2009

MOBILE

Southeastern College Art Conference October 21 – 24 2 To Our SECAC Colleagues,

It is with great pleasure that we welcome you to the SECAC 2009 Annual Conference in Mobile, Alabama. Th e conference is hosted this year by the University of South Alabama with additional support provided by Space 301, Mobile’s contemporary art center. Th e conference hotel, the Renaissance Riverview Plaza Hotel, is on the Mobile waterfront and is a part of the downtown arts and entertainment district. Art spaces, galleries, museums and dining are all within easy walking distance. And, for those who have brought families along or plan to stay in the area aft er the conference, Mobile has much to off er. Th e Exploreum science center, the Museum of Mobile, and historic Fort Condi are all adjacent to the hotel with the USS Alabama, Dauphin Island Sea Lab Estuarium, and beaches only a short drive away—yes, the water is usually still warm in October.

Th is year, there are 115 sessions scheduled with over 350 presenters participating. Th ese and other planned activities set the stage for an exciting conference. Wednesday’s Board meeting starts the conference, and an opening reception follows at the hotel. Daily sessions begin Th ursday at 8am and continue until Saturday aft ernoon.

Members are invited to attend an exhibition of Jun Kaneko’s work and a reception at the Mobile Museum of Art on Th ursday evening. Friday, conference sessions continue and the SECAC Awards ceremony is scheduled around a luncheon at noon. Friday night will be particularly eventful with a reception for the SECAC Members Juried Exhibition at Space 301 and an exhibition of work by the 2008 SECAC Artist Fellowship recipient, John Powers. Th e reception is followed by the presentation of this year’s keynote address by Joel-Peter Witkin.

Activities and sessions will extend into Saturday with special events available to attendees such as a tour of historic Mobile, a bus tour to Bellingrath Gardens, and a tour to the Gee’s Bend Quilter’s Collective. Th e conference concludes on Saturday in the hotel with a reception where you can make fi nal night dinner plans with your colleagues.

We hope that you enjoy this special time of exchange and interaction with your colleagues in the arts as well as the thought provoking and entertaining activities that are planned. Again, welcome to Mobile. We hope that you enjoy your time in the city.

Sincerely,

Jason Guynes 2009 SECAC Conference Chair Chairperson of the Department of Visual Arts 3 Th e University of South Alabama JOEL-PETER WITKIN, Featured Conference Speaker

Joel-Peter Witkin is a photographer of international renown whose work has been exhibited at MOMA, the Whitney Biennial, the National Gallery of Art, and internationally at museums and galleries in France, Spain, Germany, Moscow, and Japan, among others. Witkin is known for his always powerful and often controversial work which deals with elemental components of the human condition such as life, death, spirituality, and religion. His work is the subject of many books and has won numerous awards internationally.

DR. PAUL RICHELSON, SECAC Members Exhibition Juror

Dr. Paul Richelson is Curator of American Art at the Mobile Museum of Art. He holds the B.A. from Yale University and both the Ph.D. and the M.F.A. from Princeton University. He is past Chief Curator at the Grand Rapids Art Museum where he served from 1987-1991 and past Assistant Director/Curator at the Trisolini Gallery of Ohio University where he served from 1984-1987. Recent publications and research activities include Alabama Masters: Artists and 4 Their Work supported by the American Masterpieces Award from the National Endowment of the Arts, A Perfect marriage: Wood and Color, Collectors of Wood Art for SOFA Chicago, and Coming Home: American Paintings 1930-1950 from the Schoen Collection. >>> Conference Schedule

>> WEDNESDAY, OCTOBER 21 Nestor Armando Gil, Bowdoin College Transitions: Options for Entering Academic Life 2:30 – 3:30 p.m. aft er the MFA – Postdocs SECAC Executive Committee Amerindian Spaces in American Art 4:00 – 7:00 p.m. Mobile Bay III Board Meeting Chair: Paul Niell, University of North Texas Space 301 Conference Room Amy G. Marshman, Virginia Commonwealth 6:00 – 7:30 p.m. University Early Registration Pick-up Architecture of Conversion: Convento Kivas 2nd Floor Pre-Convene Area in New Mexico

7:00 – 9:00 p.m. Bradley Finson, Valdosta State University Opening Reception Th e Art of Gordon Yellowman Bon Secour Bay I Paul Niell, University of North Texas >> THURSDAY, OCTOBER 22 Viewing the Amerindian Figure through Public 8:00 – 9:30 a.m. Monuments in Nineteenth-Century Havana: SESSION 1 Urban Space, Cuban Identity, and Representation

You Can Design, But Can You Write? Art Education Forum VII-A: Policy, Administration, and Accreditation Mobile Bay I Chairs: Lisa Anderson and Nancy Lambert, Grand Bay II University of South Carolina Upstate Chair: Th omas M. Brewer, University of Central Florida Sarah Falls, ARTstor Looking to Learn: Design Resources in the Th omas Brewer, University of Central Florida ARTstor Digital Library and Read Diket, William Carey University NAEP Arts 2008 and What It Means to Visual Chuck Tomlins, University of Tulsa Arts Education Visual Art and Literacy… Karen Heid, University of South Carolina Nancy Lambert, University of South Carolina Mentoring Relationships in the Elementary Upstate Art Classroom: Th e Role of Self-Effi cacy Help! I Need To Write A Paper On Graphic and Academic Success Design Bryna Bobick, University of Memphis, The Good, The Bad and the Future of Adjunct Curricular Frames Being Taught in Tennessee Teaching in Art Departments Elementary and Middle School Art Classrooms Mobile Bay II Art and Science at a Crossroads Chair: James Greene. University of North Florida and Flagler College. Riverboat Chair: Raymond Gaddy, University of North Florida Jennifer Stoneking-Stewart, Belmont University. Th e Downward Spiral: How Use of Adjuncts Jane Andrus, University of Kentucky Harm Institutions and Students Splendid Chemistry: Th e Union of Art and Science in Emile Gallé’s Glass. Mark Creegan, University of North Florida and Florida State College. Erika Osborne, West Virginia University Th e Art of Ecology More Th an Cheap Labor, Innovations 5 of Free Agents Keith Waddington, University of Miami ArtScience Course and Study Laboratory: Routes to Breaking Down Walls. WED & THURS Mobile in the Middle Ages I: The Early and Signifi cance of the Self and the Other: Claes High Middle Ages Oldenburg’s Artistic Partnerships with Patty Grand Bay I Mucha, Hannah Wilke, and Coosje van Bruggen Chair: Peter Scott Brown, University of North Florida 9:45 – 11:45 a.m. Brooke Falk, Rutgers University Session 2 Pilgrimage Tokens of Saint Symeon Stylite the Younger (521-592): Sacred Substance & Inspiring “Aesthetic Pollution”: Art, Trauma and the Image Politics of Memorials Mobile Bay I Janet Snyder, West Virginia University Chairs: Roann Barris, Radford University Fleeting Fashion: the Mobile Language of Textiles and Dorothy Joiner, LaGrange College in the Middle Ages Cynthia Kristan-Graham, Auburn University Jennifer Feltman, Florida State University c. 31,000 BC Chauvet Memories, not Memorials: Learning from the Rhinoceroses, lions and Moving the Soul, Spreading the Word: Th e Ancient Maya and the Little Bighorn Battlefi eld mammoth feature on the Th eology of Moral Intentionality at the University walls of the Chauvet cave, National Monument in southern France. of Paris and its Impact on Th irteenth-Century Sculptural Programs of the Last Judgment Matt W. Whistler, Florida State University Th roughout France Th e Passion of Sacco And Vanzetti: Th e Construction of a Modern Memorial Internationalization and the Visual Arts Windjammer Roann Barris, Radford University Chair: Jason Guynes, University of South Alabama Memorial or Museum? Berlin’s Topography of Terror Angela R. Horne and Rachel Green, Armstrong Atlantic State University Nicole Leigh Mahan, Florida State University Engaging Arts Students in Global Experiences: Krzysztof Wodiczko’s If You See Something...: From in the Classroom to Across the Equator Th e Role of the Artist in Reformulating c. 3100 BC Saqqarah Democracy in Post 9/11 America The Egyptians paint murals on the walls of Ginger Sheridan and Scott Tayloe, tombs, designed to help Jacksonville University Andrea Gyorody, University of California, the occupants in the next Speak My Language: International Studies Using world. Los Angeles the Visual Arts Model Mobilizing the Archive: Emily Jacir’s Material for a Film 1436 AD Alberti’s Treatise Jason Guynes, University of South Alabama Perspective fascinates Italian Renaissance Getting Study Abroad Off the Ground: Undergraduate Research Session I painters after the Considerations in Founding International Arts Mobile Bay II publication of Alberti’s treatise on the subject, Programs Chair: Elise Smith, Millsaps College De Pictura. The Pleasures and Perils of Artistic Biography Christina Glover, University of West Florida Clipper Portraits in Another World: Th e Iconography Chairs: Benjamin Harvey, Mississippi State of the Human Figure in the Southeastern University, and Michael Yonan, University of Ceremonial Complex Missouri–Columbia Colleen Grant, Loyola College in Maryland Sigrid Danielson, Grand Valley State University A Modern Kind of Ruin: Bramante’s Belvedere Th e Absent Biography: Art History’s Creation of in a Giuli Romano Painting of the Madonna and THURS the Early Medieval Artist Child with Saint John the Baptist

Denise M. Budd, Columbia University Kellie A. Burris Walton, East Carolina ‘Without Wealth and Working Irregularly’: University Th e Incongruity of Leonardo da Vinci Luca Giordano’s Th e Rape of the Sabines 6 as Entrepreneur as Representative of the Marriage Institution in Baroque Italy Indra K. Lacis, Museum of Contemporary Art Cleveland/ Case Western Reserve University Cynthia Shurbutt, Converse College Amelia Kahl Avdic, University of Maryland Sweetgrass Baskets – An American Art, Born out Modernist magazines Plamuk and Zenit of Slavery in Bulgaria and Yugoslavia

