Oct. 25 – 28, 2017 COLUMBUS COLLEGE OF ART & DESIGN WELCOME DR. CORN

Welcome.

It’s a midwestern word, an Ohio word, a Columbus word, and a Columbus College of Art & Design word. We hold this sentiment close to our hearts here at CCAD, and mean it when we say it. Welcome.

I was frst welcomed into this smart, open, funny, creative, brilliant, friendly, active, honest, and stimulating community a little less than two years ago, and I’m proud to call both Columbus and CCAD home. Columbus and CCAD are intimately intertwined. The Columbus you see today is what it is because of the contributions of artists and designers of our 138-year-old institution. And the city’s leaders, employers, and passionate advocates are extremely instrumental attracting the world’s future movers and shakers to CCAD.

I do hope that you enjoy your stay with us, that you leave this conference with new ideas, new friends, and a renewed vision for your own practice in art and art history.

Please make sure you take the time to explore our neighborhoods, galleries, and institutions. And don’t mind us if we to say hello or smile. It’s what we do.

Best,

Dr. Melanie Corn President Columbus College of Art & Design

2 Welcome to the 2017 SECAC meeting hosted by Columbus College of Art & Design. This year marks the 73rd annual meeting of SECAC and only the second to be held north of the Mason-Dixon line in the organization’s rich history.

The CCAD community is thrilled to host the event and we cordially welcome you to Columbus, Ohio. Columbus is a smart and open city that is rapidly growing. We’re currently the 14th largest city in the U.S. and we’re home to numerous Fortune 500 companies, including L Brands and Nationwide. We also have a thriving creative economy and culture industry. Columbus boasts the third highest concentration of fashion designers in the U.S. – just behind New York and Los Angeles. Columbus is also host to the longest running flm festival in North America with the annual Columbus International Film + Video Festival, which is proudly hosted in conjunction with CCAD.

However, like much of the country, our fourishing and dynamic city faces challenges in this combustible cultural climate. As a growing city, we regularly grapple with the same tensions and issues confronting our nation –political diferences, socioeconomic discrepancies, and inequities surrounding race, gender, sexuality, ethnicity, class, and metaphysical beliefs. It’s with this current state of afairs in which a cacophony of competing voices is simultaneously scrutinized and elided that the Microscopes and Megaphones theme for this year’s conference was selected. Historically, the arts and humanities have often provided us with the perspective and knowledge where the empirical sciences have often struggled – a more nuanced and sensitive understanding the human condition, the human experience, and the human spirit. It’s through the creative practices and intellectual pursuits of art and design, the history of art, and art education, that we can more completely and successfully magnify and amplify the variety of experiences and voices of our humanity.

This year’s conference will be held at the Hilton Columbus Downtown, located in the heart of the city’s Short North Arts District. During your visit, I encourage you to explore Columbus’ various neighborhoods, restaurants, cofee shops, breweries, galleries, and museums. Thanks to the generous support from our partners, you’ll receive free admission to the Columbus Museum of Art and the Wexner Center for the Arts. We also hope that you take advantage of our planned evening activities. On Thursday evening, visit our very own Beeler Gallery at CCAD and see the SECAC Fellow’s Exhibition and the Juried Exhibition followed by the keynote address from the Founder and Director of the Heidelberg Project at the Columbus Museum of Art. And on Friday evening, the Pizzuti Collection has graciously invited us to view their current exhibitions.

I want to thank everyone who made this conference possible. Thank you to the community partners who helped create a robust event with engaging sites and spaces to enjoy this year’s conference. Thank you to CCAD’s faculty and staf, who always answered the call for help. Thank you to both the current SECAC President, Jason Guynes, and soon-to-be SECAC President, Sandra Reed, for their unwavering support and guidance. A special thanks goes out to the Ohio Arts Council; former SECAC Administrator, Rachel Frew; current SECAC Administrator, Christine Tate; and former Associate Provost of CCAD, Eleanor Fuchs. Finally, a very special thanks goes to CCAD’s own, Jessica Moses, without whose logistical vision and creativity this simply wouldn’t have been possible.

Enjoy the 2017 SECAC Conference and welcome to Columbus!

Aaron Petten 2017 SECAC Conference Director Assistant Professor History of Art & Visual Culture Columbus College of Art & Design

3 CONTENTS

Map of Hotel 5 Conference Overview 6 Suggested Trips 7

Keynote Speakers 8 Exhibition Juror 8 SECAC Governance/Board Members 10 SECAC Institutional Members 10

Wednesday Schedule 14 Thursday Schedule 15 Friday Schedule 24 Saturday Schedule 33

4 HILTON COLUMBUS DOWNTOWN HOTEL WILLIAM ALICE HAWKINS* SCHILLE**

WILLIAM ALICE HAWKINS* SCHILLE**

Upper Level COFFEE BAR * ** COFFEELOBBY BAR ELIJAH EDWARD PARKER PIERCE A HAYDEN* ** ELEVATOR BAY LOBBY ELIJAH FRONT EDWARD PARKER PIERCE A DESK EDNAHAYDEN ELIJAH ELEVATOR BAY BOIES PIERCE B HOPKINS FRONT DESK EDNA ELIJAH BOIES PIERCE B HOPKINS

ROBERT KING

ROBERT KING

Lower Level GEORGE PREFUNCTION EAST

EMERSON B GEORGE BELLOWS E BURKHART BALLROOM A ***

ELEVATOR BAY

EMERSON A C D F BURKHART B REGISTRATION DESK*** REGISTRATION

401 N. High St. Columbus, OH 43215

Transportation Options

Columbus ofers a wealth of transportation options for people arriving from out of town. In addition to traditional taxi services, here are some other options you may want to consider: • Uber • Lyft • Car2Go • COTA AirConnect

5 CONFERENCE OVERVIEW

SCHEDULE OVERVIEW Wednesday

1 – 3 p.m. Executive Committee Meeting 4 – 7 p.m. SECAC Board of Directors Meeting 7 – 9 p.m. Welcome Reception

Thursday

8 – 9:45 a.m. Session 1 10 – 11:45 a.m. Session 2 Noon Awards Luncheon 1:15 – 3 p.m. Session 3 3:15 – 5 p.m. Session 4 Evening at CCAD: Keynote and Juried Exhibition Reception

Friday

8 – 9:45 a.m. Session 5 10 – 11:45 a.m. Session 6 Noon Drop-in meeting, Q&A with editors of Art Inquiries 1:15 – 3 p.m. Session 7 3:15 – 5 p.m. Session 8 Evening Reception at the Pizzuti Collection

Saturday

7:15 – 8 a.m. Members Meeting 8:15 – 10 a.m. Session 9 10:15 – 12:15 p.m. Session 10 12:15 – 1:45 p.m. Directors’ Lunch

Registration Schedule

Wednesday: 7 – 9 p.m. Thursday: 7 a.m. – 5 p.m. Friday: 7 a.m. – 5 p.m. Saturday: 7 – 10 a.m.

6 CONFERENCE OVERVIEW

SUGGESTED TRIPS

There’s no shortage of things to do 71 in Columbus. Stop by a few of the

High St galleries within walking distance of the . (1) Hilton, as well as beloved (2) Clintonville Goodale Park. Take advantage of the 315 city’s award-winning science museum, Upper Arlington Ohio State Campus 670 315 71 (3) COSI, or the (4) Columbus Zoo Port Columbus Short North International Airport and Aquarium, developed in large 5th Ave. Italian Village Victorian Village Grandview Heights 670 part by Jack Hanna. Visit the beautiful (5) 670 Scioto Rive Olde Towne East r 16 70 Franklin Park Conservatory or . 670 E. Long St E. Broad St. Arena District Discovery . tour historic (6) German Village. Franklinton W. Broad St District E. Main St. 40 70 71 And be sure to take advantage of your 70 Brewery District

r free admission at the (7) Columbus High St German Village

. Museum of Art and the (8) 71 Scioto Rive

Wexner Center for the Arts. 104 Bring your voucher to the front desk for complimentary entry to their galleries.

CROWDCOMPASS APP

Use the app to navigate the conference, browse the schedule, message colleagues, and more. To download the app, look for CrowdCompass in the App Store. Available for iOS and Android users.

7 KEYNOTE SPEAKER TYREE GUYTON

Tyree Guyton was born and raised in Detroit on the street that gives its name to his most famous work, the Heidelberg Project. An essential component of Guyton’s work is his commitment to social change, and he has leveraged his art on Heidelberg Street to redress the inequities caused by racism, economic imbalances, politics, and the systematic inability of the government and other support agencies to help Detroit’s poorest citizens. However during its evolution, Guyton never left his studio practice. He has been creating art for over 45 years.

Guyton’s work is collected nationally and internationally and is featured in the collections of the Detroit Institute of Arts, the University of Michigan Museum of Art, the Perez Museum and the Studio Museum of Harlem. He has earned over eighteen awards and fellowships, including a prestigious one-year residency at the Lorenz Haus in Basel, Switzerland.

EXHIBITION JUROR TYLER CANN

The 2017 Exhibition Juror is the Columbus Museum of Art’s very own curator, Tyler Cann. When asked about his approach to this exhibition, Cann said, “There’s never a single criterion for judgment when it comes to selecting work for an exhibition like SECAC. I tried to take each piece on its own terms, and think about every one according to where it positioned itself within the spectrum of creative practices.”

8 KEYNOTE SPEAKER JENENNE WHITFIELD

Jenenne Whitfeld, D.D. has served as the executive director of the critically acclaimed Heidelberg Project for 23 years. Prior to her involvement with the Heidelberg Project she had a successful career in banking. Then, in 1993, she took a wrong turn and drove down a polkadotted street– through a colorful chaos of paint and people– and asked a paint-spattered man, “what is all this?”. The man was artist Tyree Guyton and what he told her sparked an obsession that changed her life forever.

