the Sale of the Gonzaga Art Collection and Panel 12:00–4:00 PM Attendees will be also able to view the exhibition “Shakespeare, Life Discussion followed by a Reception Directions: Metro: Walk to Red Line at Woodley Park-Zoo Metro “I Wish to Say” Performance by Sheryl Oring of an Icon” on display in the Exhibition Hall. Limited to 50 people. Residence of the Belgian Ambassador Station near hotel towards Glenmount to Metro Center Station. Registration Area, Lobby Level, Marriott RSVP required by February 2nd at: http://bit.ly/1HmbOyN 2300 Foxhall Road NW, Washington, DC 20007 Exit 13th Street exit and walk .2 miles on 13th Street to New York Space is limited; RSVP required to: [email protected] Avenue. Car: Take Connecticut Ave. NW to Massachusetts Sheryl Oring brings her “I Wish to Say” performance to CAA, where Directions: By Metrorail (Orange, Blue, and Silver Lines, 4 blocks): Avenue NW. Turn right on 11th Street. Follow 11th Street to conference goers are invited to dictate a postcard to one of the Take Metro’s Orange, Blue, or Silver Line to the Capitol South stop. Directions: Contact RSVP email contact for detailed directions 1250 New York Avenue. Presidential candidates. Oring, of the University of North Carolina Exit the Metro and walk up the hill on First Street SE, crossing C at Greensboro, and colleague Dr. Corey Dzenko, of Monmouth Street SE and Independence Avenue. Take a right on East Capitol University, will type postcards on manual typewriters as part of this Street and walk one block. The Folger is on the right, between 6:00–9:00 PM 12:30–2:00 PM ongoing public art project. Second and Third Streets SE. Several Metrobus routes include bus Jon Eric Riis: Artist’s Lecture and Reception U.S. Capitol Building Tour stops within walking distance of the Folger, including the 32, 34, The George Washington University, The Textile Museum Capitol Building 36, 96, and 97 bus routes. 701 21st Street NW East Capitol Street NE 12:30–2:00 PM Curator led tour of Marvelous Objects: Surrealist Sculpture Jon Eric Riis, contemporary tapestry artist, will speak about “Woven Architect of the Capitol, Curator Dr. Michele Cohen, and AOC from Paris to New York 5:30–7:00 PM in Satire - Potent Messages.” Space is limited so advance registration Curator Emerita Dr. Barbara Wolanin will lead a tour of the art and Hirshhorn Museum and Sculpture Garden Open House and Reception, Hemphill Fine Arts is required at: www.museum.gwu.edu/calendar (or call 202-994- architecture of the U.S. Capitol. Highlights will include murals 700 Independence Avenue SW Hemphill Fine Arts 7394 for more information). Lecture will begin at 6:00 PM with painted by Constantino Brumidi and others, Statuary Hall, the 1515 14th Street NW reception beginning at 7:00 PM. Old Supreme Court and Senate Chambers, and the U.S. Capitol If time permits, tour participants may also view the exhibition At Rotunda, currently undergoing restoration. Limited to 35 people. the Hub of Things: New Views of the Collection. Limited to 50 people. Directions: Located in Logan Circle / Accessible from Dupont Circle, Advance RSVP required at: https://services.collegeart.org/ Advance RSVP required at via website: https://services.collegeart. U Street, or McPherson Square Metro stops. eweb/?webcode=specialevents org/eweb/?webcode=specialevents

76 college art association February 3 –6, 2016 77 Directions: Metro Red line to Union Station. Walk to north entrance 5:30–7:00 PM 12:00–2:00 PM of the Capitol on East Capitol Street NE. Come to the Capitol visitor Reception 10:50 AM–12:20 PM Divided We Stand: Conflicts and Controversies in Building center across from the Library of Congress; deposit coats and bags International Arts and Artist’s Hillyer Art Space Women and the Sexual Other in East Asian Art and Our National Monuments (Walking Tour of Memorials of the in the coat check; and meet the curators on the upper level. For 9 Hillyer Court, NW Visual Culture National Mall) further directions and information on prohibited items, please visit Chair: Jongwoo Jeremy Kim, University of Louisville Directions: Metro red Line to Dupont Circle Station. Then walk Farragut North Metro Stop https://www.visitthecapitol.gov/ Panelists: Charlotte Eubanks, Pennsylvania State University; three blocks to Hillyer Court. To drive, follow Connecticut Avenue Namiko Kunimoto, Ohio State University; and Sasha Welland, You are familiar with the monuments and memorials of NW south towards downtown for a mile. Turn right onto Florida University of Washington Washington, DC; now learn about the politics involved in making 5:30–7:00 PM Avenue, NW and left onto Hillyer Court NW. them. Art historian Lisa Lipinski, faculty at the Corcoran School This panel explores women’s encounters with sexual CulturalDC and the Arts Walk at Monroe Street Market of the Arts at the George Washington University, will lead a otherness or queerness in the modern and contemporary 916 G Street NW (9th and G Streets NW) walking tour and give insights into the controversies involved in 6:00–8:00 PM visuality of East Asia. Works by Japanese artists, Korean TV constructing memorials on the National Mall. This tour is sold out. The Arts Walk at Monroe Street Market features 27 individual artist Open Reception Sponsored by the Freer and Sackler Galleries shows, and other loci of East Asian visual culture, emergent studios. The 40+ artists who make up the Arts Walk represent and the Historians of Nineteenth-Century Art in a multi-causal social mix, will be topics of feminist analysis. Directions: Woodley Park Metro Red Line two stops to Farragut a range of disciplines from abstract painting and hand-carved The Sackler Gallery North Station. Meet the tour guide, Lisa Lipinski, at the Farragut sculpture to custom leather goods and documentary film. Studio 1050 Independence Avenue SW North Station at 12:00 PM, and then walk as a group to the hours will be extended for CAA until 7:00 PM. Individual artist 1:20–2:50 PM National Mall. Directions: Metro Red Line from Woodley Park station to studios vary; please check www.monroestreetmarket.com/arts. Re-Territorializing Gender: Women Artists and Smithsonian Station. 1050 Independence Avenue SW, enter Expatriation Directions: Metro Red Line Woodley Park station, take train in the through the Sackler Pavilion on Independence Avenue. Chair: Linda Kim, Drexel University 12:30–2:00 PM direction of Glenmont to Brookland/CUA Station. Arts Walk is just Panelists: Tirza True Latimer, California College of the Arts; Artist and Curator Discussion: Vesela Sretenovic and steps away from the left side station exit. Saleema Waraich, Skidmore College; and Ana Perry, City Helen Frederick Saturday, February 6 University of New York The Phillips Collection Respondent: Elizabeth Hutchinson, Barnard College 1600 21st Street NW 5:30–7:00 PM Open House and Reception 9:00 AM–4:30 PM Discussion on Intersections exhibition featuring Vesela Sretenovic, This panel insists on the importance of racial, economic, and Arts Club of Washington The Feminist Art Project Senior Curator of Modern and Contemporary Art at The Phillips sexual positions within and among subjects who chose to 2017 I Street NW Performing Identity as Intersectional Collection and artist Helen Frederick. Attendees may view The National Museum of Women in the Arts live abroad, to complicate the history of women artists and Phillips Collection special exhibition following the program. Due On view: Washington Wax Works Group Show; a collective of six 1250 New York Avenue NW, Washington, DC 20005 transnational movements. Women artists’ occupation of new to limited space, an email RSVP was required for this event encaustic artists working in the Washington, DC metropolitan area. Free and open to the public national zones disrupted certain gendered essentialisms, before January 28, 2016. while strategically mobilizing others. Directions: Woodley Park-Zoo/Adams Morgan metro station (red Organizers: Zoë Charlton, American University; and Margo Directions: Take the Woodley Park Metro Red Line one stop in line) going in the direction of Glenmont. The metro stop is Farragut Hobbs, Muhlenberg College the direction of Glenmont and get off at Dupont Circle. Take the North (exit on 18th Street side). The Club is near the intersection of 3:00–4:30 PM Dupont Circle North exit. 21st Street NW and Pennsylvania Avenue NW. Two Performances: Candidate and Male Polish 9:00–9:15 AM Performers: Danielle Abrams, Independent Artist, School Welcome: Susan Fisher Sterling, National Museum of of the Museum of Fine Arts, Boston; and Sheldon Scott, 12:30–2:00 PM 5:30–7:00 PM Women in the Arts Independent Artist Artist Talk: Kay Walkingstick and Jeff Chang Open Studios Acknowledgements: Connie Tell, The Feminist Art Project, National Museum of the American Indian Corcoran School of Arts & Design at George Washington University Center for Women in the Arts and Humanities, and Rutgers Candidate is a monologue and play staged with six Rasmussen Auditorium 500 17th Street NW (entrances on New York Avenue and E Street) University volunteers from the audience, to investigate how 4th Street and Independence Avenue SW Introduction: Zoë Charlton, American University; and Margo Directions: Metro to either Farragut North metro station or intersectional identities inflect an artist’s experience of A conversation between Cherokee artist Kay Walkingstick and Hobbs, Muhlenberg College Farragut West metro station. Proceed to 17th Street NW (which a residency, and a conference job interview. Male Polish writer Jeff Chang. Visitors will also be able to view current NMAI is off Connecticut and K if coming from Farragut North) and walk interrogates the transactional nature of femininity and exhibitions: Kay WalkingStick: an American Artist; Nation to Nation: down to 17th Street and New York Avenue. the effeminate through the lens of male-desired, gender 9:15–10:45 AM Treaties between the United States and American Indian Nations; and normativity. The Inka Road: Engineering an Empire. Outrageous Intersectionalities: Colonial Peepshows, 5:30–7:00 PM Muscular Mess Halls, and Fierce Soldaderas Directions: The museum is located on the National Mall at Open Reception Chair: Tina Takemoto, California College of the Arts Independence Avenue between 3rd and 4th Streets; Metro: Smith Center for Healing and the Arts Panelists: Nao Bustamante, Rensellaer Polytechnic Institute; L’Enfant Plaza (Blue/Orange/Green/Yellow lines), exit Maryland 1632 U Street NW and Xandra Ibarra, Independent Artist Avenue/Smithsonian Museums. Respondent: Amelia Jones, University of Southern California Exhibition reception for The Night and the Desert Know. This exhibition will coincide with the Al-Mutanabbi Street Starts Here DC This panel explores the intersectional possibilities for 2016 cultural festival, a multi-organizational citywide event. The reimagining scenes of historical violence through erotic exhibit invites Iraqi and American born artists to create an artwork and speculative reenactments. Blurring boundaries of fact inspired by past and present Iraqi poetry chosen by our curators and fiction, the artists engage intersectional dimensions of Shanti Norris and Mary Sebold. power and vulnerability that challenge existing narratives of war, conquest, and racial oppression, to forge alternative Directions: Metro U Street stop on the Green or Yellow lines, then feminist pasts and futures. walk four blocks to the Smith Center.