Art Partnerships with the Community Kerry Powell, Th e Graduate Center, Leonardo c. 1460 AD Mobile Bay III City University of New York Madonna of the Chair: Jenny K. Hager-Vickery, University Th e 1915 Grønningen Exhibition: Danish Rocks Oil paints, long familiar in of North Florida Secessionism in Context the Netherlands, begin to be adopted in Italy in place Melanie VanHouten, Josephine Sculpture Park Elizabeth Richards, University of South of tempera. Josephine Sculpture Park: Building Community Alabama American Assemblage and L’Informel Johann Joachim 1755 AD Cynthia Marsh, Austin Peay State University Winckelmann Johann Joachim Constructing the Autobiography Mobile in the Middle Ages II: The Late Middle Winckelmann publishes a of a Southern Community Ages and Early Modern Period book on Greek painting and sculpture which Grand Bay I introduces a new strand Cynthia Handel, Contra Costa College Chair: Tessa Garton, College of Charleston of neoclassicism. and Th e Crucible Th e Community and the Crucible Stanton Th omas, Memphis Brooks Museum of Art Sharif Bey, Winston Salem State University It Looks Greek to Me: Robert Campin, Let’s Make a Mess and Share Stories: Community Jan van Eyck, and Byzantine Icons Engaged Visual Art Peter Scott Brown, University of North Florida Jenny K. Hager-Vickery, University Jael by Jan van Eyck: Fortunes of an Idea of North Florida from the Middle Ages through the Ars Nova Art, Industry and Community Azar Rejaie, University of Houston Downtown Art Education Forum VII-B: Research, Th e Artistic Strategy of Mobility in the Practice Instruction, and Best Practices. of Pietro Perugino Grand Bay II Chair: Mary Lou Hightower, University Eclecticism, Appropriation, Forgery, Part I of South Carolina Upstate Windjammer Chair: Betty J. Crouther, University Linda Neely, Lander University of Mississippi Even a Blind Pig: “Seeing” Strategies Thomas Cole c. 1835 AD The Hudson River School in Teaching Creativity Lai Orenduff , Valdosta State University of landscape painting Eclecticism and Appropriation in Christian emerges in New York, with Victoria Fergus, West Virginia University Religious Motifs emphasis on the scenery of the Hudson River Professional Teaching Strategies for MFA & MA and the Catskill Mountains. students: A Course on Pedagogy for Graduate Rosanne Gibel, Art Institute of Ft. Lauderdale

Teaching Assistants Th at Looks Familiar: Seduction of Symbols Les Demoiselles 1907 AD and the Politics of Conversion in Christian Art d’Avignon Susan Slavik, Coastal Carolina University Pablo Picasso’s Les Demoiselles d’Avignon, Eff ects of a Quantitative Visual Arts Merit Ryan Hechler, University of Florida a violent transition into Self-Evaluation on Art Educators Chesapeake Pipes & a Re-Assessment cubism, is a turning point of Creolization in western art. Mary Lou Hightower, University of South Carolina Upstate Monica Kjellman-Chapin, Implementing the Teacher Work Sample Emporia State University with Pre-Service Art Educators Th e Art of the Hoax: Faking, Making, and Fabricating Open Session: Modern Art Riverboat Chair: Elizabeth Richards, University of South 7 Alabama THURS Game e Video ding ompson Zorach ompson ects of Domesticity on the Art Art the on Domesticity of ects Century 21st the in e VRC Disheveled Movement: Divisionist e Italian Eff e University American Albrecht, Hicks Kathe Th Open Session: Art Education Forum VII-C II Bay Grand Virginia West Chair: Aman, Ronald University Carolina South of Colbert,Cynthia University Education Higher in Equity Program Facilities Planning for the Digital Visual – Visual Future Center of the Resources Curators of SECAC Resources III Bay Mobile Albrecht, Hicks Chair: Kathe University American University Washington Betha Whitlow, Louis in St. Digital to Analog the for Planning Space Transition Tech Virginia Tatum, Steve Digital Decentralized Walls: without Space Production Arkansas of University Christine Hilker, in Housed Center Media Life: A Structured Buil a 1935 Library of Stacks Elana McDermott, Corcoran College of Art College of Corcoran McDermott, Elana Design and Identity Gender on Views Alternate Session II Research Undergraduate II Bay Mobile at Arkansas of University Brown, Chair: Jane Rock Little of University Catherine Banacki, Amanda Florida Central Reduced Kensett’s Frederick Sky: John Sea and Compositions Carolina North of University Fountain, Cynthia Ashevilleat Th Revolutionaries and Radicals College Converse Erin Cramer, Th Th Marguerite of College Hood Peiper, Catherine Th Cyberdrama: and Immersion X Fantasy Final in Form Art oughts on the Origin e Symbolic Use of the Pomegranate in Ancient Ancient in Pomegranate the of Use e Symbolic Session 3 Art Encounter Social Issues through I Bay Mobile College Memphis Gonzales, Jennifer Chairs: University, State Delta Hein, Art, Nathaniel of Art of College Memphis Leandra Urrutia, and College State Worchester Catherine Wilcox-Titus, Political Gestures, Human Abdessemed: Adel Realities Tennessee Middle Donovan, John University State Do We What Knick-Knacks… and War Make SECAC Art Education Policy Committee Business Meeting II Bay Grand Informational 2010 SECAC Conference Meeting III Bay Mobile Chair: Kozlowski, Andrew University Commonwealth Virginia 1:30 – 3:15 p.m. 12:00 – 1:00 p.m. Meetings Informational and Meaning of the Sun and the Moon Moon the and Sun the of Meaning and on the Parthenon Memphis of University Butterworth, Jennifer Th Egyptian Art in Alabama of University Joyce, B. Lillian Huntsville Goddess the and Nero Mother? My You Are Roma Art College of Savannah Mangieri, F. Anthony Design-Atlanta and Dazzling Dresses and the Art of Luxury: Vase-painting Greek in Garments Embroidered Women of Life Aristocratic the and Athens Archaic in Open Session: Ancient ArtOpen Session: Session I Clipper Independent CookeChair: Uğurlu, Susan Scholar University Beth Mercer Stewart, Th Selene: and Helios Mardi Gras Mardi Mobile, Alabama Gras Mardi introduced to North The America. celebration is held Tuesday on Shrove sometimes called Fat the day before Tuesday, Lent begins. 1703 THURS 88 Cemetery: Th Cemetery: Funerary Landscapes of the Classical Greek Evrydiki Tasopoulou, Mawr Bryn College Archaic Attic Red-Figure Cup Th Nothing in Excess, or Everything in Good Order: Jeremy J. Johnson, Florida State University and Imperial Greece Th Strangers in aStrange Land: Evidence of Roman of Pennsylvania Heather F. Sharpe, West Chester University FaceBeadwork An Interpretation of the Ancient Egyptian Sarah Chapman, University of Memphis University Nancy Shelton,Chair: OldDominion Grand Bay I SectionII Open Session:AncientArt; and the Photographic Animal Portrait “Perfectly Accurate”: Schreiber &Sons at Birmingham Jessica Dallow, University of Alabama in an Antebellum New Orleans Portrait Fruit”: Illicit and Sex Queer Patronage Interesting About Story” “Forbidden “Some Bloomington Sara Mandel, Indiana University, Examination of Early Portraiture in Tennessee Ralph E.W. Earl’s “Striking Likenesses”: An Stephens, Elizabeth Rachel University of Iowa JamesChair: Meredith C.Boyles, College Riverboat I:IssuesofRepresentationAmerican Art Narrative Teaching and Learning with Written and Spoken Rethinking Visual Art Prompting in Education: Anne Grey, University of Central Florida Assessment and Th and Design Audra Price, Savannah Collegeof Art Chair: TillChair: Richter, University of Texas at Austin Windjammer Eclecticism, Appropriation, Forgery, II Part e‘Portraits’ of Solon and Khilon on aLate ematic Bronze Figurines in Hellenistic eDigital Age of Teacher Preparation eRoles of Animal Sculpture Acting for the Camera of Oklahoma and University and of Arts Science Hadley Jerman, University of Oklahoma and European Works of Art and Architecture Parallels between Native American ofand Visual School Art D.Mary Edwards, Pratt Institute and Stuart Davis’s New Mexican Landscapes, 1923 Memory and Identity: Marsden Hartley’s University Timothy Virginia Andrus, Commonwealth University JessicaChair: Welton, Virginia Commonwealth Mobile Bay I Thousand Years ofTransmogrifi cation Three andArtists: Native AmericanArt Session 4 3:30 –5:30p.m. Seventeenth-Century Seville and the Penitential Processions of Sixteenth-and Th Megan K.Young, University of Kansas Museum of Art and Muse on Two Renaissance Panels in the Birmingham Findings Research New Sheba: and Solomon Emma Fox, University of Alabama Conventual Patronage in Renaissance Perugia Giannicola di Paolo’s Incredulity of St. Th Sheri Shaneyfelt, Vanderbilt University University of Alabama MindyNancarrow,Chair: Clipper History) Affi liated Session (Association forTextual ScholarshipinArt Women, SocietyandReligion–ATSAH in Contemporary Chinese Art Borrowing and Eclecticism asStrategies Till Richter, University of Texas at Austin Art Feminist of Paul McCarthy, Mike Kelley, and the Occupation City University of New York Marisa White, Th eSpace Between: Laywomen Religious eGraduate Center, um of Fine Arts, omas: Boston and usedaspaintpigment were driedintoapowder Farm inWilmer, Alabama in thesun,blueberries by NativeAmericans. at Betty’s Blueberry After dryingthem Pick blueberries just 20minutes west ofMobile. Blueberries MAY –JULY THURS 9 ord College ord Princeton of e Making of Paintings e Landscape alo Rome Century Sixteenth in Psyche of e Tale e River Improved and the Waterworks: Waterworks: the and Improved e River Returned Rogers’ John Home: at e War Peripheral Identities: New Churches on the the on Churches New Identities: Peripheral Eternal the of Margins Windjammer College SUNY Chair: Beth Hinderliter, at Buff Carolina Seth Western McCormick, University Commitment and Cruelty de Sade”: faveur “En Art French Post-War in Intellego est Scio: Art and Architecture Intellego est Scio: Art and Architecture in Rome I Bay Grand College Meredith BethChairs: A. Mulvaney, Architectural E. Gaddis, Gurlitz Steven and Emory University Rachel Foulk, Th Power: of Pictures Rome in Aurea Domus Nero’s Washington of University Alexis Culotta, Bronze… than Permanent More A Monument Self- of Practice the and Chigi Agostino Farnesina Villa the at Construction Madison James G. Arthur, Kathleen University Th Woff L. Schmunk, Peter un effort”:“Encore Democracy and Struggle Art in Contemporary French American ArtAmerican II: New Perspectives on Old Icons Riverboat University State Chair: Arizona Betsy Fahlman, Carolina North of University S. Marks, Arthur Hill Chapel at Th Fairmount at Statues Emblematic Rush’s William Reconsidered College C. Boyles, Meredith James Th Change Industrial and Volunteer University State Georgia Reason, Akela Khayyam Omar of Rubaiyat Vedder’s Elihu Monument as Public Slippery Rock University Pitluga, Kurt Pennsylvania of Th Goths: the of Battle University with with Creative e Hottest eger-Hesser, Mesa College Mesa eger-Hesser, Pulaski, Wichita State University State Wichita Pulaski, e Race Track e “Pantheon” of Philip V: Negotiating the Negotiating V: Philip of e “Pantheon” e Mausoleum: How Can Architecture Be Used Be Used Architecture Can How e Mausoleum: Project e Macgyver Line Drawn the of Potential e Inherent Digital Technology in University-Level Graphic Graphic University-Level in Technology Digital Education Design Depictions of Death in nite Finite: The Infi ArtWestern II Bay Grand Chair: A. Pfl Martina Georgia of University Everhart, Teresa Emily Th Death and Life a Royal of Challenges Reserve Case Corriveau, Western Bethany University Suicide of Symbols Fence: Down the Breaking in Th Art College of Savannah Alexis Gregory, Design and Th Death? with Deal Help to University Auburn McNulty, Christopher Mortality on Meditation A Contemporary Days: Mobile Bay III Bay Mobile Jeff Chair: Arkansas of Bryan University Alexis, at Fort Smith Th Art College of Savannah Granacher, Julia Design and Th Georgia West of University Hannaford, Joey Craft Letterpress Traditional Partnering Thinking Outside the Box. Session I Panel Session: Odds, Ends, and Muses: Odds, Ends, Panel Session: From? Come does Creativity Where II Bay Mobile Art of College Savannah Chair:Reed, Sandra Design and Art of College Savannah Bauer, George Design and – Th Performativity Material Strategy of Contemporary Art and Design and Art Contemporary of Strategy South of University Jr., Mack, J. Richard Upstate Carolina Starting Never by Screens Blank Prevent Computer the with Pulp-based Paper of less The introduction expensive pulp-based paper allowed artists to frequently. draw more Leonardo da Vinci Leonardo da Vinci begins Leonardo series an unprecedented of detailed anatomical drawings, based on corpses dissected in Rome. c. 1489 Late 15th c. THURS 10 Kelly’s Love Songs Lighter than Air: (Im)materiality in Mary Susan Richmond, Georgia State University Contemporary Chicana Art Traditional Craft Art, Eff University Lourdes Western A.Ramirez, Case Reserve Th Th Fu Chia-Wen Lamar University Lien, in France post 1968 Quand les femmes s’en mêlent! Militant Video University of New York and Pace University Stéphanie Jeanjean, Th New York, Queensborough Community College KathleenChair: Wentrack, City University of Clipper Experimentation, andExpansion Feminism andNewMaterials:Exploration, Blessure Undermining in Corpus Nicolas Klotz’s La Hinderliter,Beth SUNY at College Buff Painting in Discourse Revolutionary Vive l’art Révolution: Gérard Fromanger and the PurdueCatherine Dossin, University Posters of May and June 1968 Th Mary and Victoria H.F. Scott, Th traditional Th methods. materialsunexpected and techniques with more workBoth inavariety of media,oft mirroring interests, their hopes and dreams. marriage, they infl artworks locally and nationally. Like agood years. In that have time, they madeand shown together and asartists couple amarried for 11 Sheri Fleck and Rieth Tom have Lee been Springhill College,EicholdGallery Reception Thur., Oct.22,6p.m.–8 Transportation not provided Openings Additional Art entrance of hotel at beginning 6:00p.m. ShuttleCollection, buses depart from main the Jun Kaneko Exhibition and Permanent Reception, MobileMuseumofArt 6:30 –8:30p.m. eImpact and Infl eBody Politics of Decoration and Handicraft eRhetoric of deParole” “La Prise and the ects ofects Marginalization: Th uence each other’suence each work, uence of 1970sFeminist Art s, and Beliefs in s, and Beliefs eGraduate Center, City eCollege of William etitle of show, the misc. eUse of en mixing alo. : and Action! Staging Empire: Lights, Darks, Cameras, Eugene AnzaCollege De Rodriguez, Digital Disegno: Pixels and OilPaint Brian Curtis, University of Miami of and Art Design HeatherChair: Savannah Deyling, College Mobile Bay III Technologies inPainting Bridging theGap:TheUseofDigital and Drawings Absence and Presence: Multi-media Installations Terri Lindbloom, Florida State University Installation Mother Earth, Th Kyra Broward Belan, College Innovation and Paradoxical Th Nofa Dixon, University of North Florida KyraChair: Broward Belan, College Mobile Bay II Mixed Media of InnovationIII:ExploringNewMedia, Organization) Affi liated Society. Mothers CWAO (CoalitionofWomen inthe Arts Works Collaborative Recent Amelia Winger-Bearskin, Vanderbilt University Photography Practice Extended Vesna Pavlovic, Vanderbilt University Purely Functional: Recent Work by Rylan Steele Rylan Steele, Columbus State University MichaelChair: Aurbach, Vanderbilt University Mobile Bay I Educators. Group /SessionI SECAC’s NewestGenerationofArtist Session 5 8:00 –9:30a.m. >> 30 5–Oct. College of Oct. Art. isan associate professorLee at Memphis the atArt University the of Mississippi and Tom and associate professor of Department the of of careers. their Sheri Fleckchair isthe Rieth and objects collected and created over span the & etc. isa tongue incheek reference to ideas the Friday, October23 ought Woman: Mixed Media inking such asAutomaticdrawing ing assorted papershapes ing assorted cident tomark-making),as a meansofexpressing the improvisational techniques Collage appearsinFrance festo in France supported festo inFrancesupported Braque whobeginbyglu- (applying chanceandac- to adrawingorpainting. The publicationofthe Picasso andGeorges First Surrealist Mani- in theworkofPablo First Surrealist subconscious. Manifesto Collage