Under Ms. Whitfeld’s direction, The Heidelberg Project (founded by Tyree Guyton) has risen to international status and is currently recognized as one of the most infuential art environments in the world. Her leadership and commitment have enabled the project to extend its reach by participating in joint projects with museums, universities, and other educational organizations throughout the world.

In addition to her role as executive director for the Heidelberg Project, Whitfeld lectures regularly, has taught courses at Wayne State University and the University of Michigan on art and community and art as a social practice, and serves as a mentor to countless young women and men working in art and community.

9 SECAC GOVERNANCE

OFFICERS INSTITUTIONAL MEMBERS President Alabama Jason Guynes, The University of Alabama Auburn University First Vice President Auburn, AL Sandra Reed, Marshall University Auburn University at Montgomery Montgomery, AL Second Vice President Birmingham-Southern College Kevin Concannon, Virginia Tech Birmingham, AL Secretary-Treasurer Jacksonville State University Beth Mulvaney, Meredith College Jacksonville, AL Past President Troy University Floyd Martin, University of Arkansas at Little Rock Troy, AL University of Montevallo Editor, SECAC Review Montevallo, AL Rachel Stephens, The University of Alabama The University of Alabama at Birmingham Chair, SECAC Fellowship Committee Department of Art and Art History Scott Betz, Winston-Salem State University Birmingham, AL The University of Alabama in Huntsville Chair, 2017 Annual Conference Huntsville, AL Aaron Petten, Columbus College of Art & Design The University of Alabama Tuscaloosa, Al BOARD MEMBERS University of North Alabama Florence, AL Alabama — Wendy Deschene, Auburn University University of South Alabama Arkansas — Dito Morales, University of Mobile, AL Central Arkansas Arkansas Kentucky — Boris Zakic, Georgetown College Arkansas Arts Center Florida — Barbara Watts, Florida International University Little Rock, AR Georgia — Jef Schmuki, Georgia Southern University Arkansas State University Jonesboro, AR Louisiana — Jill Chancey, Nicholls State University Harding University Mississippi — Kris Belden-Adams, University of Mississippi Searcy, AR North Carolina — Lawrence Jenkens, University of North Henderson State University Carolina at Greensboro Arkadelphia, AR South Carolina — Sarah Archino, Furman University National Park Community College Hot Springs, AR Tennessee — Tony Morris, Austin Peay State University University of Arkansas at Fort Smith Virginia — Jennifer D. Anderson, Hollins University Fort Smith, AR West Virginia — Heather Stark, Marshall University University of Arkansas at Little Rock Little Rock, AR At Large — Al Denyer, University of Utah At Large — Dennis Ichiyama, Purdue University University of Central Arkansas Conway, AR

10 INSTITUTIONAL MEMBERS Delaware Emory University Atlanta, GA University of Delaware Newark, DE Georgia College & State University Milledgeville, GA Florida Georgia Southern University Eckerd College | Department of Visual Arts Statesboro, GA St. Petersburg, FL Georgia Southwestern State University Florida International University Americus, GA Miami, FL Georgia State University Florida Southern College Atlanta, GA Lakeland, FL Kennesaw State University Florida State University Marietta, GA Tallahassee, FL Savannah College of Art and Design Jacksonville University | College of Fine Arts Savannah, GA Jacksonville, FL University of Georgia | Georgia Museum of Art Northwest Florida State College Athens, GA Niceville, FL University of North Georgia Ringling College of Art and Design Dahlonega, GA Sarasota, FL University of West Georgia Stetson University Creative Arts Carrollton, GA DeLand, FL Valdosta State University University of Central Florida Valdosta, GA Orlando, FL Wesleyan College University of Florida Macon, GA Gainesville, FL Kentucky University of North Florida Jacksonville, FL Georgetown College Georgetown, KY University of South Florida Tampa, FL Jeferson Community & Technical College Louisville, KY University of West Florida Pensacola, FL University of Louisville Louisville, KY Georgia Western Kentucky University Agnes Scott College | Department of Art Bowling Green, KY Decatur, GA Louisiana Armstrong Atlantic State University Savannah, GA Centenary College of Louisiana Shreveport, LA Berry College Mt. Berry, GA Louisiana State University Baton Rouge, LA Columbus State University Columbus, GA University of Montevallo Montevallo, LA Tulane University New Orleans, LA

11 SECAC GOVERNANCE

INSTITUTIONAL MEMBERS

Maine Meredith College Raleigh, NC Institute for Doctoral Studies in the Visual Arts Portland, ME North Carolina State University Raleigh, NC Maryland Pitt Community College | Fine Arts Towson University | Department of Art and Design Greenville, NC Towson, MD Queens University of Charlotte Mississippi Charlotte, NC University of North Carolina at Asheville Delta State University Asheville, NC Cleveland, MS University of North Carolina at Chapel Hill Jackson State University Chapel Hill, NC Jackson, MS University of North Carolina at Greensboro University of Mississippi Greensboro, NC Oxford, MS University of North Carolina at Wilmington New Jersey Wilmington, NC The College of New Jersey | Art and Art History, AIMM Ewing, NJ North Dakota Lake Region State College New Mexico Devils Lake, ND New Mexico State University - Carlsbad Carlsbad, NM Ohio Columbus College of Art & Design New York Columbus, OH Hobart and William Smith Colleges | University of Akron | Myers School of Art Art History Department Akron, OH Geneva, NY Youngstown State University Youngstown, OH North Carolina Pennsylvania Brevard College | Art Department Brevard, NC Chatham University | Department of Interior Architecture Pittsburgh, PA Davidson College | Department of Art and Belk Visual Arts Center Slippery Rock University of Pennsylvania Davidson, NC Slippery Rock, PA Duke University University of Pittsburgh | Henry Clay Frick Department of Durham, NC History of Art and Architecture Pittsburgh, PA East Carolina University Greenville, NC Washington & Jeferson College Washington, PA High Point University | School of Art & Design High Point, NC South Carolina Benedict College Columbia, SC

12 INSTITUTIONAL MEMBERS

Clemson University Hampden-Sydney College Clemson, SC Hampden-Sydney, VA Coastal Carolina University James Madison University Conway, SC Harrisonburg, VA College of Charleston Longwood University Charleston, SC Farmville, VA Francis Marion University Mary Baldwin College Florence, SC Staunton, VA Furman University Old Dominion University Greenville, SC Norfolk, VA Lander University University of Mary Washington Greenwood, SC Fredericksburg, VA South Carolina State University University of Richmond Orangeburg, SC Richmond, VA University of South Carolina University of Virginia Columbia, SC Charlottesville, VA University of South Carolina Upstate Virginia Commonwealth University Spartanburg, SC Richmond, VA Winthrop University Virginia Polytechnic Institute & State University Rock Hill, SC Blacksburg, VA Tennessee Washington and Lee University Lexington, VA Austin Peay State University Clarksville, TN West Virginia East Tennessee State University Clay Center for the Arts & Sciences of West Virginia Inc. Johnson City, TN Charleston, WV Rhodes College Marshall University Memphis, TN Huntington, WV Tennessee State University | Art Department Shepherd University | Department of Contemporary Nashville, TN Art & Theater Shepherdstown, WV University of Tennessee at Chattanooga Chattanooga, TN West Virginia University Morgantown, WV University of Tennessee, Knoxville Knoxville, TN University of the South Sewanna, TN Vanderbilt University Nashville, TN Virginia George Mason University Fairfax, VA

13 REGISTRATION SCHEDULE

Wednesday 7 p.m. – 9 p.m.

Thursday 7 a.m. – 5 p.m.

Friday 7 a.m. – 5 p.m.

Saturday 7 a.m. – 10 a.m.

WEDNESDAY

1 – 3 p.m. Executive Committee Meeting Bellows A

4 – 7 p.m. SECAC Board of Directors Meeting Bellows A

7 – 9 p.m. Welcome Reception Bellows C/D

THURSDAY EVENING EVENT: Evening at CCAD: Keynote and Juried Exhibition Reception

8 – 9:45 a.m. Rock Hard: The Materiality of Stone in Pre-Electric Italy Co-Chair: Lindsay Alberts | Boston University Co-Chair: Susan Barahal | Tufts University Caitlin Henningsen | Harvard University History Painting on Stone: Antonio Tempesta’s “Crossing of the Red Sea” Bradley Cavallo | Marian University Funerary Portraits on Stone, Lapis-Christus, and The Transmutation Burkhart B of the Dead Thalia Allington-Wood | University College London “The Earth Grows Stones Like Teeth”: Sculpting Living Peperino in Sixteenth-Century Italy Katherine Coty | University of Washington Nel Cuore di Tufo: Shaping Regional Identity with Stone in Cinquecento Tuscia

Selfe Refection: A View Through the Art-Historical Looking Glass Chair: Kris Belden-Adams | University of Mississippi Kim Taylor | University of Cincinnati Clermont College Claude Cahun and the Constructed Identities of the Self Bellows C Dorothe Santisevan | University of North Carolina at Asheville Reconsidering the Interruption of the Male Gaze in the Female Self- Portraits of the Countess de Castiglione and Kim Kardashian

14 THURSDAY (Continued)

8 – 9:45 a.m. Eunice Uhm | The Ohio State University Yayoi Kusama, “Instagram Darling”: The Role of Photography in Firefies on the Water Melissa Geppert | University of Central Florida Grlrm: Performing Contemporary Girlhood between the Bedroom and Social Media Emma Abercrombie | Savannah College of Art and Design The Millennial and the Millennial Female: Amalia Ulman and ORLAN

Civic Engagement and the Arts (Part 1) Chair: Carolina Blatt-Gross | The College of New Jersey Carolina Blatt-Gross | The College of New Jersey A Cognitive Perspective on Collaborative Artmaking Stacey Holloway | University of Alabama at Birmingham Bellows E Outside the Gallery Stacy Kofman | University of North Georgia An Active Model for Civic Engagement in the Arts Carla Rokes | University of North Carolina at Pembroke Revitalized Rural Committees