78 college art association February 3 –6, 2016 79 2:00–7:00 PM 10:00 AM–3:00 PM CulturalDC’s Flashpoint Gallery Tour of the Glenstone Modern Art Museum Washington DC Artist Studios and Gallery Tour Museums and GAlleries 916 G Street NW (9th and G Streets NW) Glenstone Various Locations Present your CAA conference badge when visiting the institutions Hours: Wednesday–Saturday, 12:00 PM–6:00 PM 12002 Glen Road This tour will make four stops to visit six independent studio below for free admission. CAA is grateful to all the institutions that On view: Leigh Merrill: Cinder Blocks and Cherry Blossoms. Leigh Potomac, MD 20854 groups, including Washington Glass School, Otis Street Arts have opened their doors to CAA conference attendees. Merril examines the construction of fiction and beauty in the urban Contained in a building by late architect Charles Gwathmey, and Project, White Point Studios, Red Dirt Studio, Gateway Arts American University Art Museum environment. By digitally re-assembling numerous photographs into situated on 200 acres of property landscaped by Peter Walker Center, and DC Glassworks; with resident artists working in 4400 Massachusetts Avenue NW one image, she creates imaginary spaces that function as a metaphor and Partners, Glenstone assembles post-World War II artworks modes ranging from public art, to performance, to gallery-based Hours: Tuesday–Sunday 11:00 AM–4:00 PM for the ways in which desire is physically constructed in the landscape of the highest quality that trace the greatest historical shifts in practices. Meet the artists running studios producing a wide range Directions: Within one block of Gallery Place - Chinatown Metro the way we experience and understand art of the 20th and 21st of contemporary art and learn about their projects, community On view: Renée Stout; Women’s Caucus for Art of Washington, DC; (Red Line)-Galleries exit centuries. These works are presented in a series of refined indoor activities, and their practical adaptations to maintaining a Maggie Michael and outdoor spaces designed to facilitate meaningful encounters productive artistic practice. The tour will be hosted by Phil Davis Directions: West on Woodley Road NW towards 27th Street NW. for visitors. Currently on view is "Fred Sandback: Light, Space and of the Brentwood Arts Exchange, providing on-site contact Continue onto Garfield Street NW. Slight right onto Massachusetts Dumbarton Oaks Museum Fact," which foregrounds Sandback’s awareness to the relationship with artists, studio organizers and a firsthand experience of Avenue NW. Destination is on the right 1703 32nd Street NW between art and its architectural surroundings. The property at contemporary studio practices in the region. The Gateway Arts Hours: Tuesday–Sunday 11:30 AM–5:30 PM Glenstone features sculptures by Charles Ray, Tony Smith, Richard Center stop will include time to see the 39th Street Gallery, as well On view: “75 Years / 75 Objects”—Special exhibition in conjunction Serra, Jeff Koons, and others. Tour is limited to 20 people. Price: as the Brentwood Arts Exchange’s Al-Mutanabbi Street Starts Here Arlington Arts Center with the 75th anniversary of Dumbarton Oaks Members $60, Non-members $75; pre-registration required. See DC 2016 exhibition. 3550 Wilson Blvd https://services.collegeart.org/eweb/?webcode=specialevents Hours: Wednesday–Sunday 12:00–5:00 PM Directions: Metro Red Line to Dupont Circle; then take Bus D (stop The Gateway Arts District is unique among arts districts nationally at Q Street NW and 31st Street NW) then walk up to 32nd Street Directions: Meet the tour bus at 2:00 PM at the Marriott hotel as an initiative anchored by artists and artistic production, with On view: For information on current exhibitions visit and R Street NW 24th Street Entrance next to Harry’s Pub. a small number of presenting organizations working in support arlingtonartscenter.org/exhibitions of artists, rather than the other way around. Aimed at sustainable Directions: Virginia Square -GMU Metro on Orange and Silver lines development, the Arts District is also exemplary in leveraging a Folger Shakespeare Library Sunday, February 7 high concentration of artists who work closely with elected leaders 201 East Capitol Street SE to create supportive conditions for producing art in the nation’s Arthur M. Sackler Gallery, Smithsonian Hours: Monday–Saturday 10:00 AM–5:00 PM, Sunday 10:00–11:00 AM rapidly gentrifying capital. 1050 Independence Avenue SW 12:00–5:00 PM Brunch and Local Gallery Walk Hours: Daily 10:00 AM–5:30 PM Cross Mackenzie Gallery and Brookhill Galleries Refreshments will be provided at the Brentwood Arts Exchange. On view: Shakespeare, Life of an Icon Limited to 45 people. Price: Members $45, Non-members On view: For information on current exhibitions visit www.asia.si.edu 1675 Wisconsin Avenue NW Directions: By Metrorail (Orange, Blue, and Silver Lines, 4 blocks): $60. Pre-registration only at: https://services.collegeart.org/ Directions: Metro from Woodley Park station to Smithsonian Take Metro’s Orange, Blue, or Silver Line to the Capitol South stop. Nine galleries will each be presenting a different artist eweb/?webcode=specialevents. Station on view for the gallery walk. Light refreshments will be Exit the Metro and walk up the hill on First Street SE, crossing available at the galleries. For more information visit: Directions: Meet the tour bus at 10:00 AM at the Marriott hotel C Street SE and Independence Avenue. Take a right on East Capitol 24th Street Entrance next to Harry’s Pub. Street and walk one block. The Folger is on the right, between http://georgetowngalleries.com/ Arts Club of Washington Second and Third Streets SE. Several Metrobus routes include bus Directions: By car, west on Woodley Road to Garfield Street. 2017 I Street NW stops within walking distance of the Folger, including the 32, 34, Left on Wisconsin Avenue to 1675 Wisconsin Avenue NW. Hours: Tuesday–Friday 10:00 AM–5:00 PM, Saturday 36, 96, and 97 bus routes 10:00 AM–2:00 PM On view: For information on current exhibitions visit George Mason University School of Art Gallery artsclubofwashington.org 4400 University Drive, Fairfax, VA Directions: Woodley Park-Zoo/Adams Morgan metro station (red Hours: Monday–Friday 10:00 AM–5:00 PM line) going in the direction of Glenmont. The metro stop is Farragut On view: Al-Mutanabbi Street Starts Here (artist books and prints). North (exit on 18th Street side). The Club is near the intersection of Michael Rakowitz: The Invisible Enemy Should Not Exist (sculpture 21st Street NW and Pennsylvania Avenue NW and videos) Directions: Metro Orange Line to Vienna Fairfax-GMU Metro Station. Exit the platform to the north to catch the Metro to Mason Shuttle. Please visit http://shuttle.gmu.edu for current shuttle schedules

The George Washington University and The Textile Museum 701 21st Street NW Hours: Monday, Wednesday–Friday 11:30 AM–6:30 PM, Saturday 10:00 AM–5:00 PM, Sunday 1:00–5:00 PM On view: John Eric Riis, contemporary tapestry artist, Woven in Satire- Potent Messages Directions: Woodley Part Metro Red Line to Farragut North Station. The museum is a fifteen minute walk from the Farragut North Station

80 college art association February 3 –6, 2016 81 Hamiltonian Gallery National Museum of the American Indian REUNIONS AND RECEPTIONS Terra Foundation for American Art 1533 U Street NW 4th Street and Independence Avenue SW Madison B Room, Mezzanine Level Unless otherwise stated, all receptions are at the Washington Hours: Tuesday–Saturday 12:00–6:00 PM Hours: Daily 10:00 AM–5:30 PM The University of Chicago, Department of Art History Marriott Wardman Park Hotel, 2660 Woodley Rd, NW, Washington, On view: For information on current exhibitions visit www. On view: Kay WalkingStick: An American Artist: Nation to Nation: Lebanese Taverna DC. Preliminary schedule; information subject to change. hamiltoniangallery.com Treaties Between the United States and American Indian Nations; The 2641 Connecticut Avenue NW, Washington, DC 20008 Great Inka Road: Engineering an Empire For information contact Joyce Kuecher at: 773-702-5880; email: Directions: Walk 34 minutes to the intersection of 14th and U [email protected] Street, or take metro to U Street Cardoso station on the Green Line, Directions: The museum is located on the National Mall at Thursday, February 4 at the 13th Street exit Independence Avenue between 3rd and 4th Streets; Metro: University of Michigan, Penny W. Stamps School of Art and Design L’Enfant Plaza Station (Blue/Orange/Green/Yellow lines), exit 7:30–9:00 AM and the Department of Art History Maryland Avenue/Smithsonian Museums CUNY Graduate Center, Ph.D. Program in Art History Madison A, Mezzanine Level HEMPHILL Fine Arts Park Tower Suite 8216, Lobby Level 1515 14th Street NW USC Dornsife Department of Art History Hours: Tuesday–Saturday 10:00 AM–5:00 PM, or by appointment National Museum of Women in the Arts Women’s Caucus for Art Taft Room, Mezzanine Level 1250 New York Avenue NW Marriott Ballroom Salon 2, Lobby Level On view: For latest information contact the gallery by phone at Wayne State University, James Pearson Duffy Department of Art Hours: Monday–Saturday 10:00 AM–5:00 PM, Sunday 202-234-5601, or email [email protected] and Art History 12:00–5:00 PM 12:30–2:00 PM Park Tower Suite 8219, Lobby Level Directions: Located in Logan Circle / Accessible from Dupont Circle, On view: Pathmakers: Women in Art, Craft and Design, Mid-Century Bryn Mawr College, Department of History of Art U Street, or McPherson Square Metro stops Yale University, Department of the History of Art Park Tower Suite 8219, Lobby Level and Today. Highlights from the Permanent Collection Tyler Room, Mezzanine Level Directions: Metro Red Line at Woodley Park-Zoo Metro Station to Center for Advanced Study for the Visual Arts, Hillwood Estate, Museum & Gardens Metro Center Station. Exit 13th Street exit and walk .2 miles on National Gallery of Art 4155 Linnean Avenue NW 6:00–7:30 PM 13th Street to New York Avenue. Car: Take Connecticut Ave. NW Madison A Room, Mezzanine Level Hours: Tuesday–Sunday 10:00 AM–5:00 PM Pennsylvania Academy of the Fine Arts Reception to Massachusetts Ave NW. Turn right on 11th St. Follow 11th St. to Luther W. Brady Gallery, George Washington University On view: For information on current exhibitions visit 1250 New York Ave 5:30–7:00 PM Media & Public Affairs Building, 2nd Floor, 805 21st St. NW hillwoodmuseum.org Association of Art Historians / Wiley Publishing Washington, DC 20052 Directions: Please see website for detailed directions National Portrait Gallery Marriott Foyer, Mezzanine Level Eighth Street and F Streets NW Brown University 6:00–8:00 PM Hours: Daily 11:30 AM–7:00 PM Hirshhorn Museum and Sculpture Garden Park Tower Suite 8216, Lobby Level Cranbrook Academy of Art Alumni Reception 700 Independence Avenue SW On view: Dark Fields of the Republic: Alexander Garner Photographs For location information please visit: www.cranbrook.edu/Pages/ California College of the Arts Hours: Daily 10:00 AM–5:30 PM 1859-1872; One Life: Doris Huerta; From Token to Ornament: Indian AlumniEvents.html Park Tower Suite 8209, Lobby Level Peace Medals and McKenny-Hall Portraits; Eye Pop: The Celebrity To RSVP or for more information, please email: mgilman@ On view: Marvelous Objects: Surrealist Sculpture from Paris to New Gaze; The Four Justices. Grinnell College Art and Art History Department cranbrook.edu York, At the Hub of Things: New Views of the Collection Park Tower Suite 8222, Lobby Level Directions: Gallery Place / Chinatown Metro Station, Green/Red/ Directions: Metro Red Line from Woodley Park station to Metro Yellow lines Harvard University Alumni Reception, co-hosted by History of Art Center Station then blue or green line to Smithsonian Station and Architecture and Harvard Art Museums Taylor Room, Mezzanine Level Neptune Fine Art and Robert Brown Gallery International Arts & Artists Hillyer Art Space 1662 33rd Street NW (Georgetown at Wisconsin and Reservoir Rds); The Metropolitan Museum of Art 9 Hillyer Court NW 1530 14th Street NW (Logan Circle between P and Q streets) Truman Room, Mezzanine Level Hours: Monday 12:00–5:00 PM, Tuesday–Friday 12:00–6:00 PM, Hours: Wednesday–Saturday 12:00–6:00 PM, Saturday 2:00–5:00 PM San Francisco Art Institute Alumni Reception Sunday 11:00 AM–4:00 PM Katzen Arts Center, American University On view: For information on current exhibitions visit On view: Works on Paper: William Kentridge, Ellsworth Kelly, RSVP to [email protected] hillyerartspace.org Mel Bochner Stanford University, Department of Art and Art History Directions: Metro red Line to Dupont Circle Station. Then walk Directions: Call Gallery for more detailed directions: 202-338-0353 The Anne T. and Robert M. Bass Center three blocks to Hillyer Court 2661 Connecticut Avenue NW, Washington, DC 20008 For information contact by telephone: 202-803-8100; email: The Phillips Collection [email protected] 1600 21st Street NW Hours: Tuesday–Saturday 10:00 AM–5:00 PM, Sunday 12:00– 7:00 PM, Thursday extended hours 5:00–8:30 PM On view: Seeing Nature: Paul Allen Family Collection; Intersections: Helen Frederick Directions: Take Red Line one stop in the direction of Glenmont and get off at Dupont Circle. Take the Dupont Circle North exit