Collage by:ShlomitWolf 1924 1912 THURS & FRI 11 Now en and e Stained e Franz of Glass e Stained Th e Spiritual: Scholar nkle, Independent Pride of and eory: Centuries ery Rosen, Loyola University Chicago ery University Rosen, Loyola Th and e Secular e Triumph of Transparency and Demise Demise and Transparency of e Triumph Women’s Progress Illuminated: Exploring the Past Past the Exploring Illuminated: Progress Women’s Building Stained and Present Woman’s of Two Windows Glass Baruch College, City University Shelby, Karen York New of Th Go Go Rococo: Why Art History Matters to Artists I Bay Mobile Commonwealth Virginia Bolduan, Chair: Ruth University College Chad Airhart, Carson-Newman Backwards and Forwards: Art History Conversation to as Conduit Past and Present: Exploring Stained Glass Past and Present: Clipper Armstrong Chair: S. Jamieson, Deborah University State Atlantic G. Garfi Charlene 9:45 – 11:45 a.m. Session 6 Paul Karabinis, University of North Florida North of University Karabinis, Paul Photographic in Process and Idea Act: Balancing Practice College Birmingham-Southern A. Venz, Pamela Th Photography Processes: Alternative What is Print Theory? Syntax of Printmaking: Windjammer Illinois of University Ferber, Andrea Chairs: Meler, Monika and Urbana-Champaign at University State Wichita Jeff Th Photograph Printed the of University State Wichita Smith, Royce Role the on Speculating Interaction: of Agents Biennale Contemporary the in Culture Print of Design Art and of College Savannah Gere, Rich Printmaking Th Prejudice Glass of Flemish Nationalism Flemish of Glass State Atlantic Armstrong S. Jamieson, Deborah University Th Construct: Cultural Company and Mayer Center, e Graduate e Meal e City Center, e Graduate omas: Following One Woman’s Footsteps Footsteps Woman’s One Following omas: cant“Others” e Signifi e rough the Tumultuous World of Modern Art Modern of World Tumultuous the rough Changing Contexts, Lingering Questions: of Photography ning the Nature Defi I Bay Grand Heartland Luhar-Trice, W. Chair: Christopher College Community State Jackson Copp, Bronwynn Jennifer University Speeds”? Shutter and “F-Stops are What American Art III: Race and Gender in American Art Riverboat University American Langa, Chair: Helen College Converse Schuweiler, Suzanne Racial Currency: Confederate Money Art Southern and Lee and University Washington Simpson, Pamela A Post-Colonial Palace: Corn the at Indians Reading of Projection, Reception and Participation Virginia Northern Fischer, Kaye Cynthia College Community Titanic the of A Study Chivalry: Memorializing Memorial in DC Washington, Maryland of University E. Gohari, Sybil Th Alma W. Th Women in Action!: Historicizing Feminist Feminist in Action!: Historicizing Women Collaboration II Bay Grand University Rowan Hottle, D. Andrew Chairs: DePaul Gardner-Huggett, Joanna and University Lizy Dastin, Th York New of University the A.I.R. Gallery and Ranks:” their in “Racism Multiculturalism toward Movement Oklahoma of University Yoo, Ahyoung Th Th Grayson, Saisha York New of University City Dinner Parties: Finding the Feminism in Lucy 70 x 7 Th Orta’s Eric Standley, Virginia Tech Virginia Eric Standley, Studio Analogue and Digital Decreed: Either/Or Processes The fi rst Europeans to rst Europeans The fi Alabama visit the future Spanish Gulf Coast were conquistador Hernando de Soto and his army in French the 16th century. established the explorers settlement rst European fi at Twenty-Sev- in the area en Mile Bluff, up the Mobile the present River from city in 1702. Nine years the town was moved later, site. During to its present its 300-year existence, own over ags have fl ve fl fi British, Mobile: French, Spanish, American and Confederate. The city’s rich and diverse cultural in the heritage is apparent high number remarkably of historic buildings still standing. Explorers Explorers in Mobile DeSoto Falls, in Fort Alabama, Payne named after Hernando de Soto