Meggs and Beyond: Does Graphic Design History Pedagogy Begin or End at the Canon of Graphic Design History? Co-Chair: Breuna Baine | Auburn University at Montgomery Co-Chair: Amanda Horton | University of Central Oklahoma Gary Rozanc | University of Maryland, Baltimore County History of Graphic Design through the Lens of Cultural Cause & Efect Pierce A Tim Speaker | Anderson University A Design for Life: Study For The Past, Present, and Future Breuna Baine | Auburn University at Montgomery Ideas of Gender, Location, and Culture When Teaching Design History Amanda Horton | University of Central Oklahoma Addressing the Graphic Design History Canon

A Mission Quite Possible: Codifying and Criticizing Art Fairs in the Academic Context Chair: Dylan Collins | West Virginia University Kristina Olson | West Virginia University What Will I Wear in Miami?! A Poor Art Historian Ponders the Insanity of the Art Fair Bellows F and Lessons for the Classroom Carol Prusa | Florida Atlantic University Fair Play Dylan Collins | West Virginia University Stay Hydrated: Art Fairs as Endurance Sport

American Women Artists: Modernity, Ambition, and Gender (Part 1) Chair: Betsy Fahlman | Arizona State University Emily Gerhold | Henderson State University A Portrait of the Artist as a Pair of Breasts: (Re)Considering Sarah Goodridge’s Self- Portrait (1828) Kelsey Malone | University of Missouri Burkhart A A “Famous Lady Sculptor”: Enid Yandell in the International Art World at the Turn of the Century Helen Langa | American University Looking Another Way: Bohemian Modernism, Lesbian Artists, and the Female Nude Sasha Nicholas | The Graduate Center (CUNY) Modernist Motherhood: Imogen Cunningham’s Family Portraits, 1918-1925

(OCD) Obsessive Compulsive Disorder vs. Organized Chaos Delivers Co-Chair: Reni Gower | Virginia Commonwealth University Co-Chair: Kristy Deetz | University of Wisconsin - Green Bay Reni Gower | Virginia Commonwealth University Bellows B Searching for Sanity Kristy Deetz | University of Wisconsin - Green Bay

15 THURSDAY (Continued) Strings, Folds, and Rabbit Holes: Complex Webs of Making 8 – 9:45 a.m. Steven Pearson | McDaniel College Colored Memories and Fragmented Histories Al Denyer | University of Utah Pollute, Destroy, Respond: An Obsessive Mark Maker’s Perspective

The War of 1898 and the American Imperium Co-Chair: Kate Lemay | Smithsonian National Portrait Gallery Krystle Stricklin | University of Pittsburgh “Cannon and Camera”: John C. Hemmet’s Photography of the Spanish-American War Eva McGraw | The Graduate Center (CUNY) The Artist as Veteran: The Spanish-American War and Civil War King Remembrance in the Work of Xanthus Smith Sarah Beetham | Pennsylvania Academy of the Fine Arts Revising the Memory Landscape: The Spanish-American War and the Commemoration of America’s Armed Forces Laura Katzman | James Madison University The Legacy of 1898: Picturing Puerto Rico under the American Flag

Teaching Art History in a Studio Art Program Co-Chair: Nancy Palm Puchner | University of North Carolina at Pembroke Co-Chair: Richard Gay | University of North Carolina at Pembroke Bridget Sandhof | University of Nebraska at Omaha Art History Sucks! Engaging Studio Art Students in the Art History Classroom Bellows A Tracey Eckersley | Kentucky College of Art + Design Hands-On Art History: Adapting Courses for Studio Majors Emily Kelley | Saginaw Valley State University Making Writing and Art History Relevant for Art and Graphic Design Majors Lara Kuykendall and Jacinda Russell | Ball State University Westward Ho!: Art History, Studio Art, and the Pedagogical Value of the Road Trip “Every science should become art”: Visualizing Science in the Long Nineteenth Century Chair: Naomi Slipp | Auburn University at Montgomery Kevin Donnelly | Alvernia University Drawing the Average Man: Statistical Representation in Nineteenth- Century Belgium Sarah Lippert | University of Flint, Michigan Pierce B Natural Selection, Darwin, Lombroso, and Beardsley Kathleen Pierce | Rutgers University Picturing the Pathological Surface: Syphilitic Skin and the Disruption of Medical Vision Sarah Miller | Frances Young Tang Teaching Museum and Art Gallery at Skidmore College Collecting and Communicating the Cosmos

American Art Open Session: Exploring Style and Subject in American Modernism Co-Chair: Rachel Stephens | The University of Alabama Co-Chair: Barbaranne Liakos | Northern Virgina Comunity College Hopkins Hannah Braun | Independent Scholar Virtue and Vice: New York City, Prostitution, and Commodity in the Work of John Sloan

16 THURSDAY (Continued)

8 – 9:45 a.m. Niki D. Conley | University of Missouri Mythic Masculinity and the Reception of America’s Ofcial Art of the First World War Heather Stark | Marshall University Americanism and Localism: Charles Sheeler, William Carlos Williams, John Dewey, and an Aesthetic of Place Austin Porter | Kenyon College Visualizing Music During the Great Depression: Charles Pollock’s Sheet Music Illustrations

10 – 11:45 a.m. What’s Next? Alternative Places, Spaces, and Traces for Today’s Artist-Philosopher Chair: Kathe Albrecht | Institute for Doctoral Studies in the Visual Arts Mary Anne Davis | Institute for Doctoral Studies in the Visual Arts The Embedded Artist: Econo-Aesthetics and the Future Imperfect Bellows A Zoe Charlton and Tim Doud | American University The | “sindkit” | Project Maria LaBarge | Institute for Doctoral Studies in the Visual Arts New Categories for Embodied and Disembodied Consciousness in the Visual Arts Wendy DesChene | Auburn University The Unknown Audience

SECAC’s Newest Generation of Artist Educators (Part 1) Chair: Michael Aurbach | Vanderbilt University Todd Anderson | Clemson University The Last Glacier Hopkins Kimberly Callas | Monmouth University Combining Science and Religion through Art: Seeking an Ecological Self Chloe Irla | McDaniel College Chloe Irla Presents Blaze Breakers Jessica Mongeon | Arkansas Tech University Transcending Scale to Bridge Humans and Nature

Yakety Yak: The Art of Conversation Chair: Greg Blair | Northern State University

Kathryn McFadden | Rowan College at Burlington County Bellows C Closely Listening: Conversation as Aesthetic Event Patrick Luber | University of North Dakota Let’s Talk: Teaching through Conversation Sara Christensen Blair | Northern State University Imagined Conversation—History and Dialogue around the Table

Picturing Princesses: Relationships Between Royal Women and Visual Culture Chair: Carlee Bradbury | Radford University Elizabeth Howie | Coastal Carolina University Island Queens: Nineteenth-Century Picture Postcards of Polynesian Bellows E Royal Women Jennifer Courts | University of Southern Mississippi Reassessing Glory: Motherhood and Marie d’Anjou’s Happily-Ever-After Olivia Florek | Delaware County Community College Empress Elisabeth and the Modernist Imagination of Anton Romako Leah Dick | Georgia State University Changes in the Depictions of Foreigners During the Reign of Hatshepsut

Graphic Design and Technology: An Uneasy Marriage Chair: Kevin Cates | University of Arkansas at Little Rock Bellows F Kevin Cates | University of Arkansas at Little Rock I Don’t Need A Designer, I’ve Got A Template

17 THURSDAY (Continued)

10 – 11:45 a.m. Samuel Ladwig | University of Central Oklahoma Sharks with Frickin’ Laser Beams Attached to Their Heads Jong-Yoon Kim | Plymouth State University and Nanhee Kim | California State University, Chico Coding or Not Coding–Should Graphic Design Students Learn How to Code Meena Khalili | University of Louisville Teaching Fearless Design

Eclecticism, Appropriation, Forgery: Issues of Borrowing in Art Chair: Betty Crouther | University of Mississippi Stephanie Chadwick | Lamar University Dubufet, Bricoleur: Appropriation and Hybridity in Jean Dubufet’s Postwar Art Brittany Strupp | Temple University Burkhart A Counterfeit New York: William Michael Harnett’s Still Life “Five-Dollar Bill” JoLee Stevens | Howard Community College Staging the Exotic: American Art and the Dance of Denishawn Jeremy Culler | University of South Carolina Aiken Addressing Eclecticism and Appropriation in the Art of Livio Orazio Valentini

Art, Tradition, and Technology: Making the Relationship Work in the Classroom for a New Generation of Artists Chair: Cyndy Epps | Georgia Southern University Alexandra Robinson | St. Edwards University Burkhart B Digital Immigrants and their Digital Natives #okurrrrr Patrick Fitgerald | North Carolina State Universtiy Platforms, Uglies, and Venues: A Path for a New Generation of Artists in a Technological World Samuel Fee | Washington & Jeferson College Photo Apps Bring Traditional Concepts to a New Audience

The Role of Philosophy in Artistic Practice Co-Chair: Anne Keener | Independent Artist Co-Chair: Susan Johnson | Institute for Doctoral Studies in the Visual Arts Susan Johnson | Institute for Doctoral Studies in the Visual Arts Painting, Contemporary Practice, and the Phenomenological Lens King Ramya Ravinsankar | The Ohio State University Exploring and Enacting Artmaking through Entanglement with Thought and Material Timothy Smith | Aalto University, Finland Putting Nomadic Subjectivity and Cartographic Figuration to Work in Artist Practices Anne Keener | The Ohio State University Vivid Felt Quality: Pattern and Painting in Process Philosophy

Society for Paragone Studies: History of Rivalry and Competition in the Arts Chair: Sarah Lippert | University of Michigan-Flint Jennifer Wester | Notre Dame of Maryland University Rivals in Realism? Nouveau Réalisme, Neo-Dada, and the Question of the Real Pierce B Charlotte Healy | Institute of Fine Arts, New York University Painting versus Photography: Seeing the Hand in Paul Klee’s Tactile Surfaces Caroline Wilson | Independent Scholar