82 college art association February 3 –6, 2016 83 Friday, February 5 The J. Paul Getty Trust Reception CAA BOARD OF DIRECTORS AND STAFF Marriott Foyer, Mezzanine Level 7:30–9:00 AM University of Connecticut Department of Art and Art History Boston University CAA BOARD OF DIRECTORS CAA STAFF Taft Room, Mezzanine Level Roofers Union Restaurant & Bar, 2446 18th Street NW, Washington, DC 20009 DeWitt Godfrey, Professor of Art and Art History; Chair, Executive Office Columbia University Department of Art History For information contact Judith Thorpe at: 860-486-4417; email: Department of Art History, Colgate University Linda Downs, Executive Director and CEO Madison B Room, Mezzanine Level [email protected] President Vanessa Jalet, Executive Liaison Smithsonian American Art Museum Annual Reunion of the S.I. University of Texas at Austin, Department of Art and Art History Saadia Lawton, Resources for Academic Art Museum Professionals Fellows and Interns Park Tower Suite 8219, Lobby Level John Richardson, Professor and Chair, James Pearson Duffy Project Coordinator Madison A Room, Mezzanine Level Department of Art and Art History, Wayne State University Washington University in St. Louis, Department of Art History Vice President for External Affairs and CAA President-Elect External Communications University of Iowa School of Art and Art History and Archaeology Nicholas Obourn, Director of Communications Tyler Room, Mezzanine Level Taft Room, Mezzanine Level Charles A. Wright, Department Chair and Professor, Sculpture, Christopher Howard, Managing Editor Western Illinois University Michael Horton, Web Designer University of Pennsylvania, History of Art Yale Center for British Art and Paul Mellon Center for Vice President for Committees Denise Williams, Membership Communications Coordinator Park Tower Suite 8216, Lobby Level Studies in British Art Blue Room, Omni Shoreham Hotel, 2500 Calvert Street NW, Suzanne Preston Blier, Allen Whitehill Clowes Professor of University of Pittsburgh, History of Art and Architecture Finance Department across from the Washington Marriott Wardman Park Hotel Fine Arts and Professor of African and African American Studies, Park Tower Suite 8222, Lobby Level Teresa López, CFO Harvard University Fernando Zelaya, Controller Vice President for Annual Conference 12:30–2:00 PM 6:00–8:00 PM Onofre Beltran, Staff Accountant Society of Fellows and American Academy in Rome Princeton University , Department of Art and Archaeology Gail Feigenbaum, Associate Director, The Getty Research Institute Shabab Rahman, Accounts Receivable For location and to RSVP, contact Shawn Miller: Taft Room, Mezzanine Level Vice President for Publications Roberta Lawson, Office Coordinator [email protected] NYU, Institute of Fine Arts Doralynn Pines, Metropolitan Museum of Art (ret.) Information Technology Madison A Room, Mezzanine Level 6:30–9:00 PM Secretary Michael Goodman, Director of Information Technology Eric Ervin, Database Manager Research and Academic Program The Clark, and Williams College International Center of Medieval Art Annual Meeting John Hyland, Jr., Media Advisory Partners LLC Wayne Lok, Systems Administrator Graduate Program in the History of Art The Embassy of France, 4101 Reservoir Road NW, Treasurer Allison Waters, Social Community Coordinator Madison B Room, Mezzanine Level Washington, DC 20007 RSVP required by email to: [email protected] Stony Brook University Department of Art Jeffrey P. Cunard, Partner, Debevoise & Plimpton LLP Membership, Development, and Marketing Tyler Room, Mezzanine Level Counsel Nia Page, Director of Membership, Development, and Marketing Vivian Woo, Marketing and Development Manager USC Roski School of Art and Design Saturday, February 6 Linda Downs, Executive Director and CEO, College Art Association Anna Cline, Development and Marketing Assistant Marriott Foyer, Mezzanine Level Executive Director and Chief Executive Officer Doreen Davis, Manager of Member Services 7:30–9:00 AM Denise Williams, Membership Communications Coordinator Kress Foundation Department of Art History at the 5:30–7:00 PM Constance Cortez, Associate Professor in Chicano/a Art History and Mike Iadarola, Member Services Assistant University of Kansas Duke University, Department of Art, Art History and Visual Studies Post-Contact Art of Mexico, Texas Tech University Taylor Room, Mezzanine Level Madison A Room, Mezzanine Level Helen C. Frederick, Professor/Director of Printmaking, School of Programs Art, George Mason University Emmanuel Lemakis, Director of Programs George Washington University, Corcoran School of the Arts and Jim Hopfensperger, Professor, Frostic School of Art, Western Tiffany Dugan, Director of Programs Design, Department of Fine Arts and Art History, Museum Studies Michigan University Paul Skiff, Assistant Director of Annual Conference Textile Museum Jawshing Arthur Liou, Professor and Chair, Department of Studio Janet Landay, CAA-Getty International Program & Fair Use Initiative 701 21st Street NW, Washington, DC 20052 Art, School of Art and Design, Indiana University, Bloomington Katie Apsey, Manager of Programs For information contact: [email protected] Jennifer Milam, Professor of Art History, University of Sydney Henone Girma, Programs Assistant Historians of Netherlandish Art Gunalan Nadarajan, Dean and Professor, Stamps School of Art & Maryland Suite, Lobby Level Design, University of Michigan Publications Chika Okeke-Agulu, Associate Professor in Department of Art and Betty Leigh Hutcheson, Director of Publications Institute for Doctoral Studies in the Visual Arts Archaeology, Princeton University Joe Hannan, Editorial Director Park Tower Suite 8209, Lobby Level Anne-Imelda Radice, Phd, Executive Director, American Folk Art Sarah Zabrodski, Editorial Manager Maryland Institute College of Art Museum Alyssa Pavley, Associate Editor for Digital Publications Tyler Room, Mezzanine Level Dannielle Tegeder, Associate Professor, Art Department, Lehman Alan Gilbert, Editor College, City University of New York Deidre Thompson, Publications Department Assistant Rochester Institute of Technology School of Art David C. Terry, Director of Programs and Curator, New York Petits Plats Restaurant Foundation for the Arts 2653 Connecticut Avenue NW, Washington, DC 20008 Rachel Weiss, Professor, Arts Administration and Policy, School of the Art Institute of Chicago Andrés Mario Zervigón, Associate Professor of the History of Photography and Undergraduate Director, Art History Department, Rutgers University

84 college art association February 3 –6, 2016 85 CAA PAST PRESIDENTS CAA COMMITTEE MEMBERS 2015-2016

2012–2014 1984–1986 1956–1958 Annual Conference Committee Committee on Women in the Arts Anne Collins Goodyear John Rupert Martin Joseph C. Sloane Suzanne Preston Blier, Harvard University, Vice President Donna Moran, Pratt Institute, Chair Bowdoin College Museum of Art Princeton University Bryn Mawr College for Annual Conference and Chair Rocio Aranda-Alvarado, El Museo del Barrio Kate Bonansinga, University of Cincinnati 2010–2012 1981–1984 1954–1956 Constance Cortez, Texas Tech University Francesca Fiorani, University of Virginia Barbara Nesin Lucy Freeman Sandler Lamar Dodd Jenn Dierdorf, A.I.R Gallery Emmanuel Lemakis, CAA Staff Liaison independent artist New York University University of Georgia Christine Filippone, Millersville University of Pennsylvania Jennifer Milam, University of Syndney Johanna Gosse, Scholar 2008–2010 1980–1981 1952–1954 Andrea Pappas, Santa Clara University Vanessa Jalet, CAA Staff Liaison Paul B. Jaskot Joshua C. Taylor S. Lane Faison Jr. Doralynn Pines, Independent Scholar and Consultant, Heather Belnap Jensen, Brigham Young University DePaul University National Collection of Fine Arts, Williams College The Metropolitan Museum of Art (ret.) Jonathan D. Katz, University at Buffalo, North Campus Smithsonian Institution John Richardson, Wayne State University Caitlin Margaret Kelly, Power Plant Gallery, Duke University 2006–2008 1949–1952 Helen Frederick, George Mason University, Regional Cecilia Mandrile, University of New Haven Nicola M. Courtright 1978–1980 Henry Radford Hope Representatives for the 2016 Conference Neysa Page-Lieberman, Columbia College Chicago Amherst College Marilyn Stokstad Indiana University Bibi Obler, George Washington University, Regional Miriam Schaer, Columbia College Chicago University of Kansas Representatives for the 2016 Conference Jean Shin, Pratt Institute 2004–2006 1947–1949 Charles A. Wright, Western Illinois University Ellen K. Levy 1976–1978 Frederick B. Deknatel Brooklyn College George Sadek Harvard University Committee on Diversity Practices Cooper Union for the Christine Young-Kyung Hahn, Kalamazoo College, Chair Education Committee 2002–2004 1945–1947 Advancement of Science and Art Ann Albritton, Ringling College of Art and Design Julia Sienkewicz, Duquesne University, Chair Michael L. Aurbach Rensselaer W. Lee Mariola Alvarez, Washington College Kirsten Ataoguz, Indiana University–Purdue University Fort Wayne Vanderbilt University 1974–1976 Smith College and Institute for Amanda Cachia, University of California, San Diego Denise Amy Baxter, University of North Texas Albert E. Elsen Advanced Study Linda Downs, CAA Staff Liaison Dana Byrd, Bowdoin College 2000–2002 Stanford University Ellen T. Baird 1941–1945 Lisandra Estevez, Winston-Salem State University Leda Cempellin, South Dakota State University University of Illinois at Chicago 1972–1974 Sumner McKnight Crosby Julie L. McGee, University of Delaware Aditi Chandra, University of California Merced Anne Coffin Hanson Yale University Barbara Mendoza, Solano Community College Linda Downs, CAA Staff Liaison 1998–2000 Yale University Chika Okeke-Agulu, Princeton University Bertha Gutman, Delaware County Community College John R. Clarke 1939–1941 Raél Jero Salley, University of Cape Town Andrew Hairstans, Auburn University Montgomery University of Texas at Austin 1970–1972 Ulrich Middeldorf Staci Scheiwiller, California State University, Stanislaus Kathleen Holko, Bruce Museum H. W. Janson University of Chicago Edith Wolfe, Tulane University Richard D. Lubben, South Texas College 1996–1998 New York University Charles A. Wright, Western Illinois University Victor Martinez, Arkansas State University Leslie King-Hammond 1939 Dawn Roe, Rollins College Maryland Institute College of Art 1969–1970 Walter W. S. Cook Christopher Ulivo, Santa Barbara City College Committee on Intellectual Property Marvin Eisenberg New York University Andres Zervigon, Rutgers University 1994–1996 University of Michigan, Ann Arbor Judy Metro, National Gallery of Art, Chair Charles A. Wright, Western Illinois University Judith K. Brodsky 1923–1938 Susan Bielstein, University of Chicago Press Rutgers, The State University of 1966–1968 John Shapley Nathan Budoff, University of Puerto Rico New Jersey George Heard Hamilton Brown University, New York Kenneth Cavalier, University of British Columbia International Committee Yale University University, and the University of Jeffrey P. Cunard, Debevoise & Plimpton LLP Rosemary O’Neill, Parsons, New School, Chair 1992–1994 Chicago Mary DelMonico, DelMonico Books/Prestel Alexandra Chang, NYU Asian/Pacific/American Institute Larry Silver 1964–1966 Gail Feigenbaum, The Getty Research Institute Francesca Fiorani, University of Virginia Northwestern University Richard Brown 1919–1923 Joe Hannan, CAA Staff Liaison Federico Freschi, University of Johannesburg Los Angeles County Museum of Art David Moore Robinson Betty Leigh Hutcheson, CAA Staff Liaison 1990–1992 Johns Hopkins University Jennifer Griffiths, American Academy in Rome Ruth Weisberg 1962–1964 Anne Norcross, Kendall College of Art & Design, Ferris State Annelise Jarvis-Hansen, KIK-Kulturel Information Koordination University of Southern California James S. Watrous 1916–1919 University Janet Landay, CAA Staff Liaison University of Wisconsin, Madison John Pickard Amy Ogata, University of Southern California Emmanuel Lemakis, CAA Staff Liaison 1988–1990 University of Missouri Doralynn Pines, Independent Scholar and Consultant, Jawshing Arthur Liou, Indiana University Phyllis Pray Bober 1960–1962 The Metropolitan Museum of Art (ret.) Fernando Luis Martinez Nespral, University of Buenos Aires Bryn Mawr College David M. Robb 1914–1915 Cynthia Underwood, US Patent and Trademark Office Abayomi Ola, Spelman College University of Pennsylvania Walter Sargent Charles A. Wright, Western Illinois University Miriam Paeslack, University at Buffalo SUNY 1986–1988 The University of Chicago Judy Peter, University of Johannesburg Paul B. Arnold 1958–1960 Valerie Rousseau, American Folk Art Museum Oberlin College Charles Parkhurst 1912–1913 Sarah Smith, The Glasgow School of Art Oberlin College Holmes Smith Charles A. Wright, Western Illinois University Washington University in St. Louis