16th century FRI 1212 Th Jeane Cooper, Florida Atlantic University Projectors Digital Understanding University Katherine Holmes, Mississippi State Standards of Lack Wendy Roussin, Mississippi State University Images Organizing, Formatting, and Presenting Digital and Design Heather Savannah Deyling, College of Art JamesChair: Davis, Mississippi State University Mobile Bay III The ElectricSlide:DealingwithDigitalImages Taught Sand Artists of Southern Africa Re-visions: Political Subtexts in the Work of Self- Jessica Stephenson, Kennesaw State University Quilt Project Th Histories: Quilted Sharon Price Fairbanks, University of Memphis and its Maker Constructing Memory Visually: Th Jennifer Hornby, University of Memphis the Golden Age of Transportation Th Shelburne Museum C.Corrales-Diaz, Erin of Folk Art Kogan, Lee Chair: American Museum Mobile Bay II SessionI and OutsiderArtists. Outside theMainstream: Folk,Self-Taught, Go Rococo! University Ruth Bolduan, Virginia Commonwealth Inheritance Wendy Auburn DesChene, University Religious Artists? Why Are Th Nora Heimann, Catholic University of America University University and Laurel Fredrickson, Duke Howie,Chairs: Carolina Elizabeth Coastal Grand Bay II Veilings is Not aPipe eWorld asTh ere No Great Contemporary ey See It: eySee American Folk Art and eBoxtown/Walker Homes

eMemory Jug Navigating the Blur: Th Chuck Hemard, Auburn University Photographs of William Christenberry Poetic Evocations of aHaunted Landscape: Th College L.Burk,Efram Curry Praise Famous Men Notes for aPolitical Economy of Let Us Now Mark Miller Graham, Auburn University Photographs Welty’s Eudora Readings: Diachronic Keri Fredericks, Florida State University and the “Aesthetic” Photographs between the “Documentary” Arthur Grimm and the Nazi Art World: Floyd,Kathryn Auburn University University MarkChair: Miller Graham, Auburn Grand Bay I in Documentary History ofPhotography:Issues and MoMA of American Folk Art at the Newark Museum Promotion of Modernism: Exhibitions Holger Cahill’s Populist Ideology and the University of New York Jillian Russo, Th Th University of New York Sarah Archino, Th Everett Shinn: Refusing to beOnly aFine Artist University of New York Morgan Ridler, Th of American Art Kraushaar Galleries and the Business Fahlman,Betsy Arizona State University University ValerieChair: Livingston, Susquehanna Riverboat Modernism IV:Re-DefiAmerican Art ning American Monuments Sepulchral Separate Spaces in Fift Stephanie Miller, R. Carolina University Coastal Textiles House Veiling Roman and Late the in John W. Stephenson, Appalachian State University eAmerican Vernacular and the Spirit Dada eGraduate Center, City eGraduate Center, City eGraduate Center, City eenth Century Italian eObscure Space 1930s e First PhotoArchives The Alabama Department The AlabamaDepartment when itwasestablished of Archives andHistory archives inthenation became thefi rst state-supported state-supported in 1901. 1901 FRI 13 between Art and Documentary, a Practicing 1:30 – 3:30 p.m. Photographer’s Perspective Session 7

Architecture of the Southeast Revisiting the Memphis Group Windjammer Mobile Bay I Chair: Philippe Oszuscik, University of South Chair: Gary Keown, Southeastern Louisiana Alabama University

Robert M. Craig, Georgia Institute of Technology Gary Keown, Southeastern Louisiana University Food for Th ought: Brittain Dining Hall (1928) as Th e Mobile Memphis Blues Again Didactic Architecture Kristina Olson, West Virginia University Rhonda L. Reymond, West Virginia Elvis Has Left the Building: Michael Graves University and the Death of the Architectural Promenade Applying the Spirit of History: Richard Morris Hunt and All Souls’ Church, Biltmore Village, C. Roy Blackwood, Southeastern Louisiana North Carolina University c. 8,000 BC Jericho Jericho, often quoted as Accord/Discord: 1980’s Dada’s versus 1970’s de Nada the fi rst town, grows into John Schnorrenberg. Independent Scholar a settlement covering ten Shingle, Stone, or Something Else: Th e Outside the Mainstream: Folk, Self-Taught, acres. Architectural Expression of Christ School, Arden, and Outsider Artists. Session II N. C., 1900-2008 Mobile Bay II c. 2620 BC Saqqara Pryamid Imhotep creates the Chair: Carol Crown, University of Memphis fi rst pyramid – the ‘step Philippe Oszuscik, University of South Alabama pyramid’ at Saqqara – as Th e T-plan House: From the Carolinas to Mobile Edward Puchner, Indiana University, Bloomington a tomb for the pharaoh Djoser. At Home and Abroad: Horace Pippin, the Black Mary Magdalene: The Saint in Art through Church, and the Double V Two Millennia Clipper Michelle D. Williams. University of Memphis Chair: Barbara J. Johnston, Columbus State A Hope for Peace: Social Issues and the Art University of Minnie Evans

Michelle Erhardt, Christopher Newport University William Lee Ellis, University of Memphis Th e Penitent and the Friars: Th e Magdalen Cycle Th e Gospel According o Hawkins Bolden: God, in the Guidalotti-Rinuccini Chapel, Florence Gardens, and the Creative Act

Andrea Begel, Adelphi University Nancy Palm, University of Indiana, Bloomington Exorcism and Forgiveness in Giovanni da Call and Response: Jazz Traditions and the Art Milano’s Jesus in the Pharisee’s House of Wayne Mannes

Lindsay A. Caplan, Th e Graduate Center, Virtual and Electronic Instruction within City University of New York Graphic and Digital Arts Standing in, Speaking for: Images of Mary Mobile Bay III Photo by: Paul Caputo Magdalene in the St. Albans Psalter Chairs: Brooke Scherer, Iowa State University

447-432 BC Parthenon Acropolis The Athenians begin Mindy Nancarrow, University of Alabama Quentin Currie, Savannah College of Art building the Parthenon, José Antolínez’s Ecstasy of the Magdalene and the and Design a temple to Athena, which they complete within Mystic Journey of the Soul to God Online Pedagogy as the Perfect Studio Model for fi fteen years. Refl ective Problem-Solving Amy Morris, Southeastern Louisiana University St Denis Observations on the Iconography of Lucas Ed Outhouse, Iowa State University 1144 AD The new abbey church of Moser’s St. Magdalene Altarpiece Technological Determinism and the Virtual St Denis is consecrated near Paris, introducing the Classroom; Implications for Graphic Design style of architecture later Education known as Gothic. 14 FRI 12:00 – 1:30 p.m. SECAC Awards Luncheon Bon Secour Bay I & II Trudy Abadie, Savannah College of Art and Gayle M. Seymour, University of Central Arkansas Design Postal Th emes in Depression-Era Post Offi ce Let’s Have A Live Crit! – An Introduction to the Murals Importance of Current Technology in Distance Courses Tracey Eckersley, University of Louisville Th e Postman Always Looks Twice: “Outsider” Brooke Scherer, Iowa State University Envelope Art from the Collection of Allan Weiss A Debate on Digital Art and Graphic Design Education & Pedagogy: Technological Versus Yoko Nogami, University of Tampa Traditional Notes and Letters: the Paper the Handwriting

I Love You, Now Leave: Desire and Repulsion Claire van der Plas, Western Carolina University in Visual Art – Concept Panel Keeping in Touch Grand Bay II Chair: Lou Haney, University of Mississippi Looking Forward/Looking Back: The Role of Portraiture in the Establishment of a Historical Kris Belden-Adams, Th e Graduate Center, Identity. Session I: Art and Literature City University of New York Windjammer Brunelleschi 1418 AD Repugnance as a Shock Tactic in Tracey Emin’s Chair: Rebecca B. Trittel, Savannah College A competition is launched for an architect to My Bed of Art and Design construct a dome above Florence’s cathedral; it is Chris Kienke, Savannah College of Art Elaine M. Slayton, University of Memphis won by Brunelleschi. and Design Th e Book in Marie Antoinette en Robe Zhu pa Zhaie de Velours Bleu Robert Adam: 1757 AD Woodlands Robert Adam returns to American Art V: Issues in Modern American Benjamin Harvey, Mississippi State University Britain after two years in Art Rome with a repertoire of Virginia Woolf, Th e Virgin Queen and the Duke’s classical themes which he Riverboat Top Hat mingles to form a new Chair: Pamela Simpson, Washington and Lee British neoclassicism. University Rebecca B. Trittel, Savannah College of Art and Design Valerie Livingston, Susquehanna University Exoticism and England: Th e Portrait of Lord W. Elmer Schofi eld: Snow, Yes, But It’s Winter! Byron by Th omas Phillips

David A. Lewis, Stephen F. Austin State University The Medieval Monastery as Pilgrimage Center Of the Big Apple and the Good Earth: Urban Clipper Encounters and Country Living in the New Deal Chair: Rita Tekippe, University of West Georgia Drawings of John Heliker Cheryl Goggin, Th e University of Southern Jefferson’s Monticello 1770 AD 27-year-old Thomas Melissa Geiger, East Stroudsburg University Mississippi Jefferson begins of Pennsylvania Th e Monastic Obligation to Teach Lay Brothers: constructing a mansion on Robert Rauschenberg’s Carnal Clocks: Th e Times Conrad of Hirsau’s On the Fruit of the Flesh a hilltop in Charlottesville, calling it Monticello (‘little Th ey Are Changing and the Spirit mountain’).