18 THURSDAY (Continued)

10 – 11:45 a.m. Martínez and Warhol: Pop Artists Worlds Apart Martin Horne | Indiana University Classical Framing: Reception and the World’s Columbian Exposition Palace of Fine Arts

The Grand Tour in the 21st Century: Art and Design History and Studying Abroad Co-Chair: Jennifer Liston | Salisbury University Co-Chair: Victoria Pass | Maryland Institute College of Art Jennifer Liston | Salisbury University Rules of Engagement: Framing a Global Seminar Pierce A Ashley Elston | Berea College From Appalachia to the Eternal City: A Study Abroad Case Study Stephanie R. Miller | Coastal Carolina University The Maymester Ian Bourland | Maryland Institute College of Art MICA Summer Intensives—Siting the Global Contemporary Debra Murphy | University of North Florida A Transformational Learning Opportunity: Studying in Italy with the UNF Department of Art and Design

The Healing Powers of Art Chair: Mysoon Rizk | University of Toledo Emily L. Newman | Texas A&M University-Commerce The Bearable Pain: Using Photography to Survive Self-Harm Bellows B Marguerite Perret | Washburn University Flowers for the Waiting Room Amy Schwartzott | North Carolina A&T State University Sculpting Guns into Peace: Healing War in Mozambique Andrew Wasserman | University of North Carolina at Greensboro Wear White, Bring Earth: Helene Aylon’s Ambulatory Care Noon Awards Luncheon Bellows D

1:15 – 3 p.m. From Close-Looking to Close-Feeling: Art History and the Experiential Turn Co-Chair: Jessamine Batario | The University of Texas at Austin Co-Chair: Jeannie McKetta | The University of Texas at Austin Einav Z. Dembin | University of Texas at Austin Epinetra and the Body: Experiential Art in the Classical Age Bellows A Kelly Watt | Washburn University Acknowledging the Sacred at San Juan de la Peña, Spain Stephen Mack | Rutgers University The Performative in the Battle Relief by Bertoldo di Giovanni (c. 1440-1491) Emily Fenichel | Florida Atlantic University Sculpture, Copy, and Relic: Michelangelo’s Pietà

Centering the Periphery: Decolonial Perspectives in Contemporary Art Chair: Amy Bowman-McElhone | Florida State University Florencia San Martin | Rutgers University The Ongoing Failure: Alfredo Jaar’s “A logo for America” and the Problem of Naming and Knowing about Latin American and Pierce A Latina Cultures and Identities Rachel Fesperman | Florida State University La France Décollagé: Nouveau Réalisme, French Decolonization, and the Politics of Chance Marina Tyquiengco | University of Pittsburgh What Native Looks Like Now: Erica Lord’s “The Tanning Project”

19 THURSDAY (Continued)

1:15 – 3 p.m. Jodi Kovach | Kenyon College Mexican Horror, Globalization, and the Culture of Fear in the Work of Carlos Amorales Ann Cannon | Boston University An Ambassador for Africa? The Tension between Jean Pigozzi’s Collection Practices and the Art of Chéri Samba

Soft interventions: Textiles, Embroidery, and Knitting as Vehicles of Artistic and Social Transformation and Transgression Chair: Karen Cordero | Universidad Iberoamericana Kelly Frigard | University of Cincinnati, Clermont College Bellows B Textiles: Exquisite Craft, Radical Transformation Katia Olalde | University of Leuven, Belgium Where Are They? Hand Embroidery and Digital Media in the Protests against Disappearances in Mexico Ariana Yandell | Georgia State University Warp/Weft: Agnes Martin, Textiles, and the Linear Experience

Tell Me a Story: Tapping the Power of Narrative in Graphic Design Chair: Dana Ezzell | Meredith College Sue O’Donnell | Bloomsburg University of Pennsylvania Finding Your Narrative (and Making it Stick) Kof Opoku | West Virginia University Stories of Homelessness Bellows E Beth Nabi | University of North Florida Once Upon a Time: Telling the Story of the Society for Creative Anachronism Szilvia Kadas | West Virginia University Addressing Socially Conscious Design through Narrative Techniques Dana Ezzell | Meredith College Nurturing Ideas: Seven Techniques to Explore Narrative in the Design Process

Works of Art, Sites, and Sightlines Chair: Kerr Houston | Maryland Institute College of Art Kasie Alt | The University of Texas at Austin Fragmentary Viewing in the Gardens at Schwetzingen Rhonda Reymond | West Virginia University Bellows F Meaning in Ubiquity: Charles “Teenie” Harris, Photographs of Henry Ossawa Tanner’s “Christ and His Mother Studying Scripture”, and the Signifcance of a Painting to a Pittsburgh, PA Community Elyse Speaks | University of Notre Dame Sensing Everyday Labors

Past/Present: Print History and Contemporary Practice Chair: Beauvais Lyons | The University of Tennessee, Knoxville Art Werger | Ohio University The Mezzotint: An Unlikely Resurgence of a Marginalized Medium Burkhart A Sally Deskins | West Virginia University The Satire & Regard for History in the Prints of Wanda Ewing Emily Stokes | Northwestern College of Iowa Post-truth Printmaking: Visualizing a Response in the 21st Century

Beastly Spirits and Spirited Beasts Chair: Emily Morgan | Iowa State University Vanessa Bateman | University of California, San Diego Burkhart B Immortalized Soviet Space Dogs Raymond Gaddy | Armstrong State University Demon Hunting in the Deep South

20 THURSDAY (Continued)

1:15 – 3 p.m. Susan Van Scoy | St. Joseph’s College The Devil in the Duck: A Psychoanalytic Reading of the Big Duck, Long Island Lesley Sharp | Barnard College and Columbia University Mourning the Dead in Experimental Lab Animal Science

SECAC’s Newest Generation of Artist Educators (Part 2) Chair: Quentin Owens | Belmont University Lindsey Landfried | Pennsylvania State University Ultraviolet: Lindsey Landfried King Laken Bridges | East Tennessee State University Rigor, Pride, and Dirty Little Stigmas Joseph Kameen | Indiana University East Joseph Kameen: Philosophies and Fictions

Rapid Review: Graduate Studio Art Programs in Their Own Words and Images Chair: Gregory Shelnutt | University of Delaware Seo Eo | East Carolina University Ambassadors of Cool Cyndy Epps | Georgia Southern University Georgia Southern University—Pecha-Kucha Style Courtney Ryan | Georgia Southern University Size Matters, Or So I Thought Bellows C Cristin Millett | The Pennsylvania State University The MFA at Penn State Abigail Donovan | University of Delaware University of Delaware MFA Program Chris McCullough | Youngstown State University Rapid Review: Youngstown State University MFA Interdisciplinary Visual Arts

The Living Arts Chair: Chuck Tomlins | University of Tulsa Chris Wildrick | Syracuse University Geek Culture: A Grassroots Living Art Pierce B Jef Schmuki | Georgia Southern University Ecological Awareness through Socially Engaged Art and Citizen Science Chuck Tomlins | University of Tulsa Celtae Crwban

Art of the Zeal: Election Art and the 2016 Presidential Campaign Chair: Jonathan Wallis | Moore College of Art & Design Andrea Lepage | Washington and Lee University “Invisible Since 1776”: Vincent Valdez’s The City Hopkins Clark Stoeckley | American University of Kuwait Street Artists for Trump? Just Kidding, There Weren’t Any Jennifer Wingate | St. Francis College Protest in the Archive

3:15 – 5 p.m. Civic Engagement and the Arts (Part 2) Chair: Bryna Bobick | University of Memphis Jennifer Snyder | Austin Peay State University Using Project Based Learning to Encourage Collaboration and Community Engagement In a High School AP Art Class Hopkins Stephanie Danker | Miami University Civil Rights History as Inspiration for Civic Engagement through the Arts Karin Tollefson | James Madison University Connecting Internationally in Your Own Backyard

21 THURSDAY (Continued)

3:15 – 5 p.m. Bryna Bobick | University of Memphis Spotlighting Civic Engagement Involving University Students

Art, a Language that Should Unite: The Diversity of European Postwar Abstractions Chair: Catherine Dossin | Purdue University Kay Wells | University of Wisconsin - Milwaukee Weaving Abstraction for the World: Postwar Tapestry and International Modernism Amy Rahn | Stony Brook University (SUNY) “They Regard Me as an Emissary of de Kooning”: Joan Mitchell Bellows A in Paris 1955-1968 Megan Pounds | Independent Scholar (Un)Forming Nature: Kurt Schwitters’s Merz Barn (1947-1948) Travis English | Frostburg State University Hermann Glöckner and the Private Life of East German Abstraction Elona Lubyte | Vilnius Academy of Arts, Lithuania Abstraction in the Wind: Kazimiera Zimblyte and Abstract Art as Existential Resistance in the Socialist Bloc

Teaching Graphic Design History Through Active Learning Chair: Ann Ford | Virginia State University Ann Lemon | Kutztown University of Pennsylvania MAKING History Stephanie Sabo | University of Southern California and California Pierce A State University, Los Angeles Structuring Strategies for a Diverse Graphic Design Student Population Ric Wilson | University of Missouri Integrating Design History into the Graphic Design Cirriculum

When Pushing Paint Chair: Jason John | University of North Florida Heather Hertel | Slippery Rock University Expanding Process Bellows E Christina Vogel | University of Tennessee at Chattanooga Small but Mighty: Strategies to Encourage Experimentation, Risk- Taking, and the Development of an Individual Painting Language

Portraiture Chair: Beth Mulvaney | Meredith College

Nicholas Newman | University of Nebraska at Omaha Bellows F Disseminating Self-Portraits: The RPPC as Selfe LuLing Osofsky | University of California, Santa Cruz Diaphanous and Disjointed: The Instagram Selfe as Neo-Cubist Portraiture