86 college art association February 3 –6, 2016 87 Museum Committee Services to Artists Committee CAA’s comprehensive coverage of the visual arts in The Art caa.reviews Editorial Board Bulletin, Art Journal, caa.reviews, and Art Journal Open could Jeffrey Abt, Wayne State University, Chair Kate Bonansinga, University of Cincinnati, Chair David Raskin, School of the Art Institute of Chicago, Editor-in-Chief not exist without the dedication, expertise, and hard work Makeda Best, California College of the Arts Jan Christian Bernabe, Center for Art and Thought Amy Ballmer, Fashion Institute of Technology of many CAA members. We thank the following individuals Jill Deupi, Lowe Art Museum, University of Miami David J. Brown, Fine Art Museum, Western Carolina University Juliet Bellow, American University for helping CAA to maintain the highest standards in scholarly Linda Downs, CAA Staff Liaison Carissa Carman, Indiana University Bloomington Meredith Cohen, University of California, Los Angeles journal publishing during the past year. Tracy Fitzpatrick, Neuberger Museum of Art Zoe Charlton, American University Ben Davis, Independent Writer and Critic Ivan Gaskell, Bard Graduate Center Darren Douglas Floyd, Davidson College Suzanne Hudson, University of Southern California Anne Collins Goodyear, Bowdoin College Museum of Art Michele Grabner, School of Art Institute of Chicago Publications Committee Sheryl Reiss, University of Southern California, Past Editor Antoinette Guglielmo, Getty Leadership Institute at Claremont Molly Zuckerman-Hartung, Artist Tomoko Sakomura, Swarthmore College Gail Feigenbaum, Getty Research Institute, Chair Graduate University Niku Kashef, California State University Northridge Tanya Sheehan, Colby College Suzanne Preston Blier, Harvard University, Chair (May 2015) Saadia N. Lawton, CAA RAAMP Project Emmanuel Lemakis, CAA Staff Liaison Kirk Ambrose, University of Colorado, Boulder Anne Manning, Baltimore Museum of Art Jenny Marketou, Independent Artist Sarah E. Betzer, University of Virginia caa.reviews Council of Field Editors Leslee Katrina Michelsen, Museum of Islamic Art, Doha, Qatar Stacy Miller, Parsons, The New School for Design Rebecca M. Brown, Johns Hopkins University Anne-Imelda Radice, American Folk Art Museum Guna Nadarajan, University of Michigan Molly Emma Aitken, City College of New York Hollis Clayson, Northwestern University N. Elizabeth Schlatter, University of Richmond Museums Nia Page, CAA Staff Liaison Kate Palmer Albers, University of Arizona David J. Getsy, School of the Art Institute of Chicago Celka Straughn, Spencer Museum of Art, University of Kansas Mat Rappaport, Columbia College Chicago Joseph Alchermes, Connecticut College Susan Higman Larson, Detroit Institute of Art Charles A. Wright, Western Illinois University Martha Schwendener, Critic Gwen Allen, San Francisco State University Saloni Mathur, University of California, Los Angeles Dannielle Tegeder, Lehman College, City University of New York Andrea Bayer, Metropolitan Museum of Art David Raskin, School of the Art Institute of Chicago David Terry, New York Foundation for the Arts Susan Best, Queensland College of Art, Griffith University, Australia Lane Relyea, Northwestern University Professional Practices Committee Charles A. Wright, Western Illinois University Phillip Bloom, Indiana University Rachel Weiss, School of the Art Institute of Chicago Bruce Mackh, Michigan State University, Kresge Art Center, Chair Eddie Chambers, University of Texas, Austin Susan Altman, Middlesex County College Megan Cifarelli, Manhattanville College Student and Emerging Professionals Committee Tom Berding, Michigan State University Art Bulletin Editorial Board Andrew Finegold, NYU, Institute of Fine Art Paul Catanese, Columbia College Chicago Megan Koza Young, Prospect New Orleans, Chair Pamela Fletcher, Bowdoin College Kirk Ambrose, University of Colorado, Boulder, Editor-in-Chief Linda Downs, CAA Staff Liaison Jacquelyn Coutré, Indianapolis Museum of Art Tatiana Flores, Rutgers, The State University of New Jersey Nancy Um, Binghamton University, Reviews Editor Helen Frederick, George Mason University Lauren Grace Kilroy, Brooklyn College, CUNY Lisa Florman, The Ohio State University Rachael Ziady DeLue, Princeton University, Reviews Editor Michael Grillo, University of Maine Rachel Kreiter, Emory University Craig Hanson, Calvin College (June 2015) Jim Hopfensperger, Western Michigan University Brittany Lockard, Wichita State University Natilee Harren, University of Houston, School of Art Sarah E. Betzer, University of Virginia, Chair Eunice Howe, University of Southern California Carolyn Jean Martin, San Francisco Art Institute Anne Heath, Hope College David J. Getsy, School of the Art Institute of Chicago, Chair Virginia Maksymowicz, Franklin and Marshall College Tamryn McDermott, University of Missouri Columbia Suzanne Hudson, University of Southern California (June 2015) Walter Meyer, Santa Monica College Nia Page, CAA Staff Liaison Pamela Jones, University of Massachusetts, Boston Nina Athanassoglou-Kallmyer, University of Delaware Ellen Mueller, West Virginia Wesleyan College Lauren Puzier, Sotheby’s Institute of Art Christina Kiaer, Northwestern University Rita E. Freed, Museum of Fine Art, Boston Greg Shelnutt, Clemson University John Richardson, Wayne State University Jennifer Kingsley, Johns Hopkins University Dana Leibsohn, Smith College Katherine Sullivan, Hope College Jenny Tang, Yale University Elizabeth Merrill, Independent Scholar Stephen F. Ostrow, University of Minnesota, Minneapolis Joe A. Thomas, Kennesaw State University Vivian Woo, CAA Staff Liaison Kevin Murphy, Vanderbilt University Glenn Peers, University of Texas, Austin Jonathan F. Walz, Sheldon Museum of Art Charles A. Wright, Western Illinois University Nancy Netzer, Boston College Jonathan M. Reynolds, Barnard College Charles A. Wright, Western Illinois University Kristoffer Neville, University of California, Riverside Michael J. Schreffler, University of Notre Dame Diana Ng, University of Michigan, Dearborn Megan O’Neil, Columbia University Art Journal Editorial Board Alpesh Patel, Florida International University Andrei Pop, University of Chicago Rebecca M. Brown, Johns Hopkins University, Editor-in-Chief Susan Richmond, Georgia State University Michael Corris, Southern Methodist University, Reviews Editor Tomoko Sakomura, Swarthmore College Gloria Hwang Sutton, Northeastern University, Editor, Marika Sardar, San Diego Museum of Art Art Journal Open Tamara Sears, Yale University Saloni Mathur, University of California, Los Angeles, Chair Michael Schreffler, University of Notre Dame Juan Vicente Aliaga, Universitat Politècnica de València, Spain Tanya Sheehan, Colby College Talinn Grigor, Brandeis University Christopher Steiner, Connecticut College Janet L. Kraynak, Columbia University Eve Straussman-Pflanzer, Davis Museum at Wellesley College Tirza Latimer, California College of the Arts Kirsten Swenson, University of Massachusetts, Lowell Catherine Lord, Independent Artist Angela Vanhaelen, McGill University Kate Mondloch, University of Oregon Edward Vazquez, Middlebury College Lane Relyea, Northwestern University, Past Editor Jason Weems, University of California, Riverside Hilary Robinson, Middlesex University, London, UK Helen Westgeest, Leiden University Kirsten Swenson, University of Massachusetts, Lowell Tony White, Maryland Institute of College of Art Gloria Williams, Norton Simon Museum of Art Linda Wolk-Simon, Bellarmine Museum of Art at Fairfield University

88 college art association February 3 –6, 2016 89 WASHINGTON MARRIOTT WARDMAN PARK HOTEL WASHINGTON MARRIOTT WARDMAN PARK HOTEL

PARK 8205 8206 8209 TOWER 8201 ELEVATOR LOBBY LEVEL MEZZANINE LEVEL PARK TOWER 8210 ELEVATORS

8211 PARK TOWER GUEST ROOMS CAPITOL 8212 BOARDROOM TYLER B MADISON MAIN SALON 3 KITCHEN MAIN EAST SOUTH KITCHEN 8216 JOHNSON TRUMAN MEN SOUND ROOM

RESTROOMS A MADISON WOMEN 8217 JEFFERSON TAYLOR B 8218 NORTH WEST SOUND

DELAWARE AREA ROOM

JACKSON TAFT SERVICE SUITE STONE’S THROW 8219 RESTAURANT SALON 2 A REGISTRATION Thurgood Marshall Ballroom REGISTRATION A B 8222 VIRGINIA SUITE W ESCALATORS TO RESTROOMS TGM BALLROOM M ABC 8223 ATRIUM RESTROOMS 8224 SERVICE AREA LOBBY McKINLEY SALON 1

LOUNGE MARYLAND SUITE 8226 BALCONY B BALCONY RESTROOMS A BALCONY HARRY'S A B C PUB ESCALATOR TO EXHIBIT HALL C ESCALATOR BUCHANAN 8228 CLEVELAND 1 FRONT TO RESTROOMS DESK HALL B 12 CLEVELAND 2 BUS AND METRO CENTER CENTER TOWER 8229 TOWER 24TH STREET ENTRANCE CONCIERGE SALES & EVENT ELEVATORS MEN ELEVATORS OFFICE RETAIL SPACE CONVENTION WOODLEY REGISTRATION EXECUTIVE MARKET DESK WOMEN OFFICE OPEN TO LOBBY MARRIOTT MAIN LOBBY ELEVATOR TO PARK BELOW FOYER ESCALATOR TOWER GUEST ROOMS AND GARAGE WILSON FOYER TO MEZZANINE ESCALATOR HOOVER TO EXHIBIT MEZZANINE HALL A/B GUEST COOLIDGE GIFT SHOP ENTRANCE HARDING CONVENTION COAT CHECK REGISTRATION

LOCKER LUGGAGE WILSON C ROOM HEALTH CLUB WARDMAN TOWER AND GUEST ROOMS WILSON B

WILSON A PORTE CONGRESSIONAL COCHERE ROOM

90 college art association February 3 –6, 2016 91 WASHINGTON MARRIOTT WARDMAN PARK HOTEL WASHINGTON MARRIOTT WARDMAN PARK HOTEL Book and trade fair floor plan

EXHIBITION LEVEL EXHIBIT HALL C, EXHIBITION LEVEL

M W

4 EXHIBIT HALL C EXHIBIT HALL B SOUTH Lincoln Rooms 1 through 6 5 3 LOADING DOCK C (6 BAYS) 2 1 4

5 6 2 EXHIBIT HALL A Roosevelt Rooms 1 through 5 1 3 3

4 EXHIBIT HALL B 2 ATRIUM NORTH PACKAGE Washington Rooms ROOM 1 through 6 1 ESCALATOR TO LOBBY LEVEL 5 ESCALATOR TO M MAIN LOBBY 6 W

ESCALATOR TO LOBBY LEVEL

92 college art association February 3 –6, 2016 93 INDEX OF BOOK AND TRADE FAIR EXHIBITORS R&F Handmade Paints 328 Richmond, The American International University in London 221 exhibit hall c, exhibition level Rizzoli International Publications 301, 303 Routledge 119, 121, 123, 125 Royal & Langnickel Brush 430, 432 Exhibitor Booth Savoir-Faire 331 Abbeville Press 131 The Scholar’s Choice 324, 326 Allworth Press 403 School of Art and Design, Indiana University, Bloomington 526 Are Not Books & Publications 203 Sierra Nevada College Interdisciplinary Low-Residency MFA Program 529 ARTBOOK | D.A.P. 307 Soberscove Press 300 ArtForum / BookForum 213 SRISA - Santa Reparata International School of Art 330 Art In America 120 Thames & Hudson 127, 129 ARTSTOR 423 University of California Press 225, 227 ArtTable 509 University of Chicago Press 316, 318, 320 ,321,323 Azusa Pacific University 527 University of Minnesota Press 302 Barnesville Easels, Inc. 429 University of New Mexico Press 424 Blick Art Materials 109, 208 University of Oklahoma Press 402 Bloomsbury Publishing / Fairchild Books 219 University of Texas Press 422 Bookmobile 231 University of Washington Press 322 BRILL 325 University Press of New England 327 Canson Inc. 518 Western State Colorado University 506 Cengage Learning 404, 406 Wiley 420 Chartpak, Inc. 522 Winsor & Newton / Liquitex 515, 517 Christie’s Education 507 Woman’s Art Journal / Old City Publishing 223 Chroma Inc 428 Yale University Press 224,226, 228, 230 College Art Association 116, 118 Columbia College Chicago 508 Consortium Book Sales and D. Giles Ltd. 405 De Gruyter 229 Drawing from the Inside Out 525 Duke University Press 413 Dumbarton Oaks Research Library and Collection 400 Fairchild Books / Bloomsbury Publishing 219 Frieze 128 Gamblin Artist Colors 417 Getting Your Sh*t Together 328 Getty Publications 207, 209 Golden Artist Colors 407, 409 Henry Moore Institute 332 Holbein Artist Materials 306, 308 I.B. Tauris Publishers 205 Institute of International Education 528 Instituto Investigaciones Esteticas UNAM 426 Institute National d’Histoire del’Art (INHA) 526 Intellect Books 512 IPG/Art Stock Books 516 Jack Richeson & Co. Inc 532 Klopfesnstein Art Equipment 521, 523 Kremer Pigments NYC 425, 427 Laurence King Publishing 312 Marist College, Florence Branch Campus 519 The MIT Press, Cambridge, MA 106, 108, 110 The Monacelli Press 304 Nanying Technological University 401 New York Studio School 520 Oxford University Press 222 Pearson 218, 220 Penguin Random House 305 Penn State University Press 419, 421 Prestel Publishing 113, 212 Princeton University Press 124, 126 Professional Artist Magazine 431

94 college art association February 3 –6, 2016 95 ADVERTISERS INDEX Index of Participants

Art in America Artforum/ Bookforum A Barringer, Timothy J. 70 Brennan, Meg 41 Che, Onejoon 69 Azusa Pacific University Abbaspour, Mitra M. 51 Batario, Jessamine 53 Brett, Megan 48 Chiem, Kristen L. 58 Bard Graduate Center Abdallah, Monia 75 Batniji, Taysir 36 Brisman, Shira 69 Childs, Elizabeth C. 43 Barnseville Easels Abidin, Adel 36 Baumgarten, Jens 43 Brown, David J. 34, 35, 41, 53 Chlenova, Masha 75 Blick Abijanac, Julie M. 72 Beachdel, Thomas R. 46 Brown, Kathryn J. 53 Cho, Mika 28 Bloomsbury Abt, Jeffrey 59 Beall, Claiborne B. 65 Bruguera, Tania 46, 76 Christensen, Peter Hewitt 53 Consortium Book Sales & Distribution Adams, Gina 48 Beardslee, Deborah 50 Bruhn, Katherine L. 62 Chuchvaha, Hanna 51 Cornell University Press Adamson, Natalie A. 43 Beardsley, John M. 53 Brusati, Celeste A. 73 Chu, Jane 50 Dia Art Foundation Adams, William “Bro” 50 Beaudoin, Rachelle 47 Bruzelius, Caroline A. 42, 55 Chu, Petra 56 Drawing from the Inside Out Afanador-Pujol, Angélica J. 46 Beetham, Sarah 61 Bryant, Aaron 71 Ciscle, George 35, 63 Duke University - Wired! Airhart, Chad 71 Behbahani, Negar 36 Bryan-Wilson, Julia 63 Civin, Marcus 43 Duke University Press Books Albrecht, Kathe Hicks 72 Belan, Kyra 61 Buchanan, Yvonne 62 Clarke, Alison 49 Duke University Press Journals Albritton, Ann H. 56 Belden-Adams, Kris K. 68 Burdick, Catherine E. 73 Clarke, Christa 59 Dumbarton Oaks Research Library and Collection Albu, Cristina 46 Bell, Esther 65 Burns, Thea 64 Clark, Sonya 72 Embassy of Australia Aldouby, Hava 60 Bell, Joshua 57 Buron, Melissa E. 75 Clark, Wendy 41 Frederik Meijer Gardens & Sculpture Park Aldughaither, Tara 75 Bellow, Juliet 47 Busby, Ashley 45 Clark, Wesley 72 Frieze Alexander, Wayne 48 Beloufa, Neil 36 Bush, Teresia 65 Cleary, MaryKate 45 Georgetown University Press Alhadeff, Albert 50 Benjamin, Aliza M. 39 Bustamante, Nao 72 Cleppe, Birgit 64 Getty Publications Allison, Marisa 52 Bentel, Lukas 37 Cobb, Jasmine Nichole 65 Harvard Art Museums Altman, Susan M. 27, 50 Berding, Thomas G. 50 C Cohen, Jennifer Rose 46 High Rock Interactive, LLC Alvarez, Mariola V. 63 Berkowitz, Elizabeth 59 Cabanas, Kaira M. 49 Cohen, Michele 54 Institut national d’histoire de l’art (INHA) Aly, Doa 36 Bernier, Ronald R. 51 Cabianca, David 52 Cole, Lori 55 Institute for Curatorial Practice in Performance, Wesleyan University Amor, Monica M. 49 Bernstein, Barbara 28 Cachia, Amanda 54 Coleman, Christopher 29 Meadows Museum Anderson, Christina M. 39 Berredjem, Atef 36 Cahan, Susan E. 48 Coleman, William L. 75 MIT Journals Anderson, Emily S. K. 45 Betzer, Sarah 59, 71 Cahill, Zachary Robert 41 Cole, Sara Elizabeth 73 MIT Press Anderson, Eric 48 Bewer, Francesca G. 64 Callen, Anthea 58 Coltrin, Chris 75 Northeastern University Anderson, Glaire 51 Bialek, Yvonne 45 Calvarin, Juliette 53 Connelly, Shannon 51 Oxford University Press Anderson, Virginia M. G. 46 Bick, Tenley 56 Campbell, Angela 62 Contessa, Andreina 42 Pearson Ansari, Ava 36 Bieber, Susanneh 61 Campbell, Aurelia 59 Cooke, Lynne 54, 57 Penn State University Press Antliff, Allan 63 Bilbao, Ana 39 Campbell, Natalie 35, 37, 61 Cooke, Susan 50 Prestel Publishing Aquin, Stéphane 72 Biro, Matthew Nicholas 68 Capdevila-Werning, Remei 43 Cook, Heidi A. 71 Princeton University Press Aranda-Alvarado, Rocio 54 Bjelajac, David V. 60 Carey, Chanda L. 61 Cook, Nicole Elizabeth 61 RACAR, Universities Art Association of Canada Archino, Sarah S. 74 Blackshaw, Gemma 58, 68 Carey, Jean Marie 53 Cooper, Harry 72 Routledge Areford, David Sheridan 74 Blakely, Colin 56 Carlson, Elizabeth A. 68 Copeland, Huey 54 Ryerson University Armstrong, Helen 41 Blakinger, John 49 Carman, Carissa 35, 37, 61 Cordova, James M. 64 Smithsonian National Museum of the American Indian Arnar, Anna S. 53 Blaylock, Sara 44 Carr, Lauren 61 Costanzo, Denise R. 70 Stamps School of Art and Design, University of Michigan Ashley, Kathleen M. 44 Bleicher, Steven 28 Cartiere, Cameron 66 Coté, Derek 67 Stanford University Press Ashmore, Myfanwy 37 Blessing, Patricia D. 47 Casteras, Susan P. 71 Coutre, Jacquelyn N. 61 Temple University Press Asleson, Robyn 71 Blier, Suzanne Preston 52, 60, 71 Cavallo, Bradley 39 Couwenberg, Annet 35, 68 Terra Foundation for American Art Asmuth, Thomas 37 Blocker, Jane 58 Cavanaugh, Jan C. 44 Cowcher, Kate 69 Thames & Hudson Asteinza, Felici 35, 61 Blood, Katherine 48 Caviglia, Susanna 62 Cox-Richard, Lily 48 The Artist for Artists Project Athens, Elizabeth 62 Bo, Dana Dal 69 Cayeros, Patricia Diaz 68 Coyne, Mary 34, 45 The Center for Craft, Creativity & Design Aurbach, Michael 29 Boehman, Jessica M 59 Cecchini, Laura Moure 45 Cozzi, Leslie 62 The Courtauld Institute of Art Avnisan, Abraham 53 Boffa, David 66 Cempellin, Leda 58 Cozzolino, Robert 61 The University of Chicago Press Bogaard, Conny 55 Cernuschi, Claude R. 68 Crasnow, Sascha 74 The University of Texas at Austin B Bohrer, Frederick 70 Cha, Jimin 39 Crawford, Romi 67 University of California Press Baader, Hannah 60 Bondy, Barb 42 Chanchani, Nachiket 68, 73 Creasap, Kimberly 62 University of Michigan-Flint Baca, Judith F. 34, 39 Bonham-Carter, Charlotte 39 Chandra, Aditi 58 Cronan, Todd 59 University of Minnesota Press Bachmann, Ingrid 69 Bonilla-Merchav, Lauran Vanessa Chang, Alexandra 71 Cronin, Elizabeth 51 University of Oklahoma Press Baefsky, Laurie 40 63 Chang, Boyoung 39 Cronin, Keri 53 University of Texas Press Baghriche, Fayçal 36 Borland, Jennifer R. 53 Chang, Yuri 39 Cropper, M. Elizabeth 58 University of the Arts Bagneris, Mia 74 Bovenmyer, Peter 49 Chanratana, Chen 62 Cummins, Elizabeth A. 40 University of Washington Press Bahri, Ismaïl 36 Bradbury, Leonie 50 Chapman, H. Perry 39, 61 Cummins, Tom 43 Virginia Commonwealth University Bailey, Julia Tatiana 63 Braddock, Alan C. 53 Charles-Rault, Jacqueline 57 Curtis, Brian 29 Western State Colorado University Balaghi, Shiva 51 Branca, Sid 37 Charlton, Zoe 35, 53 Women’s Caucus for Art Bangdel, Dina 68 Brandow-Faller, Megan 44 Chateauvert, Jocelyn 35, 68 D Yale Institute of Sacred Music Baradel, Lacey 52 Bratton, Lyndsay D. 44 Cheetham, Mark A. 46 Dackerman, Susan 69 Yale University Press Barikin, Amelia 65 Bravo, Monica C. 55 Cheney, Liana 50 d’Agostino, Brita 53 Barrett, G. Douglas 64 Braysmith, Hilary A. 34, 39 Chen, Yu-chuan 59 Daigle, Claire 58

96 college art association February 3 –6, 2016 97 Dalal, Radha J. 58 Endress, Edgar 35, 61 G Griffin, Dori 70 Hill, Shannen L. 44 Johnson, Linda 71 Koehler, Karen 66 Leme, Alex 62 Dale, Thomas E. A. 41 Esslinger, Sandra L. 62 Gabriel, Douglas 39 Griffiths, Jennifer S. 62 Hilton, Alison L. 44, 64 Johnson, Monique 68 Koh, Dong-Yeon 39 Lennon, John 73 Danelon, Nevio 55 Estevez, Lisandra 68 Gahan, Maria 47 Grigor, Talinn 60 Himsworth, Rhys 35, 47 Johnston, Patricia A. 66 Kohl, Jeanette 63 Lenssen, Anneka E. 49 Danford, Rachel 73 Evans, Helen C. 41 Gaiter, Colette 65 Grizzle, Ronda 28 Himsworth, Thomas 52, 63 Jones, Amelia 75 Korb, Elisa 71 Leon, Radu 55 Dardashti, Abigail Lapin Everett, Gwen 52 Gaither, Joan 72 Grootenboer, Hanneke 69 Hirsh, Jennie 58 Jones, Caroline 47 Kornbluth, Genevra 41 Leon, Sharon M. 28 40, 58 Gallaccio, Anya S. 64 Grudin, Anthony E. 53 Hitchings, Genevieve 52 Jones, Kellie 52 Kornhauser, Elizabeth Mankin Lerer, Marisa 70 Darrow, Elizabeth 55 F Gallant, Kristen 72 Guerdat, Pamella 49 Hoelscher, Jason 69 Jones, Nathaniel 65 51 Lerner, Jillian Taylor 68 Davies, Veronica 44 Fahlman, Betsy 60 Galliera, Izabel 58 Guffey, Elizabeth 52 Hoffman, Meike 45 Jordan, Keith 46 Kosinski, Dorothy 66 Levine, Cary 64 Davis, John H. 58 Fakhir, Ymane 36 Galpin, Amy 60 Guglielmo, Antoniette M. 58 Hokanson, Alison R.W. 70 Josten, Jennifer 63 Kossak, Florian 66 Levin, Wiliam 50 Davis, Lawrence-Minh Bùi 71 Falk, Naomi J. 67 Gamble, Lauren Jacks 54 Gunn, Jenny Marie Beene 48 Hollander, Stacy C. 51 Joyner, Danielle B. 53 Koss, Juliet 51 Levitt, Peggy 43 Davis, Whitney 59 Falls, Sarah 57 Garb, Tamar 71 Gupta, Atreyee 49 Hölling, Hanna Barbara 64 Joynes, Les 65 Kostina, Daria 62 Levy, Aaron 57 DeCarbo, Ed 56 Favell, Adrian 57 Gardner-Huggett, Joanna P. 47 Guy, Emmanuel 67 Holmes, Tiffany 69 Juedes, Donald 57 Kovach, Jodi 73 Lewallen, Constance M. 57 DeLaurenti, Christopher 64 Favorite, Jennifer K. 70 Garrido, Elisa 39 Holmquist, Paul 62 Jule, Walter 72 Kovacs, Claire L 48 Leyva-Gutierrez, Niria E. 64 DeLouche, Sean 54 Feinstein, Sarah Rebecca Gaskins, Nettrice 40 H Holochwost, Catherine 75 Jungen, Bettina 51 Kowell, Masha 44 Liang, Rosana 36 Demaray, Elizabeth 37 Michelle 74 Gasper-Hulvat, Marie 55 Hager, Nathalie N. 42 Holzman, Laura 53 Jung, Jacqueline E. 41 Kozak, Nazar 62 Lichty, Patrick M. 67 Dent, Lisa 34, 41 Feldman, Marian H. 69 Gassaway, William T. 46 Hagerty, Sara 70 Hoobler, Ellen 43 Kralik, Christine 74 Lincoln, Matthew 48 Desplanque, Kathryn 74 Ferguson, Brigit G. 74 Gass, Izabel 71 Haggag, Deana 35, 68 Hoover, Polly R. 49 K Kreamer, Christine Mullen 40 Lindquist, Sherry 40 DeTurk, Sabrina 70 Ferro, Renate 37, 67 Gates, Alison 56 Hairstans, Andrew 42 Hopfensperger, Jim 42, 56 Kabriri, Amir 36 Kreiter, Rachel P. 40 Lindsay, Arturo 40 Deupi, Jill J. 56 Fettes, Meredith Bagby 43 Gaztambide, Maria C. 42 Hall, Rebecca S. 62 Hopkins, Candice 54 Kaenel, Philippe 53 Kristan-Graham, Cynthia B. 48 Linrothe, Robert 68 Diack, Heather 44 Fiduccia, Joanna 59 Geha, Katie 41 Hall-van den Elsen, Cathy 68 Horse Capture, Joe D. 41 Kajiya, Kenji 57 Kromm, Jane 48 Linssen, Dalia Habib 46 Diamond, Debra 73 Fiedorek, Kara Charles 75 Gensheimer, Maryl B. 73 Hall, Virginia G. 69 Horton, Jessica 63 Kalba, Laura 70 Krüger, Klaus 63 Lippert, Sarah J. 71 Dibble, R. Ruthie 53 Fifi, Daniela 43 Gerschultz, Jessica 44, 51 Halverson, Nathan 37 Howe, Jeannie 35, 68 Kalman, Lauren A. 67 Kudryavtseva, Ekaterina 51 Liu, Joy 43 Dickey, Stephanie S. 73 Fillastre, Joey 35, 61 Gerspacher, Arnaud 53 Hamill, Sarah 59 Hristov, Nickolay 40 Kameli, Katia 36 Kuenzli, Katherine M. 59, 74 Liu, Lihong 60 Diel, Lori B. 46 Finley, Cheryl 54 Gerstenblith, Patty 73 Hamilton, Andrew J. 54 Hudson, Suzanne 47 Kamran, Sadia Pasha 58 Kumar-Dumas, Divya 53 Li, Vivian 69 Dietrich, Dorothea 46 Fishburne, James 66 Gertsman, Elina 49 Hamilton, Tracy Chapman 47, Huffman, Kristin Love 45 Kaniaris, Peter 29 Kumari, Savita 65 Lockard, Brittany 63 Di Stefano, Chiara 45 Fisher, Michelle Millar 66 Getsy, David 47 72 Hughes, Philippa 35, 53 Kaplan, Louis P. 55 Kunz, Anna 35, 47 Locke, Nancy 59 Doherty, Tina 54 Fisher, Susan Greenberg 61 Giloth, Copper Frances 55 Hamlin, Amy 62 Hugill-Fontanel, Amelia 50 Kashef, Niku 34, 41 Kushner, Marilyn S. 64, 74 Locker, Jesse M. 59 Donahue, Nathaniel 74 Fitzgerald, Clare 40 Gilvin, Amanda 44 Hammond, Katherine E. 73 Hunter, Christina 50 Katz, Jonathan 54 Loewen, Kerry 55 Dossin, Catherine 67 Fitzgerald, Kenneth 41 Giuntini, Parme P. 69 Hanabergh, Verónica Uribe 74 Hunter, Mary 58 Katz, Wendy J. 54 L Loewe, Sebastian 41 Dotseth, Amanda 51 Fitzpatrick, Tracy S. 56 Gleber, Conrad 34 Han, Aram 74 Hutchison, Caitlin 53 Kaul, Shonaleeka 68 Labar, Morgan 65 López, David Martín 60 Drew, Ned 41 Flanigan, Theresa 42 Gleisser, Faye 47 Hanson, Debra W. 54 Hutson, James Lee 59 Kaup, Monika 43 Lacedelli, Stefania Zardini 55 López, John F. 54 Driskell, David C. 48 Fleming, Tessa 69 Glover, Sarah R. 48 Harbison, Thomas 69 Hyman, Aaron M. 65, 74 Keefer, Jeannine 72 LaFayette, Carol 40 Lowe, Rick 35, 63 Drogoul, Laure 35, 53 Fleming, Tuliza 71 Gluzman, Georgina G. 67 Harren, Natilee 54 Keener, Chrystine 46 LaFoe, Michelle 46 Luarca-Shoaf, Nenette 52 D’Souza, Aruna 71 Fletcher, Curtis 29 Goggin, Nan 56 Harris, Clare 73 I Keith, Naima J. 41 Laidler, Paul 74 Lucento, Angelina 75 Dubin, Nina 62 Fletcher, Pamela 49 Goldberg, Deborah A. 50 Harris, Julie 51 Ibarra, Xandra 72 Kempf, Lucy 66 Lajer-Burcharth, Ewa 71 Luebke, Thomas 66 Dugan, Holly 41 Floyd, Darren Douglas 37 Gold, Lisa 35, 53 Harris, Katerina 49 Ibbotson, Rosie 46 Kemp-Welch, Klara 49 Landres, Sophie 64 Lukacher, Brian 53 Duganne, Erina 44, 56 Flynn, Annalise 70 Goldstein, Jennie H. 34, 45 Harris, Lindsay R. 42 Ichiyama, Dennis 29 Kennedy, Jennifer 41 Lane-McKinley, Kyle 58 Luke, Megan R. 59 Dumouchelle, Kevin D. 40 Fontanella, Megan 45 Golebiewski, Tara 31, 72 Harris, Pamela 67 Igoe, Laura Turner 64 Kenney, Ellen 58, 75 Larrivee, Shaina D. 50 Lukin, Aimé Iglesias 60 Dunn, Ashley 71 Force, Christel 45 Golec, Michael J. 70 Hart, Imogen 44 Ingersoll, Catharine 61 Kennicott, Philip 47 Larson, Nate 37 Lum, Julia 53 Durham, Jeffrey 68 Forrester, Gillian 65 Göloğlu, Sabiha 75 Hartzell, Freyja T. 46 Irwin, Christa 64 Kett, Robert J. 54 Lasc, Anca I. 48 Lupkin, Paula R. 48 Duzant, Magali 36 Forte, Maurizio 55 Gomez, Ximena Alexandra 67 Hartz, Jill 56 Isard, Katherine G. 73 Kiaer, Christina 69 Latif, Riyaz 44 Luxenberg, Alisa L. 60 Dzenko, Corey 40 Foster, Elisa Anne 61 Gondek, Renee Marie 73 Harvey, Eleanor Jones 54 Isotani, Yusuke 43 Kim, Anna Marazuela 63 LaTocha, Athena 48 Lynford, Sophie 70 Foutch, Ellery E. 64 González, Cristina C. 64 Hasbún, Muriel 42 Isto, Raino 69 Kim-Cohen, Seth G. 64 Lawal, Babatunde 40 E Fowkes, Maja 51 Gorman, Carma 42 Hauknes, Marius Bratsberg 63 Kim, Hye Young 37 Lazer, Brett 68 M Eager, Elizabeth Bacon 64 Fowkes, Reuben 51 Gower, Reni 35, 47 Helgason, Hlynur 41 J Kim, Jongwoo 71 Leader, Karen J. 62, 71 Machida, Margo 75 Earenfight, Phillip 56 Fowler, Elizabeth J. 56 Grace, Claire 44 Hellman, Amanda H. 40 Jackson, Alexander 54 Kim, Miri 64 Leal, Enrique Martinez 74 Machotka, Ewa 57 Eaton, Natasha J. 60 Francis, Jacqueline 71 Graciano, Andrew 56 Hellstein, Valerie L. 69 Jackson, Jerma A. 67 Kindall, Elizabeth 53 Leaper, Hana 65 MacKenzie, Duncan G. 41 Eberle, Suzanne M. 55 Franco, Ana M. 63 Graham, Amanda Jane 34, 45 Hermann, Carla 70 Jackson, Meg R. 34, 45 Kingdon, Nathaniel 59 Leclère, Mary L. 48 Madoff, Steven Henry 72 Eckmann, Sabine M. 58 Franco, Josh 42 Granberg, Johan 35, 47 Hernandez, Luis Javier Cuesta Jackson, Shannon 58 King, Matt 34, 41 Lee, Ana Paulina 71 Malina, Roger F. 40 Edinger, Carrie Ida 61 Frank, Natalie 71 Grasman, Edward 49 68 Jacobs, Frederika H. 49 Kissick, John 50 Lee, De-Nin D. 59 Mandrile, Cecilia 74 Edwards, Adrienne 54 Frazier, LaToya Ruby 35, Gray, Kishonna L. 60 Herrera, Olga U. 42 Jacobs, Hannah 42 Kive, Solmaz Mohammadzadeh Lee, Jung Joon 44 Mangone, Carolina 66 Edwards, Randall 40 63 Greenberg, Alyssa 39 Herring, Amanda Elaine 45 Jacquin, Maud 67 42 Lee, Katie Madonna 43 Mannarino, Ana 62 Ehlert, Jennifer 50 Frederick, Margaretta S. 69 Greene, Nikki 41 Hertel, Heather 72 Jahoda, Susan 52 Klein, Cecelia F. 46 Lee, Lisa 59 Manning, Anne 58 Eisenman, Stephen F. 53 Frederick, Nathaniel 65 Greenhill, Jennifer A. 70 Hertzson, Joyce S. 50 Jang, Sunhee 65 Klein, Lidia 70 Lee, Min Kyung 66 Mann, Nicola G. 39 Elder, Nika 71 Freed, Rita E. 41 Green, Joshua 51 Hess, Gerry 71 Jasienski, Adam Michal 64 Kliger, Marina 44 Lee, Mireille M. 73 Mansour, Larissa 36 El-Hassan, Azza 36 Free, Wendy 56 Greenough, Sarah 42 Hess, Janet B. 65 Jaskot, Paul B. 45, 66 Klimburg-Salter, Deborah 73 Lee, Sonya S. 59 Manthorne, Katherine E. 59 Elkins, James P. 58 Freiman, Lisa D. 34, 39 Greenwald, Diana Seave 54 Heydt, Stephanie Mayer 45 Jaynes, Teresa 74 Klimek, Elizabeth Ann 48 Lee, Young Ji 69 Manzione, Chris 34 Elliott, Gillian B. 44 Friedenthal, Antoinette 49 Greenwold, Diana 71 Hickl, Jeanette W. 45, 52, 63 Jeanjean, Stephanie C. 67 Knappe, Stephanie Fox 70 Leibowitz, Anjuli J. 64 Marías, Fernando 73 Ellis, Helen 73 Frostig, Karen 58 Gregor, Richard 42 Hidalgo, Alexander 65 Jentleson, Katherine Laura 51 Knezic, Sophie 46 Leibsohn, Dana 65, 74 Marketou, Jenny 36 Else, Felicia 46 Fuhrmeister, Christian 45 Gretton, Tom 65 Highmore, Ben 44 Jesty, Justin 57 Knouf, Nicholas 67 Leigh, Allison 64 Marnani, Zeinab Shahidi 36 Elshahed, Mohamed K. 49 Funk, Tiffany 34 Grewe, Cordula 41 Hilker, Anne 73 Johnson, Annie 57 Knowles, Marika T. 69 Leininger, Margaret 35, 47 Maroja, Camila 63 Emos, Amze 74 Grey, Lydia 37 Hillings, Valerie 51 Johnson, Deborah J. 48 Knox, Aubrey 55 Lemakis, Suzanne 29 Marrero, Pablo F. Amador 68

98 college art association February 3 –6, 2016 99 Marten, Jessica 61 Mohn, Jarl 56 Norcross, Anne R. 55 Phinizy, Carolyn 74 Rife, Michaela 44 Savage, Kirk E. 66 Sizer, Michael 44 Swartz, Anne K. 47, 60 Martinez, Elisa de Souza 55 Mokren, Jennifer 56 Norris, Debra Hess 66 Pillsbury, Joanne 58 Rifkind, David 56 Savig, Mary 72 Slifkin, Robert 42 Swisher, Kate 71 Martinez, Fabiola 55 Molacek, Elizabeth M. 73 Norris, Tameka 72 Pincus, Debra 66 Rigolo, Pietro 65 Scallen, Catherine B. 49 Smith, Cherise 75 Syme, Alison 71 Martinez, Ivan 34 Monahan, Anne 75 Nouril, Ksenia 51 Pinkus, Assaf 40 Riley, Casey K. 71 Schaar, Elisa 64 Smith, Giulia Stephanie 70 Szabo, Victoria E. 37, 55 Martin, Therese 51 Montgomery, Guen 72 Nova, Laura 37 Plastow, Jane 56 Rinalducci, Jennifer 57 Schaefer, Sarah C. 75 Smith, Jamie L. 41 Martynyuk, Olena 64 Montgomery, Harper 74 Nuzzo, Molly Marie 62 Platzker, David 50 Ringelberg, Kirstin 48 Schaer, Miriam 52 Smith, Jaune Quick-to-See 48 T Mason, John D. 35, 68 Mooney, Amy 67 Poddar, Neeraja 68 Ritchie, Matthew 54 Schleif, Corine L. 41 Smith, Jeffrey Chipps 46 Tain, John 57, 75 Masteller, Kimberly 51 Moon, Iris J. 65 O Pohlad, Mark B. 67 Rivenbark, Elizabeth 43 Schloetzer, Martha M. 45 Smith, Neal Ambrose 48 Takemoto, Tina T. 72 Mathieu, Camille 62 Moore, Kathryn Blair 66 Obler, Bibiana K. 72 Pompanin, Giacomo 55 Rivenc, Rachel 64 Schmidt-Burkhardt, Astrit 54 Smith, Sarah-Neel 51 Takesue, Akiko 39 Mattingly, Mary 35, 61 Moore, Sarah J. 40 O’Brien, Elaine J. 57 Pompelia, Mark 72 Rivera, Alfredo 75 Schneider, Erika 70 Smith, T’ai L. 54 Talbot, Emily M. 68 Mauro, Hayes P. 61 Moore, William D. 60 Ochoa, María 47 Pontonio, Heather 43 Roach, Catherine 70 Schulz, Vera-Simone 47 Smith, Terry 72 Tan, Jian Shen 37 Maydanchik, Michelle A. 73 Mooshammer, Helge 55 Oehlrich, Kristen 62 Poole, Deborah 66 Robbins, Christa Noel 41 Schweitzer, Yvonne 48 Smulevitz, Cara 48 Taragan, Hana 47 Mayer, Carol 57 Moran, Donna 74 Oelbaum, Brenda R. 51, 62 Porter, Austin L. 70 Robbins, Nicholas 75 Scott, Joyce 35, 63 Sneige, Lyne 36 Taroutina, Maria 64 May, Samantha 34, 35, 39, 68 Moravec, Michelle 47 Oh, Gyung Eun 39 Potter, Melissa 35, 47 Robertson, Breanne 55 Scott, Sarah Jarmer 42 Sohrabi, Sanaz 37 Tasman, Marc 37 McCafferty, Daniel 67 Morehead, Allison 58, 68 Oh, Hye-ri 66 Powell, Amy Knight 69 Robertson, Janice Lynn 39 Scott, Sascha T. 60 Sokol, David M. 27 Tatum, Steve 72 McCarthy, Steven 40 Moren, Lisa 69 Oliver, Christopher C. 75 Powell, Richard 52 Robleto, Dario 48 Seaman, Kristen 45 Speaks, Elyse D. 60 Taws, Richard 43 McClanan, Anne L. 69 Moresi, Michele Gates 71 Olsen, Trenton 64 Powers, Sophia 60 Rod-ari, Melody N. 62 Sedira, Zineb 36 Spear, Elizabeth A. 75 Taylor, Larry M. 61 McClellan, Andrew L. 58 Morgan, Emily K. 40 Olson, Mark J.V. 55 Poynor, Robin 40 Rodini, Elizabeth 55 Seggerman, Alex Dika 56 Spear, Richard E. 49 Temkin, Daniel 52, 63 McCollum, Christina 55 Morgan, Jo-Ann 65 Olszewski, Christopher S. 72 Presutti, Kelly 43 Rogala, Dawn V. 64 Seiffert, Gregory M. 60 Spencer, Catherine Elizabeth Temkin, Susanna 50 McCormick, Sooa Im 59 Morris, Matt 47 O’Malley, Therese 58 Proctor-Tiffany, Mariah 47 Rokeby, David 69 Selejan, Ileana Lucia 44 63 Terry, David 43 McDonough, Tom 55, 71 Morrison, Kathleen 73 Omareen, Zaher 36 Prophet, Jane 67 Romaine, James 61 Sellen, Adam Temple 54 Spira, Freyda 62 Terry-Fritsch, Allie 40 McEwen, Abigail J. 63 Morrissey, Leo 29 O’Neal, Lauren 34, 45 Pulliam, Heather 53 Roman, Gretta Tritch 72 Senior, David 53 Spiteri, Raymond 74 Thaggert, Henry 35, 53 McFadden, Jonathan 72 Mörtenböck, Peter 55 O’Neill, Rosemary M. 65 Puma, Suzanne Herrera Li 47 Romero, Anthony 56 Serviddio, Fabiana 55 Spivey, Julie 41 Theriault, Kim S. 70 McGarry, Renee 55 Morton, Patricia A. 70 Orell, Julia 59 Pushaw, Bart C. 44 Rose, Marice E. 73 Serwer, Jacquelyn 71 Spivey, Virginia B. 69 Thiel, Tamiko 67 McGee, Julie L. 48 Mosher, Michael 52, 63 Orfila, Jorgelina 51 Rosenbaum, Julia 70 Seymour, Brian 55 Squinkifer, Dietrich 60 Thill, Robert 40 McHam, Sarah Blake 59 Moss, Dorothy 41 Oring, Sheryl 76 Q Rosenberg, Gigi 28 Shafer, Ann 45 Sretenovic, Vesela 65 Thomas, Kerstin 74 Mckay, Gretchen K. 48, 49 Moussavi, Combiz 49 Orosz, Márton 62 Quiles, Daniel R. 49 Rosenberg, Susan 50 Shafer, Nathan 67 Stair, Jessica 46 Thomas, Mary Margaret 53 McKay, Sara Wilson 52 Mugnolo, Christine Elizabeth 53 Orr, Joey 39 Quinn, Dorene 62 Rosenfeld, Jason 70 Shaked, Nizan 75 Stanfield-Mazzi, Maya S. 67 Thompson, Krista A. 54 McKever, Rosalind 45, 47 Mullan, Anthony P. 59 Otayek, Michel 67 Rose, Sam 59 Shalem, Avinoam 75 Stanford, Ruth 67 Thorp, Scott 72 McPherson, Heather A. 45 Munroe, Alexandra 72 Ott, John W. 60 R Ross, Scott 34, 39 Shamble, Camille 40 Stankrauff, Alison 43 Thurmann-Jajes, Anne 58 McSherry, Siofra 74 Murayama, Nina 58 Raab, Jennifer 53 Roth, Moira 71 Shanken, Andrew 70 Starkey, Kathryn 69 Tiffany, Tanya J. 64 McWilliam, Neil F. 43 Murillo, Michelle 72 P Rabinowitz, D. Jacob 55 Rounthwaite, Adair 49 Shanker, Jennie 52 Stark, Trevor 54 Tilghman, Benjamin C. 53 Medosch, Armin 49 Murray, Derek Conrad 60 Pafford, Isabelle 45 Rappaport, Mat 34, 36, 37 Rousseau, Valérie 62 Shannon, Lindsay E. 53 Starr, Meredith 67 Tobia, Blaise 27 Mehiel, Corrina 58 Murray, Jennifer 72 Pagani, Catherine 50 Raskin, David 47 Rozental, Rotem 74 Shapiro, Tom 56 Stauffer, Barbara 35, 68 Tobin, Amy 47 Meier, Prita Sandy 66 Murray, Soraya 37, 60 Page-Vanore, Catherine 43 Rath, Amanda K. 49 Rubini, Gail 34 Sharpe, Celeste Tuong Vy 49 Stayner, Christian A. 44 Topp, Leslie E. 68 Meister, Michael W. 73 Mushkin, Hillary 48 Palmer, Erin 42 Ratliff, Jamie L. 60 Rudinsky, Joyce 37 Sharp, John 60 Steinhilper, Diantha 39 Tornier, Etienne 56 Mekinda, Jonathan 48 Myers, Allison 43 Paoletti, Giulia 66 Rawles, Susan J. 52 Rudy, Elizabeth M. 62 Shaw, Lytle 64 Steinhoff, Judith 74 Touloumi, Olga 60 Melion, Walter S. 49 Myers, Kenneth 70 Pappas, Allison 64 Raymond, Claire 60 Ruiz-Gomez, Natasha 68 Shaw, Paul 66 Stenhouse, William 66 Traganou, Jilly 73 Mendoza, Ilenia Colón 68 Myers-Szupinska, Julian 57 Pappemheimer, Will 67 Raynsford, Anthony 70 Ruiz, Susana 37 Shelley, Marjorie 65 Stephens, Janet G. 54 Trapp, Liz 73 Menjivar, Mark 56 Parenti, Lynne R. 35, 68 Ray, Sugata 60 Russell, Donald 35, 68 Shellow, Leslie 52 Stephens, Rachel E. 43 Trench, Carolyn 65 Mercer, Kobena 52 N Parker, Shalon D. 69 Redell, Rebecca 70 Ruzicka, Joseph T. 73 Sherald, Amy 35, 53 Steverlynck, Maria-Laura 63 Trever, Lisa 54 Meredith, Hallie 53 Nadir, Leila 37, 39 Park, Eunyoung 39 Rees, Nathan K. 75 Sheren, Ila 46 Stinger-Stein, Karla 52 Troelenberg, Eva Maria 75 Merrill, Elizabeth 46 Nae, Cristian 42 Park, Jaeyong 69 Reggad, Yasmina 36 S Sheriff, Mary 62 Stockham, Jo 52, 63 Trotta, Julia 71 Metro, Judy 62 Nagy, Rebecca Martin 56 Patel, Alpesh Kantilal 72 Reichle, Ingeborg 65 Saab, A. Joan 71 Sherin, Aaris 40 Stokic, Jovana 48 Tsakirgis, Barbara 45 Meyer-Krahmer, Benjamin 54 N’Diaye, Diana 55, 72 Patterson, Jody 60 Reilly, Lisa 28 Sağ, Belit 37 Shiells, Svitlana 56 Stollhans, Cynthia 42 Tumbas, Jasmina 51 Meyer, Mati 40 Nelson, Adele E. 55 Patterson, Zabet 47 Reilly, M. Alison 59 Saggese, Jordana Moore 55 Shiff, Melissa 55 Stone, Rebecca R. 73 Turel, Noa 49, 74 Meyer, Richard E. 63 Nelson, Amanda J. 56 Pearce, Madeleine 71 Reilly, Maura 48, 54 Saladrigues, Mireia C. 34, 36, 45 Shiff, Richard 74 Stormes, Stacey 37 Turner, R. Dean 42 Meyer, Robin 62 Nelson, Erika 59 Pearce, Nicholas 45 Reinckens, Sharon A. 43 Saletnik, Jeffrey 66 Shindelman, Marni 37 Stott, Annette 61 Tymkiw, Michael 45 Meyer, Walter J. 69 Nelson, Solveig 41 Pearson, Andrea G. 42 Reinoza, Tatiana 57 Saliga, Pauline A 66 Shin, Jean 52 Strandquist, Mark 56 Tyson, John A. 51 Micklewright, Nancy 48 Nelson, Steven D. 54, 58 Pedercini, Paolo 37 Reiss, Julie H. 46 Salomon, Nanette 61 Shipley, Lesley E. 59 Strohecker, Carol 40 Mignualt, John 36 Nesbit, Molly 71 Pederson, Claudia Costa 67 Reiss, Sheryl E. 74 Salsbury, Britany 65 Shoemaker, Innis H. 62 Strokosch, Caitlin 34, 41 U Mika Cho 28 Nesin, Kate 59 Pentcheva, Bissera 41 Renn, Melissa 60 Sandell, Renee Y. 52 Sichel, Berta 36 Stroukoff, Eumie Imm 57 Ulak, James 58 Milano, Ronit 65 Nettleton, Anitra Catherine Peppermint, Cary 37 Reynolds, Craig 54 Sandler, Daniela 48 Sidoti, Sarah 31, 72 Sugiyama, Miyako 69 Mileeva, Maria 69 Elizabeth 44 Pereda, Felipe 43 Ricci, Roberta 66 Sands, Sarah 31, 62 Siegert, Nadine 75 Sullivan, Edward J. 59 V Miller, A. Bill 37 Newell, Aimee E. 60 Pergam, Elizabeth A. 39 Richardson, John 42, 50, 52 Santner, Kathryn 64 Silver, Ken 71 Sullivan, Katherine 50 Valance, Hélène 64 Miller, Stacy 35, 36, 47 Newman, Abigail 46 Perkinson, Stephen G. 49, 74 Rich, Byron 37 Santone, Jessica 55 Silverman, David 66 Sullivan, Megan A. 49 Valjakka, Minna 73 Milosch, Jane 35, 45, 68 Newman, Emily L. 61 Perratore, Julia 40 Richmond, Susan E. 60 Santos, Ricardo De Mambro 46 Simbeni, Alessandro 40 Sully, Nicole 53 Valladares, Hérica 62 Miss, Mary 34, 39 Nichols, Kate 75 Peter, Judy 42 Ricketts, Paul W. 66 Sapir, Itay 69 Simmons, Becky 50 Summers, Robert 72 Veder, Robin 58 Mitnick, Barbara J. 54 Nielsen, Kristine 41 Peters, Carol T. 66 Ridlen, Tim 48 Sappol, Michael 58 Simpson, Marianna Shreve 58 Super, Andrew 74 Vega, Marta Moreno 40 Mix, Elizabeth 56 Nochlin, Linda 71 Pezolet, Nicola 49 Riello, José 73 Sá, Renata Camargo 65 Simpson, Nicole 70 Susik, Abigail 46 Voeller, Megan 58 Miyao, Daisuke 56 Nolan, Erin Hyde 75 Pezzini, Barbara 39 Riesenberger, Nicole 69 Saunders, Beth 42, 66 Siracusano, Gabriela 43 Suthor, Nicola 63 Von Veh, Karen 42 Miyoshi, Kimiko 72 Nonaka, Natsumi 73 Phillips, Glenn 57 Rietz, Mary Clare 37 Saunders, Lauren 35, 68 Sissis, Philippa 66 Swan, Claudia 69 Vronskaya, Alla 75

100 college art association February 3 –6, 2016 101 W Wofford, Tobias 75 Waite, Deborah 57 Wolanin, Barbara 54 Waldroup, Heather L. 57, 74 Wolfe, Edith A. G. 56 Walker, Alicia Wilcox 69 Wolfe, M. Melissa 61 Walker, Stefanie 66 Wolf, Gerhard 43, 60 Wallach, Alan 70, 75 Wolf, Reva J. 60 Walter, Hilary L. 45 Wolfskill, Phoebe E. 61, 67 Walz, Jonathan F. 69 Wong, Dan 52 Wang, Eugene 58 Wong, Steven 71 Ward, Frazer D. 47 Woodruff, Lily 49 Warner, John-Michael Howell Woolard, Caroline 52 40 Wouk, Edward H. 73 Watson, Keri 51 Wright, Amanda S. 43 Watts, Barbara 50 Wright, Katharine J. 73 Weaver, Alison 75 Wunsch, Oliver 65 Weber, Alan 52, 63 Wyma, Chloe 47 Weddigen, Tristan 43 Weems, Jason D. 60 X Weigand, Kathleen 44 Xu, Jin 47 Weinstein, Kathryn 52 Weisberg, Gabriel P. 56 Y Werner, James P. 65 Yang, Sophia 47 Weseley, Matthew 57 Yatziv, Amil 36 Westgeest, Helen 41 Yazzie, Melanie 48 White, Pamela J. 70 Yeager-Crasselt, Lara R. 59 Whyte, Ryan L. 45 Yoon, Soyoung 58 Widdifield, Stacie G. 54 Young, Allison K. 54 Wiens, Gavin 53 Young, Marnin 59, 74 Wieseltier, Leon 47 Young, Megan Koza 43, 63 Wiesner, Kevin 37 Yyelland, Byrad 35, 47 Wiggers, Namita Gupta 72 Wilder, Hilary 48 Z Wilkinson, Michelle Joan 71 Zalewski, Leanne M. 55 Wille, Michael 50 Zarzycka, Marta Joanna 44 Williams, Elizabeth Dospel 47 Zchomelidse, Nino 47 Williams, Gabriel 54 Zeilinger, Martin 55 Williams, Robert J. 63 Zender, Mike 52 Wilson, Fo 39 Zhang, Lu 35, 68 Wilson, Kristina F. 44 Zhu, Jichen 40 Wilson, Mabel O. 48 Zhu, Yanfei 75 Wiltshire, Imogen 68 Zingerle, Andreas 37 Wingate, Jennifer 66 Zinman, Gregory 65 Wingfield, Kim Butler 59 Ziskin, Rochelle N. 65

102 college art association February 3 –6, 2016 103 CAA acknowledges the generous support of the 104th Annual Conference Partner Sponsor:

THANK YOU!

104 college art association