Katherine A. Smith, Agnes Scott College Costanza Cipollaro, Institut für Kunstgeschichte Adams’ White House 1800 AD Building Painting: Claes Oldenburg and Coosje der Universität Wien US president John Adams van Bruggen’s Paintsplats (on a Wall by P.J.) Augustine’s Tomb and Shrine in San Pietro in moves into the newly completed White House, Cieldoro, Pavia: Between Devotional Practices, named for its light grey Art in the Postal Age Secular Patronage and Spiritual Authority limestone. Grand Bay I Chair: Elizabeth B. Heuer, University of North Julie K. Jack, Tennessee Wesleyan College Gaineswood House 1843 AD Florida Lorenzo Monaco’s Visual Impact One of America’s fi nest Greek Revival houses, on the Camaldolese and Beyond Gaineswood is begun Elizabeth B. Heuer, University of North Florida by owner and amateur architect General Nathan Postcards in Service of the Revolution: Th e Bryan Whitfi eld in 15 Guaranteed Surrealist Postcard Series (1937) Demopolis, Alabama. FRI e Importance Importance e ectively: A Balancing Act Act A Balancing ectively: inking through Making: A Functionalist A Functionalist Making: through inking Riverboat University Washington Adams, Chair: Jamie Louis in St. University Washington Adams, Jamie Louis in St. Expressive Figuration in Study Intermediate University, Indiana Caleb Weintraub, Bloomington the in Pixels and Pastels Figure: the Drawing Classroom Contemporary Art of Academy York New Jacobsmeyer, John New Methods for Building the Old Figure University, Southern Illinois Dimick, Brigham Edwardsville as a Springboard Drawing Figure Engaging for Extended Processes Love Junk, Prints, and Paint—Oh My! How We or How to be Not Negative Rauschenberg I Bay Grand Southeastern Louisiana Nero, Chair: Irene University University Southeastern Louisiana Nero, Irene Reading Rauschenberg: Memory, Time, and Postmodern Vision Renn, Boston University Melissa Art Robert Rauschenberg’s Between: Gap that In LIFE Magazine for Thinking Outside the Box. Session II the Box. Session Thinking Outside II Bay Grand South of University Mack, Chair: Richard Upstate Carolina Delaware of University Pigford, Ashley Th Education Design Graphic to Approach ArtBarry College of Savannah Roseman, Design and Eff Typography Teaching Screen the and Paper on Working Between Georgia of University Spivey, Julie Th Artifact: the About Just Not It’s Design Level Introductory in Work Process of Courses University State Jacksonville Kesler, Phillip Beginning Graphic Design by Hand Drawing Pedagogy Innovations in Figure

e Good Stuff Kornegay George e Reverend Picture aker Picture Alabama in Pottery Folk of e Persistence Maximum Impact: Incorporating New Media Curriculum Design into a Broader III Bay Mobile University Troy Chair: Dismukes, Sara Technology of Institute Rochester Byrne, Peter Design Graphic into Media New Integrating Curriculum University Fisk, Samford Scott Design Graphic in Words Buzz Technology Curriculum University State Henderson Stoddard, David Curriculum Design and Media New University Troy Dismukes, Sara Graduating into a New Media Market: Creating Curriculum a Print-Based within Opportunity Folk and Self-Taught Artists in Alabama Folk and Self-Taught II Bay Mobile Scholar Chair: Cheryl Independent Rivers, Art Museum Folk American Lee Kogan, Tolliver: Mose Art of Museum High M. Crawley, Susan Th Sudduth: Lee Jimmy Mobile Bay I Bay Mobile Commonwealth Virginia Chair: Reni Gower, University Commonwealth Virginia Reni Gower, University Diagnostic Encryption University Michigan Western Davis, Bill Palimpsests Arkansas of University Nelson, Marilyn Order.dot.dot.dot Obscure University Commonwealth Baldes, Virginia Peter Layers:Meta Embedded in Information Digital Media 3:45 – 5:30 p.m. 3:45 – 5:30 Session 8 the Code/VisualCracking Ciphers of Alabama and Salvadore Gonzalez Escolona Escolona Gonzalez Salvadore and Alabama of Cuba Havana, of Joey Brackner, Alabama State Council on the Arts Council on State Alabama Brackner, Joey Th Georgia of University McWillie, Judith Th Spirits: Kindred Rosenbaum House Frank Lloyd Wright designs the Rosenbaum House Alabama in in Florence, the Usonian Style (named for the United State of America), a low-cost style meant for middle income families. Chrysler Building The Chrysler Building as the opens in New York tallest skyscraper, world’s for but holds the record only one year. 1930 1939 FRI 1616 Looking Forward/Looking Back: The Role What happened to the honest and honorable of Portraiture in the Establishment of a in the world and in art? Th e world and art are Joel-Peter FRI, 8pm Historical Identity. Session II: Artistic Identity built on them. Th ey are the blood and soul of us. Witkin Windjammer Keynote Address, Each of us was given a life and through that life, “My art, fi rst and last, Chair: Michael P. Kemling, University of Georgia is about spirituality.” we must make a better world through honest Michael P. Kemling, University of Georgia and honorable acts of unselfi sh love. Joel Witkin “il scultore fi orentino”: Giuliano Bugiardini’s portrait of Michelangelo >> Saturday, October 24 Claire Black McCoy, Columbus State University Michelangelo: Il Penseroso 7:30 – 8:30 a.m. SECAC Membership Annual Meeting Janalee Emmer, Th e Pennsylvania State University with continental breakfast Private and Public Identity: Louise Breslau’s Self- Bon Secour Bay I Portraits

Sandy McCain, University of Georgia 8:30 – 10:30 a.m. My Lady and Child: Benjamin West, Raphael, Session 9 and the Construction of Artistic Identity in the Eighteenth-century Promotion & Tenure: Rules & Rumors Mobile Bay I Open Session in Renaissance Art Chair: John Donovan, Middle Tennessee State Clipper University Chair: Marjorie Och, University of Mary Washington Marita Gootee, Mississippi State University Promotion & Tenure: Same Game but No Rules Bonnie J. Noble, University of North Carolina at Charlotte A. Blake Pearce, Valdosta State University Who is that Woman? Venus and the Virgin Seeking Defi nitions / Making Defi nitions; in the Art of Hans Baldung Grien Promotion and Tenure Guidelines

Michael D. Morford, Savannah College of Art Kathryn Hagy, Mount Mercy College and Design Professional Organizing for Tenure-Track Faculty Besting the Best: Baccio Bandinelli’s Hercules and Cacus, a Challenge to Michelangelo’s David In Pieces: Fragmentation in Contemporary Art Mobile Bay II Martina Pfl eger-Hesser, Grossmont College Chairs: Margaret Richardson, George Mason Depictions of Sleep and Death as Vehicles University and Nicole de Armendi, Virginia of Political Power Commonwealth University

Vida J. Hull, East Tennessee State University Melinda Eckley, Union University Th e Single Serpent: Family Pride and Female Ode to a Hope Chest: Th e Use of Deconstruction Education in a Portrait by Lucia Anguissola, and Material as Means for an Emotive Voice a Woman Artist of the Renaissance Allyson Klutenkamper, Shawnee State University Indescribable Meaning: Fragmented Narratives 6:30 – 7:45 p.m. in Photography Space 301 Members Exhibition and Artist Fellowship Graphic Design Collaborations: A Design Reception Team Process Mobile Bay III Chair: Dana Ezzell Gay, Meredith College 8:00 – 9:00 p.m. Space 301 Dana Ezzell Gay, Meredith College 17 Keynote Address, Joel-Peter Witkin, “My Book Design: A Collaborative Design Project art, fi rst and last, is about spirituality” FRI Bradley Dicharry, University of Iowa Looking Back/Looking Forward: The Role Th e Collaborative Dichotomy of Portraiture in the Establishment of an Historical Identity. Session III: The Political Wei Wang, Auburn University Context of Portraiture AU Graphic Design Program Identity– Grand Bay I A Collaborative Project Chair: Shannon Pritchard, University of Georgia

John Waters, Savannah College of Art Terry L. Pasfi eld, Valencia Community College and Design Roman Portraits: Marcus Vipsanius Agrippa Emerging Possibilities: Collaborative Design and the Concept of Character through Social Media Shannon Pritchard, University of Georgia Kevin L. Cates, University of Arkansas Caravaggio’s Portrait of Alof de Wignacourt c. 600 BC Greek Sculpture at Little Rock and a Page: Th e Exemplary Christian Knight Greeks begin using marble for large scale My Font Can Beat Up Your Font: When statues, also fi rst Greek Personalities Collide During the “Collaborative” Sandrine Lacorie, Boston University; sculptor’s signature by Euthykartidas. Graphic Design Learning Experience Museum of Fine Arts, Boston Th e Portrait of a Modern Queen: SECAC’s Newest Generation of Artist Marie-Antoinette and the Crisis c. 432 BC Parthenon Sculpture Last sculpture is put into Educators. Session II of Representation place on the Parthenon in Grand Bay II Athens. Chair: Mel Ziegler, Vanderbilt University Jennifer McComas, Indiana University and Indiana University Art Museum c. 350 BC Aphrodite Carrie Hott, Independent Artist Historical Style and Cultural Identity: Jewish For the fi rst time Aphrodite, the Greek Carrie Hott Portraiture in Weimar Germany goddess of Love, is portrayed nude by the sculptor Praxiteles, Lauren Frances Adams, Washington Art in the Environment: Artistic and Historic although some believe University in St. Louis Explorations Praxiteles’ contemporary Sweat, Split, Spelt: Order and Disorder Skopas was responsible Windjammer for the fi rst nude in Domesticity and Labor Chair: Laura M. Amrhein, University Aphrodite. of Arkansas at Little Rock Teaching and Learning in the 21st Century: 1446-1460 AD Donatello’s David Form, Content and Context Catherine Walsh, Boston University Donatello produces Riverboat his David; the fi rst life Giambologna’s Appennino: Pastoral, Ecology, size nude statue since Chair: Mary Stewart, Florida State University and Figuration of a Renaissance Mountain antiquity. Lucy Curzon, University of Alabama Jacek Jerzy Kolasinski, Florida International Wikis at Work: Teaching Upper-Level Art History University with Web 2.0 Applications Navigating through Landscapes