Myth-Makers: Modernism and Universalist Mythologies during Decolonization Chair: Maryam Ohadi-Hamadani | The University of Texas at Austin Maryam Ohadi-Hamadani | The University of Texas at Austin Universalist Mythologies Seth McCormick | Western Carolina University Looking Beyond: “Indian-ness”: Neo Tantric Art and National Myth Burkhart A Douglas Cushing | The University of Texas at Austin Myths of Collective Humanity in “Transition” Julie Dentzer | The Ohio State University Ignoring the Algerian War: “Le Joli Mai” and the Algerian Population in 1962 Paris

22 THURSDAY (Continued)

3:15 – 5 p.m. Animism and the Natural World in Ancient Material Objects Co-Chair: Yumi Park-Huntington | Framingham State University Co-Chair: Paula Winn | John Tyler Community College Dito Morales | University of Central Arkansas Kwarìp Burkhart B Yumi Park | Framingham State University Jequetepeque-Jatanca Acropolis as a Mesocosm: Architecture, Landscape, and Cosmology during the Late Formative Period Jonathan Morgan | Institute for Doctoral Studies in the Visual Arts Societies Within: Selfood through Dividualism & Relational Epistemology

The Art of Collections: An Examination of the Relationship between Collectors and the Arts Chair: Sandra Reed | Marshall University Sasha Davis | The Renee & Chaim Gross Foundation Acquired by Exchange: The Networked Collection of the Renee & Chaim King Gross Foundation Chung Kee Angela Ng | RMIT University, Australia The Reasons for Collecting and Presenting Valuable Masterpieces: The Motivations of Art Collectors Using Their Collections to Create Infuence Nationally and Globally

RESIST! Street Art, Public Art, and Performance Art as Political and Social Protest Chair: Eric Schruers | Fairmont State University of West Virginia Heather E. Dunn | LIM College, St. John’s University, and IDSVA Political Street Art in the Trump Era Heidi Kraus | Hope College Bellows C Looking to the Past: Street Art, Public Spaces, and Contemporary French Identity Izabel Galliera | McDaniel College Institutionalizing Protest Art Liz Trapp | Columbus College of Art & Design Art of the Street: Revolutionary Symbols in Egypt Rihab Kassatly Bagnole | Savannah College of Art & Design The Fearless Girl as a Heroine of Change

Artists as Writers: Intertextuality and Interdisciplinary Creation (Part 1) Chair: Elise Smith | Millsaps College Joshua Fisher | Arkansas Tech University Is the Pen Mightier than the Spade?: The Writings and Legacy of Andrew Jackson Downing Jordan Amirkhani | University of Tennessee at Chattanooga Francis Picabia: Painter-Poet-Polemicist Danielle Johnson | Vero Beach Museum of Art Max Ernst: Writing through a Temperament in 1953 Mysoon Rizk | University of Toledo “Notes toward a Frame of Reference”: Unraveling Text and Image in the Pierce B Art of Wojnarowicz

23 THURSDAY (Continued)

3:15 – 5 p.m. Animal Art: Anthropomorphism, Zoomorphism, and Inhumanity Chair: Rachel Lin Weaver | Virginia Tech Brooks Dierdorf | University of Central Florida Cultural Predators: Photography and its Relationship to Hunting Culture Sabrina Jaromin | Northwestern University Between Compassion and Critical Empathy—How the La Brea Bellows B Mammoths Display Science Matthew Forster | Virginia Commonwealth University Advertising Freakery: Zoomorphic Identity and the Anthropomorphic Turn in Gilded - Age Visual Culture

FRIDAY EVENING EVENT: Reception at the Pizzuti Collection

8 – 9:45 a.m. Art and Technology Chair: Kevin Concannon | Virginia Tech Meaghan Dee | Virginia Tech From Terminator to Big Hero 6 Bellows A Kelly Hider | Arrowmont School of Arts and Crafts Bringing Analog Vernacular Photography into the Digital Age Loraine Wible | The University of the Arts Oulipo Strategies and Google Searches

Shifting Priorities: Adapting Art and Design Programs to Embrace Career Preparation in a New Educational Landscape Chair: Joseph Cory | Samford University Pamela Allen | Troy University Art Is a Business Carmina Cianciulli | Temple University Bellows C The Art of Business and the Business of Art: Integrating Entrepreneurship into Studio Art Programs Meredith Lynn | Indiana State University Turning a University Gallery into a Learning Labratory: Utilizing Existing Resources to Teach Professional Skills in a Professional Setting Kally Malcom | University of North Florida Merging Tradition and Commerce in the Photography Classroom

The “Unschooled” Tradition: Folk, Self-Taught, and Outsider Art Co-Chair: Carol Crown | The University of Memphis Co-Chair: Lee Kogan | American Folk Art Museum Julia Finch | Morehead State University Outsider Art on the Inside: The Papier-Mâché Sculpture of Mark Francis Laura Minton | University of Kansas Bellows B Traveling in Place: The Art of Joseph E. Yoakum Arthur Jones | University of North Dakota Sacred and Profane Visions of Paradise in Self-taught Visionary Art Crystal Yang | University of North Dakota Folk Art Tradition and Modernization: Amate Painting and Jingshan Peasant Painting

MACAA (Mid-American College Art Association): Art & Business Chair: Heather Hertel | Slippery Rock University of Pennsylvania Karen Atkinson | GYSTInk Bellows D Resources for Teaching Professional Development to Artists Michelle Corvette | Belmont University There’s A Place for Everyone: Navigating Your Artistic Career

24 FRIDAY (Continued) 8 – 9:45 a.m. Michael Fowler | University of South Carolina Aiken Jumping Into the Deep End: Introductory Graphics Class Tackles Real- World Design Tasks Elaine Grogan Luttrull | Columbus College of Art & Design CCAD Business & Entrepreneurship Jason John | North Florida University The Business of Being a Gallery Artist Thelma Lazo-Flores | Independent Scholar Form Follows Funding: Opportunities in the Creative Arts

Miracles in Art Chair: Bonnie Kutbay | Mansfeld University of Pennsylvania Rachel Danford | Marshall University A Speaking Crucifx in Guibert of Nogent’s On Saints and Their Relics Mary D. Edwards | Pratt Institute The Miracles Pertaining to James the Greater as Portrayed in the Bellows E/F Fourteenth-century Frescoes by Altichiero and Avanzo in the Chapel of San Giacomo in Padua Erin Kate Grady | University of North Carolina at Chapel Hill Doctor Veritatis: The Miracles of Saint Dominic and the Perpetuation of Legend Alexandria Nanneman | Lane Community College The Cultural Theatrics of Early Modern Images of Demonic Possession

The Revival of Good Art Chair: Kendall Martin | Cape Fear Community College, York Technical College Catherine A. Moore | Georgia Gwinnett College Illustration: The Marriage of Craft & Concept Burkhart A Scott Sherer | University of Texas at San Antonio Dislocations in the Work of Kerry James Marshall Anthony Morris | Austin Peay State University Cruising Art History: Kehinde Wiley’s Erotic Spaces Kendall Martin | Cape Fear Community College The Strength of Female Post-Contemporary Artists

Arts and Sciences: Closer than They Think Chair: Jef Schmuki | Georgia Southern University Katherine Brion | New College of Florida The Impact of Neuroscience on c. 1900 Conceptualizations of “Aesthetic Emotion” Anna Dobbins | Georgia State University Burkhart B The Evolution of Psychiatry and its Art Forms Jon Malis | Loyola University Maryland Technical Understandings as Aesthetic Devices Harmony Wolfe | University of Great Falls “Natural” Imagination: Transforming Botany in the Works of Georgia O’Keefe and Alma Woodsey Thomas

Visualizing Protest: The Art Of Resistance Chair: Alison Singer | University of Maryland, College Park Lucy Curzon | The University of Alabama Mary Kessell: Memories of War in “Notes from Belsen Camp” Alison Singer | University of Maryland, College Park Reframing the Resistance: Société des Ambianceurs et des Personnes King Élégante and the Construction of Diasporic Dandyism Dan Jakubowski | University of North Florida From the Prison of the Chastity Belt to the Fires in the Untainted Sky: The Feminist Utopia of Lara Baladi’s Arab Spring

25 FRIDAY (Continued)

Causing Trouble: Artistic Collaboration for Protest and Revolution Co-Chair: Sunny Spillane | University of North Carolina at Greensboro Co-Chair: Kathryn Shields | Guilford College Jared Auton | State University of New York at Bufalo PaJaMa’s Queer Utopia: The Provincetown and Fire Island Photographs of Paul Cadmus, Jared French, and Margaret French Pierce A Louly Peacock | Univeristy of North Carolina at Asheville Smoke ‘em Out, Baby: Collaboration through Art and Music to Create Social Change Heath Schultz | University of Texas at Austin All Art is Either with the Crowd, or with the Police Matt Tullis | Western Kentucky University Find Your Giant

First Person - The Contemporary Self-Portrait Chair: Wanda Sullivan | Spring Hill College Joshua Brinlee | University of Mississippi Masculine Projections Gary Chapman | University of Alabama at Birmingham The Evolution From The Self-Portrait as an Observable Vessel, to a Communicative Symbol, and Eventually an Artistic Voice or Spirit, Free Pierce B from the Body Altogether Philip R. Jackson | University of Mississippi Object as Portrait Jaime Johnson | University of Tampa Becoming La Loba: The Feral Woman Archetype Gregory Martin | Mississippi State University Identifying and Articulating Surrogates for Self-Representation

Graphic Design Beyond: Evolving Graphic Design Projects into Other Design Disciplines Co-Chair: Robert Thompson | Youngstown State University Co-Chair: Neil Ward | Drake University Patrick Gosnell | Austin Peay State University Making Design Active: Fusing Principles of Animation and Graphic Design through Student Collaboration Hopkins Elizabeth Herrmann | University of South Florida St. Petersburg The Brandalist Campaign: An Activist Agenda to Engage the Multidisciplinary Design Student Jerry Johnson | Troy University Overcoming Design Bias through Interdisciplinarity Ting Wang-Hedges | University of Arkansas at Fort Smith Exhibit This: Museum Exhibition Design For Graphic Designers