Susan Krause, Savannah College of Art and Clive King, Florida International University Design A Sense of Place Teaching and learning in the 21st Century. Form, Content and Context James Rodger Alexander, University of Alabama at Birmingham Brian Evans, University of Alabama A Leap of Faith: Th e Earth Art Show of 1969 1884-1889 AD Burghers of Calais Analogy, Algorithm and Database Aesthetics and its Impact on the Earth Art Movement Auguste Rodin sculpts the Burghers of Calais, the fi rst time since antiquity Mary Stewart, Florida State University M. Kathryn Shields, Guilford College public sculpture was not Th e Th inkTank Project: Higher Education Getting the Lead Out: Mel Chin’s Fundred Project placed on a high pedestal, but instead put at viewer’s at a Higher Level for New Orleans level ultimately changing the design of public Open Session: Modern & Contemporary Art sculpture. SAT Clipper 18 Chair: Jennifer Furlong, Th e University of Illinois Urbana-Champaign Erin Dziedzic, Savannah College of Art Douglas B. Barrett, University of Alabama and Design at Birmingham Memory and the Artist Self Portrait Th e Sketchbook’s Role in Graphic Design

Karen O. Edmunds, Independent Scholar Karen Davies, Savannah College of Art Th e Representation of House in the Work and Design of Louise Bourgeois: An Investigation into Embracing Sketchbook Reluctance the Role of Art-making in Healing Psychological Trauma MFA or MBA? Multidisciplinary Research and Collaboration in the Classroom: Jennifer Furlong, Th e University of Illinois or Collaboration to Survive the Current Urbana-Champaign Economy Grieving Mothers And Decadence: Politics in the Grand Bay II Work of Louise Lawler Chair: Adream Blair-Early, University of Wisconsin-Milwaukee and Th e Design Earnestine Jenkins, University of Memphis Research Institute Race & Representation; Hooks Bros. Photographers of Memphis Tennessee Adream Blair-Early, University of Wisconsin- Milwaukee and Th e Design Research Institute Dina Comisarenco Mirkin, Universidad Classroom Collaboration Iberoamericana and the Multidisciplinary Problem “Aquí nos pintamos nosotras”: Female Artists’ Self-portraiture in Modern Mexican Painting Jerry Johnson, Troy University iC3, Do You? Intercultural/ Interdisciplinary Collaborations with Design as the Catalyst 10:45 – 12:15 a.m. Session 10 Kathleen M. Fritz, Savannah College of Art and Design Largest Cast Metal 1904 AD Technology: Boom or Fizzle? Re-envisioning the National Park Experience: Sculpture Ever The statue of Vulcan by Mobile Bay I A Case Study on University Based sculpture Giuseppe Moretti Chair: Mary Jo Titus, Independent Artist Transdisciplinary Design Teams Increasing in Birmingham was made for the St. Louis World’s Access and Stewardship by the Next Generation Fair. This is the “world’s Crystal Wagner, Independent Artist of Visitors largest cast metal statue and the largest statue Th e Digital Matrix: Friend or Foe? ever made in the U.S.” Global Perspectives and Film His height was originally Mary Jo Titus, Independent Artist Riverboat planned for 50 feet, but when Birmingham learned Stepping out of the Darkroom into the Lightroom Chairs: Alan Weinberg and Ute Wachsmann- that a pagan Buddha in Linnan, Columbia College Tokyo stood 52 feet tall, they made their pagan Renaissance Spolia Vulcan four feet taller. Mobile Bay II Alan Weinberg and Ute Wachsmann-Linnan, Chair: Timothy B. Smith, Birmingham-Southern Columbia College College Music in International Films

Guendalina Ajello Mahler, Institute Rebecca Brantley, Oglethorpe University of Fine Arts, New York University and University of Georgia Baldassarre Peruzzi at the Th eater of Marcellus Th e Transgendered Body at the Millennium: John Cameron Mitchell’s Hedwig and the Angry Inch Margaret D’Evelyn, Principia College Andrea Palladio and the Spolia of San Marco Catherine Miller, Columbia College, Gender and Film: Now and Th en Sketchbook Development Mobile Bay III Homo faber/Homo ludens: Visual Wit Chair: Lauren Garber Lake, University of Florida and Pictorial Play in Art Grand Bay I Scott Th orp, Savannah College of Art Chair: Barnaby Nygren, Loyola University 19 and Design in Maryland Th e Sketchbook as a Th inking Tool SAT

102 x 5 ings/ Craft of e Evolution Divide Breath of e Cessation Dai Vivian by created Dolls Portrait e Chinese Grand Bay II Bay Grand in New University Loyola Leake, Chair:Carol Orleans University State Jacksonville McElroy, Allison Th of Nature the is in It Alabama South of University Wildberger, Daniel Script a Movie of Interpretation Visual Dreaming: My Art in the Environment: ArtisticArt and Historic in the Environment: Explorations. Session II III Bay Mobile College Chair: Guilford M. Kathryn Shields, College Millsaps Susik, Abigail Ocean the in Objects Found and Lost Flotsam: Context Iowa of University Anna Heineman, Simpson’s Buster Purge: Headwaters Hudson Art Environmental University Kentucky Northern Finke, Steven Th Newest Generation of Artist SECAC’s Educators. Session III Contemporary Craft II Bay Mobile College Georgia North Sachant, Chair: Pamela University & State Carolina South of University Hewitt, Mana Th Unorthodox: Alessandro Imperato, Savannah College of Art College of Savannah Imperato, Alessandro Design and and Copyright Re-Mixing, Media VJ Praxis: Spectacle the Expropriating University State Arizona Hilary Harp, Show; Variety Video Live Machine; Fruit Demonstration and Lecture Barry Florida; South of University Robb Fladry, University State Peay Austin Jones, We How or Practices Studio Collaborative Studio the in Fun Have to Learned Herbert J. Rieth III, University of Alabama of Rieth III, University J. Herbert Red Headed Stranger: Situating within Painting Art/Craft the College Georgia North Sachant, Pamela University & State Th Relief China United for

eories er’s Caryatid Caryatid er’s : Cultural-creative Approaches Approaches : Cultural-creative Center, e Graduate persized: Neo-Geo Art of the 1980s. of Art persized: Neo-Geo Th Of New e Importance e Learning Environment: Teaching in in Teaching Environment: e Learning 1:30 – 3:30 p.m. Session 11 VJ Jam; Collaborations in Live Audio/Video Performance I Bay Mobile State Carolina Leslie South Rech, Chairs: State Peay Barry Austin and Jones, University University University State Carolina Leslie South Rech, Audio/ in Disciplines Collaborative Intermix: Performance Video FATE (Foundations in Art: Theory & Education) FATE liated Session Affi Clipper University Skaggs, Troy Chair: Greg University State Bowling Green Fontana, Anthony a Divergent Encouraging Play: of State Making Art Foundations In Approach Coastal University Carolina Bleicher, Steven Color: Th New Nathanael Roesch, University of Georgia of Roesch, University Nathanael Pfeiff Paul Bounds: of Out Representation of Borders the and and Issues New Thoughts on Materials of Materiality in Art and Design since 1900 Windjammer Eastern Illinois Chair: Simpson, Mary Caroline University University Southern Illinois Martinez, Antonio the on Experiment An Egress: the Near Photo Digital and Antique of Convergence Images Moving Still-Based with Processes Video Digital and Technology of Institute Rochester Rod Northcutt, Rift the Patching 2 Part teaching, Making-based Responsible to Education Foundation In Psychology Color And University Skaggs, Troy Greg Enriching Th Way a Metropolitan in – Learning Setting a Rural Julie-Anne Plax, University of Arizona of Plax, University Julie-Anne Sociability and Humor Visual Witticisms: Watteu’s Th Brandt, Amy York New of University City Su History Art First Electric Trolley rst Electric fi The world’s System was Trolley in Montgomery introduced in 1886. 1886 SAT 2020 Sharokin Betgevargiz, Savannah College of Art North and South: Studies in Renaissance Art and Design Windjammer A Design of an Assyrian Identity Chair: Debra Murphy, University of North Florida Christopher L. Williams, Savannah College of Art and Design Rachel Erwin, Georgia State University CL Williams Artist Talk Th e Scuola dei Mercanti: Architectural Cast-Iron Self-Fashioning in Renaissance Venice Alabama is the only state Open Session: Contemporary Art with all of the major natural resources Riverboat Eleanor Grix, Savannah College of Art needed to make iron and Chair: Preston Th ayer, New Mexico State and Design steel. It is also the largest supplier of cast-iron and University Jan Steen’s Merry Company on a Terrace and the steel pipe products. Tradition of the Prodigal Son in Netherlandish Art John Alford, Savannah College of Art and Design Melissa Marinaro, Savannah College of Art “Dialogue” with the Masterpiece: and Design Peter Greenaway’s Innovative Approach Portraits of Chastity: Depictions of Women in 17th c. Dutch Portraiture Andrea Ferber, University of Illinois at Urbana- Champaign Maybe Your Students Don’t Want to Be Like You! Nancy Holt’s Cinematic Landscapes Clipper Chair: Tommy White, University of Oklahoma Kelly Wacker, University of Montevallo Th e Great Divide: Contemporary Artists Working Wayne Potratz, University of Minnesota Photo by: Kristin Smith Between Culture and Nature Electronic Instant “On-ness” and Retreats to the Wilderness Kevin Concannon, University of Akron Bodies on the Line / Bodies Online: Performance Fiona Ross, University of Richmond and Art History in a Virtual World Th e Non-Master and Apprentice Systems: Propelling Curiosity Doorways, Thresholds, Gateways: Discourses on Liminality John Powers, University of Alabama Grand Bay I at Birmingham Chair: Acacia Warwick, Bradley University Demographics and Instant Gratifi cation

Jenny Beene Gunn, University of Georgia Bob Kaputof, Virginia Commonwealth University A Peek Inside: Spectatorship and Identity Pre-Formed Opinions and Th eir Impact on How in Marcel Duchamp’s Étant Donnés We Teach

Daniel L. Weber, University of Florida Tommy White, University of Oklahoma. Of Ersatz Entrances and Daxian Doors: Th e Cerebral Orchards and Learning to Pick “Fatal Door” in Ancient Chinese and Etruscan the Ripe Fruit Tombs

Julie Rogers Varland, Savannah College of Art 3:45 – 5:30 p.m. and Design Session 12 Engawa and More: Japanese Concepts and Architectural Behaviors of Liminal Spaces I Love You, Now Leave: Desire and Repulsion in Visual Art-Materials Stephanie Batcos, Savannah College of Art Mobile Bay I and Design—Atlanta Chair: Katherine Rhodes Fields, University of Th e Signifi cance of Design: Th e Th reshold Mississippi as Symbol in Edith Wharton’s Th e Decoration of Houses and in Selected Works of Her Fiction Katherine Rhodes Fields, University of Mississippi Finger Lickin’ Good! 21 SAT Christopher Olszewski, Jackson State University Laura Lake Smith, Lipscomb University c. 3129 BC Potter’s Wheel Earliest known potter’s How Detroit Built My Aesthetic – Beauty in Myth and Truth: Rewriting Richard Tuttle wheel, found at Ur in Decay Modern Iraq. Characters With Meaning: Character-Based Laura Prange, University of Southern Mississippi Graphic Design, Illustration, and New Media Trash Retrieved Riverboat Chair: Marius Valdes, University of South Studio Practice Outside the Classroom Carolina Mobile Bay II Chair: Brent Dedas, University of Toledo Marius Valdes, University of South Carolina Characters With Meaning: Character-Based Ying Kit Chan, University of Louisville Graphic Design and Illustration Studio Art Teaching and Learning: New Forms and Contents John Stanko, University of Nebraska at Kearney Orcs, Dragons, and Swords.... Oh My!! Michael Kellner, Coastal Carolina Community College Scott Betz, Winston-Salem State University What Would Raymond Pettibon Do? Using Building from Scratch: Fast and Easy Interactive the Zine to Explore Issues of Narrative and Art in the Foundation. Exhibition in Studio Art Classes Matter. Memory. Media. Motion c. 650 BC Black Figure Pottery Black Figure Pottery Joe Meiser, Bucknell University Grand Bay I invented in Corinth, Addressing the Quandary of Relevance: Chair: Barbara Yontz, St. Th omas Aquinas College Greece. Incorporating Interventionist Practices and Community-Based Initiatives into the Curriculum Edmond Salsali, St. Th omas Aquinas College Deforming the Human Forms: Altered Shapes Brent Dedas, University of Toledo and Folded Spaces in Interactive 3D Virtual From Facebook to Galleries: A Student’s Art Environments School Experience Dawn Roe, Rollins College, Studies in Italian Art Th is is Nowhere (Everybody Knows) Mobile Bay III Chair, John Elliott, University of South Carolina, Kevin Mertins, Coastal Carolina Community Aiken College Spirit Electricity Kimberly Ivancovich, Pennsylvania State University Th e Mysterious Death of Sienese Art: Misguided 5:00 – 6:30 p.m. 1518 AD Asian Infl uence Portuguese fi rst introduce Perceptions of Domenico Beccafumi Concluding Gathering Porcelain from Asia into 2nd Floor Pre-Convene Area Europe. Sarah Buck, Florida State University Cash Bar Unfolding Piranesi’s (Re)vision of the Eternal City 1708 AD Hard-paste Porcelain in Le Antichità Romane, Volume I (1756) Meissen porcelain develops the fi rst European hard-paste John Elliott, University of South Carolina Aiken porcelain. A Maestro of the Millennium: Remembering Livio Orazio Valentini of Orvieto

Truth Be Told: A Re-examination of Narrative in the History of Art Grand Bay II Chair: Laura Lake Smith, Lipscomb University

SAT Cynthia Gadsden, Tennessee State University 22 Story as Shaped Narrative

Scott Sherer, Th e University of Texas at San Antonio Narrative and Fractured Fantasy >> Special Activities (additional fees apply) Other Local Events Faculty Exhibition at the Visual Arts Gallery Gee’s Bend Excursion on the campus of Th e University of South Quilters living in Gee’s Bend, a small rural Alabama. October 20-26. Gallery hours are community situated alongside the Alabama River 10am-5pm weekdays. southwest of Selma, developed a distinctive, bold quilting style that has been passed down for Buenas Historias an exhibition of artwork at least six generations. A unique opportunity at the Alabama School of Math presents itself in this excursion to Gee’s Bend, and Sciences. October 16 – February 12. Alabama to visit with members of the Gee’s Gallery hours are 10am-4pm weekdays. Bend Quilters Collective and to view their quilts. Th e excursion leaves Mobile at 8am via motor coach and will return in the evening. Price includes lunch prepared by the women of the Gee’s Bend Quilters Collective, ferry crossing from Camden, Alabama, and transportation via motor coach. Th e ladies of the Collective will prepare traditional southern fare; fat back is used liberally, and it won’t be kosher, vegan, or vegetarian. Th ose with special dietary needs should bring a lunch as there are no other options in the Gee’s Bend community.

Cost: $100 per person (15 person minimum)

Historical Tour of Mobile Dr. Philippe Oszuscik, Associate Professor of Art at the University of South Alabama, will guide this motor coach tour of historic Mobile. Th e bus will leave at 8:30 am for a four hour tour which includes admission to the Museum of Mobile and the Oakleigh Historic Complex. Wedgewood & Sons c. 1759 AD Josiah Wedgwood Cost: $35 per person (30 person minimum) established the pottery company Josiah Wedgewood and Sons.

Bellingrath Gardens and Home Bellingrath Gardens and Home is located just outside of Mobile and consists of 65 acres of gardens and a mansion that is listed on the National Register of Historic Places. Price includes round trip transportation via private motor coach, guide, and admission to the home and gardens. Additional information on Bellingrath Gardens can be found at www. bellingrath.org. Bus departs from the hotel at 1:30 pm.

Cost: $52 per person (25 person minimum) Miller’s Pottery 1865 AD Miller’s Pottery was founded; now located in Brent, Alabama remains one of the few traditional pottery manufactures in the United States. 23 SAT

Th e Southeastern College Art Conference (SECAC) is a non-profi t organization that seeks to promote the visual arts in higher education. SECAC facilitates cooperation and fosters on-going dialog about pertinent creative, scholarly and educational issues among teachers and administrators in universities, colleges, community colleges, professional art schools, and museums. Although the organization prepresents the 12 states areas of Alabama,Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, and West Virginia, we have members from across the United States and abroad.

Th e organization publishes Th e SECAC Review, an annual refereed journal. Members present 1919 Boll Weevil research in any area of concern in the visual arts in the Review, which also includes book and The town of Enterprise exhibition reviews. A newsletter, published three times a year, serves to keep membersinformed houses the Boll Weevil of SECAC programs, activities, conference plans and schedules. Individual, Contributing, and Monument to acknowledge the role this destructive Institutional Memebers receive all publications and Student Members receive the newsletters. insect played in encourag- Additionally, Institutional Members’ libraries receive a copy of Th e SECAC Review. ing farmers to grow crops other than cotton.

SECAC Offi cers

President: Debra Murphy, University of North Florida

First Vice-President: Floyd W. Martin, University of Arkansas at Little Rock

Second Vice-President: Pamela Simpson, Washington and Lee University

Secretary-Treasurer: Beth Mulvaney, Meredith College

Past President: Donald Van Horn, Marshall University

Editor, SECAC Review: James Boyles, Meredith College

Chair, SECAC Fellowship Committee: Jenny Hager, University of North Florida 24 Chair, 2009 Annual Meeting: Jason Guynes , University of South Alabama

State Directories Affi liate Societies (and Representatives)

Alabama College Art Association (CAA) Jason Guynes, University of South Alabama Doreen Davis, Member Services

Arkansas Coalition of Women in the Arts (CWAO) Moon Exploration 1969 Jane Brown, University of Arkansas Kyra Belan, Broward Community College Alabama workers built the at Little Rock fi rst rocket to put humans on the moon. Association for Textual Scholarship in Art Kentucky History (ATSAH) J. Barry Motes, Jeff erson Community Mindy Nancarrow, University of Alabama & Technical College Southeast Chapter of the Society Florida of Architectural Historians (SESAH) Th omas Brewer, University of Central Florida Pamela Simpson, Washington and Lee University Georgia Tina Yarborough, Georgia College & State Foundations in Art: University Theory and Education (FATE) Greg Skaggs, Troy University Louisiana Gary Keown, Southeastern Louisiana University Visual Resources Curators of SECAC, a chapter of VRA, Mississippi Visual Resources Association (VRC) Benjamin Harvey, Mississippi State University Christina Updike, James Madison University

North Carolina Mid-America College Art Association Pat Wasserboehr, University of North Carolina (MACAA) at Greensboro Tommy White, University of Oklahoma

South Carolina Jane Nodine, University of South Carolina Upstate

Tennessee Carol Crown, University of Memphis

Virginia Reni Gower, Virginia Commonwealth University

West Virginia Kristina Olson, West Virginia University

At Large Helen Langa, American University

25 Institutional Members

Alabama Savannah College of Art and Design– University of North Carolina Auburn University Art History at Wilmington Auburn University at Montgomery Savannah College of Art and Design– Winston-Salem State University Birmingham-Southern College Graduate School Jacksonville State University Th e University of West Georgia New York Samford University University of Georgia Munson-Williams-Proctor Arts Institute Troy University Valdosta State University R & F Handmade Paints University of Alabama at Birmingham Wesleyan College University of Alabama at Huntsville Pennsylvania University of Alabama at Tuscaloosa Indiana Slippery Rock University University of North Alabama Marian University University of South Alabama South Carolina Kentucky Coastal Carolina University Arkansas Brescia University College of Charleston Arkansas State University Centre College Columbia College Harding University Eastern Kentucky University Converse College Henderson State University Georgetown College Francis Marion University National Park Community College University of Louisville Furman University University of Arkansas at Fort Smith Western Kentucky University Lander University University of Arkansas at Little Rock South Carolina State University University of Central Arkansas Louisiana University of South Carolina Centenary College of Louisiana University of South Carolina Upstate Florida Louisiana State University Art Institute of Fort Lauderdale Louisiana Tech University Tennessee Florida Southern College Loyola University Belmont University Florida State University Southeastern Louisiana University Cheekwood Museum of Art Miami International University Tulane University East Tennessee State University of Art & Design University of New Orleans, Lakefront Memphis College of Art Okaloosa-Walton College Middle Tennessee State University Ringling School of Art and Design Mississippi Rhodes College University of Central Florida Delta State University University of Memphis University of Florida Jackson State University University of Tennessee University of North Florida Millsaps College University of the South University of South Florida Mississippi University for Women Vanderbilt University University of West Florida University of Mississippi Austin Peay State University

Georgia North Carolina Virginia Agnes Scott College Brevard College James Madison University Armstrong Atlantic State University Chowan University Longwood University Berry College Davidson College Mary Baldwin College Columbus State University Duke University Old Dominion University Emory University High Point University University of Richmond Gallery RFD Meredith College University of Virginia Georgia College & State University North Carolina Central University Virginia Commonwealth Georgia Institute of Technology North Carolina State University Virginia Polytechnic Institute & State Georgia Perimeter College Queens University of Charlotte University Georgia Southern University University of North Carolina Washington and Lee University Georgia State University at Asheville Hambige University of North Carolina West Virginia 26 Kennesaw State University at Chapel Hill Marshall University North Georgia College & State University University of North Carolina West Virginia University Savannah College of Art and Design– at Charlotte Atlanta University of North Carolina at Greensboro Special Thanks

SECAC extends its gratitude to The Mobile Museum of Art for opeining its facilities to us on Thursday evening, and to Space 301 for all of the generous support it has provided throughout the conference.

2010 RICHMOND

Virginia Commonwealth University 27 October 20-23, 2010 WEDNESDAY, OCTOBER 21 Eclecticism, Appropriation, Forgery, Part II 12:00 – 1:30 p.m. Art in the Environment: Artistic and Historic Explorations Windjammer SECAC Awards Luncheon Windjammer 2:30 – 3:30 p.m. Bon Secour Bay I & II SECAC Executive Committee Women, Society and Religion – ATSAH (Association for Open Session: Modern & Contemporary Art Textual Scholarship in Art History) Affi liated Session Clipper Clipper 4:00 – 7:00 p.m. 1:30 – 3:30 p.m. Board Meeting Session 7 10:45 – 12:15 a.m. Space 301 Conference Room 3:30 – 5:30 p.m. Revisiting the Memphis Group Session 10 Session 4 Mobile Bay I 6:00 – 7:30 p.m. Technology: Boom or Fizzle? Early Registration Pick-up Native American Art and Artists: Three Thousand Years Outside the Mainstream: Folk, Self-Taught, and Outsider Mobile Bay I 2nd Floor Pre-Convene Area of Transmogrifi cation Artists. Session II Mobile Bay I Mobile Bay II Renaissance Spolia Mobile Bay II 7:00 – 9:00 p.m. Panel Session: Odds, Ends, and Muses: Where does Virtual and Electronic Instruction within Graphic Opening Reception Creativity Come From? and Digital Arts Sketchbook Development Bon Secour Bay I Mobile Bay II Mobile Bay III Mobile Bay III

Thinking Outside the Box. Session I I Love You, Now Leave: Desire and Repulsion in Visual MFA or MBA? Multidisciplinary Research and Collaboration Mobile Bay III Art – Concept in the Classroom: or Collaboration to Survive the Current Grand Bay II Economy THURSDAY, OCTOBER 22 The Infi nite Finite: Depictions of Death in Western Art Grand Bay II 8:00 – 9:30 a.m. Grand Bay II American Art V: Issues in Modern American Art Riverboat Global Perspectives and Film Session 1 American Art II: New Perspectives on Old Icons Riverboat Riverboat Art in the Postal Age You Can Design, But Can You Write? Grand Bay I Homo faber/Homo ludens: Visual Wit and Pictorial Play Mobile Bay I Intellego est Scio: Art and Architecture in Rome in Art Grand Bay I Looking Forward/Looking Back: The Role of Portraiture Grand Bay I The Good, The Bad and the Future of Adjunct Teaching in the Establishment of a Historical Identity. Session I: in Art Departments “Encore un effort”: Democracy and Struggle in Art and Literature New Thoughts on Materials and Issues of Materiality in Art Mobile Bay II Contemporary French Art Windjammer and Design since 1900 Windjammer Windjammer Amerindian Spaces in American Art The Medieval Monastery as Pilgrimage Center Mobile Bay III Feminism and New Materials: Exploration, Experimentation, Clipper FATE (Foundations in Art: Theory & Education) Affi liated and Expansion Session Art Education Forum VII-A: Policy, Administration, Clipper Clipper and Accreditation Grand Bay II 3:45 – 5:30 p.m. 6:30 – 8:30 p.m. Session 8 1:30 – 3:30 p.m. Art and Science at a Crossroads Reception, Mobile Museum of Art Riverboat Cracking the Code/Visual Ciphers Session 11 Mobile Bay I Mobile in the Middle Ages I: The Early and High Middle Ages VJ Jam; Collaborations in Live Audio/Video Performance Grand Bay I Folk and Self-Taught Artists in Alabama Mobile Bay I FRIDAY, OCTOBER 23 Mobile Bay II Internationalization and the Visual Arts 8:00 – 9:30 a.m. Contemporary Craft Windjammer Maximum Impact: Incorporating New Media Design Mobile Bay II Session 5 into a Broader Curriculum The Pleasures and Perils of Artistic Biography Mobile Bay III Art in the Environment: Artistic and Historic Explorations. Clipper SECAC’s Newest Generation of Artist Educators. Session II Group / Session I Thinking Outside the Box. Session II Mobile Bay III Mobile Bay I Grand Bay II 9:45 – 11:45 a.m. SECAC’s Newest Generation of Artist Educators. Session III CWAO (Coalition of Women in the Arts Organization) Innovations in Figure Drawing Pedagogy Grand Bay II Session 2 Affi liated Society. Mothers of Innovation III: Exploring New Riverboat Media, Mixed Media Open Session: Contemporary Art “Aesthetic Pollution”: Art, Trauma and the Politics Mobile Bay II Junk, Prints, and Paint—Oh My! How We Love Riverboat of Memorials Rauschenberg or How to be Not Negative Mobile Bay I Bridging the Gap: The Use of Digital Technologies Grand Bay I Doorways, Thresholds, Gateways: Discourses on Liminality in Painting Grand Bay I Undergraduate Research Session I Mobile Bay III Looking Forward/Looking Back: The Role of Portraiture Mobile Bay II in the Establishment of a Historical Identity. Session II: North and South: Studies in Renaissance Art Women in Action!: Historicizing Feminist Collaboration Artistic Identity Windjammer Art Partnerships with the Community Grand Bay II Windjammer Mobile Bay III Maybe Your Students Don’t Want to Be Like You! American Art III: Race and Gender in American Art Open Session in Renaissance Art Clipper Art Education Forum VII-B: Research, Instruction, Riverboat Clipper and Best Practices. Grand Bay II Changing Contexts, Lingering Questions: Defi ning the 3:45 – 5:30 p.m. Nature of Photography Grand Bay I 6:30 – 7:45 p.m. Session 12 Open Session: Modern Art Space 301 Riverboat Syntax of Printmaking: What is Print Theory? Members Exhibition and Artist Fellowship Reception I Love You, Now Leave: Desire and Repulsion in Visual Windjammer Art-Materials Mobile in the Middle Ages II: The Late Middle Ages Mobile Bay I and Early Modern Period Grand Bay I Past and Present: Exploring Stained Glass 8:00 – 9:00 p.m. Clipper Space 301 Studio Practice Outside the Classroom Mobile Bay II Eclecticism, Appropriation, Forgery, Part I Keynote Address, Joel-Peter Witkin, “My art, fi rst and last, is about spirituality” Windjammer Studies in Italian Art 9:45 – 11:45 a.m. Mobile Bay III Open Session: Ancient Art Session I Session 6 Clipper Truth Be Told: A Re-examination of Narrative in the History Go Go Rococo: Why Art History Matters to Artists SATURDAY, OCTOBER 24 of Art Mobile Bay I 7:30 – 8:30 a.m. Grand Bay II 12:00 – 1:00 p.m. SECAC Membership Annual Meeting SECAC Art Education Policy Committee Business Meeting Outside the Mainstream: Folk, Self-Taught, and Outsider Bon Secour Bay I Characters With Meaning: Character-Based Graphic Grand Bay II Artists. Session I Design, Illustration, and New Media Mobile Bay II Riverboat 2010 SECAC Conference Informational Meeting Mobile Bay III The Electric Slide: Dealing with Digital Images 8:30 – 10:30 a.m. Matter. Memory. Media. Motion Mobile Bay III Session 9 Grand Bay I

1:30 – 3:15 p.m. Veilings Promotion & Tenure: Rules & Rumors Grand Bay II Mobile Bay I Session 3 5:00 – 6:30 p.m. Concluding Gathering American Art IV: Re-Defi ning American Modernism In Pieces: Fragmentation in Contemporary Art 2nd Floor Pre-Convene Area Encounter Social Issues through Art Riverboat Mobile Bay II Mobile Bay I History of Photography: Issues in Documentary Graphic Design Collaborations: A Design Team Process Undergraduate Research Session II Grand Bay I Mobile Bay III Mobile Bay II Architecture of the Southeast SECAC’s Newest Generation of Artist Educators. Session II Facilities Planning for the Digital Visual Resources Center Windjammer Grand Bay II of the Future – Visual Resources Curators of SECAC Mobile Bay III Mary Magdalene: The Saint in Art through Two Millennia Teaching and Learning in the 21st Century: Form, Content Clipper and Context Open Session: Art Education Forum VII-C Riverboat Grand Bay II Looking Back/Looking Forward: The Role of Portraiture American Art I: Issues of Representation in the Establishment of an Historical Identity. Session III: Riverboat The Political Context of Portraiture Grand Bay I Open Session: Ancient Art; Section II Grand Bay I