10 – 11:45 a.m. Around the World in 80 Minutes Co-Chair: Alexis Clark | Washington University in St. Louis Co-Chair: Zoe Jones | University of Alaska Fairbanks Eliza Butler | Brooklyn Museum “A Tour Around the World”: Frank Millet’s “Transportation Day Parade” at the World’s Columbian Exposition and Non-White Bodies on the Move Emily Burns | Auburn University Pierce A Native American Art in Paris, Cultural Disruption and Global Art History Erin Dusza | Indiana University The Curious Case of the Orientalized Bosnian Pavilion Lorinda Roorda Bradley | University of Missouri The Spirit of Exhibition and Eames Design in the IBM Corporate Pavillion

26 FRIDAY (Continued)

10 – 11:45 a.m. Artists as Writers: Intertextuality and Interdisciplinary Creation (Part 2) Chair: Dina Comisarenco Mirkin | Universidad Iberoamericana Elise Smith | Millsaps College Image and Text in the Correspondence of Dora Carrington Karen Cordero | Universidad Iberoamericana Bellows D Frida Kahlo’s Diary as a Work of Art Dina Comisarenco Mirkin | Universidad Iberoamericana Arnold Belkin’s “Chinese Boxes”: The Intertextual Worlds of Paraphrases in the Series “The Death of Marat” Liana Rosa Vázquez Fernández | Universidad Iberoamericana Juana Borrero: The Absolute Love

The New Face of Art and the Academy Chair: Meaghan Dee | Virginia Tech Rachel Bush | Austin Peay State University The Struggle is Real: The Future of Student-Run, Faculty-Led Design Agencies Kiki Gilderhus | University of Northern Colorado Bellows C An Approach to Teaching Contemporary Art for Studio, Art Education, and Art History Students Quintin Owens | Belmont University Fast Technology / Slow Clay Vanessa B. Cruz | University of North Florida Digital Sketchbook: Ireland

Controversy, Censorship, and Conundrums: Finding Connections in Teaching Chair: Naomi Falk | University of South Carolina Valerie Powell | Sam Houston State University Get Real: Strategies for Inclusion Lauren Greenwald | University of South Carolina Bellows E/F You Can’t Do That On...!! Mariya Vlasova | The University of Tennessee at Chattanooga Three Songs About Jim Benedict | Jacksonville University Creating Empathy in the Age of Entropy Sheryl Oring | University of North Carolina at Greensboro Writer’s Block: How Art Intervened in the Life of a Writer

ART = DEATH: Ars Moriendi Today Chair: Norberto Gomez | Montgomery College Mary Brantl | St. Edward’s University From Morgue to Studio: From Ethics to Art A. A. Jones | Independent Scholar Pierce B Desire to Become: The Death Drive & Internet Art Jillian Decker | The Delaware Contemporary Funerary Architecture in the Classic Maya Realm: Temple I at Tikal as Jasaw Chan Kawiil I, Embodiment of Axis Mundi. Raluca Iancu | Louisiana Tech University Fatal Collisions: On and Of the Road

Making Sense of Color: Material and Immaterial (Part 1) Chair: Herbert Hartel | John Jay College (CUNY) Herbert Hartel | John Jay College (CUNY) Albert Pinkham Ryder, Ralph Blakelock, and the Ultimate King Darkness of Tonalism Dorothy Jean McKetta | The University of Texas at Austin

27 FRIDAY (Continued)

10 – 11:45 a.m. Mikhai Matyushin’s Color Charts: Training the Artist to Perceive Higher Dimensions Katherine Diuguid | NC State University Stitching Light: Exploring Monet’s Optical Mixing Techniques through Embroidery

Picturing Politics: Socio-Political Conficts in Art of the United States, 1865-1929 Co-Chair: Elizabeth Hawley | The Graduate Center (CUNY) Co-Chair: Alice J. Walkiewicz | The Graduate Center (CUNY) Katherine Poole-Jones | Southern Illinois University Edwardsville The Monuments of Forest Park, St. Louis, 1876-1917: Crafting Public Burkhart A Identity and Ideology in the Postbellum United States Kaitlin Booher | Rutgers University Realism Is in the Air: Gertrude Käsebier’s Portraits of Native Americans Elizabeth S. Heuer | University of North Florida Chasing the Dragon from its Den: N.C. Wyeth’s Opium Eater

User-Centered Design Chair: MiHyun Kim | Texas State University David Gallop | Tennessee Tech University Graphic Design & Virtual Reality Neil Ward | Drake University User Centered Design: Graphic Design Students and Accessibility Bellows A Dickie Cox | Monmouth University Ambiguity, Uncertainty, and Fearlessness: Pedagogical Approaches to Design Thinking for Non-Designers Kerry English | Savannah College of Art & Design and Greg Skaggs | Troy University The Global Service Jam Experience: Where Co-Creation/User-Centered Based Design Reigns for 48 Hours

Staying Motivated through the Ups and Downs of Studio Practice Chair: Tifany Leach | Jacksonville University Dana C. Tupa | Jacksonville University When the Hot Tub Doesn’t Do It Hopkins Elaine Luther | Independent Artist Studio Rules Sarah Kain Gutowski | SUNY Sufolk County Community College Reciprocity: How Teaching Creativity Helped an Artist and an Author Redefne Their Practice

Women’s Bodies: Fluids, Functions, and Fictions. The Legacy of Judy Chicago and Second Wave Feminist Art Chair: Jennifer Pride | Florida State University Viki Thompson Wylder | Florida State University Museum of Fine Arts Judy Chicago’s Birth Project: Before Its Time Alyssa Bralower | University of Illinois Urbana-Campaign Visualizing Women’s Bodies: Parallel Discourses on the Speculum and the Camera Barbara Kutis | Indiana University Southeast Bellows B The Contemporary Art of Menstruation and the Legacy of Feminist Artists Marissa Vigneault | Utah State University After Red Flag—A Consideration of Mentstrual Blood as Riot

28 FRIDAY (Continued)

Window, Surface, Frame: The Vitrine as Form Chair: Jennifer Wester | Notre Dame of Maryland University Roann Barris | Radford University Constructivist Windows Burkhart B Kimiko Matsumura | Rutgers University The Greenhouse Afects: Glass and Natural History Display in Mark Dion’s Neukom Vivarium

Noon Drop-in Meeting, Q&A with Editors of Art Inquiries Hayden

1:15 – 3 p.m. Restoring Ghent: The Art of Science and the Science of Art Chair: Roann Barris | Radford University Langley Anderson | Radford University Mutualism: Science and Art Pierce B Meredith Starr | SUNY Sufolk County Community College Invisible Forces Mary Zehngut | Baruch College - The City University of New York (CUNY) The Ghent Altarpiece: First Restoration Phase

Making in the Age of Google Chair: Mark E. Brown | High Point University Mark E. Brown | High Point University Making in the Age of Google Greg Shelnutt | University of Delaware The “Digital Divide” and Homo Habalis King Jocelyn Kolb-DeWitt | East Stroudsburg University of Pennsylvania Competing with Vikings: How I Became a Metasmith Philip Hanson | Saginaw Valley State University A Virtual Oasis: Using Social Media and Web-based Platforms as a Teaching Tool in Culturally Dry Environs

Know Your Place: Women in Art (Part 1) Chair: Jill Chancey | Nicholls State University Kris Belden-Adams | University of Mississippi Composita, the ‘Mascot’ of the Smith College Class of 1886: Remembering Victorian-Era College Sisterhood and Social Caste Expectations Betty Crouther | University of Mississippi Bellows B Mary Skipwith Buie, Artist Philanthropist Sierra Rooney | Stony Brook University (SUNY) The American (S)hero: Integrating Women in the U.S. National Statuary Hall Janalee Emmer | Brigham Young University Museum of Art Work in Progress: Jann Haworth’s Collaborative Feminist Murals

Art in the Age of Surveillance Chair: Heather Dunn | St. John’s University, LIM College, IDSVA Eric Shruers | Fairmont State University Watching the Watchers: Ai Weiwei and the Art of Surveillance Jennifer Kruglinski | Bergen Community College and Kingsborough Community College Bellows A “The Surveyor” and “The Surveyed” in Martha Rosler’s Photomontage and Video Kim Bobier | University of North Carolina at Chapel Hill Reframing Resistance: Lorraine O’Grady’s Art Is…

29 FRIDAY (Continued)

1:15 – 3 p.m. Self-Promotion and Landing the First Job Chair: Diane Gibbs | University of South Alabama Gary Keown | Southeastern Louisiana University Preparing the Student for Entry into the Graphic Design Field Bryan Alexis | University of Arkansas at Fort Smith How Much Do I Charge for This Logo? Shepherding Design Entrepreneurs Hopkins through the Freelance Work Minefeld Marius Valdes | University of South Carolina The Importance of Passion Projects in Design Education Woody Holliman | Meredith College The Guerrilla Guide to Job Hunting (for Designers) Robert Brown and Lisa Cook | Kent State University Your First Design Job: Transitioning from Student to Young Professional

Connecting Disconnect: Cultivating Interconnectivity through Interdisciplinary Collaboration Chair: Erin McIntosh | University of North Georgia Julie Ward | Florida Atlantic University Art Lab Alli Hoag | Bowling Green State University Setting the Tone: Utilizing the Academic Enviroment to Investigate Bellows D Intersections between Glass and Music Hollis Hammonds | St. Edwards University Crossing Disciplines through Comics Jennifer Graf | University of North Georgia Bridging Cross-Disciplinary Eforts with Experiential Learning Heidi Eichbauer | College for Creative Studies Teaching Interdisciplinarity to Art School Freshmen

Representing the Other Chair: Anthony Morris | Austin Peay State University Kylynn Seltzer | University of Pittsburgh Home Away from Home: The Colonial Villages of the 1889 Universal Exposition Lesley Wolf | Florida State University Burkhart A The Visual Politics of Watermelon: Modernization and Marginalization in Rufno Tamayo’s “Naturaleza Muerta” Eric Stewart | Adams State University Hegemony and Seeing in the Upper Rio Grande Kenyon Holder | Troy University The Last Supper in Contemporary Art

Rome Eternal Chair: Debra Murphy | University of North Florida Bronte Hebdon | Institute of Fine Arts, New York University Pacem ex Manubiis: A Historiographic Analysis of Vespasian’s Templum Pacis Bonnie Kutbay | Mansfeld University of Pennsylvania Burkhart B Otherworldly Refections of Life, Death, and the Afterlife on the Sarcophagus of Agape and Crescentianus in Fourth Century Rome Caroline Koncz | The Ohio State University Establishing Papal Authority and Familial Prestige: Michelangelo’s Designs of the Campidoglio

30 FRIDAY (Continued)

1:15 – 3 p.m. HNA (Historians of Netherlandish Art) Session: Women Artists and Feminist Historiography in and of the Netherlands Chair: Elizabeth Sutton | University of Northern Iowa Nicole Cook | Philadelphia Museum of Art By Candlelight: Uncovering 17th-Century Women’s Nocturnal Lives Bellows E/F Amy Frederick | Centre College Reclaiming Reproductive Printmaking Art DFuria | Savannah College of Art and Design Toward an Understanding of Mayken Verhulst and Volcxken Diericx Elizabeth Sutton | University of Northern Iowa The State of Netherlandish Feminist Art History—An Historiographical Perspective

Art and the State Chair: Andrew Wasserman | University of North Carolina at Greensboro Miriam Kienle | University of Kentucky Embodying the Post: Ray Johnson’s “Moticos” and the Postal System as Heterotopia T. Amanda Lett | Boston University Bellows C Learning to Trust Your Eyes: Counterfeiters, a Confused Public, and the Antebellum Engraver Steeve Sabatto | École nationale supérieure d’architecture Paris- Malaquais Systemic and Systematic Strategies for the Design of Industrialized Building Systems in the Fifties and its Uses by the Conceptual Art of the Sixties

The Collectors’ Impulse: Conspicuous Consumption or Philanthropy? Chair: Leanne Zalewski | Central Connecticut State University Daniel Ralston | Columbia University Private/Public: Archer M. Huntington’s Interiors Evie Terrono | Randolph-Macon College Florence Sloan: Patronage and Cultural Activism in Norfolk, Virginia Louise Arizzoli | University of Mississippi Pierce A Collecting the Four Continents: James Hazen Hyde (1876-1959) and the Metropolitan Museum Julie Codell | Arizona State University Philanthropic Collecting for the People: Art for Cultural Uplift, 1880-1930 Anne Hilker | Bard Graduate Center To Live Long and Prosper: The Afterlife of the Private Collection in the Public Museum

3:15 – 5 p.m. Small College Open Session: Advantages and Challenges Chair: Nina Bellisio | St. Thomas Aquinas College Ray Yeager | University of Charleston Who Is That In The Mirror? Bellows A Wanda Sullivan | Spring Hill College Making Art BIG in a Small Art Department Matthew Finn | William Patterson University Art Department Promotion and Awareness through Public Art Installations

Stepping Out of the Comfort Zone: Creating Better Designers One Trip at a Time Chair: Matthew Donaldson | University of South Carolina Upstate Burkhart A Adrienne Schwarte | Maryville College

31 FRIDAY (Continued) 3:15 – 5 p.m. Expanding Anthropocentric and Biocentric Worldviews for Students Via Travel to the “Happiest” Places on Earth Stephanie Nace | University of South Carolina Inspiration Travels Aggie Toppins | University of Tennessee at Chattanooga Travel as Creative Research: Study Abroad in Tokyo Matthew Donaldson | University of South Carolina Upstate Experiencing the Gift of Travel

Looking for the Joke with a Microscope Chair: Melissa Geiger | East Stroudsburg University of Pennsylvania Gwynne Dilbeck | Columbus State Community College Moon Over the Sistine: Michelangelo’s Unconventional Representation of God’s Butt Rebecca Trittel | Savannah College of Art and Design Burkhart B Just Say ‘No’ to Europe: Hogarth’s Marriage a-la-Mode Erika Doss | University of Notre Dame American Art and Social Satire in the 1930s: Grant Wood’s Queer Parody Kelsey Gustin | Boston University Picturing Birth Control Reform: The Satirical Cartoons of Lou Rogers (1879-1952)

Know Your Place: Women in Art (Part 2) Chair: Erin Kate Grady | University of North Carolina at Chapel Hill Susan Richmond | Georgia State University From Needles, Threads, and Sewing Baskets: Anne Ryan’s Collages Bellows D Heather Lea Reid | Independent Artist Maternal Subjectivity in Painting: A Response to the Idealization of Artists and Mothers Rachel Miller | East Tennessee State University The Spaces of the Feminine Modernity

If you build it, will they come? Chair: Katie Hargrave | The University of Tennessee at Chattanooga Laura Amrhein | University of North Carolina School of the Arts Scott Betz | Winston-Salem State University Finally! A Theory of Collaboration for Foundation Learning Pierce A Marie Gasper-Hulvat | Kent State University at Stark Remote Service Learning: Bringing the Smithsonian’s Archives of American Art to Ohio Casey McGuire | University of West Georgia Accelerated Block Foundations Program: A Conundrum or Progressive Approach to Foundations Curriculum

Making the Connection between Research, Instruction, and Best Practices Chair: Mary Lou Hightower | University of South Carolina Upstate James Woglom | Humboldt State University Jotting Down Our Interventions: Collaborative Ethnographica Addressing Arts-Based Service Learning Eunjung Chang | Francis Marion University Fighting for Racial Equality: 15 African American Artists and their Works Bellows E/F Bridget Kirkland | University of South Carolina Upstate What No-One Tells You About Teaching Art and Design: 10 Tips You Should Give Your Students Before It’s Too Late Mary Lou Hightower | University of South Carolina Upstate Seeing Spartanburg in a New Light

32 FRIDAY (Continued)

Vernacular Photography Chair: Karla Huebner | Wright State University Colleen O’Reilly | University of Pittsburgh Kodak, Visual Literacy, and Classroom Photography in Mid-Century America Pierce B Anna Lee | Smith College Orphanhood and Vulnerability: Vernacular Photography’s Migration from Private to Public Contexts Danielle Head | Washburn University The Vernacular Aesthetic in Contemporary Photographic Practice

Making Sense of Color: Material and Immaterial (Part 2) Chair: Roja Najaf | The Oklahoma City Museum of Art Steven Bleicher | Coastal Carolina University I am Curious, Yellow (The History of a Color) King Matthew Levy | Penn State Erie. The Behrend College Robert Mangold’s Chromophilia Morgan Ridler | Independent Scholar Paint it Red: The Squares and Doors of the Bauhaus

Hydrographic Imaginations in Art Co-Chair: Harmony Wolfe | Independent Scholar Co-Chair: Laura Sivert | Grinnell College Flint Collins | Bellarmine University Common-Pool Contestation: Aquatic Eco-art, Environmental Ethics, and Site Responsibility Rosie Ibbotson| University of Canterbury, New Zealand Hopkins Glaciers, Visual Representation, and Environmental Anxiety in Aotearoa New Zealand at the End of the Little Ice Age Rina Faletti | UC Merced - Center for the Humanities Water’s Representational Capacity: Hydraulic Architecture, Aesthetics, and Cultural Values Nathan Rees | University of West Georgia Race, Religion, and Water in the Nineteenth-Century Utah Landscape

Rural/Urban Ecologies in Modern and Contemporary Latin American Art Chair: Lesley Wolf | Florida State University Noelia Irizarry-Román | University of Illinois at Urbana-Champaign Our Islands and Their People: Photography and the Question of Recolonization Joseph Hartman | University of Missouri - Kansas City By Ford! The Automobile and the Urban/Rural Experience Bellows C of Modern Cuba Bryan Schaefer | Florida State University Rilaj Mam in Santiago Atitlan: The Ecology of a Sacred Maya Image Amy Bowman-McElhone | Florida State University and University of West Florida Filling the Museal Void: Curatorial Practice and Conceptions of the Contemporary in Lima, Peru

New Understandings Chair: Eileen Yankoviak | Speed Art Museum, University of Louisville Eileen Yankoviak | University of Louisville and Speed Art Museum Subsistence to Agribusiness: American Farmstead Imagery Bellows B in the Nineteenth Century Ceallsach Crouch | Georgia State University Collection and Armory: The Practical and Theoretical Use of Souvenirs in Relation to Medieval Pilgrimage

33 SATURDAY MORNING EVENT: Members Meeting at 7:15 - 8 a.m.

8:15 – 10 a.m. Methodologies: Approaches to Making (Part 1) Chair: Brad Adams | Berry College J. Bradley Adams | Berry College Controlled Nature Bellows B Naomi Falk | University of South Carolina Bawk, Bawk, Bawk, Ba-Gowk*: Puppets and Serious Satire (*Quote from Camilla the Chicken)

Art and Appetite: Food in 20th and 21st Century Art Chair: Ashley Busby | Susquehanna University Ashley Busby | Susquehanna University At the Surrealist Table: Meret Oppenheim’s Cannibal Feast Nicole Woods | University of Notre Dame The Edible Readymade: Alison Knowles’s Identical Lunch (1967-69) Bellows A Emily Elizabeth Goodman | Transylvania University Devouring Julia Child: Suzanne Lacy’s “Learn Where the Meat Comes From” Chanan Delivuk | Independent Artist Food as Metaphor: A Preview of Signifcant Projects by Michael Rakowitz

Writing for Art History: Writing-Intensive Course Strategies and Assignments Chair: Michael Dufy | East Carolina University Melissa Geiger | East Stroudsburg University of Pennsylvania Some Successful Classroom Strategies for Writing Intensive Art History Courses Pierce A Leanne Zalewski | Central Connecticut State University The Collaborative Paper Assignment Robert Craig | Georgia Tech Teaching Critical Writing: The Analogy of the Prosecuting Attorney

Disruption and Vandalism Chair: Steve Gaddis | Independent Scholar Angela Whitlock | Institute for Doctoral Studies in the Visual Arts Tony Shafrazi and Guernica: How Museums Can Beneft from Acts of Burkhart A Vandalism and Prevent Future Incidents William J. Simmons | University of Southern California Velázquez’s Feminisms

Of the Wall: Interdimensional Practices Chair: Robert Howsare | West Virginia Wesleyan College Ann Tarantino | The Pennsylvania State University Basic to Beyond Pierce B Patrick Vincent | Austin Peay State University Print as Installation Travis Head | Virginia Tech Activity into Object

ATSAH: Art and the Protestant Reformation Chair: Vida Hull | East Tennessee State University Bonnie Noble | University of North Carolina at Charlotte Melancholia in the Reformation-Period Art of Cranach and Baldung Bellows E/F Dorothy Limouze | St. Lawrence University St. Paul in Germany: Themes of Refuge and Eirenism in a Divided World Joseph Silva | Providence College

34 SATURDAY (Continued)

8:15 – 10 a.m. The Catholic Counter-Reformation and the Art of Crusading at the Medici Ducal Court Daniel R. Guernsey | Florida International University Protestantism and the Civilizing Process in James Barry’s Society of Arts Murals

American Women Artists: Modernity, Ambition, and Gender (Part 2) Chair: Helen Langa | American University Lisa Peters | Pratt Institute Aspiring “So to Live”: Ideas and Ideals in Late Nineteenth-Century Allegorical Paintings by American Women Artists Hopkins Joy Sperling | Denison University Olive Rush’s “Feminine Art”: Not “The Usual Borrowed Masculine Aspects of Many Women Painters” Jill Chancey | Nicholls State University The Male Body in Action Painting: Elaine de Kooning’s Athletes and Gods

Undergraduate Student Papers (Part 1) Chair: Floyd Martin | University of Arkansas at Little Rock Isabelle Martin | University of Kentucky A Single Particle Among Billions: Yayoi Kusama and the Power of the Minute Blaine Little and Luisa Perez | Savannah College of Art and Design How to Become a U.S. Citizen: A Critical Exhibition Project Bellows C Rebecca Vicente | Baruch College (CUNY) Bridges and Barriers: The Trends of Digital Integration within Cultural Institutions Erin Davenport | Davidson College How Installation Art Can Reclaim Space, Transform Collective Sufering into Poetic Resistance, and Bring Aesthetics into Utilitarian Space

Illustrated Exchange: Text and Image in the Discourse of the Fin-de-siècle Chair: Alice Price | Temple University Kirstin Ringelberg | Elon University “The Requirements and Limitations of lllustrative Art”: Madeleine King Lemaire’s Modernity Debra DeWitte | University of Texas at Dallas Drawing Exhibitions as a Site of Nationalist Debate Suzanne Singletary | Philadelphia University The Whirlwind: Whistler and Mallarmé

The Education of Punk Rock: What Art School Couldn’t Teach You Chair: Jason Swift | Plymouth State University Greg Blair | Northern State University Our Band Could Be Your Life: How Punk Rock Made Me an Artist and an Educator Michael Marks | Anderson University Salad Days: The DIY Ethos and Community Building in the Arts Burkhart B Michael Kellner | The Ohio State University We Got That Attitude: An Afective Art Education Jason Lee | West Virginia University “If You Used to Be Punk, Then You Never Were”: The Pervasiveness of

35 SATURDAY (Continued)

10:15 a.m. – DIY in Contemporary Art Practice 12:15 p.m. Why We Need Domestic Art Spaces Chair: Crystal Ann Brown | Independent Artist and Scholar Megan Young | Kent State University New Boundaries: Art & Resistance on View Bellows B Julie Wills | Washington College Experiments in Wonder

Sensing Diference: New Artistic Approaches to Embodied Knowledge Chair: Ellen Tani | Bowdoin College Museum of Art Kevin Concannon | Virginia Tech For Whom the Bell Tolls: Embodied Perception and Sound Art Shannon Flaherty | University of Minnesota Bodily Evidence: Tracey Emin’s “My Bed” and Nadia Myre’s Hopkins “Scar Project” Melissa Madnicov | Sam Houston State University An Embodied Modernism: Toward a Defnition of Jukebox Modernism Madison Treece | University of California Santa Cruz From Domestic Sphere to Public Space: Patssi Valdez’s Bodily Manifestation of the Virgen de Guadalupe

Exploring/Expanding Neuroaesthetics and Art Historical Studies Chair: Lauren Weingarden | Florida State University Haley Luster | Independent Scholar Portrayals of Perception: The Illuminations of the Lichfeld Gospels as Cognitive Schemata Sara Mast | Montana State University Black (W)hole: An Art + Science Collaboration Travis Nygard | Ripon College Portraiture and the Social Brain: Looking Anew at American Burkhart A Iconic Paintings Holly Silvers | University of North Carolina, Greensboro Reading the Romanesque: Studies in the Parity of Cognitive Process Between Verbal and Pictographic Texts Janet Snyder | West Virginia University Neuroplasticity and Narrative Sculpture Lauren S. Weingarden | Florida State University Modelling an Experiential Neuroaesthetics: Installation art at Brazil’s Inhotim

Transatlantic Exchange: Ireland and the United States in the Twentieth Century Chair: Cynthia Fowler | Emmanuel College Elisabeth Ansel | Technische Universität Dresden Dreaming America/Envisioning Ireland: Jack Yeats Reflects on a Modern Irish Society through the Lens of His American Experiences James Swensen | Brigham Young University The Anthropology and Image of the Irish Countryman: An Investigation of Dorothea Lange’s Work for LIFE in County King Clare, 1954 Beth Newman Maguire | Independent Artist Transcultural Feminism: Irish Women at Judy Chicago’s “Dinner Party”Timothy Furtado | Emmanuel College Trans-Atlantic Art Criticism in 1970s Ireland: Essays by Brian O’Doherty/Patrick Ireland Cormac K. H. O’Malley | New York University

36 SATURDAY (Continued)

American/Irish Cultural Exchange: A Review of Exhibitions, Artists and Institutions in the Second Half of the Twentieth Century

Methodologies: Approaches to Making (Part 2) Chair: Jason Guynes | The University of Alabama Harry Boone | Georgia Gwinnett College Making Art As “Doing Philosophy” Bellows A Summer Doll-Myers | Kutztown University of Pennsylvania Ink, Paint, Repeat Peter Pawlowicz | East Tennessee State University Not the Story: An Anti-Narrative

Art Practice as Research Chair: Joo Kim | University of Central Florida Cyane Tornatzky | Colorado State University Tying Art and Academia through Artistic Research Andrew Scott Ross | East Tennessee State University Refections from A Broken Vitrine: Institutional Critique Now and Art Pierce B From the MuuM Astri Snodgrass | University of Tennessee at Chattanooga Drawing Research and Ideation McLean Fahnestock | Austin Peay State University The Fahnestock Expeditions Maria C. Santana | University of Central Florida Connecting Feminist Thought & Photography in the Classroom

Undergraduate Student Papers (Part 2) Chair: Floyd Martin | University of Arkansas at Little Rock Maria Shah and Hannah Pelfrey | Kennesaw State University Bellows C Reconsidering Incan Art History—a Focus on Metalworks Caroline Nooney | University of North Florida The Role of Physician’s Folding Almanacs in Medieval Society

Pedagogically Sound Approaches for Hybrid and Online Learning Chair: Karen Shelby | Baruch College (CUNY) Mary Zawadzki | Texas A&M University The Pitfalls of Developing On-Line Courses, or On-Line Courses ARE NOT Classrooms Jenny Ramierez | James Madison University Let’s Talk About Art, Baby: Utilizing the Discussion Forum in Hybrid & Pierce A Online Art History Courses Jessica Locheed | Houston Community College NEW WAYS OF SEEING: Reframing the Formal Analysis Assignment through Digital Learning Parme Giuntini | Otis College of Art and Design Online and In Real Time: Teaching in a Virtual Classroom

How to Get Published Workshop Chair: Isabella Vitti | Routledge/Taylor & Francis Bellows E/F Isabella Vitti | Routledge/Taylor & Francis How to Get Published Workshop

37 COLUMBUS COLLEGE OF ART & DESIGN CAMPUS MAP

. E. Spring St

16 e.

15 N. Grant Av

E. Long St.

14 3 4 8 1311 1512 5 6 7 11 N. Ninth St.

10 E. Gay St.

2 E. Gay St. 1 e. e. e. 9 Av ashington Av Cleveland N. Ninth St. N. W N. Grant Av

E. Broad St.

CCAD CCAD Parking Faculty/Staff Emer gency Senior thesis building neighbor Parking call-box galleries

38 1. Joseph V. Canzani Center 2. Beeler Gallery 3. Crane Center for Design 4. Administration Building 5. Schottenstein Residence Hall 6. Kinney Hall 7. Battelle Hall 8. Visiting Artist Residence 9. Design Studios on Broad 10. Grant Labs 11. Ampersand Emporium 12. Design Square Apartments 13. Studio Hall Annex 14. Studio Hall 15. Circle Hall 16. Amelita Mirolo Fine Arts Building

39 wexner center for the arts AT THE OHIO STATE UNIVERSITY

Film | Music | Exhibitions | Dance | Theater | Talks | Tours

Photo: Katie Spengler Photo: Bank Saelim Photo: Maddie McGarvey

1871 NORTH HIGH STREET | COLUMBUS, OH | WEXARTS.ORG | (614) 292-3535 | WEXARTS

40 SATURDAY, DECEMBER 2, 2017 Loann Crane Center for Design

For more information, visit ccad.edu/art-fair

41 NOTES

42 NOTES

43 Oct. 25 – 28, 2017

Key Partners: