Where Cerebellum Meets Antebellum

FEATURED CURIOUSER ARTISTS’ PROJECTS

MISSTEPS is a curatorial project in which found digital imagery has been INTRODUCTION organized through the lens of Darwin’s theory of evolution and Dawkin’s theory of memetics. Specifically, found proliferative images (digital memes), are arranged as though they have evolved visually. The project begins with Welcome to the SECAC/MACAA conference, hosted this year by the School of the Arts at Virginia Commonwealth two bookends, an image of isopods, creatures whose fossil record dates University. These sister organizations cover wide-ranging territory both geographically and intellectually. By joining forces, back 300 million years, and an image of Richard Dawkins, the evolutionary SECAC and MACAA have formed a “super-group” to showcase the late breaking research of artists, scholars and students. biologist who introduced the concept of memes. These images were then connected through a kind of visual tracing back, in which visually similar By nature, this conference is eclectic. Staged in Richmond, Virginia, a scrappy and charming city with a past, it quickly found images act as stand-ins for the logical evolutionary steps that would earned the name Curiouser–Where Antebellum Meets Cerebellum. Think of this conference as a wunderkammer, a cabinet otherwise connect Dawkins with 300 million year old forms of life. of curiosities that takes place in real time, housing an eccentric collection of people, papers, presentations and events. We leave it to you to draw connections between sessions and events, but we offer VCU, the city of Richmond, and our Ben Jurgensen, MFA 2010, VCUarts community as the backdrop to ponder these curiosities.

I can’t pass up an opportunity to thank all the people who contributed to masterminding this conference. A special thanks Bread to Andy Kozlowski, Teresa Engle Ilnicki, Dawn Waters and Andrew Ilnicki. We could not have done it without our VCU colleagues Peggy Lindhauer, Amy Hauft and Holly Morrison who were tireless in their detail and invention. Thanks to Andrew Brehm, MFA anticipated 2011, VCUarts everyone who had a part in staging this year’s conference.

Jack Risley Associate Dean of Academic Affairs VCU School of the Arts

PHONE NUMBERS AND REFERENCES ORGANIZERS VCU COMMITTEE MEMBER SHOW COMMITTEE Andrew Kozlowski, Conference Amy Hauft Joesph Seipel, Juror VCU Police–(804) 828-1234 Coordinator Holly Morrison Emily Smith, Executive Director, 1708 Gallery Rachel Frew, SECAC Administrator Margaret Lindauer Jolene Giandomenico, Gallery Administrator, Jefferson Hotel – (804) 649-4672 Ruth Bolduan 170 8 Gallery Reni Gower Erika Koch, Administrative Assistant, VCUarts Dean’s Office – (804) 828-2787 Teresa Engle Ilnicki – Design 170 8 Gallery Andrew Ilnicki – Web Amie Oliver, Board of Directors, 1708 Gallery Taxi Services (You must call to get a cab in Richmond.) Dawn Waters – Communications Airport Taxi Service Inc–(804) 233-4444 Exhibition Hung by VCU Grads: Capitol Cab Services–(804) 222-1495 Marisa Day Metro Taxi Services–(804) 353-5000 Caitlin Hanbury Groome Taxi–(804) 222-6464 Elizabeth Reilly-Brown Star Cab–(804) 754-8556 Kimberly Wolfe Player’s Taxi–(804) 920-4323 Yellow Cab Service Inc–(804) 222-7300

SECAC / MACAA 2010 CONFERENCE PROGRAM

WEDNESDAY, OCTOBER 20

10:00am–5:00pm: Sponge: Other Pedagogies and the Phylum Porifora Hope Ginsburg. Advance registration required. Anderson Gallery, Sponge HQ. 907 1/2 West Franklin Street, 3rd floor.

The Anderson Gallery is a 10–15 minute walk from the Jefferson Hotel or a 3-minute walk from the Fine Arts Building. There is a courtesy shuttle from the Jefferson to the Fine Arts Building if you prefer.

Sponge generates experimental approaches to learning and teaching. Attached to a public university the way a sea sponge affixes to a marine reef, Sponge provides open waters for the conspicuous mixing of disciplines. In the evolving ecosystem of Sponge workshops, events, and classes, participants take in information, digest the experience and complete the cycle by teaching something to each other.

Sponge for Curiouser is an investigation of artists’ projects that reinvent school, classes and knowledge transfer. The event will begin with a full-day immersion at the Sponge HQ in the VCU Anderson Gallery for a group of 10–15 participants and will conclude with a follow-up panel the next day for a wider audience. For more information about Sponge Space please visit www.hopeginsburg.com

2:30–3:30pm: SECAC Executive Committee Meeting

2:30–3:30pm: MACAA Executive Committee Meeting

4:00–7:00pm: SECAC Board Meeting

4:00–7:00pm: MACAA Board Meeting

6:00–7:30pm: Early Registration Check-In

6:00–8:00pm: Reception for Imaging South Africa: Collection Projects by Siemon Allen Anderson Gallery. 907 1/2 West Franklin Street.

The Anderson Gallery is a 10–15 minute walk from the Jefferson Hotel or a 3-minute walk from the Fine Arts Building. There is a courtesy shuttle from the Jefferson to the Fine Arts Building if you prefer. This exhibition will be open throughout the conference.

Over the last decade, Allen has created expansive installations of various mass-produced ephemera-postal stamps, newspapers, audio recordings. Like an archivist, he methodically acquires catalogues, and researches artifacts to disclose underlying narratives. Allen employs the social critique that inevitably arises from his work as a means of interrogating what he describes as “the contradictory and complex nature of South African identity.”

7:00–9:00pm: Welcome Reception + Open House VCUarts Fine Arts Building, 1000 West Broad Street

The Fine Arts Building is a 10–15 minute walk from the Jefferson Hotel. There is a courtesy shuttle from the Jefferson to the Fine Arts Building if you prefer.

VCUarts welcomes SECAC/MACAA members to Richmond with a reception and open house at the VCU Fine Arts Building where there will be an opening for Christina West, the 2009 SECAC Fellowship Artist in the Fine Arts Building Gallery, 1st floor, and an exhibition of current graduate work throughout the building.

3 THURSDAY, OCTOBER 21

7:30 am: Registration opens SESSION 1 Ilenia Colón Mendoza, University of Increasing the Efficacy of the 8:00–9:30 AM Central Florida. The Art of Engaño and Studio Art Class for Non-Majors 8:00–9:30 am: Panels, Session 1 Desengaño in the Cristos Yacentes of Coolidge Meeting Room Gregorio Fernández. CHAIR: Joe Meiser, Bucknell 9:45–11:45: Panels, Session 2 FATE: Busting Boundaries in Melisa A. Quesenberry, University University Foundation Drawing of Central Arkansas. The Cult of the 12:00–1:30pm: Panels, Session 3 Empire Meeting Room Virgin in Yucatán: the Persistence of How should a studio art instructor Indigenous Memory. adapt his/her approach when the 1:45–3:15pm: Panels, Session 4 CHAIR: Marlene Lipinski, Columbia student body consists mostly of College Chicago John R. Decker, Georgia State non-majors? When comparing majors 3:30–5:30pm: Panels, Session 5 University. Respondent. with non-majors, it is clear that the In 2002, the Museum of Modern studio art class will serve a different Art opened an exhibition entitled 6:00–7:30pm: Keynote Address by Pablo Helguera educational function for the non-major “Drawing Now: Eight Propositions.” Jefferson Hotel Ballroom. No advanced reservation required. Curriculum Development Workshop: in their university experience. What The exhibition dealt with “busting From Mission to Outcome particular skills will a student learn in a Pablo Helguera (Mexico City, 1971) is a NYC-based artist working in installation, boundaries,” exhibiting the many Dominion Meeting Room studio class? How might a non- major sculpture, photography, drawing, and performance. Helguera’s work focuses on ways drawing is applied via multiple transfer these skills to their major topics ranging from history, pedagogy, sociolinguistics, ethnography, memory disciplines. The MOMA exhibition CHAIR: Mary Stewart, Florida State area of study? How might the student and the absurd, in formats that are widely varied including the lecture, museum questioned the way we think of University utilize these skills in their future career, display strategies, musical performances and written fiction. drawing and teach drawing. Drawing and/or in their orientation toward at the Foundation level has been A workshop format will be used His work as an educator intersects with his interests as an artist, resulting the world? To what extent must we historically predicated on observation to focus on program design and in artwork that reflects issues of interpretation, dialogue, and the role of redefine our learning outcomes in and Renaissance methodology. administration. Using worksheets contemporary culture in a global reality and discussion, we will explore the order for a class to offer an optimal This panel will investigate moving following questions: benefit to the non-majors? To what As head of public programs in the Education Department of the Guggenheim beyond those boundaries of drawing as UÊWhat are the characteristics of an extent should projects be augmented Museum (1998–2005), he organized hundreds of public events and assisted in observation at the Foundation level. Like effective missioån statement? with writing assignments, student the development of dozens of exhibitions. In 2007 he was named Director of the MOMA “Drawing Now” exhibition, UÊWhat are general program objectives conducted presentations, discussions, Adult and Academic programs at the Museum of Modern Art, New York where this panel will present assignments and how do they affect specific an emphasis on critical thinking and he continues today. and methodologies that cover, but not assignments? problem solving? Investigating these Helguera is the author of eight books including Endingness (2005), an essay on limited to, such topics as Collaborating UÊWhat is a scope and sequence chart? questions will enable us to enhance the art of memory; The Pablo Helguera Manual of Contemporary Art Style (2005, Among Students, Architectural How can it simplify curriculum design? the efficacy of our courses for non- Spanish edition; 2007, English edition), a social etiquette manual for the art world; Drawing, Drafting, Cartooning, UÊWhat is the easiest way to create majors. Also, in clarifying the skills and Theatrum Anatomicum (and Other Performance Lectures) (2008). Drawing Science and Nature, Mapping, effective assignment objectives? which non-majors gain from studio art For additional information on Helguera, visit www.pablohelguera.net Representing Popular Culture, UÊWhat is the relationship between classes, we will be better equipped to Illustrating Fashion and Ornamentation. assignment objectives and advocate the value of studio art in the 7:30–10pm: Reception for Member Show assessment? context of the university. Jackie Skrzynski, Ramapo College of 1708 Gallery, 319 West Broad Street (a short walk from the Jefferson Hotel) UÊHow can you and your faculty take New Jersey. Investigating Drawing: Jennifer Locke, Eastern Michigan charge of your curriculum and create Process and Meaning. University. Developing Seeing and Following the Keynote address we invite the membership to a reception for the the strongest, most authentic program 2010 SECAC/MACAA Members Show at the long-lived Richmond non-profit, Understanding. Heather Deyling, Savannah College possible? 1708 Gallery. The show was curated by Joe Seipel, vice president for academic of Art and Design. Collaborative Brent Dedas, Western Kentucky services at SCAD (and former VCU colleague). It features 62 works by 59 artists Nonobjective Drawing: A Classroom University. Bridging the Gap from the selected from a group of 138 artists who submitted over 400 works. Experiment. Art Education Forum VII-A: Policy, Classroom to the World at Large. Administration, and Accreditation Aaron Fine, Truman State University. Commonwealth Meeting Room Sarah Stackhouse, Ramapo College of Drawing as Critical Thinking. New Jersey. Make It Work: Challenges CHAIR: Bryna Bobick, University of to Fuel the Creative Process. Barbara Giorgio, Ball State University. Memphis Artist Trading Cards: A Collaborative Papers for this panel will represent Drawing Process. Modern/Medieval: Convergences a wide professional array of arts in Scholarship education policy, administration, and Harrison Meeting Room “Picture Perfect.” Truth, falsity, and accreditation topics for all levels of the Polemics of Image Making and public and private education. Panelists CHAIRS: Lindsay Caplan and Saisha Image Breaking in the Early Modern will present new policy related ideas. Grayson, The Graduate Center, CUNY World All art educators, doctoral students, While modernism is usually associated Flemish Meeting Room and SECAC members are welcome to attend. Topics will include the with a rupture with the past, the CHAIRS: John R. Decker, Georgia 2004 SECAC Visual Arts Education medieval period has held a privileged State University and Todd Richardson, Policy Statement would be welcome. position in the work and thinking of University of Memphis This panel is the eighth session modernists, and the last decade has (two presented in 2007 & 2008) in only shown an acceleration of this Images have power because our the second phase of Art Education trend. Indeed, it is often the desire society imbues them with the ability to Forums that ended at the 1996 SECAC for paradigms other than those speak ‘truth.’ Paradoxically, art often conference in Charleston, SC, and naturalized from the start of the modern encapsulates this assumed veracity in began again 2003 in Raleigh, NC. period –ideals of progress, civilization, layers of illusion, or visual ‘lies.’ Over individuality, human nature, and time, iconoclasts and iconophiles Karen Heid, University of South identity–that has motivated thinkers and have sparred on two persistent issues Carolina. The 2008 NAEP Arts artists to turn to the medieval period. For in Western image making. First, just Assessment Reevaluated Replication there, buried in history, one continually how far can we trust art? Second, who and Analysis. finds evidence of radical difference that decides how much power art has or can shed light on the present, as well Rachael Delaney, Metropolitan State does not have; how much ‘truth’ or as elective affinities that reorient one’s College of Denver. Lesson on Reform ‘falsity’ images contain? The 16th and understanding of the past. 17th centuries provide fertile ground from a Frozen Guy in Nederland for examining this phenomenon. The Colorado. This panel brings together new polemical discourse on images in this scholarship on medieval art that brings Thomas Brewer, University of Central period helped shape the religious and with it a contemporary perspective Florida, Read Diket, William Carey colonial enterprises taking place all to provoke a deeper understanding of University, and David Burton, Virginia over the world. This session explores each period. How have contemporary Commonwealth University. A Status the complex dynamics of faith in, and questions changed how we look at Report on the 2008 Secondary distrust of images in the Early Modern medieval imagery and art? In what Analysis. period. ways could more transhistorical Bryna Bobick and Donalyn Heise, approaches make new insights and Chrystine L. Keener, Indiana University of Memphis. Community analyses possible? University, Bloomington. Weep Not for Arts Academy: An Art Partnership Me: Jacopo Pontormo’s Visitation and Evan Gatti, Elon University. Magnani, Developed with a University, the Florentine Piagnoni. Morandi & Medieval “Modernism.” Community, and Middle School Students.

4 THURSDAY, OCTOBER 21 – continued

Jeanne-Marie Musto, Sewanee: The Eileen Turan, University of Arkansas Lisa Roberts Seppi, State University Art Education Forum VII-B Research, Louly Peacock, Warren Wilson University of the South. Architecture as at Little Rock. From Nature to Canvas: of New York at Oswego. Postmodern Instruction, and Best Practices College. Phallic Inversion in the Male Actor: Bamberg and Speyer Cathedrals Corot’s Lyrical Style and the Influence Allegorists: 21st Century Native Commonwealth Meeting Room Art of Ray Johnson. through the Lens of Performance Theory. of Photographers at Fontainebleau. American Painting. CHAIR: Mary Lou Hightower, Sam Watson, University of Wisconsin- Jonah Westerman, The Graduate Letha Clair Robertson, University Elizabeth Morán, Christopher Newport University of South Carolina Upstate Sheboygan. Faking an Erection: Sean Center, CUNY. Boundless Restraint: of Kansas. The Intersection of Art, University. Feasts for the Gods: Food Landers’ Penis, the Men’s Movement Performance, Reparation, and the Daily Science, and Popular Culture in Mid- and Ritual in Aztec Art. Panelists will address the changing and the Search for Truth. Practice of Death in the Life of Daniel Nineteenth-Century America: Elisha nature of art education through the Stylite. Kent Kane and the Unknown Arctic. Denise Smith, Savannah College of Art research and discuss how it affects Anne Swartz, The Savannah College of and Design. The Latest and Greatest: the environment of education. The Art and Design. Master of the Universe: Anca I. Lasc, University of Southern New Discoveries at Georgia’s Stone research papers include topics on Aurel Schmidt’s Genital Power. California. Popularizing the French Mountain. instruction and best practices as they Memories of a Fractured Nation: Interior: Mass-Produced Interior relate to the field of art education. The Politics of Commemorating the Decoration Designs, 1852–1914. Gone But Not Forgotten: Recovering American Civil War This second forum focus relates to About Face: Investigating the History in the 21st Century Roosevelt Meeting Room Peter L. Schmunk, Wofford College. section A placing the emphasis on Problematics of Portraiture Harrison Meeting Room CHAIR: Evie Savidou-Terrono, Music for Sale: Sheet Music Cover Dominion Meeting Room the practices of art instruction rather Randolph-Macon College Designs by Manet, Toulouse-Lautrec, than the administration of a program CHAIR: Gerard Brown, Temple and Bonard. CHAIR: Michelle Moseley-Christian, of studies. University Richmond’s Monument Avenue, the Virginia Tech only avenue on the National Register Anne C. Grey, University of Central The past is with us more than at any of historic monuments, stands as the SESSION 2 Portraiture, especially in pre-modern Florida. The Art of Meaning in point in the last century. Artists struggle most grandiose and most contested visual culture, is often viewed as a type Narrative: Earl Cunningham a Pilot to recover lost technical knowledge, 9:45–11:45 AM fashion looks for inspiration to the commemorative site to the Lost Cause of image that primarily functioned to Study. Industrial Revolution, and the pressure and invites a constant engagement idealize and aggrandize the economic Linda Neely, Lander University. A to invest works with ‘authenticity’ with the problematics of the Civil War or social status of the person Memory and Art: How Artists and Mission (Statement) for Inspiration. drives artists to become researchers, in American memory. Beginning in the depicted. This session interrogates Art Historians Remember. Session I connecting their creations to webs of mid-1860’s and continuing to our own the complexities and problematics Susan Slavik, Coastal Carolina Empire Meeting Room allusion and historicism. In the words of time, scholars have debated the nature of portraiture and self-portraiture, in University. Aftershocks of a Martin Davies, we live in an historicized of commemorating this most dramatic CHAIR: Laura M. Amrhein, University particular papers exploring artists or Quantitative Faculty Merit Self- world, where “there’s nothing that can’t conflict in American history. Unlike of Arkansas at Little Rock works that challenge and innovate Evaluation. become a historical symbol […] nothing heroic, intra-national confrontations traditional definitions or constructs of Mary Lou Hightower, University that isn’t already a historical text.” that boosted national collective identity Memory—the act of recalling facts portraiture and self-portraiture. or fleeting impressions and the of South Carolina Upstate. Using and nurtured celebratory responses of This session investigates the length of time over which these Papers consider how and why artists Glogsters in the Art Education and the heroic sacrifice and victories, ongoing prevalence of historical ideas and recollections extend—is a significant manipulate the body, its poses, Community. attempts to commemorate the Civil images in contemporary art from theme addressed in art both past and iconography, settings, expression, and War reveal partisan memories and several points of view, addressing how present. This session includes papers other aspects of portraiture to alter their respective politics. The lack of a artists satisfy their curiosities about that consider a wide range of artistic, the framework of conventional portrait Beyond the Phallus: collective visual lexicon that interprets the past. We will focus on creative historical, theoretical, and critical constructs. How an exceptional Representations of the Penis in the politics of the period, the war practices that engage archiving, approaches that address memory in portrait might affect the reputation Modern and Postmodern Culture and its heroes is indicative of the collecting, and reenactment as modes art and in the artistic process. Papers of the artist or sitter? In what cases Coolidge Meeting Room persistent divisive effect of the conflict of absorbing and reusing the past. consider a wide range of topics, such might the development of new media, as evidenced by the recent dedication materials, or styles spur portraiture CHAIRS: Temma Balducci, Arkansas as the role of memorials (architecture Gerard Brown, whose forthcoming of a memorial to Lincoln in Richmond, to innovation? Can a representation State University and Charissa and sculpture), memory and landscape, essay Alison Smith and Dario Virginia. This panel examines the that dramatically deviates from Terranova, University of Texas at Dallas memory and performance and rituals. Robleto will appear in collection on diverse, and often contradictory historical notions of portraiture still be Participants include a balance of art Representations of the penis abound the continuing relevance of the Civil responses to commemorations of the considered a “portrait”? These issues, historians and artists who wish to share in visual culture throughout history, War in American art and culture, will Civil War and its participants, from the among others, aim to open discussion their research and creative endeavors from priapus figures of ancient Greece moderate the discussion. nineteenth century to our own time, on the nature of portraiture itself, and concerning memory and art. to Renaissance images of the Christ as evidenced, but not limited to, the the variety and subtlety of what is child to the penis-wielding artists, both Jane Irish, University of visual arts, commemorative spaces, Eric Goldemberg, Florida International often considered a straightforward male and female, of the 1970s and Pennsylvania. Consumed By Painting: museum exhibits and reenactments. University. Memorials: Toward a type of image. This session includes a 1980s. Such images in the modern and Commemorating + Reenactment + Sublime Loop-Remembrance of Death broad range of submissions from many Richard H. Putney, University of Toledo postmodern period have typically been Internalization. and Sensuality. periods that complicate our reception and Toledo Museum of Art. read either in the context of gendered of ancient, medieval or early modern Wendy Deschene, Auburn University. Gettysburg: Eternal Memorials and theories of creativity that privilege the Dawn Roe, Rollins College. The Tree portraiture and self-portraiture. My Latest Inheritance. Shifting Memories. Alone. male artist and/or in conjunction with psychoanalytic theories in which the Christine Colby, The University of Akela Reason, Georgia State Rebecca Blass Trittel, Savannah College Mira Gerard, East Tennessee State phallus (as signifier of power) and the the Arts. The Allure of the Fantastic: University. Politics and Memory in the of Art and Design. Portraits of Power University. I dreamed I was you & you penis are conflated. Reflections of the Past… in the Present. Gilded Age: The Brooklyn Soldiers and and the Power of Portraiture in the Reign were not there: Painting the Self as of Elizabeth I, the “Virgin Queen.” Sailors Memorial Other. There are numerous representations of the penis, however, that fall outside Ellen Daugherty, Memphis College of Alexis L. Boylan, University of Biography, Psychology and Identity Monica McTighe, Tufts University. these paradigms, images in which Art. The Strange History of the Good Tennessee, Knoxville. You’ve Got in Abstract Art Film and the Absence of Memory: Two the penis and, broadly speaking, Darky: Civil War Fantasies and Civil the Look: Publicity Photographs, Roosevelt Meeting Room Contemporary Examples. masculinity are on display. Can such Rights Realities in a Natchitoches, Portraiture, and the Ashcan Circle. images be theorized in fresh ways CHAIR: Herbert R. Hartel, Jr., John Jay Louisiana Monument. Rachel Stephens, Nichols State that avoid assumptions about their College of Criminal Justice, CUNY Indigenous Art of the Americas, University. Repeated Imagery: Ralph presumed “feminizing” or “queering” This session will be a forum for Part 1 E.W. Earl’s Jackson Portrait Copies. of masculinity? Is it possible to read Popular Culture and Nineteenth- alternative approaches to studying Flemish Meeting Room them so that the penis is something Century Art Sandra Reed, Savannah College of Art abstraction, including biographical more (or less) than a marker of authority McKinley Meeting Room CHAIR: Dito Morales, University of and Design. Companion Portraiture content, psychological expression, or power? Can display and spectacle, Central Arkansas and the Contemporary Family. and the influence of race, ethnicity, CHAIR: Peter L. Schmunk, Wofford for example, be seen as constitutive religion, gender, and cultural origin. College This session on Indigenous Art of the Stephanie Miller, Coastal Carolina of heterosexual masculinity? What Much abstract art originated as Americas showcases current work University. Virtuous Portraits: Enamel roles do such representations of the a bold new way of conveying the The growth of cultural experience regarding aspects of visual expression Terra Cotta Portraits in Fifteenth- penis (read differently) play in the spiritual and searching for the ultimate which engaged audiences across by indigenous peoples of the western Century Florence. development of post/modern culture meaning of life, often through the class boundaries and the emergence hemisphere, including papers that and gender dynamics? Further, use of ideas drawn from Theosophy, of the middle class as the dominant critique the prevailing pedagogy, offer thinking methodologically, do scholars Neoplatonism, mysticism, Nietzsche, “taste-bearing stratum” influenced alternative paradigms, or address approach images of the penis with and shamanism. Over the years, the production of art during the contributions of individual artists to the ingrained assumptions about how studies of abstract art have usually nineteenth century in myriad ways. overall dialog. authority is exercised and made visible? dealt with formalist achievements, Accompanying a dramatic shift in the What do we learn/mask about notions Amy Lenhardt, Virginia Commonwealth social and historical context, and content of art were changes in its size, of masculinity with psychoanalytic University; Virginia Museum of Fine the influence of spiritualism and display, materials, and the economics readings that often ahistoricize? of its exchange, papers explore the Arts. The Iconographic Program of the mysticism. This panel presents new intersections of popular culture and the First Permanent Exhibition of Ancient Karen Stock, Winthrop University. scholarship that examines production of art. American Art at the Virginia Museum of Bonnard’s Ambiguous Masculinity. Fine Arts.

5 THURSDAY, OCTOBER 21 – continued

SESSION 2 (continued) Branden Fjerstad, University of Andrew Hottle, Rowan University. as literary theory and social history into a What Was I Thinking? Artists 9:45–11:45 AM Memphis. The Great Span of His Inhabiting an Icon: June Blum as Betty discipline dominated by connoisseurship Explore Gray Matter Majesty: An Analysis of New Kingdom Friedan. and antiquarianism. This session aims Dominion Meeting Room Kings as Drivers, and How It Influenced to understand what has happened in Maureen Pelta, Moore College of Art The Movement of Their Chariot Horses. these last 25 years and where we are CHAIR: Matt King, Virginia how the personal and psychological and Design. Correggio and Portraiture. today. Interpretative strategies have Commonwealth University backgrounds of artists and their Elizabeth Molacek, University of included both micro- (close readings and cultural identities and origins have Sherry Saunders, Savannah College The past decade has seen a flood of Virginia. Seeing or Being Seen? economic history) and macro-history influenced or been expressed in of Art and Design. The Role of Self- innovation and discovery in the field Understanding Viewing in Pompeian (understanding the art of “Britain” as their work, and have effected style, portraiture in Graphic Design. of neuroscience, with researchers Domestic Spaces. well as it’ colonies in a world-historical subjects, and meaning. In recent achieving an unprecedented B. Scott Crawford, Independent Scholar. context), as well as sociopolitical, years, scholarship exploring abstract Crystal Rosenthal, Dallas Museum understanding of how the brain works. Domesticity, Death, and Photography: feminist, and Marxism (and all variants of art among African-Americans, of Art. Architectonics of Alterity: New technologies are allowing novel Revisiting the Art of Lilly Martin Spencer Asian Americans, Latinos, Eastern Banqueting Murals of the Early Empire approaches to age-old questions through the Exploration of a Newly “post-” thereof). Kevin Hatch, Savannah Europeans, untrained or “outsider” and the Institution of Roman Slavery. regarding the location of memory, the Discovered Postmortem Portrait. College of Art and Design. Hybridity artists, and the art of the incarcerated and the Cinematic in Isaac Julien’s origin of consciousness, the meaning and mentally ill has broadened our Paradise Omeros. of selfhood, and the chemistry of perspective of abstract art. SESSION 3 emotion. “What Was I Thinking?” will Art Education Policy Meeting William McKeown, The University of explore the intersection where this 12:00–1:30 PM Commonwealth Meeting Room Hallie Scott, The Graduate Center, Memphis. Charles H. Shannon and cutting-edge scientific research and CUNY. Impure Purism: Amédée his Patrons in the Late Victorian and artistic curiosity collide. How are artists Ozenfant’s Turn Towards Abstraction. Edwardian Art World. using and abusing CT scans, MRI and Memory and Art: How Artists and A Report from Sponge: Other DTI imaging to generate new forms? Natasha Roje, The Graduate Center, Art Historians Remember. Session II Eirwen Nicholson, Independent Pedagogies and the Phylum Porifera Are scientists and artists peering into CUNY. Lifelines: Clyfford Still’s 1944-N Empire Meeting Room Harrison Meeting Room Scholar. “Sleeping Congregations”: the same human mysteries with similar No. 2, 1944. The Inherent Secularism of 18th- CHAIR: Jacek J. Kolasinski, Florida motives? Can art historical precedents Hope Ginsburg, Virginia Commonwealth Century British Art Historiography in Linda Rosefsky, West Virginia International University help us better understand the potential University, Sponge HQ the 20th century. University. Conveying the Spiritual with uses of new imaging devices? Does Mette Tommerup, Florida International the Profane: Warhol and Abstraction. This panel will focus on emerging functional brain imaging put a new University. Neither/Nor – Memory and strategies for knowledge exchange. twist on “conceptual” art practices? Negation in Painting Today. Kim Theriault, Dominican University. The panel itself is an example of such Making Nothing, Making Trouble: And what’s up with telepathy? These The Collective Identity of Arshile Gorky. Dematerialization Yesterday and Agnieszka Whelan, Old Dominion a project, as it will be generated by questions and more will be addressed the preceding day’s Sponge event, Today in this decidedly non-scientific session. Emilee Mathews, Indiana University, University. The Stones of Sparta: Flemish Meeting Room Mythologizing History in a Garden at organized in conjunction with the Bloomington. Alfred Maurer’s George Matt King, Virginia Commonwealth the Time of the Enlightenment. Curiouser conference. Participants from CHAIRS: Sharif Bey, Syracuse Washington: An Expression of University. On the Bandwagon and Wednesday’s event, along with two University and Kevin Mertens, Coastal Abstracted Identity. Inside the Tube. Marina Mangubi, The College of “visiting experts” will relay gathered Carolina Community College Wooster. Eight Board Feet. information about the Pragmatists, Kathryn Price, Williams College. the effects of technological media on Conceptual artists of the 1960’s and Patron-Viewer-Artist and the Art of Seemingly Disparate Worlds: Two Raymond Gaddy, University of North education, and experimental projects 70’s rejected conventional uses of the the Ancient World Perspectives on the Studio and the Florida. These Things You Will Not such as Mildred’s Lane, Trade School object. They took this philosophical/ McKinley Meeting Room Laboratory. Re-Member. and OurGoods. A marine biologist will political stance against existing CHAIRS: Rachel Foulk, Emory Anneke Schulenberg, Radboud be on hand to keep us in a biomimetic power structures, including the art Hannah Walsh, Virginia Commonwealth University and Anthony F. Mangieri, University, Nijmegen. Silence: The frame of mind. Sponge is an ongoing establishment. These artists embraced University. Robert Barry and Savannah College of Art and Design- Interplay Between Memories of an participatory artwork, headquartered the notion that art can function as a Neuroaesthetics: Toward an Information- Atlanta Artist and a Site. at the VCUarts Anderson Gallery. language and that objects, material, and Processing Model that Explains the The project generates experimental process can work symbolically rather Occurrence of Aesthetic Pleasure Even While patrons, viewers, and artists approaches to learning and teaching. than physically. While some galvanizing When There’s Nothing There. have long been mainstays of art SECAC European and Postwar and Attached to a public university the way works (documentation) from this era historical investigations, these Robert de Saint Phalle, Massachusetts Contemporary Art Forum a sea sponge affixes to a marine reef, have taken their respective places categories are often difficult to College of Art and Design. Embodying Roosevelt Meeting Room Sponge provides open waters for the in museums, and art history books, access in the study of ancient art. The conspicuous mixing of disciplines. In today this genre of work is critically the Invisible: Historically Placing challenges that face the ancient art Victoria H.F. Scott, Virginia the evolving ecosystem of Sponge received by mainstream metropolitan Advanced Medical Imaging historian include fragmentary remains, Commonwealth University workshops, events, and classes, audiences and contested or dismissed difficult to interpret material, unnamed participants take in information, digest in smaller cities or rural towns. Through or anonymous artists, unknown the experience and complete the cycle technological resources such as: online Sculpture and the Televisual audiences, lack of commission Indigenous Art of the Americas, by teaching something to each other. shopping, online dating and a gamut of Commonwealth Meeting Room records, and even lost works of art Session II social and professional networking sites, CHAIR: Hilary Harp, Arizona State known only through other sources. Flemish Meeting Room Tse-Lynn Loh, Department of Biology material existence or physical presence University and Marine Biology, University of has in general become less important This session introduces creative ways CHAIR: Denise Smith, Savannah North Carolina Wilmington. in contemporary culture. What impact “If television once could be seen as to identify and study types of patrons, College of Art and Design ranking among a number of vehicles for classes of viewers, and roles of artists Caroline Woolard, Trade School, does our current dematerializing world conveying expression… from which we in the ancient world. For whom were Paula Winn, Virginia Commonwealth OurGoods, New York, NY. have on the production, or lack thereof, could choose, we no longer have that works made? Who were the intended University. Rediscovering the Artist: of contemporary art? What is the value Participants from the Sponge: Other choice: the televisual has become an viewers, and how would they have Using Connoisseurship to Reveal the of works of art, which do not take Pedagogies and the Phylum Porifera intrinsic and determining element of our interpreted works of art? What do we Artists of Formative Ecuador. physical or material form? What are event on Wednesday 10/20. cultural formation.” know about the lives, circumstances, the local, cultural, political, economic Thomas Larose, Virginia State University. receptions, rejections, reactions, and and status of people involved in art- In his book “Liveness,” Philip Auslander The Mythic Landscape of the Brattleboro responses to those artists who do not making? challenges the distinction between the and Bellows Falls Petroglyphs. Information Session for 2011 create conventional images/objects? live and the mediatized in performance. Examining patrons, viewers, and Conference, Savannah GA This session invites those scholars Dito Morales, University of Central He questions “the…assumption artists allows us to understand works Coolidge Meeting Room and artists who wish to contribute to a Arkansas. Rock Art in a Sacred Inka that the live event is ‘real’ and that of art as the creations, possessions, Savannah College of Art and Design discourse revolving around the topic: Context. mediatized events are secondary.” and part of the experiences of real “Artists as non-makers.” Just as theater has been transformed people. The interactions among James Farmer, Virginia Commonwealth Sharif Bey, Syracuse University and in the televisual age, sculpture has those who commissioned, made, and University. Lessons from Leonardo: SESSION 4 Kevin Mertens, Coastal Carolina undergone radical transformations in viewed art, we hope will reveal the Overlooked, Eroded, or Unfinished 1:45–3:15 PM Community College. The Digital our media culture. From Nauman’s ways in which art reflected the tastes, “Non-Masterpieces” of Ancient Persona: How many images, lists of corridors to Jon Kessler’s mechanized beliefs, and lives of historical people. American Rock Art. interests, and personal characteristics broadcasts, sculptors mediate their Anthony F. Mangieri, Savannah New Directions in British Art History do I have to post before you finally sculptural work and use sculpture to College of Art and Design-Atlanta. Empire Meeting Room accept me as a Hollywood movie star? respond to the mediated environment. About Face: Investigating the Introductory Remarks: Patrons, Advances in interactive systems Problematics of Portraiture, Session II CHAIRS: Douglas Fordham, University Viewers, and Artists in Ancient Greece Mark Creegan, University of North allow new relationships between the Dominion Meeting Room of Virginia and Mitchell Merling, and the Ancient World. Florida. I Want My Shark’s Teeth Back: screen sculptural systems. Even the Virginia Museum of Fine Arts Pitfalls of a Contingent Art Practice. CHAIR: Andrew Hottle, Rowan dissemination of sculpture has been Rosa Erika Feleg, University of University Over 25 years have passed since taken over by the televisual, as we build Memphis. Divinely Decorative: Anna Cox, Longwood University. publications like Ronald Paulson’s our understanding of contemporary Emphasizing the Divinity of Ramesses The Benevolent Virus. Dina Comisarenco Mirkin, Universidad Emblem and Expression and John sculpture through You-Tube II at Karnak. Iberoamericana. Portraiture versus Barrell’s The Dark Side of Landscape Craig Dongoski, Georgia State documentation of distant exhibitions. Self-Portraiture: the Case of Nahui Olin. revolutionized the insular field of British University. Durations, Drawing Voices This panel will examine the relationship Art by introducing new disciplines such and Other Minds. 6 THURSDAY, OCTOBER 21 – continued between sculpture and the televisual. personal experience for a truly political left to “decompose,” sometimes they The Administration of Art: The Art Paul Kotula, Michigan State University. Papers will address sculptures and response to the restructuring and were torn down immediately after of Administration Re-Crafting the Table. installations which incorporate cameras disciplining of time? This session will their intended use, and sometimes Flemish Meeting Room and screens; sculptors who create address the current interest in slow structures meant to be temporary Steven Driver, University of Arkansas props and sets for videos; sculptures looking and artistic slowness but also ended up being permanent (for CHAIRS: Virginia Derryberry, at Little Rock. Who is Framing the and installations that use interactive their historical precedents. example, the Eiffel Tower). Why were University of North Carolina at Dialog About Craft, the Maker or the technologies; and more traditional these structures not meant to be Asheville and Joe Seipel, Savannah Critic? Neither. sculptural forms that derive their Gabriella Szalay, Columbia University. permanent? What was their purpose? College of Art and Design Learning How to Look: The Early Kate Kretz, Independent Artist. The imagery from televisual media. Were there historical precedents? Seasoned administrators will answer Only Rule Is There Are No Rules: Romantic Experience. This sessions’ papers investigate Peter Eudenbach, Old Dominion the questions: Is there an art to the Riding the Front of the New Craft- Kimberly Smith, Southwestern the cultural, political, religious, and process of administration? Can one find Based Wave. University. Cinematic Sculpture: A economic reasons for such architecture. Review of Various Studio Strategies. University. Vision and Primitivism in true happiness and reward after the Franz Marc’s Slow Paintings. Rihab Kassatly Bagnole, Savannah contract is signed? What would ever Kate Green, University of Texas at possess a reasonable person to move “The Art of Assemblage” at 50 Michael Schreyach, Trinity University. College of Art & Design. No House Austin. The Meaning of Mediation in from the cushy, fulfilling, invigorating Commonwealth Meeting Room The Phenomenology of Temporality is Left Behind: The Bedouin Tent as a Vito Acconci’s Early 1970s Videos. faculty position into an 80 hour a in Jackson Pollock’s “One: Number Symbol of Identity. CHAIR: Edward Powers, Queens week, sometimes thankless, often Alison Crocetta, Ohio State University. 31, 1950” and Barnett Newman’s “Vir College, CUNY Steven Gaddis, Independent Scholar. confounding bureaucratic position in From Stillness to Action to Moving Heroicus Sublimis.” The Ephemeral Architecture of Theatre. administration? Is compensation of The extended concept of Image. unbridled power (i.e. going to the dark “assemblage” proposed by William Rhonda L. Reymond, West Virginia Eric Troffkin, Wayne State University. side) worth the alienation of long time Seitz in his 1961 MoMA exhibition, The Mary Magdalene Through the Ages University. Ephemera of the friends, the forfeiting of studio time, Art of Assemblage, has proved one of Messages From Beyond the Televisual. Roosevelt Meeting Room Ephemeral: Making Permanent the the castigation of the art world and loss the most durable, if protean, legacies International Exposition Experience. CHAIR: Mindy Nancarrow, The of respect from your colleagues? Or of twentieth-century avant-garde Reexamining Realism and University of Alabama Pamela H. Simpson, Washington and can the move to administration provide practice. Encompassing both art and Abstraction Lee University. Ephemeral Edible one with an opportunity for action, anti-art – and freely constituted of Coolidge Meeting Room Prostitute, convert, disciple, apostle, Edifices: Midwestern Grain Palaces at personal fulfillment and the possibility what is made or ready-made, found or preacher, miracle worker, hermit, and the Turn of the Century. for playing a larger role in the evolution otherwise re-claimed and re-purposed CHAIR: Timothy Andrus, Virginia saint, Mary Magdalene has been all of our culture? Talks will link the talents – notable examples of “assemblage” Commonwealth University of these things. For the Church, Mary normally associated with art making to include Cubist, Dada and Surrealist Magdalene is the ultimate sinner the creative solutions that are critical By convention, realism and abstraction SESSION 5 collages and objects, Picasso’s and whose repentance illuminates the path for the successful administration of an often imply opposite meanings when González’s welded-steel sculptures, of virtue for all sinners. In the Tridentine 3:30–5:30 PM art program. applied to works of art. The former Rauschenberg’s “Combines” and period she became the Church’s poster Arman’s “Accumulations." Since seems empirical and objective while the Ann Clarke, Syracuse University. Shoot child for the sacrament of penance with the 1960’s “assemblage” has been latter is often regarded as intuitive and Conversations with Contemporary the Moon. its three steps of contrition, confession, critically reexamined in provocative subjective. However, in the twentieth and satisfaction. Her angelic elevation, Artists: Photography Virginia Derryberry, University of scholarship and exhibitions including, century, artists often confounded these a favor she received repeatedly daily in Empire Meeting Room North Carolina at Asheville. Arts, most recently, the New Museum’s categorical distinctions by describing the wilderness, meanwhile, confirmed CHAIR: Vesna Pavlovic, Vanderbilt Administration and Alchemy. Unmonumental show. All at once, their supposedly abstract work as realist the efficacy of the sacrament with her and vice versa. At issue here is the University then, the term is emblematic of justification with full forgiveness of all Carlyle Johnson, Tennessee State nature of representation, that the notion twentieth-century Modernism, of sins. The beautiful Magdalene whose Recent examples in contemporary University. Art and Administration: of realism or abstraction is predicated its unrepressed other in popular love for Christ is second only to the photographic practice have been shaping Maintaining a Linear Perspective. on the possibility of one or the other culture and, increasingly, of how the Virgin’s love assumes as well other the relationship photography has with global reach of consumerism might mode, and that consequently, each is more enigmatic roles in art, including other media in new ways. In investigating Joe Seipel, Savannah College of Art implicated in the other. Furthermore, and Design. Who in the Hell Changed nevertheless be fragmented and personification of the contemplative life the boundaries of what we consider a dispersed as an array of local effects. they need not be mutually exclusive, and Bride of Christ, and she has been photographic image to be, artists have the Color of the Napkins? but may exist in dynamic tension in a This session questions the category an inspiring role model for religious further pushed the conversation their of “assemblage” as a critical practice single work. Although the problem of women. This session explores the images have with painting, sculpture, the relationship between realism and Crafting the 21st Millennium or discursive field; that address Magdalene’s significance in Christian installation, and performance. specific moments in the history and abstraction is central to modernist art, art from all periods and places. Dominion Meeting Room this session will consider the interplay This panel will attempt to discuss transformation of “assemblage” in of these two terms in works of art both Jennifer M. Feltman, Florida State those examples in contemporary CHAIR: Robert F. Lyon, University of modern and contemporary art; or from an historical perspective and as they University. As Oil Poured Out: John photography, from the documentary South Carolina examines the 1961 exhibition itself, its critical precursors or historical relate to contemporary studio practice. the Baptist, Mary Magdalene, and the images to photographic abstraction, As the first decade of the 21st century reformulations. Iconography of Anointing. from photographic installation, to various draws to a close, many artists are Barbara Jaffee, Northern Illinois other modes of image display. Panel University. The Abstraction Within: Barbara J. Johnston, Columbus reimagining craftsmanship. In this Edward Powers, Queens College, participants will discuss the complex new, post-disciplinary environment, CUNY. What Lies Beneath: The Origins George Bellows’s Two Women, State University. The Influence of transformation of the photographic Reconsidered. Fifteenth-Century French Passion the material-based categories that in of “The Art of Assemblage.” image and its distribution and the past have served as the artist’s Plays on Louise of Savoy’s “Vie de la dissemination in contemporary culture. Sarah Archino, The Graduate Center, Randall K. Van Schepen, Roger Magdalene.” stable frame of reference (clay, fiber, Williams University. Both/And: Gerhard Participants of the panel will include metal, wood, glass, etc.) have become CUNY. Framing the “American”: A Richter’s Heterodox Stylistic Strategy. Sara N. James, Mary Baldwin College. active practitioners, who will give brief increasingly limiting. What seems Historiography of Arthur Dove prior to Mary Magdalene: Beacon of Hope in presentations on their work, as well more appropriate today is a discussion “The Art of the Assemblage.” Khoi Vo and Josh Rayman, Savannah Signorelli’s Apocalypse and Judgment as curators and art historians who will about art and craft itself, rather than College of Art and Design. An Kim Sels, Rutgers University. at Orvieto. address to those tendencies in the field. the specifics of its practice. This may Architectural Bridge. Assemblage Portraits in the Machine suggest that the process imparts Nenette Arroyo, White House Siemon Allen, Virginia Commonwealth Age. a sense of exploration rather than Historical Association. Mary University. Imaging South Africa. finality, while acting as both metaphor Lucy Bradnock, Getty Research Magdalene: Reflections on Glass. Slow Looking Colby Caldwell, St. Mary’s College of and the means for an ongoing course Institute. Beachcombing Modernism: Harrison Meeting Room Maryland. Framing Lazarus. for investigation. Gordon Wagner and “The Art of CHAIR: Marnin Young, Yeshiva Assemblage.” Ephemeral Architecture Corey Dzenko, University of This panel will explore how artists who University McKinley Meeting Room New Mexico. Performance and are object makers and who work in Rachel Federman, Institute of Fine Photography as Post-modernism: craft based materials are challenging Arts, New York University. Scrounging “Slow looking, like slow cooking, may CHAIR: Steve Arbury, Radford The Contemporary Performance- the specifics of their practice, the for Kienholz: Uncovering the Appeal of yet become the new radical chic.” University So wrote Michael Kimmelman in Photographs of Kerry Skarbakka and images/objects that they make, and the “Tableaux.” Paul M. Smith. their relationship to the world of art and August 2009. Taking time to look at This session will explore the many Monica Steinberg, The Graduate our culture in general. art has indeed become fashionable of types of ephemeral architecture from Whitney Lynn, Art Institute of Center, CUNY. Celebrity as late, and it’s probably no coincidence all periods and geographical regions. California. Camera. Object. Body. Mana Hewitt, University of South Assemblage: A West Coast Critique. that artists in the last decade have Papers will investigate the cultural, Carolina. The R-Evolution of Craft. increasingly turned to slow processes political, religious, and economic Michael Sherwin, West Virginia of production and to slowness as an reasons for such architecture. University. Experiments in Wonder. Cynthia Colbert, University of South artistic effect. But where does this Ephemeral structures were (and Carolina. Handcrafting Books: concern with slow looking come from? continue to be) erected for a variety of Reemerging and Reimaging. What are its historical analogues? Is it purposes such as baptisms, triumphal radical? Or does an interest in slowing entries, funeral celebrations, autos Anna Fariello, Western Carolina down the making and experience of art de Fe, and world expositions among University. Making & Naming: The ultimately mistake the modifications of others. Sometimes structures were Lexicon of Studio Craft.

7 PUZZLES word search

A B D V F L I C P O E A W P E E L Y S R N E A B R Y N A S D U P N V L C N M N THURSDAY, OCTOBER 21 – continued R U T H N O DPUI TZZLI S EE SA

SESSION 5 (continued) purpose of this session is to create a Geographic Divide and Pedagogical I T G I I N A S R E G N L 3:30–5:30 PM dialogue about the role of a foundation Shift: A Re-examination of V Y N S F G W U A P A H E program in relation to art and design Wölfflinian Methodologies in Art word search majors. What is the purpose, what is History E Z S T R E N A Q R N C T essential to teach in the first year, what McKinley Meeting Room Bloodlines: Portraying the A B D V F L I C P O E A W is critical for students to experience R E Q O E X C L V I G R H American Animal and know so they can flourish in their CHAIRS: Sarah Falls, New York School Coolidge Meeting Room SP HE CE RL WY AS RB N ET AC NB RL DY major studies, how is a foundation of Interior Design and Virginia Hall, Johns Hopkins University CHAIRS: Crawford Alexander Mann program along with the major program NI OA US DY MU AP NT VS AL HC NV MA NI preparing students for careers in the III, Rhode Island School of Design and Art Historical teaching methodologies R U T H N O D I T I S E A Mary Peterson Zundo, University of 21st century- these are all important of the 20th and 21st centuries have C E R E B E L L U M F R G questions that can help to define how Illinois at Urbana-Champaign relied heavily on those established by AI MT GI RI EI NS OA MS RL OE GT NT LI a foundation program functions in the Heinrich Wölfflin, who used projected Animal painting has deep historical education of the next generation of images to establish the side-by-side VE UY ON ST HF GE WO UR AY NP AI HE TE roots, most prominently through artists and designers. comparison as a basis for formal equestrian and canine portraiture, E Z S T R E N A Q R N C T analysis of works. Photo-mechanical R S U J O L V N T D Z C A but these works occupy a neglected Jan Feldhausen, Milwaukee Institute reproduction enabled the creation of R E Q O E X C L V I G R H position within criticism and scholarship, of Art and Design. Hands-Up and S E S E C A C T A W E I L a teaching methodology, but today, particularly American examples. Hands-Down. as reproduction has moved to digital SP UH CE MR WY AC UB NL T UC NR EL OD To redress this problem, this panel Kevin Conlon, Ringling College of Art technologies, how does pedagogy concentrates on American objects and I O U Y M A T S A H V A I and Design. On Essential Scholarship follow? This panel will present the O M R E X H I B I T I O N makers and on the American reception and Practice (ESP). views of practitioners who talk about C E R E B E L L U M F R G of works from other nations. art teach exhibition the move to new media, the place of Kristie Bruzenak, Savannah College of richmond sponge theory By the nineteenth century, side-by-side comparison and the shift A M I R E S O M L O T T I Art and Design. Preparing Students for curiouser visual digital animal painting had undergone in personal teaching methodologies, their Careers – Foundations at Its Best. inlightE U O T H museumE O R Y NbeautyI E T a transformation of status, often and their impacts on the discipline. panel session river functioning like history painting to Michael Arrigo, Bowling Green State R S U J O L V N T D Z C A Kim Detterbeck, Frostburg State cerebellum culture design engage spectators in complicated University. Breaking Down Barriers: University. Quantum Comparitists: SSECAEC S E C histoA ryC T A WpoeE I L social questions. This tension between Assessment as a Consensus Building Knowledge Bases as an Instructional MACAA VCU likeness and narrative, between the Catalyst for Curricular Change. PUZZLES Methodology for the 21st Century. P U E M Y C U L T U R E O animal’s individuality and its historical Joanne Stryker, Rhode Island School or cultural significance, coincides with Virginia Hall, Johns Hopkins University. O M R E X H I B I T I O N of Design. Asking Questions and period concern for the opposition Interactive Image Mapping: A New Finding Process. art teach exhibition between science and sentiment. Pedagogical Approach for the Visual wordword scrsearamblch ers How does art participate in the Arts. richmond sponge theory romanticization, commodification, and/ curiouser visual digital or mechanization of animals? To what Reconstructing the Avant-Garde Martina Hesser, San Diego Mesa elismmfhAinlightB D V F museumL I C P Obeauty E A W extent is a depiction of a pet or animal Roosevelt Meeting Room College. YouTube and Art History? inserceasanpanelP E E L Y sessionS R N E Ariver B R Y celebrity about the subject/sitter, cerebellum culture design CHAIR: Christoph Klütsch, Savannah versus a tool for self-fashioning by the NSECAC S D U histoP ryN V L CpoeN M N College of Art and Design adthrneurec owner or artist? In an American context, KEYNOTE ADDRESS BY MACAA VCU R U T H N O D I T I S E A do these works carry a darker or more Twenty years ago, Benjamin Buchloh PABLO HELGUERA onscmptuino visceral energy, speaking to boundaries took issue with Peter Bürger’s 6:00–7:30PM I T G I I N A S R E G N L between civilization and wilderness, argument that the neo-avant-garde Jefferson Hotel Ballroom. between society and savagery? V Y N S F G W U A P A H E was nothing more than a replication No advance reservation required. word scramblers of the historic avant-garde. Arguing These talks will refine our E Z S T R E N A Q R N C T that the needs of the neo-avant-garde understanding of animal portraiture’s had changed, he laid the groundwork elismmfh definitions as a field and appeal to a MEMBER SHOW R E Q O E X C L V I G R H for viewing the relationship between B I N G O variety of scholars. the presumed replications and RECEPTION inserceasanS H C R W A B N T C N L D their equally presumed first-times 7:30–10:00PM Emily Pawley, Smithsonian Institution, adthrneurecI O U Y M A T S A H V A I National Museum of American History. as a reconstruction and not as a 1708 Gallery, 319 West Broad Street indigenous turf media contrast unpack Seeing Good Blood: Cattle Images, replication. Buchloh built his argument No advance reservation required. onscmptuinoC E R E B E L L U M F R G on one case study: the relationship Cattle Breeding, and the Functional 170 8 Gallery is a 3–5 minute walk from between Alexander Rodchenko’s A M I R E S O M L O T T I Aesthetics of Domesticated Bodies, the Jefferson Hotel. 179 0 –18 6 0. three monochromatic paintings (red, robust Barcelona magnification paradox realism yellow and blue) of 1921 and Yves E U O T H E O R Y N I E T Corey Piper, Virginia Museum of Fine Klein’s ten blue paintings of 1957. R S U J O L V N T D Z C A Arts. A More Benevolent Nature? Although constructivism has given Predator and Prey in Winslow Homer’s rise to various forms of what might be SfacadeBE S perspectiveEI C AjuxtaposeNC T spectacleAGW E OsiloI L Sporting Images. described as “neo”-constructivism, it is not the only historic avant-garde P U E M Y C U L T U R E O Jessica Dallow, University of Alabama to have done this. This session seeks at Birmingham. Animal Acts: Richard indigenousO M R EturfX HmediathatI ’s B contrastI T I unpackO N to explore relationships between McLean’s Equine Paintings. typography reception what she quest interdisciplinary the “historic” avant-gardes, such as art teachsaid exhibition Mysoon Rizk, University of Toledo. constructivism, futurism, and Dada, richmond sponge theory Vermin ’R Us: Zoomorphism in the Art and their later 20th century progeny. curiouserrobust Barcelonavisualmagnification paradoxdigitalrealism of David Wojnarowicz. How have the neos reformulated their inlight museum beauty Superman Rococo accreditation transformation tenure presumed ancestors? panel session river Mitali J. Routh, Duke University. cerebellum culture design Matthew Barney’s “Animalia.” Alexis Clark, Duke University. “Qu’est- SECAC history poe qu’un art avant-garde?” Mythical facade perspective juxtapose spectacle silo MACAA VCU Dreams and Historical Realities of the Beyond Turf and Silo: Cultivating a Avant-Garde. New Foundation Robert Bailey, University of Pittsburgh that’s Harrison Meeting Room typography reception what she interdisciplinary Avant-Garde Lateness: On Art & quest said CHAIR: Maureen Garvin, Savannah Language’s Comparative Models. word scramblers College of Art and Design Joshua Hamilton, Indiana University. elismmfh Major programs often see foundation Picking Up the Pieces: Rupturing the Superman Rococo accreditation transformation tenure programs as a “pre major” and want Power of Representation in José Luis inserceasan a foundation sequence that is tailored Castillejo’s “La caída del avión en el to meet the needs of the individual terreno baldío." adthrneurec major. Each major is wrapped up in Christoph Klütsch, Savannah College their own “silo” and often unwilling onscmptuino of Art and Design. Point and Computer to consider the larger context. The to Aesthetic Process.

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Superman Rococo accreditation transformation tenure FRIDAY, OCTOBER 22

8:00–9:30 am: Panels, Session 1 SESSION 1 deployed by the architect, but that he Adream Blair, University of Wisconsin- 8:00-9:30 AM understands the building itself as a Milwaukee. Participatory Design 9:45–11:45: Panels, Session 2 medium.” (B. Colomina.) Research and Ethnographic Research in the Classroom: Incorporating Colomina’s contention encompasses 12:00–2:00pm: SECAC/MACAA Luncheon and SECAC Awards Presentation Research into the Design Curriculum. FATE: Foundations in Art: Theory & Graham’s diverse projects—magazine Jefferson Hotel Ballroom Education, Open Session articles, photographs, videos, C. Diane Gibbs, University of South Empire Meeting Room architectural models, art installations, Alabama. Wait, We Were Supposed to 1:45–3:15pm: Panels, Session 3 and pavilions — through which he Research? CHAIR: Greg Skaggs, Troy University exposes ideologies underlying various 3:30–5:30pm: Panels, Session 4 Troy D. Abel, Virginia Tech and This is a panel presentation by constructions, architectural and social. Andrea Quam, Iowa State University. professionals and educators with Graham’s multifaceted production 6:00pm–8:30pm: Virginia Museum of Fine Arts Reception Experience Design Models—a inspiring projects to launch the tracks the cultural shift from modernism Virginia Museum of Fine Arts, 200 N Boulevard, Marble Hall. Compass for Integrating Methodology, imagination of students. This is a and postmodernism, which has been Advance reservation required. Research and Criteria? foundational approach to objects theorized through various dialectics and Courtesy shuttle from the Jefferson Hotel to the museum at 5:30. and images in motion. The panel will documented in numerous media. While explore basic 2D and 3D movement the timing of this transition is contested With a collection that spans the globe and more than 5,000 years of history – plus ATSAH: Giorgio Vasari’s Anniversary and how it develops creative problem and distinctions among design practices a wide array of special exhibitions – the Virginia Museum of Fine Arts (VMFA) Celebration of 500 Years solving and ideation within students. somewhat dissolved, the encapsulation is recognized as one of the top comprehensive art museums in the United and dissemination of contemporary Coolidge Meeting Room States. The museum’s permanent collection encompasses more than 22,000 Stacy Isenbarger, East Tennessee State architecture and urbanism through CHAIR: Barbara Watts, Florida works, including the largest public collection of Fabergé outside Russia and University. Transformative Storyboards technologies like photographs and International University one of the nation’s finest collections of American art and design. VMFA is also and Other Warm-up Excercises. prints, television and video, and, home to acclaimed collections of English Silver, European Art Nouveau and Art ATSAH proudly honors Giorgio Vasari’s Sue O’Donnell, Bloomsburg University ultimately, the internet has perpetuated Deco, French Impressionist and Post-Impressionist painting, British Sporting 500th anniversary of his birthday, of Pennsylvania. Rotoscope Flipbooks: the translation of three-dimensional art, Modern and Contemporary art, as well as renowned African, Ancient, celebrating with renowned scholars A Hands-on To Digital Process. forms into two-dimensional images, East Asian, South Asian and Himalayan holdings. In May 2010, VMFA unveiled even increasingly virtual spaces. his accomplishment as an artist, a transformative expansion, the largest in its 74-year history. For additional Claire van der Plas, Adams State theoretician and writer. information, visit www.vmfa.museum. Please join us for a reception with light College. Coaction/Interaction. Anastasia Rees, University of Texas hors d’oeuvres and a cash bar. The museum will be open and during the SECAC at Austin. Kuleshov Effect: Moscow in Born in Arezzo, Vasari received his early reception, curators of Ancient American, American, European, Modern and Casey McGuire, University of West Context. artistic training from his father, Antonio Contemporary, and South Asian will be offering informal tours of their newly Georgia. Process As Art. Lazzaro, his uncle Luca Signorelli, his Emily Taub Webb, Savannah College installed galleries. artistic teacher, Gugliemo da Marsiglia, of Art and Design-Atlanta. Re-Situating and later with painters such as Andrea The museum is located in the Fan District of Richmond and is within walking Image: The Very Form And Feature Site-Specificity: Place and Time on del Sarto, Rosso Fiorentino, Bandinelli distance of numerous restaurants. Of The Artist View at Dwan Gallery. and Michelangelo. Emblematist Flemish Meeting Room Nell Ruby, Agnes Scott College. The Piero Valeriano and Andrea Alciato 8:00–10:00pm: InLight Richmond Place Between When You Decide to instructed Vasari in the intellectual Shockoe Slip. CHAIRS: Claire Black McCoy, Go Outside and Before You Get There. pursuit of symbolic imagery as well as Columbus State University and M. in the assimilation and integration of Courtesy shuttle will begin at 8pm from the VMFA to Shockoe Slip. After 8:30 Kathryn Shields, Guilford College Jeffrey M. Adams, Northern Illinois classical culture in composing a story. the shuttle will run between the Jefferson Hotel and Shockoe Slip. No advance University. Modern Sculptural Whereas Pietro Aretino, Paolo Giovio, reservation required. Identity is a complex thing. It describes such disparate attributes Methods in Architecture. Annibale Caro, Cosimo Bartoli and InLight Richmond is an outdoor light-inspired juried contemporary art exhibition as appearance and personality and Vincenzo Borghini assisted Vasari in the and annual event. Facades, walls, storefronts, doorways, parking lots and implies that they persist over time. discovery and connections between other unexpected places in Richmond are transformed by international artists Any image of an artist’s identity, Research and Design: A Match art and culture, culminating in Vasari’s with video projections, sculptures, installations, multi-media art works and then—whether it is painted, sculpted, Made in Heaven or Hell artist programs with history paintings. performance works. Other components of this event include a community lantern Commonwealth Meeting Room drawn, photographed, or written— As a precursor to Cesare Ripa’s parade and a Wearable Art fashion show. should by that definition be consistent. Alma Hoffmann, Harrington College of Iconologia, Vasari’s artistic endeavors Each year, 1708 Gallery invites emerging and professional artists, national Yet, as we know, identity is mutable, Design, Studio2n provide an encyclopedic web of and international, working in all media and disciplines to submit proposals for fashioned by artists and writers then imagery and conceits to assist artists Many firms nowadays incorporate InLight Richmond. Preferences are given to proposals that involve, are inspired variously interpreted by the audience. and humanists alike in the formation research strategies and techniques to by, investigate, or interpret themes of light, from light as medium to light as an The image of an artist constantly and interpretation of visual culture in gather relevant data for client projects. abstract idea . Come take advantage of the curious synchronicity of this delightful transforms relative to desire, time, and Cinquecento art and Mannerism. Some agencies have incorporated annual event and our annual conference. circumstance. This session considers the issue of the construction and staff dedicated to do research and Debra Murphy, University of North interpretation of artistic identity. Papers analysis for designers. Others use Florida. Giorgio Vasari’s “Holy Family will address portraiture, biography, secondary research sources such as with John the Baptist” in The Cummer fictional accounts of artists’ lives, and government sites, databases, and Museum of Art and Gardens. works of art said to personify, portray, demographics analysis. Relevant Karen Goodchild, Wofford College. or construct the artist. design is considered to be the one where the intended and unintended Landscape in The Lives: The Untold Sandy McCain, The University of audiences have been considered History. Georgia. Painting and Poetry: Identifying and studied. From large companies Liana De Girolami Cheney, University Washington Allston in “The Sisters.” such as Apple to small design firms of Massachusetts Lowell. Giorgio Kariann Fuqua, Columbus State such as Rule 29 based in Chicago, Vasari’s “Sala degli Elementi”: University. Relocation: Identity and Space. conducting and understanding the Symbolism of Fire. results of research becomes not only Simone Paterson, School of the Visual relevant but also shapes the project in Arts. Embodied Through Technology. significant ways. Given the importance Thomas Kinkade in the Classroom that research and gathering of data Xandra Eden, The University of North Harrison Meeting Room have in the design of a solution to a Carolina at Greensboro. Persona: problem, how do we as instructors not CHAIR: Julia Alderson, Humboldt Representations of the Multiple Self in only incorporate the terms, but also State University Contemporary Art provide opportunities for students How does Thomas Kinkade enter to problem solve using both primary into studio and art history classrooms and secondary research sources? Mediating Architecture today? Is he even allowed to infiltrate Furthermore, what type of criteria Dominion Meeting Room our hallowed halls? And how do we do we establish to maintain design, grapple with him once he’s there? content, and aesthetic quality? CHAIR: Katherine Smith, Agnes Scott Linda Weintraub’s In the Making: College Alma Hoffmann, Harrington College Creative Options for Contemporary This panel is inspired by architectural of Design, Studio2n. The Capstone Art presents a serious discussion of historian Beatriz Colomina’s Projects: The Personal Commitment Kinkade through the lens of audience. conclusion to a discussion of Between Student and Instructor. Her approach, which illustrates Dan Graham’s art. She writes, Kinkade’s attempts to engage with Breuna Baine, Auburn Montgomery. “All of Graham’s work is media- the widest public possible, avoids the Bridging Strategy and the Design architecture… It is not simply that he dismissive attitude typical of our field Principles in Graphic Design. deals with architectural subjects… or when engaging with his work. that he uses the media traditionally

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SESSION 1 (continued) VRC: United We Stand: Forging Several years earlier, William Wimsatt From Eve to Mary: Models and issues of identity and ownership. Partnerships in Support of the and Monroe Beardsley made a Anti-Models of Women in the 8:00–9:30 AM Nathaniel Hein, Delta State University Digital Classroom similar set of claims concerning the Middle Ages and Jennifer Gonzales, Memphis College McKinley Meeting Room “Intentional Fallacy” (1946). Like Dominion Meeting Room Barthes, they contended that the of Art. Creative Social Commentary: Can and should we move beyond a CHAIR: Jeannine Keefer, University of meaning of work does not depend on CHAIRS: Tessa Garton, College of Teams, Communities, and Networks. standard (elitist?) attitude with regard to Richmond its author; rather, “it is detached from Charleston and Peter Scott Brown, Kinkade? What do we gain by engaging Sarah Mills, The Graduate Center, the author at birth and goes about University of North Florida in a serious consideration of his work It is broadly understood that digital CUNY. Collectivism Since the 90s: the world beyond his power to intend and career? This session will explore the distribution of images and information This session addresses issues related The Socioeconomic Critique in Internal about it or control it. The poem belongs ways in which we may negotiate this in the classroom is here to stay. In fact, to the roles of women in medieval art, Performativity. to the public.” surprisingly rich topic, in our ongoing for universities to remain competitive including both positive and negative Eric W. Schneider Jr., University of efforts to expand the minds and artistic in the educational marketplace, they imagery; virgins and fallen women, This session aims to analyze these South Alabama. Defining Artists Roles practices of our students. must embrace digital media and biblical women, and secular women. largely held assumptions about the in Collaboration. support faculty training. death of the author and the birth of Papers address issues related to Ami Davis, Independent Scholar. Art the audience. Although this view has women as subjects, creators, or Virginia Rougon Chavis, The University in the Twenty-First Century: Thomas Many faculty in art and art history have held ground for nearly fifty years, patrons of art; images of women as of Mississippi and Ashley Chavis, Kinkade and the Case for Kitsch. leapt from the analog to a digital format. well as art made by or for women. Northwest Mississippi Community What partnerships must be forged does it make sense? Papers will revisit College. Collaborating Together in Anne Ronan, Stanford University. across the campus to encourage others the history of intention and anti- Many scholars remember conventional More Ways Than One. Hyperreal, Hyperspace, Hypercottage: to cross the digital divide? Partnerships intentionalism, and ask whether the art history courses, taught in dark Postmodernism and the Painter of Light. viewer of a work of art is irrelevant to may be technical in nature. What do we lecture halls, with a ceaseless Jenny K. Hager, University of North need to make our digital images look the meaning of that work. succession of images. This classroom Brian Curtis, University of Miami. If Florida. Student Work: Collaborative as good as our slides? How can we still exists—and while the traditional You Open Your Mind Too Much Your John P. Bowles, University of North Sculpture (Site-Specific and Installation.) convince classroom designers that one slide lecture can be an effective Brain Will Fall Out. Carolina at Chapel Hill. Did I Have size does not fit all? Other partnerships to Be There? Experiencing the pedagogical method in the right may deal with content and research. Documentation of Performance Art. environment—alternative ways of Utopian Aspirations in How can software and web-based teaching have often proven more Approaches to Art History Contemporary Art and Architecture applications make lectures and content Saskia Warren, University of Sheffield. successful. Using works of popular Education Coolidge Meeting Room more engaging? How can they take Transforming the Viewer: The Sacred culture—such as films, books, graphic Roosevelt Meeting Room the classroom beyond its physical Mirrors of Alex Grey. novels, music, and video games—that CHAIRS: Meredith Malone, Washington CHAIR: Rhonda L. Reymond, West confines? comment on or re-envision artworks University in St. Louis and N. Elizabeth Julie Gilbert, Stony Brook University. Virginia University from the past, can engage students and Schlatter, University of Richmond Representing Audience Engagement: Who are the experts and how can serve as an easier entry to art history. Although teaching often comprises they help faculty in search of digital Mapping Experience and Aesthetics at The desire to radically transform the forty percent of an art historian’s enlightenment? This session will bring Yorkshire Sculpture Park. This session addresses the use of physical and social experience of one’s academic workload, there is a curious visual resources curators together with popular culture in the art history surroundings through the convergence Cristina Albu, University of Pittsburgh. lack of scholarly publications addressing faculty who are successfully teaching classroom, focusing on the of visual art, architecture, and Mirroring Others: Collective why and how art historians theorize with digital materials. Practical advice, fundamental question: How do we technological innovation is a defining Encounters with Art and Technology education and engage students in demonstrations of software and web most effectively engage and teach avant-garde trope. Visionary modernist Projects in the 1960s. meaningful learning experiences. This applications, and testimonials about our students today? The film “Marie movements, ranging from Italian Futurism and Russian Constructivism to session will provide an opportunity for evolving pedagogical concerns will RESPONDENT: Charles Palermo, Antoinette” can introduce students the Bauhaus, were followed in the post- art historians to reflect on, present, and give the audience vital information to College of William and Mary. to the lavish aspects of the Rococo, discuss pedagogical approaches to take back to their own institutions for in a visually evocative fashion. Dan World War II period by a proliferation of teaching the discipline. use in the classroom of tomorrow. Brown’s “The DaVinci Code” initiates techno-inflected futures proposed by such pioneering figures as Buckminster Paint Plus… a discussion of Leonardo da Vinci’s Despite the encroachment of business Nancy Shelton, Old Dominion Fuller, Yves Klein, and Constant. Flemish Meeting Room “Last Supper” and Renaissance models and the current emphasis University. Creating Video Tours. art. Examination of the Luxor Hotel These groups shared an enthusiastic on STEM in the academy, why is art CHAIR: Reni Gower, Virginia engagement with complex questions Corinne Diop, James Madison & Casino in Las Vegas allows for history relevant to today’s society? Why Commonwealth University concerning the juncture between University and Christina Updike, a comparison to ancient Egyptian and how does the study of art history architecture, and how faithfully it scientific inquiry and utopian ambitions. James Madison University. Teaching From the ancient Greeks to Johns; aids students in achieving life skills, may (or may not) be employed in a Recognizing that each image of utopia with Technology = Teamwork. Dubuffet to Kiefer; Picasso to including communication, analytical, contemporary building. Strategies and conforms to its own time, this panel Stockholder, artists have pushed the teamwork, interpersonal, and technical Jeannine Keefer, University of case studies from all styles, periods examines how the utopian impulse physical properties of paint to obtain skills? With a new social paradigm shift Richmond. Finding 20th Century and media will be considered for an has been redeployed and tempered aggressive or dense surfaces. By reflected in books like Dev Seidman’s Architecture in Richmond. exchange of ideas. within contemporary artistic practice. Why How We Do Anything Means adding wax, organic matter, collage Focus is placed on projects that set out Everything…in Business (and in Life), or found objects these artists trigger Alison C. Fleming, Winston-Salem to re-imagine society in response to how can, or why should, we consider SESSION 2 complex conceptual, psychological State University. Maiden or Matron? The today’s global situation, characterized or emotional responses and Virgin Mary with the Long Flowing Hair. the moral and social ramifications of 9:45–11:45AM by rapid technological advancement, teaching art history? How can we use interpretations. military incursions, economic crisis, Michelle Moseley-Christian, Virginia new technologies such as PRS, lecture and ecological disasters. How are these NOTE: On Saturday October 23 from Tech. The Transformation of the “Wild capture systems and podcasts, wikis, social and political issues reflected Who Cares Who Sees? 12:30–3:30, Panelists will present Woman” from Monster to Maternal blogs, social networking sites, and or subverted in the works produced? Empire Meeting Room demonstrations of techniques in the Ideal in Fifteenth-Century Northern virtual worlds to effectively interact What are the aims and potential pitfalls VCU Fine Arts Building. See Saturday Prints. with students? Why and how can CHAIR: Todd Cronan, Emory listings. of such socially-engaged undertakings information literacy and the related University Peter Scott Brown, University of North today? Also under consideration is computer, media, technology, and Reni Gower, Virginia Commonwealth Florida. Fallen Women in the Egerton the relationship between utopian visual literacies be integrated into In his famous account of the “Death University. A Material (Art) World. Genesis: Hagar, Tamar, Dinah, and the ideologies central to modernism and the curriculum? How can art history of the Author” (1967) Roland Barthes Daughters of Lot. the critical negotiation of that legacy by Kristy Deetz, University of Wisconsin- education inspire the curiouser? sealed the fate of authorial intention as contemporary practitioners from across Green Bay. Painting Text(ures): the locus of artistic meaning. Literary Andrea Begel, Adelphi University. the globe. Barnaby Nygren, Loyola University critics, Barthes’s argued, were driven Substrate and Surface. The Female Demoniac in Thirteenth Maryland. Do as I Say (and as I Do): by the mistaken desire to “assign a Century Franciscan Art. Larry Busbea, The University of Susanne K. Arnold, Independent Encouraging Students to Think Like Art ‘secret,’ ultimate meaning” to a text. Arizona. Luca Frei’s So-Called Utopias. Artist. Earth Bones: Explorations in Historians. But because “We can never know” Stone, Wood, Metal and Wax. Juliet Bellow, American University. for certain what an author meant, it Collaborative Art: Teams, Margaret Ann Zaho, University of Say Yes. followed for Barthes that the only Communities, Networks Central Florida. A Call to Refrain from Jim Walsh, Independent Artist. ’In meaning we could know was how Commonwealth Meeting Room Gilding the Art History Lily. Extremis’ Paint at Present. Julia Walker, Savannah College of Art something was understood by its and Design. “Doing the most with Martha MacLeish, Indiana University, CHAIRS: Nathaniel Hein, Delta State Sylvia Rhor, Carlow University. Whose readers and viewers. To tie a work to the least means”: Norman Foster’s Bloomington. Paint Plus Plastic. University and Jennifer Gonzales, Art is it Anyway? Integrating Museum a single author was, Barthes argued, Sustainable Utopias. Memphis College of Art Ethics into the Art History Survey. to “impose a limit on that text.” When Julie Jack, Tennessee Wesleyan the text was rid of its author, meaning Sim Hinman Wan, University of College. Collage + Epoxy + Enamel = Advances in technology and social Deborah S. Jamieson, Armstrong became unlimited. So what began as Washington. Mediating a Critical Saints and Kitsch. networking tools have evolved the Atlantic State University. The Art Legacy and New Paradigm in Mass, skepticism of authorial meaning ends diverse practice of contemporary art of Forgery: An Interdisciplinary van Rijs, and de Vries’s Vision of in the liberation of meanings. Barthes collaboration. As a result, collaboration Approach to Integrating Art History and Supermodernity. reasoned that the unity of the text was is becoming a more common practice in Chemistry. not at its origin–the author–“but in its art. With this idea in mind, this session destination”–the audience. seeks to investigate the successes of collaboration, potential barriers, and the

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Synergy: The Collaboration denigrated as regressed, facile, amoral at Austin. Ariadne’s Threads: imagery. Information is translated the traditional slide lecture can be an Between Art and Science and demented, the production of Spurensicherung through Clothing in and chosen. This filtered and edited effective pedagogical method in the Harrison Meeting Room forms corresponding to basic cognitive the Work of Christian Boltanski. subject matter is finally handmade, right environment—alternative ways structures, or decoration, and so on. conceptual, virtual, or fabricated. How of teaching have often proven more CHAIRS: Erika Osborne, West Virginia This session discusses topics related does time, speed, and material engage successful. Using works of popular University and Keith D. Waddington, to the wide-ranging practices and SECAC/MACAA our senses to define the subject? culture—such as films, books, graphic University of Miami discourses associated with abstraction LUNCHEON & SECAC Today, how is representation different novels, music, and video games—that A dynamic trend in art and art pedagogy in the visual arts, in the Western AWARDS PRESENTATION in a virtual reality than a visceral one? comment on or re-envision artworks tradition and beyond. This session will explore strategies and from the past, can engage students is the employment of collaboration – 12:00–1:45PM notably that between art and science. goals that artists are taking to define and serve as an easier entry to art Lisa Frye Ashe, University of Virginia. Jefferson Hotel As a practice, collaborations between representation in all media. history. Al Held and the Spaces of American Advance registration required the two groups have been gaining Painting at the End of the 1950s. Charles Kanwischer, Bowling Green This session seeks to address the momentum and the payoffs have been State University. The Poetics of Real use of popular culture in the art impressive, resulting in cutting-edge Jane Vahlkamp Andrus, University of Estate. history classroom, focusing on the original art and instructional practice. Kentucky. Abstracted and Abhorrent: SESSION 3 1:45-3:15 PM fundamental question: How do we The results have been novel and the The Exquisite Ugliness of Émile Gallé’s Carrie Hott, Independent Artist and most effectively engage and teach Royal NoneSuch Gallery. Slowing joint process stimulating because Late Work. our students today? The film “Marie the two groups often bring distinct Time: Converting the Familiar to the Norman Magden, University of Antoinette” can introduce students insights and skill sets to the dialogue: Unpacking Howard Singerman’s Symbolic. Tennessee. Abstract Art in Time. to the lavish aspects of the Rococo, different backgrounds and expertise, Art Subjects Sarah Sutton, Rochester Institute in a visually evocative fashion. Dan different goals, different methodologies Empire Meeting Room Mary Caroline Simpson, Eastern of Technology. More or Less; An Brown’s “The DaVinci Code” initiates and materials of practice. It is this Illinois University. A ‘phantom that CHAIR: Beauvais Lyons, University of Exploration of Abstraction in the a discussion of Leonardo da Vinci’s disparateness that provides the must be caught and made real’: Tennessee, Knoxville Information Age. “Last Supper” and Renaissance synergistic creative energy that informs William Baziotes’ “Cyclops” and art. Examination of the Luxor Hotel the product. its Reception at The Art Institute of Since its publication in 1999, Christopher L. Williams, Savannah & Casino in Las Vegas allows for Chicago’s “American Abstract and Howard Singerman’s book Art College of Art and Design. Fixed In order to represent the best of this a comparison to ancient Egyptian Surrealist Artists” (1947). Subjects: Making Artists in the Slippery. working process, this panel consists architecture, and how faithfully it American University (University of of artists, art educators and scientists may (or may not) be employed in a Fuchiawen Lien, Alfred University. California Press) has offered the who conduct their research and design contemporary building. Strategies Gender Issues in the Early Minimalist first comprehensive examination courses with collaboration in mind. The Good Ol’ Days: Understanding and case studies from all styles, Stage of 1970s Feminist Artists. of the history and theory of the After the presentations, we will hold the Multiplicity of Artistic Re- periods and media will be shared for an education of contemporary artists in a structured, follow-up discussion for Embracements of the Visual Past exchange of ideas. the United States. This session will Dominion Meeting Room panelists and other interested parties The Visual Arts in France after 1964? provide an opportunity to unpack the Heather F. Sharpe, West Chester outside of the scheduled session McKinley Meeting Room issues raised by Singerman’s book. CHAIR: Evan Gatti, Elon University University of Pennsylvania. Ancient time. We hope this panel will be the History Through Hollywood Eyes. seed for a new, long-term, interactive CHAIRS: Catherine Dossin, Purdue Singerman’s book is significant for As human beings we tend to fall victim study group rooted in art-science University and Stéphanie Jeanjean, several reasons. Prior to his book the to our own historical trends because, Abram Fox, University of Maryland. collaborative practices. The Graduate Center, CUNY role of the university was not considered to put it simply, we like to recreate past Teaching Comic Books as Aesthetic a factor in the education of artists in ways of life in a slightly augmented Objects: A Case Study. Jorie Emory, Independent Scholar. While France greatly contributed to the later half of the 20th century. Art guise, one that clearly represents our Exploring Arts/Ecology Collaborations the development of Modern art, she Alyson A. Gill, Arkansas State Subjects offers an account of this own contemporaneous liminality. With within Artist Residencies: A seems to have hardly left her mark on University. Envisioning the Past in history, raising questions regarding the this in mind, our ever-expanding visual Case Study of the Crowley Creek Contemporary art. With the exception Second Life. influence of European modernism on past is constantly commodified; many Collaboration. of Jean Dubuffet’s hautes pâtes, Yves American secondary art education, artistic traditions, whether they are Klein’s Anthropometries, Nouveaux Emily Newman, St. Cloud State the rise of art programs concurrent that of painting, architecture, cinema, Jamie Kruse, Independent Scholar/ Réalistes’ assemblages, International University. Stephen Colbert, with the GI Bill, how and whether fashion, cultural tradition, etc., re- Artist and Elizabeth Ellsworth, The Situationist’s détournements, and The Simpsons, and the Many art can be taught, the formation and emerge in one form or another. Such New School and Smudge Studio. Daniel Buren’s institutional critique, Reconfigurations of American Gothic: perpetuation of discipline-based reflections and re-embracements of Collaborative Chronographers of the visual arts created in France in the Using Popular Culture to Inspire hierarchies, the gender coding of art as the visual past serve a multitude of Ancient Lake Bonneville: Artists and second half of the 20th century have Discussion in Introductory Art History a feminine discipline, the relationship reasons: they can be for purposes Scientists Below the Line. received little attention. It is usually Classes. between theory and practice in studio as diverse as acting as a means of believed that Paris lost its avant-garde Gretchen Scharnagl, Florida arts education, and the MFA as a resurrecting traditions once stamped edge during the Second World War International University. Clay professional degree. out by colonialism or simply operating and that, after Robert Rauschenberg’s Architecture as Art: Duck or Pigeons, Wallflowers, and Interrupted as a visual reminder of a perceived Decorated Shed? victory at the Venice Biennale of 1964, Chad Airhart, Carson-Newman fonder time. Resurrecting the visual Migrations, A Studio Artist’s Research. Coolidge Meeting Room hardly anything worth remembering College. Making Artists into Critics past can be intentionally disjunctive Jennifer Stoneking-Stewart, Belmont happened in the French visual arts. But and Philosophers: An Examination of to society and its re-emergence can CHAIR: Alexis Gregory, Savannah University. Sci-Art: Imagination and is this true? Singerman’s Account of Teaching Art question established norms and College of Art and Design Failure Analysis. as Theory, Method, and Dialogue. Taking on France’s alleged artistic reflect on the ever-shifting notions of obsolete and modernity. The purpose Webster’s Dictionary defines Catherine Harris, University of New exhaustion, this panel seeks to examine Harrigan McMahon Bowman, of this session is to examine specific- architecture as “the art or science Mexico. Art and Ecology: Bats, Rats, the country’s eventual contribution to Columbia University. Identity as moments of artistic re-embracements of building; specifically : the art or and the Arts. contemporary art. This panel considers Pedagogy: Artist as Subject, Artist as of the visual past and how such practice of designing and building multiple aspects of the visual arts in Professor. notional temporalities play into the structures and especially habitable France since the 1960s (artist, group, ones.” Architects constantly debate Seth McCormick, Western Carolina ever-distant visual future. Perspectives on Abstraction medium, concept and events). whether architecture is art or science University. Pedestrian Colors: Neo- Roosevelt Meeting Room Kirstin Ringelberg, Elon University. or a combination of both. They are Lily Woodruff, Northwestern Dada and the Education of the Eye. CHAIR: Joyce Bernstein Howell, University. École des Hautes Études A Floating World, Indeed: Ukiyo-e in limited by the wants and needs of Virginia Wesleyan College en Sciences Sociales. Constructing RESPONDENT: Howard Singerman, Contemporary Culture. the client but are able to express their University of Virginia. ideas through their interpretation and Instability: From Perceptual to Leila Prasertwaitaya, Virginia Within Western modernism, execution of those clients’ needs. Institutional Critique in the “GRAV’s Commonwealth University. Tampering abstraction has been a fundamental Artists face no such limitations. Journée dans les rues.” with Female Identity: The Revival of artistic practice, focus of theoretical Beginning and End of According to Le Corbusier in Towards Pakistani Miniature Painting in the speculation, and topic of critical inquiry. Rosemary O’Neill, Parsons The New Representation a New Architecture, “ARCHITECTURE Twentieth and Twenty-First Centuries. Meanings and purposes of abstract art School for Design. The Installations of Flemish Meeting Room is a thing of art, a phenomenon of the have been articulated in the context Support(s)-Surface(s): Focal Dispersion emotions, lying outside questions of of narratives, ideologies, and critical in a Collaborative Field. CHAIR: Chair Matthew Kolodziej, construction and beyond them. interpretations that are varied and University of Akron Understanding Art History Jeffrey P. Thompson, Sewanee, often contradictory. Abstraction can Through Popular Culture The purpose of construction is TO The University of the South. In the What does representation mean to be the dissolution of material reality, Commonwealth Meeting Room MAKE THINGS HOLD TOGETHER; of Eye of the Storm: Daniel Buren’s artists in the information age? This or conversely a new iconography architecture TO MOVE US.” Robert Current Work and the Critical Limits of session will consider the moments CHAIR: Alison C. Fleming, Winston- of meta-optical physical energies, Institutional Critique. when HOW a subject is defined Salem State University a universal, borderless language becomes more important than WHAT of form, or an elitist Eurocentric Many scholars remember Alexandra M. Cardon, The Graduate is defined. Now at the beginning of the code, a manifestation of emotional conventional art history courses, Center, CUNY. Malaval’s Multiple 21st century, how are artists redefining withdrawal, or the expression of taught in dark lecture halls, with a Personalities: How to Be a French the manner and means of description? primal feeling and action, a style ceaseless succession of images. Artist in the 60s. From sketchbooks to googling, artists exalted as the most challenging and This classroom still exists—and while use a variety of methods to collect sophisticated of artistic practices, or Till Richter, University of Texas

11 FRIDAY, OCTOBER 22 – continued

SESSION 3 (continued) Making Paper Perform SESSION 4 presentations of artistic research and impulse such as Walker Evans’s 1:45-3:15 PM Roosevelt Meeting Room 3:30–5:30 PM creative activities. voyeuristic subway series, begun in the late 1930s but not published CHAIR: Eve Faulkes, West Virginia Doug Barrett, University of Alabama at until the 1960s, Diane Arbus’s University Birmingham. Reading Fort White: The “outsiders,” William Christenberry’s Venturi, Denise Scott Brown and Finding a Place in Contemporary Art Visual Narrative of the Roadside Space. retracing of Walker Evans’s work in Steven Izenour broach this subject in Paper has amazing diversity in Empire Meeting Room Alabama, Leandro Katz’s retracing of their book Learning From Las Vegas form through processes of casting, Cynthia Brinich-Langlois, Georgia Frederick Catherwood’s illustrations when they discuss the duck versus the cutting, folding, curling, draping, CHAIRS: Howard Risatti, Virginia College & State University. Sanguine of the Maya, Michael Lesy, and, a decorated shed. One is high art and a rolling, tearing, burning, shredding Commonwealth University and Estates: Printing a Brighter Future on bit farther afield, the artists of the symbol that can move us, one is not. and more. This session presents Margaret Richardson, Marshall Mars. Magnum collective, Bernd and Hilla Symbolism is not required to create new work in paper in which the form University Efram Burk, Curry College. Poetry of Becher, and Sebastião Salgado. architecture but is required to create art. and manipulation of the paper is an Since the late 1980s, contemporary Disintegration: The Photos of Efram Each of these modern masters has So with this acceptable omission can important conveyor of the content of art has developed an international and Burk. the work, be it sculpture, drawing, redirected the documentary impulse we as architects really call our work art? multicultural character. Biennials from artists books, fashion design, into new visions of social commentary. This session expands the discussion on Sao Paolo to Dakar to Shanghai have Nick Davis, University of West conventional books, graphic design or Documentary photography’s writ, whether architecture is indeed art. evolved to showcase this increasingly Alabama. Personal Narratives. installation work. Artists and designers whether acknowledged or not, has diverse “art world.” Many artists work James Rodger Alexander, University compare their use of the paper Belinda Haikes, University of North always been to practice photography to connect on an international level, but of Alabama at Birmingham. Art as medium for message delivery. Carolina at Greensboro. The 20 Friends as politics. This session asks, where who, in fact, is their audience? Architecture and Architecture as Art: I Wish I Had. are photography’s documentary artists Eve Faulkes, West Virginia University. A Cross Pollination of Attitudes and In the face of the internationalism leading us now? Making Paper Perform: an Overview. Sky Shineman, University Of Alabama. Intentions. of much of this contemporary art, Experiencing the Sublime. Mark Miller Graham, Auburn Robert Craig, Georgia Institute of Susan Knight, Joslyn Art Museum. something that parallels the border- University. Where Is Documentary Technology. The Changing Definition Water Ecology in Paper. less-ness of international corporations Jessica L. Smith, The University of Photography After Robert Frank? of the Art of Architecture. and systems of monetary finance, West Alabama. Recent Ceramic Work. Charles Clary, Middle Tennessee State several questions take on added Suzanne Schuweiler, Converse Erin Dusza, Georgia State University. University. Paper: Cutting, Carving, and urgency. For instance, is there any value Marius Valdes, The University of South College. Racial Politics in Documentary Seeking the New: The Architecture of Excavation. left in embracing a sense of place? Carolina. The Unwantables: A Creative Photography: Carrie Mae Weems’s Frank Furness as Art. Or, must contemporary art exude a Project Exploring the Use of Graphic Critique of the Hampton Album Eric Standley, Virginia Tech. Rock, sense of place-less-ness? How do we Design, Illustration, and Fine Art in Laser, Paper. Timothy W. Hiles, University of connect to (or disconnect from) our Designer Toys. Tennessee. The Determination to What Should the Art Criticism Kell Black, Austin Peay State roots, both physical and psychological, Desist: The Existentialist Foundation of Course be About in the 21st Century? University. Paper Engineering. and what are the consequences of the Beat Aesthetic. Harrison Meeting Room doing so? Whether a local artist trying New and Innovative Projects in Dylan Collins, West Virginia University. Graphic Design to relate to his or her community or an Andrew Puhl, Virginia Tech. The CHAIR: Rosemary C. Erpf, Savannah Off the Page: Paper Art from Advanced Dominion Meeting Room international artist trying to navigate Changing of the Guard: From the College of Art & Design Drawing Students at West Virginia the “art world,” what value remains CHAIR: Gary A. Keown, Southeastern Bechers to the Becher School. University. in connecting to a physical or cultural The art criticism class is often a Louisiana University Janna Schoenberger, The Graduate hybrid of art history, art theory, art environment? Inversely, what are the Center, CUNY. Deadpan at Work: methodology with a smattering of ramifications of being alienated from a This session will focus on Beyond Ka-Blam! Teaching Comics Rineke Dijkstra’s Documentary Series actual art reviews. The question of sense of place or community? contemporary and stimulating projects in College in graphic design within the classroom of a Bosnian Refugee. what should the art criticism class This session explores the value of McKinley Meeting Room or in the field itself. Presenters will include remains unanswered. The place in modern and contemporary describe new and innovative projects nature of art criticism itself has also CHAIR: John Lowe, Savannah College art, especially the way social, political, currently being implemented in the Contemporary Folk, Self-Taught, changed since the theory-driven era of of Art and Design cultural and physical environments classroom. Additionally, projects and Outsider Art art writing has waned. The rise of web- influence the creation of meaningful Ever since Art Spiegelman won being created and produced in the Coolidge Meeting Room sites and blogs devoted to art criticism artistic expression. the Pulitzer Prize for Maus in 1992, professional field will be discussed. has also re-contextualized the genre CHAIRS: Carol Crown, University of of criticism. The art criticism class is perceptions regarding what comics Preston Thayer, New Mexico State Dana Ezzell Gay, Meredith College. Memphis and Lee Kogan, American often a required course for both art are, and can be, changed significantly. University. Place Markers: Genius Loci Interactive Narrative: The Creative Folk Art Museum history majors and fine art majors, but Since then several other comics’ in Contemporary Art. Interplay between Type and Image. should the student population dictate artists have been the recipients of This session deals with the topic of Jennie Fleming, Virginia the course goals? noteworthy literary and artistic awards. Lisa Anderson, University of South contemporary art made by self-taught Commonwealth University. Cao Fei: Comics are now regularly reviewed in Carolina Upstate. Off the Shelf! artists (sometimes called outsider, This session will strive to establish From Tourist to Urban Developer in the New York Times and the unique Making Products Sell with Package visionary or contemporary folk artists), a model for the art criticism class Second Life. narrative possibilities of graphic Design. with a special emphasis on artists today in both the graduate and novels are garnering the attention active in Virginia. Papers will situate an Beth Hinderliter, Buffalo State College. undergraduate levels. Papers examine of critics and academics. This panel Kurt Dyrhaug, Lamar University. artist’s work within his or her cultural Dissidence and Defection: Komar and the content, goals and underlying will examine the distinctive set of Animated and Interactive. framework. Melamid’s Transstate. pedagogy of the 21st century criticism. skills required to produce comics, Mary Anna LaFratta, Western Carolina Ann-Marie Knoblauch, Virginia A dialogue regarding the need for the how those skills are taught in college Dan Jakubowski, University of Florida. University. Communication in the In- Tech. Assessing Cypriot Limestone art criticism class for the art student of programs, and the ways in which Lara’s Tower: Hope and Spatial Politics Between and Overlapping Spaces. Sculpture: Art or Craft? today will be addressed. comics are being critically analyzed. in Contemporary Cairo. Scott Fisk, Samford University. Rosemary C. Erpf, Savannah Sara Dismukes, Troy University. Lee Kogan, American Folk Art Projects With Purpose. College of Art & Design. More than Graphic Novels and the Non-Art Major: Museum. Georgia Blizzard (Michael): Pecha Kucha Methodology: Rethinking Art Criticism an Interdisciplinary Approach to Visual Uncommon Artist. Flemish Meeting Room Curriculum. Culture. History of Photography: CHAIR: Jason Guynes, University of Paul Ryan, Mary Baldwin College and Joseph Lupo, West Virginia University. Documentary after Robert Frank South Alabama Virginia Commonwealth University. Comics Are Prints Too… Commonwealth Meeting Room Teaching Criticism in the Studio Context. Pecha Kucha was created in Tokyo in James Ewald, Texas A&M University- CHAIR: Mark Miller Graham, Auburn 2003 as a way for artists, designers, Allison Moore, Savannah College of Art Commerce. Patterning in Miyazaki’s University architects and creative people in and Design. An MFA in Art Criticism. “Nausicaä”: Opportunities in general to share their work and When Robert Frank’s The Americans Presenting Ideology and Sensory passions with others. After seven appeared in the U.S. in 1959, it Experience. years, pecha kucha has grown into a marked an emphatic end to the New Benjamin Harvey, Mississippi State worldwide phenomenon with pecha Deal documentary tradition, and the University. The Pedagogical Circle: kucha nights occurring regularly in over beginning of a rhetorical, nuanced, and Some Educational Themes in Recent 230 cites globally. opaque documentary approach that Graphic Novels. encoded the anomie that enveloped This session will use the now familiar American society and culture during pecha kucha format of 20 × 20: 20 the Cold War, when America’s new slides for 20 seconds each. The prosperity of the 1950s was purchased slides will progress automatically with a hyper-Marxian commodity and the presenter is strictly limited fetishism forecasting the class to the allotted time. While pecha conflicts of the 1960s. This session kucha is typically more egalitarian, in discusses the manifold expressions keeping with the aims of the SECAC of the post-World War II documentary conference, this session is limited to

12 Environmental Shifts: Nature Floyd Martin, University of Arkansas FEATURED ARTWORK BY ANDREA DONNELLY as Unnatural Phenomena: at Little Rock. Understanding How Art Creative Manifestations and Historians Write: Survey-Level Writing Transformations in Contemporary Assignments with Long-Term Goals. Art Between 2008 and 2010 Valerie Livingston, Susquehanna Harrison Meeting Room University. Teaching the Art History CHAIR: Moira Marti Geoffrion, Survey Paper: Ten Weeks to a Happy University of Arizona Day.

This panel will showcase artists whose creative work has addressed related Drawing: Beyond Formal environmental issues with respect to Approaches the impact of the human presence in McKinley Meeting Room nature. Artists often accomplish this through visual narratives that speak to CHAIR:Chris Kienke, Savannah our impact on the environment and the College of Art and Design impact of that environment on us. The As drawing’s role has expanded panel chair will discuss recent works beyond preparatory studies to become by Eliasson, Parker, Moore, Lipski, a finished medium and in some Landau, Thorarinsdottir, and emerging instances a degree or major in its artists from the Southwest: Hodges, own right, how has it evolved beyond Scally and Miller. Other aspects of this observation, abstraction and traditional topic will broaden this discussion. drawing materials? Aaron Miller, Independent Artist. In This session will explore approaches Support of Luxury. that challenge the typical definition of Armin Muhsam, North West Missouri drawing. What is drawing’s trajectory State University. Clear New Worlds. and role in the present art world? Has it evolved beyond paper? What are the Gwyneth Scally, Pima College. current definitions of what drawing Museum of Dying Giants and the Arctic is in contemporary practice and in in Arizona. today’s studio classroom?

This session will showcase both artists Righting the Writing Component of and educators, mining how they infuse the Art History Survey content and ideation into drawing. Roosevelt Meeting Room Scott Betz, Winston-Salem State CHAIR: Cynthia Kristan-Graham, University. Interactive Game-Based Auburn University Drawing Installation at the Green Hill Center for North Carolina Art. The art history survey course is more than an introduction to the visual arts: Joshua Bienko, Texas A&M University it also is an introduction to critical The Girls of Delta Zeta. thought, close reading, and careful Amanda Burnham, Towson University. writing. Without a doubt, one of the Site as Support: Drawing Beyond the greatest joys of teaching art history is Page. to receive a thoughtful and well-written paper. How do we reach that goal, in Erika Osborne, West Virginia addition to the other challenges we University. Drawn to an VCUarts is ranked the #1 public university arts & design graduate encounter in teaching the art history Interdisciplinary Practice. survey? Since art history is a discipline program in the country by US News & World Report. www.vcu.edu/arts that is concerned more with critical Crystal Wagner, Auburn University reflection than with objective data, Montgomery. Drawing Through Space. how can we best help our students overcome obstacles and succeed in art history writing when challenges VIRGINIA MUSEUM OF abound? Some of these challenges FINE ARTS RECEPTION for writing and research assignments 6:00–8:30PM include the increasing lack of college Virginia Museum of Fine Arts, 200 preparation for students; the disparity N Boulevard, Marble Hall. Advance of the writing ability of students; the reservation required. temptation to plagiarize; varying college resources to assist with writing; and a Courtesy shuttle from the Jefferson student preference to use the Internet Hotel to the museum at 5:30. to conduct research. Instead of a “gripe session,” this session will address INLIGHT RICHMOND pedagogy and practical and creative OPENING solutions to the challenges and rewards of writing in the art history survey. 8:00-10:00PM Shockoe Slip. No advance reservation Kevin Concannon, University of Akron. required. Nothing if Not Critical: Writing Rubrics Courtesy shuttle will begin at 8pm for the Art History Survey. from the VMFA to Shockoe Slip. After Rebecca Lee Reynolds, University 8:30 the shuttle will run between the of West Georgia. Who’s Afraid of Jefferson Hotel and Shockoe Slip. No Wikipedia? Using Wiki Sites in the Art advance reservation required. History Survey.

Cynthia Kristan-Graham, Auburn University. The Write at the End of the Tunnel: Moving Toward Meaningful Art History Writing.

13 SATURDAY, OCTOBER 23

7:00-8:00am: SECAC Members Meeting Paint Plus SESSION 1 Flemish Meeting Room Organized by Reni Gower. VCU Fine Arts Building 3rd Floor, rooms 330 and 332. 8:00–9:30 AM Conference attendees are invited to participate in a free, 3-hour interactive 7:00-8:00am: MACAA Members Meeting demonstration/workshop on Saturday afternoon. Participants are encouraged to Upper Brandon Meeting Room bring additional found objects, collage, carving tools of their choice, work gloves, Evaluating Contemporary Exhibition and aprons. Paint and equipment provided by: VCU Department of Painting and Records for Promotion and Tenure 8:00–9:30am: Panels, Session 1 Printmaking, R & F Handmade Paints, Golden, Inc., Ampersand, Fralin Associates Empire Meeting Room Fine Art Services, and workshop presenters. Participants include: 9:30am–11:00am: Architectural Walking Tour of Richmond CHAIRS: Michael Aurbach, Vanderbilt Susanne K. Arnold, Independent Artist. Taking Encaustic to the Third Dimension. University and John Douglas Powers, Begin at the Jefferson Hotel. Meet outside under the awning at main entrance on University of Alabama at Birmingham 2nd floor. Max 25, min 10. Free, but advance registration required. Kristy Deetz, University of Wisconsin-Green Bay. Encaustic Surface and Substrate. Changing attitudes and approaches “Intellectual Curiosities,” a walking tour lead by VCU’s History of Architecture Richard Frumess, R & F Handmade Paints. Technical Advice Q&A: Encaustic / towards contemporary exhibitions Professor Charles Brownell, will treat participants to a dozen memorable sights: Everything and more. have generated new challenges for choice, curious, or queer – from Richmond’s 19th- and early 20th-century those asked to review promotion and architectural history. Running themes will include the philanthropist Lewis Ginter, Reni Gower, Virginia Commonwealth University. From the Kitchen of a Material Girl. tenure dossiers. As the infrastructure whose patronage created the Jefferson Hotel; the fine points of architectural style; Jim Walsh, Independent Artist. Liquid Plastic: Pushing the Limits. supporting the arts evolves, it may be and sites related to the collection of the Virginia Museum of Fine Arts.The brisk pace necessary to reconsider our previous will be only for the hale and hearty. Led by Charles Brownell, Professor of Art History, Martha MacLeish, Indiana University, Bloomington. Paint Plus Plastic. standards for evaluation. VCU, and Gay Acompañado, Archival Assistant, James Branch Cabell Library, VCU. Julie Jack, Tennessee Wesleyan College. Shine On. Our newest colleagues are adept at 9:45–11:45am: Panels, Session 2 creating exhibitions with friends and Jane Nodine, University of South Carolina Upstate. Panel Construction for associates. They regularly curate Encaustic and Mixed Media Work. 12:00–1:30pm: Panels, Session 3 shows within their peer groups and Detailed information about each presentation may be found at curiouser.vcu.edu exhibit in many unconventional venues 12:30pm–3:30pm: Technical Demonstrations (including the internet). It should also VCU Fine Arts Building, 1000 W. Broad Street. Intaglio Inverse Reverse: or Returning to the Orientation of Drawing through be noted that they work collaboratively Aquatint Reversal? to a greater degree than previous A free shuttle will run from 12–5pm, making stops at the VCU Fine Arts Building, Catherine Brooks. VCU Fine Arts Building, Intaglio Studio. 3rd floor, Room 340. generations. While great effort is the Museum of the Confederacy, and the Jefferson Hotel. Shuttles should arrive devoted to exhibiting and working in every 15 minutes but times are not guaranteed. If you plan to attend an event The esoteric nature of intaglio is curiously magnified with this compelling ways, there are also dangers. listed below, please plan accordingly. No advance reservation required. For more demonstration led by Crown Point Press Master Printer Catherine Brooks. Brooks information on technical demonstrations, visit curiouser.vcu.edu will prepare a soft ground plate, demonstrate the reversal process of offsetting ink How can senior colleagues and from one plate on to another, then dust the ink with rosin to create an acid resist external reviewers assess the A Digital Demonstration of Three Dimensions! 3D Printing, Scanning and for the creation of a second plate. Following on, the second plate will print in the importance of exhibitions without Software same orientation as the lift drawing. recognized curators or a peer review Eric R. McMaster. VCU Fine Arts Building Sculpture + Extended Media Computer process? How does one evaluate Lab, 1st Floor, room 101. 1:00–3:00pm: Museum of the Confederacy and the White House of the the growing use of “self-publishing” Confederacy (catalogues)? How do we evaluate Come see three-dimensional printing, scanning, and associated software in 1201 E. Clay Street. Advance registration required. Self guided tour of the collaborative work? What do the use. Participants will be introduced to VCU’s rapid prototype machine, which museum and guided tour of the White House. terms “national” and “international” fuses extruded plastic in layers to eventually “print” three dimensional shapes. recognition mean when there is greater Also included – the laser scanner which accurately digitizes objects in order to The Museum’s galleries contain the most comprehensive collection of artifacts, interaction via the internet between create physical reproductions using rapid prototype or CNC milling machines. manuscripts, and photographs from the Confederate States of America. Among people on different continents? Demonstrations are led by R. Eric McMaster, who teaches these techniques for other things, you will see Stonewall Jackson’s forage cap and Robert E. Lee’s With the shrinking infrastructure of VCU’s Sculpture + Extended Media Department. field tent. The centerpiece of the museum complex is the White House of the publications, grants, and exhibition Confederacy, the mansion where Confederate President Jefferson Davis and his venues, what new evaluation metrics CNC / XYZ family lived from 1861-1865. Visitors can tour 11 restored rooms in this early 19th- must be developed? Miriam Ellen Ewers. VCU Fine Arts Building, 1st floor, room 112. century mansion. James Rodger Alexander, University The CNC router (Computer Numerical Controlled) is a computer-controlled 1:45–3:15pm: Panels, Session 4 of Alabama at Birmingham. Judging machine for cutting wood, plastic, or metal. A CNC Router is like a large plotter the Judgment of the Judges: that moves a pen across a surface to execute a drawing (in X and Y axes), but 2:00–3:00pm: Eclectic Electric (Collection of Early Electrical Appliances) Contemporary Criteria for Promotion instead, moves a cutting bit through material along the X and Y axes. Unlike a 823 W Broad Street. Advance registration required. and Tenure. plotter, the CNC Router can also move up and down (Z axis) allowing it to make 3D movements and therefore create a topographical tool path. The cutter uses what Eclectic Electric is a 10–15 minute walk from the Jefferson Hotel and across the Dennis Y Ichiyama, Purdue University. looks like a drill bit but unlike a drill bit, the router bit cuts from the sides as well as street from the VCU Fine Arts Building. The entrance is at the back of the building: Promoting and Tenuring Design Faculty. the tip. By precisely moving the cutter through material, a CNC tool can accurately directly adjacent to the VCU dorms. and reliably create virtually any pattern or shape in various materials including Leticia Bajuyo, Hanover College. How wood, plastic, foam, aluminum and many composites. VCU Sculpture alumni Eclectic Electric is the private collection of the Osdene family. The collection Does One Explain Why Artificial Grass Miriam Ellen Ewers will conduct a sculptural demonstration of VCU’s CNC Router. of more than 6,000 objects is beautifully displayed on two floors of galleries. is Art to a Committee With No Artists? Ranging in date from the 1880’s to the 1950’s the collection houses toasters, Clay Demo: à la a giant collaboration heater, fans, hair dryers, and even vacuums! This is a must for anyone interested VCU Fine Arts Building, 2nd floor, room 230. in material culture. Igniting Ecstasy: The Unchartered Quest to Resurrect the Sublime in “à la a giant collaboration” is a demonstration on the technical challenges when 3:30–5:00pm: Featured Panel: Quest and Spectacle: Carnival Elements in Contemporary Art building on a large scale with clay. The VCUarts Craft/Material Studies clay American Art Flemish Meeting Room graduate students, faculty, and Fountainhead Artist Fellow will collaborate to Grace Street Theater, 930–934 W Grace St. No advance reservation required. create large scale sculptural vessels CHAIR: Sarah Lippert, Louisiana State Grace Street Theater is a 10–15 minute walk from the Jefferson or a 3-minute walk University Shreveport from the VCU Fine Arts Building. Optical Allusions In 1757, Sir Edmund Burke penned VCU Fine Arts Building, 2nd floor, room 222. Hosted by Gregory Volk what would become a famous treatise The graduate Glass Students will demonstrate the material’s transformational It is obvious that noted Transcendentalist poet/philosopher Ralph Waldo Emerson called A Philosophical Enquiry into the qualities… by utilizing glass’s ability to both bend light (and vision), and therefore substantially influenced important writers and painters in his era, but it may also Origin of Our Ideas of the Sublime and skew perception… and it’s innate tensile strength… in the form of rod… and canne. be the case that his influence extends across a broad range of American art Beautiful, in the tradition of Longinus coming much later. However, Emerson’s seemingly antithetical contemporary and others. By the nineteenth Is it Magic? No it’s Lasers (and fellow Unitarian) P.T. Barnum may also be seen as a surprisingly influential century, the sublime had become a Jill Zevenbergen. VCU Fine Arts Building, Center For Digital Print Media. 3rd floor, figure through the years when it comes to American art. Gregory Volk, an art preoccupation of artists and writers room 342. critic, curator, and associate professor in Virginia Commonwealth University’s alike, through both the European School of the Arts, will explore this surprising confluence of Emersonian and mode of the Romantic sublime and Lasers conjure images of Sci-Fi Movies, for others a futuristic military weapon or Barnumesque influences, sublimity and showmanship. Works by two leading American transcendentalism. The robots. Laser cutting, like the birth of computers before them, represents a tool practitioners of a contemporary carnivalesque art, Sanford Biggers and Karyn sublime enjoyed revitalization in the that significantly shifts the possibilities of art making. This technology serves as Olivier, will be discussed. Together with Sabine Russ, Gregory Volk curated the twentieth century, as in the works of an exciting new intermediary between the computer and the material work. It acclaimed 2009 exhibition of American art Carnival Within at UferHallen in Berlin, the New York School. Yet, despite its saves the artist time while opening a world of visual and conceptual complexities an exhibition that evoked the kind of traveling road shows, carnivals, and circuses pervasiveness in previous centuries, that were previously unfathomable. In this demonstration, we will explore the linked to Barnum in the American tradition. His fellow panelists were among the it remains unclear if the sublime has entire process of laser cutting from preparing imagery, to operating the laser 19 artists who participated in the exhibition. retained its relevance, and if it is still on cutter and finally to finished examples of work that exemplify the potential of the the radar of artists, their viewers, and machine. This demonstration will empower you to command the future today. Do 3:30–5:30pm: Panels, Session 5 scholars. Given the former objective of not miss the magic. sublime art to overwhelm the viewer,

14 SATURDAY, OCTOBER 23 – continued can contemporary artists, in the classroom still the best method in which The Renaissance of the Pilgrimage Paho Mann, University of North Texas. SESSION 2 midst of a visually dominant culture, to instruct students on how to create a Harrison Meeting Room Data as Referent: Image Mosaics, 9:45–11:45 AM obtain a similar effect? Further, have cohesive work of art? Is online learning Interactivity, Geo-Tagging and these theories remained pertinent in only an option for those courses that CHAIR: Martina A. Pfleger Hesser, Video Mash-ups in Contemporary current artistic production? Is Burke’s are either technology based or historical Mesa College Photographic Practice. Art in the Culture of Continuous distinction between beauty and the fact? Will the terms “technological Advances in technology have tried Spectacle sublime still at the forefront of artistic advancements,” “distance learning” Kjellgren Alkire, Northwestern College. to make us believe that almost all Empire Meeting Room dialogue in the contemporary era? and “art department” ever hold a Digital Janky: How Collage, Antiquarian artworks are accessible through some Photo-process and Hand-drawn Type This panel will explore contemporary synonymous quality? CHAIR: Margy Rich, Savannah College sort of reproduction, be it via glossy Inform Current Graphic Education applications of the sublime. of Art and Design Is online learning the wave of the photographs or the omnipresent internet. But wait! When I look around Melissa Geiger, East Stroudsburg future, or is it a sign of a decline in the Art and spectacle have a long and I observe a new trend to actually make University of Pennsylvania. Capturing creation of art? Should academic art From the Inside Out: Meaningful interdependent relationship. In an effort to see and experience the Sublimity: Peter Ellenshaw’s Visionary embrace distance learning or keep it at Approaches to Critical Thinking in the current environment of round- most venerated pieces and places of Nature. a distance? Studio Art Curricula the-clock access, the spectacular our desires. The aura of the original McKinley Meeting Room produces economic and cultural Chad Alligood, The Graduate Center, Anthony Fisher, Savannah College of casts a larger-than-life shadow on symbiosis. This condition influences CUNY. The Sublime Negation of Vija Art and Design. Defeating the Army of our inner landscape. Now, in the 21st CHAIRS: Karen Bondarchuk and the context, content, media, and Celmins. Technology: Barbarians at the Gates of century we find ourselves traveling Cat Crotchett, Western Michigan materials of contemporary art and calls the Studio Class. about just like members of the upper University April Steele, University of Toronto. On for further discourse regarding arts’ classes of centuries past on their first the Sublime: An Investigation into its Deborah Carlson, Lake Region State In contemporary art, meaning is often relationship to spectacle. “Grand Tour.” The desired outcome Application in Contemporary Art. College. Teaching Drawing I and II integral to the process of making the is unknown and the newness of the What is the role of the spectacular Online and through a Computer? I’ve work itself – but how does this practice undertaking awards an additional thrill. in contemporary art practice? How Never Heard of Such a Thing! translate to the teaching of art? This Destinations are less codified but rather are artists responding to its new Tough Times/Tough Choices: Case session will focus on innovative Andrea Serna, National American defined by the individual experience. reality? Does art have to compete Studies of Institutional Galleries foundation studio art approaches University, Online Campus. This session considers the journey of on a spectacular basis? Are modest, and Museums that encourage students to engage love to the ground zero of our desires. hand-made works meaningful or is a Dominion Meeting Room Administrators: Where Does the Future concepts of identity and place in their of Higher Education Lie, Tradition or theatrical media element essential in a Sharon Laor-Sirak, Austin Peay State work, prompting them toward a sense CHAIRS: Vicky A. Clark, Clarion Technology? work of art? In this environment, is the University. The Jerusalem Syndrome. of meaningful process as visual artists University and Jody B. Cutler, viewer’s role active or passive? How Mary Jo Titus, Lake Region State in a contemporary landscape. Independent Scholar Terry Spehar-Fahey, California do art institutions support or critique College. More than Just a Click. Lutheran University. Imagining Venice. This topic will be explored through this spectacularization of art? This session examines potential three foundation art approaches that The Medeology Collective: Alessandro innovation and repercussions of Vincent Wojtas, Ohio University. introduce students to art practices Imperato, Kelley McClung, and Jim decisions by public, non-profit Designing the Future: Building a A Geometric Pilgrimage Through the that cultivate critical thinking. The Gladman, Savannah College of Art and museums and galleries on a variety Paradigm for a Sustainable Design Stations of the Cross: My Lenten, first, a drawing project called “Textual Design. The Academy of the Spectacle: of programming and presentational Practice Studio, and Summer Journey though Self Portrait,” encourages students Art Education in the Age of Perpetual aspects. These encompass institutional Coolidge Meeting Room Barnet Newman. to explore text as a drawing vehicle Apocalypse. considerations of public perception with the potential for multiple layers in terms of respective missions, CHAIR: Mark DeYoung, Austin Peay State University of meaning. The second approach, Amy S. Broderick, Florida Atlantic expectations of and responsibilities Technology in Graduate Education: a series of drawing projects called University. Seeing is Being: How to primary audiences as well as Past, Practice, and Speculation As teachers and practitioners of “Where I Live—Where I’m From,” Unspectacular, Inconspicuous, Nearly commitment to outreach, and funding Roosevelt Meeting Room design, what is our responsibility to establishes the development of Invisible Art Makes Us More Human. in the current economic climate. This the development of a design based CHAIR: R. Eric McMaster, Virginia students’ identity in the world through panel will broach boundaries and the on humanism and sustainability? Erin Dziedzic, Savannah College of Commonwealth University combined technical, conceptual, and question of compromises related to Innovative technologies, globalization, research exercises that build their Art and Design. Spectacular Voice: censorship in exhibition planning. It and liberalized trade policies have With the growing number of industrial awareness of the environment in which Art Criticism’s Itinerary Beyond will considerthe viability of standard created a new, and fundamentally digital techniques being employed by they exist (campus/city/etc.) and their Postmodernism. professional protocols, legalities and different, landscape for designers. artists, approaches to art making are knowledge of the environment from Margy Rich, Savannah College of practical and aesthetic concerns Designers are increasing involved in constantly changing. New works are which they have recently come. The Art and Design. The Spectacular with regard to the development of the call to move from an economy drafted in computer programs and third approach, a design assignment Unspectacular: Recontextualizing the collections and facilities. of consumerism to an economy of printed in three dimensions. Existing called “Buy Nothing,” emboldens Space Between Art Spectacles. Kristen (K.C.) Williams, Northwest contribution. International designers objects can be three dimensionally students to critically engage global Florida State College. Who Are We embrace the need for resource scanned and find a new place in a virtual issues surrounding consumerism, management; it is understood that world. Computer controlled devices Here For? Classroom vs. Community. environmentalism and cultural identity Women and War: Themes of products and services occupy a place cut through materials with routers, by identifying and challenging aspects Victory, Violence, Peace and Jody B. Cutler, Independent Scholar. within the community and as such lasers, plasma torches, pressurized of common media themes. Reconciliation Part I The Barnes Foundation Move/Movie: need to add to that community. The water, and can even paint, draw, and Flemish Meeting Room Afterword. concept of sustainable design goes etch images. Digital photographs can Karen Bondarchuk, Western Michigan beyond the idea of creating a “green be stitched together to create mosaics University. Inside and Out: Textual Self CHAIR: Debra Murphy, University of Kurt Pitluga, Slippery Rock University product.” We must now design the and panoramas with billions of pixels. Portraits and Buying Nothing. North Florida of Pennsylvania. The Old and the New entire life cycle of that product. To Databases and websites have become Barnes: The Omnipresent Hand of Paul Cat Crotchett, Western Michigan compete in today’s global marketplace, tools of artistic expression, while This panel will explore themes of war Philippe Cret. University. Where I Live—Where I’m designers must know how to catalogues are affordably self-published and reconciliation as interpreted or From: A Semester Long Research executed by women artists or that meet consumer and client needs – through online companies. Though Project Based on Place. economic, environmental, and human – some artists are still using traditional feature women as protagonists. Blackboard or Blackbeard? in a systematic, less resource intensive approaches, others are looking towards Rocky Horton, Lipscomb University. Commonwealth Meeting Room Barbaranne E. Mocella Liakos, manner. Are design graduates ready newer technologies to accomplish their Conceptualization and Presentation: A Smithsonian American Art Museum. CHAIR: Mary Jo Titus, Lake Region for the challenge; are they prepared ideas. Foundational Primer on Meaning in Art. War and Women’s Rights: F.O.C. State College to systematically address the basic Darley’s “Michigan Bridget.” elements of sustainable design: Digital techniques are being explored by To remain competitive in today’s people, planet, and profit? current and recent graduate students INTELLECTUAL Elizabeth A. Richards, University of South ranging in artistic interests and ability. society, most academic institutions CURIOSITIES: AN Alabama. Traumatized: Materializing realize it is paramount to consider Jeane Cooper, Florida Atlantic This session examines the recent Blame in Mary Kelly’s “Mea Culpa.” upgrades for computer labs and the University. Compare and Contrast: history of drastic technological advances ARCHITECTURAL inclusion of a multi-media curriculum. Objectified versus Story of Stuff. and introduces the digital practices of WALKING TOUR OF Yumi Park, Virginia Commonwealth panel participants, attempting to define University. Fire Ignites Fire in the Indian However, in a world based on guilds and Mark DeYoung, Austin Peay State RICHMOND current and future tendencies. Society. apprenticeships, does this mean the University. Future of Creativity. 9:30–11:00AM inclusion of online learning? When you R. Eric McMaster, Virginia Susanne Slavick, Carnegie Mellon consider the schematics involved in an Cynthia Marsh, Austin Peay State Begin at the Jefferson Hotel. Meet Commonwealth University. A New University. Empathic Restitution: The art department, is it feasible to alleviate University. Graphic Design I: Ancient outside under the awning at main Code: An Examination of the Virtual R&R (…&R) Project. a hands-on environment for a computer Technology, Sustainable Design & The entrance on 2nd floor. Free, but and Physical Constructs of Space. chip replacement? Or is online learning a Human Narrative. advance registration is required. Helen Langa, American University. pejorative term in the world of art? Grieving Mothers, Warring Sons: Anti- War Politics and Gendered Psychology Is there a cultural predisposition to in 1930s Leftist American Prints. continue the traditional methods which predicate the necessity of a face-to- face environment? Is the traditional

15 SATURDAY, OCTOBER 23 – continued

SESSION 2 (continued) in other, possibly emergent forms of Interdisciplinary Design Education Printmaking: A Voyage Across History. Sarah Lippert, Louisiana State visual culture. Papers will present new for the New Creative Economy University in Shreveport. Spooky, 9:45–11:45 AM Carol Flueckiger, Texas Tech research on, or new approaches to, Roosevelt Meeting Room Spectral, Hermetic and Haunting: the ways in which Americans pictured University. Solar-Powered Paper Dolls. Reevaluating the Supernatural their history, whether in exhibitions, CHAIR: Ashley John Pigford, Ephemera in the Art of Gustave Moreau. In Memory of Carol Purtle: Topics Amelia Ishmael, School of the Art illustrated books or other printed University of Delaware on Fifteenth Century Art Institute of Chicago. Sunburns and John Hebble, Virginia Commonwealth media, such as the popular press; on Dominion Meeting Room Articles in the New York Times and Shotguns: Contemporary Photographic University. The Truth about Ghosts: commemorative items as well as in Harvard Business Review present Indexicality in Alternative Processes. How Early Photographers Developed CHAIR: Vida J. Hull, East Tennessee architecture, including, but not limited the need for “imaginative right-brain Paul Karabinis, University of North and Perpetuated Spirit Photography. State University to, memorials, currency, the decorative thinkers” in the new creative economy, Florida. When Nothing is Certain, arts, photography, early film or other and it is obvious to anyone with an ear to Jonathan Wallis, Moore College of This session is in honor and memory Everything is Possible: Alternative areas of visual culture. This panel the industry that the models of business Art & Design. Masters of Deception: of Carol Purtle, who contributed so Photography as Pedagogical Strategy. considers the construction of history, of yesterday do not apply to the Salvador Dalí’s Stereoscopic Paintings much to SECAC and the study of Early and regards the public space as a challenges of today. This session brings and Gerrit Dou’s “The Quack.” Netherlandish painting. This session Joseph Mougel, Ringling College of dynamic arena for the representation or together undergraduate educators in will consider both Northern European Art and Design. Teletypes: Tangible Beth Saunders, The Graduate Center, enactment of history. the art and design fields who embrace and Italian art of the fifteenth century Connections in a Digital Age. CUNY. Photographic Faith: Marian a holistic, interdisciplinary approach and art on devotional themes. Allison M. Stagg, University College, Apparition Photographs and the Role of to teaching the skills, knowledge and London. Satirizing a New Nation: Photography in Popular Religious Belief. Ann Roberts, Lake Forest College. American Caricatures, 1790–1810. awareness that is needed to face the SESSION 3 creative challenges of both today and The Empty Cushion in Jan van Eyck’s 12:00–1:30 PM Washington Annunciation. Jonathan Clancy, Sotheby’s Institute of tomorrow. Art. ‘Behind the Curtain’: Washington Undergraduate Open Research, Diane G. Scillia, Kent State University. and Myth-Making in the 19th century. This session focuses on how educators Session II The Debates in the Borders of the Liège are implementing and what they are Women and War: Themes of Commonwealth Meeting Room Bible (London, BL Add Ms 15254.) Marie-Stephanie Delamaire, Columbia learning from an interdisciplinary Victory, Violence, Peace and CHAIR: Elise L. Smith, Millsaps College University. Arms and Art: The Historical approach to design education. Reconciliation, Part II Beata Niedzialkowska, Independent Museum in Civil War New York. Flemish Meeting Room Lily C.H. Sehn, Loyola University Scholar. The Altarpiece of the Virgin of Critz Campbell, Mississippi State Maryland. Lilian Westcott Hale’s Home Sorrows in Krakow. John Ott, James Madison University. University. Developing a Common CHAIR: Helen Langa, American Lessons: Challenging Vermeer and The University Mission: Jane Stanford Language. University Reaching for the Globe and the Vote. Deborah E. Wagner, University of and the Uses of California’s Spanish Era. Memphis. The Figure of Blood in Two Mohamed Elnahas, Savannah College Paula Wisotzki, Loyola University Sarah Jo Adams, Millsaps College Works of Fra Angelico. Bailey Van Hook, Virginia Tech. Violet of Art and Design. Interdisciplinarity Chicago. Dorothy Dehner and World Martha Rosler: Waging War on War. Oakley: History in the Public Sphere. for Innovation: A Case Study in War II. Norman Land, University of Missouri- Architecture. Jacob Capshaw-Torres, Hunter College. Columbia. Patrons, Artists and Father Melissa Renn, Boston University Chris Burden: Deconstructing the Myth. Jerry R. Johnson, Ai Miami and Fogg Museum. Women at War: Arlotto. The Indecisive Moment: International University of Art and Life Magazine’s Women Artist- Photography in the Age of Banality Álvaro Luís Lima, Savannah College of Correspondents During World War II. Harrison Meeting Room Design. Designing Interdisciplinarity Art and Design. Between the Imagined Undergraduate Open Research, for the Sake of Education. Stephanie Batcos, Savannah and the Nonspace in Nicholas Hlobo’s Session I CHAIR: Liz Murphy Thomas, Lincoln “Umthubi.” Rukmini Ravikumar and Amy Johnson, College of Art and Design–Atlanta. Commonwealth Meeting Room Memorial University University of Central Oklahoma. Abstractions of War: Edith Wharton’s CHAIR: Jane Brown, University of In the nearly 200 years of its Multi-Sensory Teaching Techniques Vision of France as Journalist, Editor Technically Speaking Arkansas at Little Rock existence, photography has increased in Design: Solutions for Preparing and Novelist. Coolidge Meeting Room exponentially. From the days of having Students for the Global Market. This session presents papers on any Alexandra K. Collins, Independent maybe one or two formal portraits CHAIRS: John Richardson, Wayne subject in the fine arts and art history Troy Richards, University of Delaware. Scholar. False Dichotomies: Martha taken in one’s whole lifetime to the State University and Mike Bogdan, by undergraduate students. Undisciplined: Strategies for Rosler’s Bringing the War Home: modern day incessant “snapshot”, Wayne State University Interdisciplinary Critique. House Beautiful. Rachel Spencer Golden, University image making has become more and Technically Speaking will address two of Arkansas at Little Rock. The Stele more prevalent and intuitive. Cartier- interrelated topics: how art infrastructure of Sheditef: A Window to the First Bresson coined the term the “decisive All That Was Old Is New Again: The Slight of Mind: The Magnetic influences the ways in which art is Intermediate Period. moment” as an embracement of the modernist ideal of the “perfect” Revival of Alternative Photographic Convergence of Science and Magic taught and how the infrastructure Maria Stoyanova, George Mason moment, a moment that a good Processes in the Modern Era defines what can be taught. Dominion Meeting Room University. The Naked Poet. photographer could “capture” by being McKinley Meeting Room Educators often maintain the in the right place, at the right time. Rachel Klipa, Carlow University. CHAIRS: Kris Belden-Adams, Kansas CHAIR: Melissa Geiger, East equipment and the facilities needed Stroudsburg University of Jeannette Goes to Washington: However contemporary photography City Art Institute and Amelia Ishmael, to instruct students in art. Whether Pennsylvania Revealing How Local Culture and has exceeded even this. Cameras are School of the Art Institute of Chicago digital lab, woodshop, print studio, or another equipment-intensive teaching Pittsburgh Artists Influenced New available and prevalent throughout Digital photographic processes have The history of magic as portrayed space the studio characteristics Deal Post Office Murals. our daily lives. And now with digital all but eliminated the necessity of in art has been largely overlooked in shape pedagogy as well as student capture replacing traditional film, the darkroom developing and printing. But scholarship, yet it is unlikely that artists Allison Purves, Millsaps College. experience. Too many instructors opportunity cost of taking an image in increasing numbers, artists including could not have been intrigued by the Addressing the AIDS Crisis Through Art. juggle the dual roles of teacher and is nearly a non-factor. The result of Sally Mann, Chuck Close, Lois Connor subject, given the intense exploration technician in a smaller department, or this is a culture that creates an even and Jerry Spagnoli, have turned to the of science, magic, and the supernatural coordinate differentiated teaching and greater number of images while at the techniques from the medium’s origin, throughout the Modern era. The Representing History by Other technical roles in a larger department. same time there is a reduction in the including the daguerreotype, calotype, issue may have been complicated Means in the Long Nineteenth Even so, a professor in an area with a “specialness” of images. Photoblogs, tintype, cyanotype, ambrotype, by the fact that the trust in emerging Century full-time technician often attends to social networking and paparazzi platinum prints and collodion glass- scientific processes was so fragile that Coolidge Meeting Room technical matters while a technician is images have all contributed to a culture plate exposures. This trend of shunning it was often mistaken as magical, or quite likely a mentor to students, even CHAIR: Meredith Davis, Ramapo saturated with images of the banal. the control offered by digitalization in as seemingly enigmatic paranormal if not an instructor of record. College of New Jersey How has this ability to record infinitely favor of reclaiming the hand-crafted, events, such as the discovery of affected photography? explorative nature of photography is photography, X-rays, electricity, etc. It is a commonplace that in the U.S., Furthermore, technology not only both an aesthetic choice and a practical This session will examine the varied the European genre of history painting Nogin Chung, Bloomburg University enables creativity but simultaneously one. Many suppliers have stopped confluence and divergence of magic never took root. The famous failures of Pennsylvania. Ten Thousand limits what can be accomplished. In this making various papers and film, and science in art throughout the ages. among the American attempts at Photographs, One Abstraction, and the way, each has an identifying signature prompting photographers to prepare For instance, contemporary illusionistic a heroic, classical style are cited as Disappearance of Banality. embedded within that effects or even their own surfaces by hand. Today, performances, including mentalists, examples of the American distaste for becomes the content of a given work Elizabeth Howie, Coastal Carolina these various approaches – as well ventriloquists, and prestidigitators a genre perceived as too European, too of art. University. From “That-Has-Been” to as a blending of digital and alternative stirred up a cultural curiosity that aristocratic, or simply inappropriate for “I-Was-There”: Photography’s Shifting processes – are being taught in our coincided with the accelerated This panel explores how recent and the young nation. What took the place Noeme in the Digital Age. studio classrooms. As such, they discoveries in the fields of technology, established technologies, materials, and of history painting? Most point first assuredly will be a part of studio medicine, evolution, mathematics, art infrastructures effect the functional to landscape painting, then to natural Nancy J. Rumfield, West Chester practice for a new generation of artists. and so forth. How did artists become role of the educator and shape creative history, Peale, or Catlin and so on. University of Pennsylvania. However, they are largely absent from purveyors of scientific truth and work. We will look for ingenious But this panel seeks to open up these Photography Now: Separating the our contemporary art histories. illusionistic spectacle, and what were approaches to transcending limits. categories such that we might better Extraordinary from the Banal. their motives? How did artists exploit understand alternative means by which Mike Bogdan, Wayne State University. Rich Gere, Savannah College of Art the limits of their media to compellingly historical subjects were represented, New Materials in Contemporary and Design. Photographic Images in convey the paranormal, magical, or if not exclusively in the fine arts then Sculpture Arts. scientific subjects of their time?

16 SATURDAY, OCTOBER 23 – continued

Jayson Lowery, College of William Intaglio Inverse Reverse: or current system is in need of an infusion candidates will share the artwork that HGD in other studio courses in graphic and Mary. Studio Limitations and the Returning to the Orientation of of ideas. Reconsidering everything from is the product of their ideas, influences, design? Student New to 3D. Drawing Through Aquatint Reversal selection process to new paradigms to and studio practices. Following a series Catherine Brooks. VCU Intaglio Studio, discussing how the genre could change of ten minute artist presentations, a Ursula Bryant, Lynchburg College. Arnold Martin, University of Wisconsin room 340. is what this panel will examine in an panel discussion will take place in which Clean Conscience Design: The Role – Madison. Virtual/Reality. attempt to stir the public art pot. attendees and presenters will share and Responsibility of Ethics in Graphic ideas regarding research and studio Design, Looking Backwards and Margi Weir, Wayne State University. Lisa Austin, Edinboro University of practices. We will consider the trends Forwards. Beyond the Brush: A Look into Painting MUSEUM OF THE Pennsylvania. Memorial Competitions: and diversity of our generation of artists. Techniques and Materials. CONFEDERACY AND A Study in Contrasts. Peter Hall, University of Texas at THE WHITE HOUSE OF Corinna Nicole Brewer, University Austin. From CSS to Crystal Palace: Greg DuMonthier, Eastern Washington Anna Heineman, University of Florida. of California, Berkeley. Recreating Learning Design History by Building University. Making The Magnetic Object. THE CONFEDERACY Buster Simpson’s Space Specific Women in Art. Connections. 1:00–3:00PM Public Art. 1201 E. Clay Street. Self guided tour Amy Feger, University of Alabama. Christine Batta, Savannah College of the museum and guided tour of the Travelers in Virtual Worlds Patrick Mohr, Savannah College of Patterns. of Art and Design. Canons and Rock McKinley Meeting Room White House. Advance reservation Art and Design. Vulnerable Territories: Stars: Does the History of Graphic required. Public Space Design and Innovative Aynslee Moon, University of Alabama. Design Use Art History as a Crutch? CHAIRS: Peter Baldes, Virginia Approaches to Vernacular Land Use. Becomings. Commonwealth University and Courtesy shuttle will run from the Adrienne R. Schwarte, Maryville Charles Westfall, University of Georgia Jefferson Hotel and the VCU Fine Arts Jacob Stanley, University of College. The Three “ R’s” of Teaching Building. Tennessee. The End Permanent Public GRaphic Design HistoRy: Repetition, Teaching With Web 2.0 Tools: Whether as extensions and models Art: Proposition 89. Recognition & ReseaRch. Strategies, Problems and of the physical realities around us, or Possibilities in the form of fantastic and strange SESSION 4 Joseph Coates, University of Roosevelt Meeting Room Maryland, Baltimore County. Why alternate realities, the Internet and 1:45-3:15PM The Art of Teaching Through Critique computer technologies have given Coolidge Meeting Room CHAIRS: Paul Karabinis and Are Art History Doctorate Programs birth to vast new virtual worlds. Just as Christopher W. Luhar-Trice, University Ignoring Design History? they do in the ‘real’ world, artists have CHAIR: Jane Hesser, Rhode Island of North Florida Minor Artists of the Italian the responsibility of trying to engage School of Design Renaissance these new worlds in meaningful ways. So-called “Web 2.0” innovations like ECLECTIC ELECTRIC Dominion Meeting Room Critique is the keystone of art education This session is a workshop and panel social networking sites and blogs have at the college level. When it is working, (MUSEUM OF discussion on virtual travel. Artists are certainly changed the way we share CHAIR: Norman Land, University of the educational experience is strong APPLIANCES) using GIS based technologies such as information and interact with one Missouri-Columbia and sustainable, but when it is not 2:00–3:00PM Google Earth and Google Maps and another—but can these innovative working, the whole structure collapses. 823 West Broad Street. Free, but gaming technologies like Second Life Scholars and amateurs alike rightly technologies be more than just a way advance registration is required. and World of Warcraft to embark on focus on the major artists of the Students and professors spend a to keep up with celebrity gossip or track Renaissance and their art. Still, artists virtual journeys that investigate the good deal of time in critique. In order the daily activities of our friends? Might Eclectic Electric is a 10–15 minute walk of lesser talent often created works meaning of ‘travel’ in a twenty-first to make the process most helpful, this they also provide us with powerful new from the Jefferson Hotel, and across the of interest and sometimes of beauty. century, digital world. session will invest energy in exploring tools for teaching? How can we sort street from the Fine Arts Building. The Papers will concentrate on minor artists ways of creating an environment that through the hot trends-of-the-moment entrance is at the back of the building, Peter Baldes, Virginia Commonwealth and their art in Renaissance Italy. best facilitates meaningful critiques to discover the tools that will contribute directly adjacent to the VCU dorms. University, and Charles Westfall and most substantively to our students’ Denise M. Budd, Bergen Community and how to teach critical thinking skills. Layet Johnson, University of Georgia. learning? This session considers varied College. Agnolo Gaddi’s Narrative Papers will address ideas about what Travelers in Virtual Worlds. responses from fine arts educators Innovations in the Legend of the True the most important aspects of critique **FEATURED SESSION** in all media who use on-demand Stephen Cartwright, University Cross. may be and why, challenges that arise 3:30–5:00PM in teaching this complex skill set to publishing, user-generated content of Illinois at Urbana-Champaign. Quest and Spectacle: Carnival Rachel Erwin, Georgia State students, psychological aspects of venues, and/or social networking tools Topographies. Elements in American Art University. Jacobello del Fiore and the critique, and techniques for developing to expand upon and complement what Grace Street Theater, 930–934 W. Jon Rafman, Independent Artist. Madonna della Misericordia. a classroom environment in which they do in the classroom. Grace St. Virtual Explorer: Google Street Views & critique skills can be effectively Carlton Hughes, University of South Courtney Starrett, Winthrop Kool-Aid Man in Second Life practiced and internalized by students. This venue is a 10–15 minute walk Carolina. The Light of San Leonardo. University. Methods for Collaboration from the Jefferson Hotel, or a 3-minute Jane Hesser, Rhode Island School of in Virtual Realms, Part 1. Vida J. Hull, East Tennessee State walk from the VCU Fine Arts building. Design. Teaching Critical Thinking Skills TECHNICAL University. The Fogg “Judgment Jan Baum, Towson University. Through Critique: Participation and the Hosted by Gregory Volk DEMONSTRATIONS of Paris”: Allegory and Antiquity in Methods for Collaboration in Virtual Empathic Environment. 12:30 PM – 3:30PM Quattrocento Italy. Realms, Part 2. It is obvious that noted Transcendentalist VCU Fine Arts Building, 1000 W. Broad Jeff Hesser, Rhode Island School of poet/philosopher Ralph Waldo Robin L. O’Bryan, Gettysburg College Kimberly Voigt, Towson University. Street. Design. Critique Not Crit. Emerson substantially influenced and Harrisburg Area Community Methods for Collaboration in Virtual important writers and painters in his The Fine Arts Building is a 10–15 minute College. Giovan Pietro da Birago: Stephen Knudsen, Savannah College Realms, Part 3. era, but it may also be the case that walk from the Jefferson Hotel. There is Master Miniaturist, Sly Satirist. of Art and Design. A 21st Century his influence extends across a broad a courtesy shuttle from the Jefferson to Revision of Monroe Beardsley Theory range of American art coming much the Fine Arts Building if you prefer. No Aesthetic Goodness: How Analysis Teaching History of Graphic later. However, Emerson’s seemingly advance reservation required. Replacing the art in Public art with of Intensity, Complexity, and Unity Design: A Bore or a Blast? antithetical contemporary (and fellow a Capital A Promotes Effective and Engaging McKinley Meeting Room Unitarian) P.T. Barnum may also be A Digital Demonstration of Commonwealth Meeting Room Critiques. CHAIR: Sharokin Betgevargiz, seen as a surprisingly influential figure Three Dimensions! – 3D Printing, CHAIR: Jim Hirschfield, University of Savannah College of Art and Design through the years when it comes to Scanning and Software North Carolina at Chapel Hill American art. Gregory Volk, an art R. Eric McMaster. VCU Fine Arts MFA Studio: Current Research and As graphic design educators, how critic, curator, and associate professor Building, room 101. Practice have you overcome the challenges If the genre of public art is going in Virginia Commonwealth University’s Harrison Meeting Room of teaching history of graphic design to stand for much in the future, it’s School of the Arts, will explore this CNC / XYZ time to find new ways to place in (HGD)? Who is your audience in teaching CHAIR: Amy Feger, University of surprising confluence of Emersonian Miriam Ellen Ewers. VCU Fine Arts communities, Art with a capital HGD? Does learning HGD impact studio Alabama and Barnumesque influences, sublimity Building, room 112. practice among your students? Do you A. Currently public art is far from and showmanship. Works by two combine lecture and studio projects in the vanguard of invention. James Students, artists and art historians leading practitioners of a contemporary Clay Demo: à la a giant teaching HGD? Does HGD give purpose Thurber’s statement sums up our recognize trends in contemporary art carnivalesque art, Sanford Biggers collaboration meaning or direction to the field of situation: “There’s no such thing as through publications and exhibitions. and Karyn Olivier, will be discussed. VCU Fine Arts Building, room 230. graphic design and how is it relevant to good art or bad art. There’s only art. MFA candidates are charged with the Together with Sabine Russ, Gregory contemporary practice of graphic design …and damn little of it!” The world task of identifying how their own work Volk curated the acclaimed 2009 “Optical Allusions” today? What are challenges and results of public art tends to be a place fits into the context of the contemporary exhibition of American art Carnival VCU Fine Arts Building, room 222. of teaching HGD as historians from art where artists have little opportunity art world and few opportunities exist Within at UferHallen in Berlin, an history departments, vs. teaching as to practice their craft. Ironically, as outside of our individual academic exhibition that evoked the kind of Paint Plus… non-historians with MFA degrees in opportunities grow, the prospect to programs to share and discuss our traveling road shows, carnivals, and Organized by Reni Gower. Fine Arts graphic design departments? At what create meaningful art diminishes. research and studio practices with MFA circuses linked to Barnum in the Building, rooms 330 and 332. level of undergraduate study is it best to Much of what we see is becoming candidate peers from other institutions. American tradition. His fellow panelists introduce HGD? How should teaching predictable and uninspiring. Where do our ideas and practices were among the 19 artists who Is it Magic? No it’s Lasers HGD be different at graduate level? overlap and how much diversity exists? participated in the exhibition. Fault lies neither with artists, nor art Jill Zevenbergen. VCU Fine Arts Can the seeds of future trends in art be Is graphic design theory and criticism administers. The problem is an overal Building, Center For Digital Print found in the research and practice of relevant to teaching undergraduate timidity to look anew at the system. The Media, Room 342. current MFA candidates? Current MFA HGD? To what extend do you introduce 17 SATURDAY, OCTOBER 23 – continued SESSION 5 Art and Consumption Virginia B. Spivey, Independent SELECTED AREA RESTAURANTS 3:30–5:30 PM Coolidge Meeting Room Scholar. The Body as a Bridge: Performativity and Meaning in CHAIRS: Rachel Snow, University The dollar signs reflect entree price. Contemporary Ceramic Art. $$$ most entrees are more than $20 / $$ most entrees under $20 / $ most entrees under $10 of South Carolina Upstate and Emily Visual Artists in the Time of Conflict Pugh, Center for the Advanced Study Mati Meyer, The Open University Richmond area code is (804) Dominion Meeting Room of the Visual Arts of Israel. Talia Tokatly: The Object’s Discourse. CARYTOWN/ MUSEUM DISTRICT CHAIR: Christopher Olszewski, This panel explores consumption

Jackson State University as it relates to art and visual culture. Amici Ristorante Northern Italian cucina with patio dining. Lunch & dinner Mon–Sat. Papers may deal with consumption as 3343 W Cary St. 353-4700. $$$ How do contemporary social and Collaborative Ethnography in Art a subject matter and/or consumption political issues effect the visual and Design Amuse Local ingredients, beautifully prepared and presented, gorgeous atmosphere and a as a dominant ideological paradigm balcony. Inside the VMFA. Lunch daily, Dinner Thurs–Fri. 200 N Boulevard, 3rd Floor VMFA. arts? The War on Terror, Poverty, Roosevelt Meeting Room within specific historical/cultural 340-1580 (reservations suggested). $$$ Immigration, Civil Disputes and contexts. We will address the ways in CHAIRS: Susan Falls, Savannah Healthcare are just a few such conflicts Can Can French brasserie with raw bar and changing menu of seafood, grilled meats, soups. which consumption, in both practice College of Art and Design and Jessica Breakfast pastries, coffee; lunch and dinner daily. Sun brunch. 3120 W Cary St. 358-7274. $$$ in which we as a society are engaged. and theory, shapes identities and Smith, Savannah College of Art and This panel is an exploration of the Ginger Thai and Chinese standards in fresh, streetfront café. Curries, stir-fries, noodles. transgresses or reinforces boundaries Design hostilities and struggles in which visual Lunch and dinner daily. 3145 W Cary St. 254-7373. $-$$ of many kinds; including those that artists thrive and are driven to explore. Ethnography has become an important Mezzanine Fresh, local ingredients and nouvelle dining. Dinner Tues–Sun. 3433 W Cary St. are geographical, political, social, and method for generating knowledge 353.2186 $$ Christopher Olszewski, Jackson State historical. and understanding that informs public University. The War on Drugs and the Water Grill Delicious food, bar and patio in cozy setting. Dinner and drinks nightly. Karen J. Leader, Florida Atlantic art, community based practices, 3411 W Cary St. 353-3411. $$$ Detroit Aesthetic. University. Consumer and Consumed: product design, crafts, architecture, Tammy L. Evans, Winston-Salem State Women and Art in Nineteenth-Century performance, film and video. DOWNTOWN University. KP Urban Art Environment. French Caricature. Historically, artists and designers have drawn from scholarship in the social 3rd Street Diner American comfort food. Open 24 hours daily. 218 E Main St. 788-4750. $ Soraya Marcano, Boricua College. Lisa Jaye Young, Savannah College of sciences. In today’s interdisciplinary Capital Ale House Upscale tavern food served with international beer. Lunch and dinner daily. From Depopulation, to Repopulation, Art and Design. All-Consuming: The landscape, contemporary makers Sun brunch. 623 E Main St. 643-2537. $$ to Mass Migration: Images of Mobility. Tiller-Effect in Weimar Photography. are not just reading ethnographic Comfort Country cooking in hip spot. Lunch Mon–Fri. Dinner Mon–Sat. 200 W Broad St. Stanley Bermudez, Gainesville State Margaret Herman, The Graduate materials, but collaborating directly 780-0004. $$ with anthropologists, sociologists College and The University of Georgia. Center, CUNY. The Sexual Sell: Mass Lemaire Southern specialties with a Virginia flair inside the Jefferson Hotel. 649-4644. $$$ Socio-Political Flags. Media, Consumer Culture, and Political and others to conduct ethnographic Engagement in Martha Rosler’s research. Art and design pedagogy is Perly’s Delicatessen and diner food; meat loaf, crab cakes, spaghetti, big breakfasts with Kate Walker, Nelson Marlborough addressing this practice by fostering vintage decor. Breakfast and lunch daily. 111 E Grace St. 649-2779. $ Photomontages. Institute of Technology. Don’t Mention collaborative teaching, research, writing Penny Lane Pub & Restaurant Bangers and mash, fish and chips, Beatles memorabilia. Closed It-Art and Politics. Michael J. Shaffer, Virginia and project-driven curricula. Our panel, Sun. 421 E Franklin St. 780-1682. $$ Commonwealth University. Self- itself the result of interdisciplinary Eugene Rodriguez, De Anza College. Tarrant’s Café Historic corner drugstore with wide menu of soups, sandwiches, salads, crab Consumption in Dan Graham’s Video collaboration, will review and evaluate cakes, shrimp, salmon and desserts. Dinner nightly, Sunday brunch. 1 W Broad St. 225-0035. $ Painting History: Lights, Darks, Piece for Showcase Windows in a this trend. Papers on this panel will Cameras and ACTION! Shopping Arcade. Twenty-Seven American regional with Italian and French, monkfish and mussels to osso buco engage questions such as: what are the and pastas. Lunch Mon–Fri; dinner Mon–Sat. 27 W Broad St. 780-0086. $$ possible benefits or limitations of using Frederick Gross, Savannah College of ethnographic research for art and design TJ’s Cozy atmosphere for cocktails or dining in the Jefferson Hotel. Food served till midnight Pattern and Decoration from the Art and Design. Constructed Spaces of daily. 788-8000. $$ projects? How do artists or designers Rococo to the Present Desire and Over-Consumption: Thomas and ethnographers understand their Commonwealth Meeting Room Hirschhorn and Jason Rhoades. roles in different ways? How do the THE FAN CHAIRS: Ruth Bolduan, different educational experiences, genre conventions, jargon and goals of 821 Cafe Yummy vegetarian fare. 821 W Cary St. 649-1042. $ Commonwealth University and Vittorio Beyond the Art/Craft Divide: interdisciplinary collaborators impact Colaizzi, Winona State University Rethinking Ceramics History Acacia Midtown Fresh, highest quality food, cooked with consideration with an emphasis on communication and outcome? How Harrison Meeting Room seafood and regional favorites. Mon–Sat dinner. 2601 W Cary St. 562.0138. $$$ From the intricate linear Chinoiserie do collaborative partners negotiate the Akida Intimate sushi bar. Lunch Mon–Fri. Dinner Mon–Sun. 814 N Robinson St. 359-8036. $$ designs of the Rococo to the multi- CHAIR: Bibiana Obler, George different “rules of the game”? Can the layered processes of contemporary Washington University act of ethnography be art; what are the Avalon Restaurant & Bar Creative continental cuisine. Dinner daily. 2619 W Main St. 353- art in a digital age, the use of pattern boundaries between art/design and 9709. $$ and decoration has been integral to the Ceramics is arguably experiencing ethnography? How can we best balance Balliceaux Hipster nouvelle dining in a designed setting. Crazy selection of mixed drinks. Lunch development of aesthetic style. The a renaissance, both in terms of the risks against the gains of doing Tues- Fri, Dinner Tues–Sun. 203 N. Lombardy Street. 355-3088 (reservations suggested.) $$ Pattern and Decoration movement of production and reception. Recent ethnographic research for art/design? the 1980’s embraced the ornamental work in clay has received high-profile Bamboo Cafe ’20s style Fan hangout with a built-in crowd of regulars. Lunch and dinner daily. Susan Falls and Jessica Smith, Brunch starts 11 am Sat, 10am Sun. 1 S Mulberry St. 353-1609. $$ as a kind of subversion of modernism attention: consider that Grayson (often along gender lines), but was Perry won the Turner Prize in 2003; Savannah College of Art and Design. Cous Cous Mediterranean and Moroccan fare and bar near VCU. Lunch weekdays, tapas and dinner nightly. 900 W Franklin St. 358-0868. $–$$ there an undercurrent of ornament note that Philadelphia’s Institute Slo-thenticity: The Slow Movement in modernism that was read-away of Contemporary Art, a venue for and Cambodian Textiles. deLux Dinner and lounge offers upscale diner food in a sophisticated atmosphere. 2229 W Main or ignored? How is the explosion of cutting-edge art, garnered positive St. 353-2424. $$ Ken Hassell, Elon University. Artists as ornamental and elaborate painting reviews for its 2009 “Dirt on Delight.” Literate Activists. Edo’s Squid Antipasti, garlic, seafood, garlic, pasta and garlic. Reservations recommended. in current art significantly different Scholars have begun to reconsider Lunch and dinner daily. No lunch Sun. 411 N Harrison. 864-5488. $$ from what happened in the 80’s? the place of ceramics in art history Julie Rogers Varland, Savannah Elephant Thai Restaurant Lunch and dinner Mon–Sun. 1100 W Cary St. 355-3320 $ Has the influence of non-Western more broadly: Andrew Perchuk and College of Art and Design. Story art contributed to the complexity of Glenn Adamson, for example, have Savannah: Ethnography and Design. Harrison St Coffeeshop Vegetarian and vegan food; coffees. 402 N Harrison St. 359-8060 decorative painterly surface? Are there examined studio pottery in dialogue Jason Swift, Plymouth State Ipanema Café Cozy with hipsters and vegan food. Lunch Mon–Fri, dinner Mon–Sat. 917 W shared links in the decorative impulses with conceptual avant-gardes of the Grace St. 213-0170. $ of artists throughout centuries: Francois mid-twentieth century. It might seem University. The Artist/(Auto) Ethnographer: Navigating, Negotiating Joe’s Inn Famed for its mountainous baked spaghetti. Breakfast, lunch and dinner daily. 205 N Boucher, the Pre-Raphaelites, Gustave that studio ceramics is finally poised to Shields Ave. 355-2282. $ Moreau, James Siena, Virgil Marti? rise above its lowly status as craft and and Balancing the Dialogue, gain definitive entrée into the fine-arts Opposition and Conflict of Being the Kuba Kuba Cuban bodega serving grilled sandwiches, Cuban coffee, three kinds of paella and other Latin specialties. Lunch and dinner daily. Sun brunch. 1601 Park Ave. 355-8817. $ Vittorio Colaizzi, Winona State world. Yet the question of whether Researcher and Research Subject University. The Decorative ceramics should be considered craft or Simultaneously. Panda Veg Healthy Asian cuisine. All-vegetarian menu. 935 W Grace St. 359-6688. $ Unconscious: Newman, Rothko, and art is not one that actually shows any Ledgerwood. Robyn Richardson, Dustin Larimer and Piccola Pizzeria and Restaurant Open daily till midnight. 1100 W Main St at Harrison. 355- signs of disappearing. Is it time to let Chris Miller, Savannah College of Art 3111. $ this distinction fall away, to leave that Natasha Kurchanova, Independent and Design. Illustrating Collaborative Sidewalk Café Quintessential Fan bar serving lunch and dinner daily. 2101 W Main St. Curator. Who Is Afraid of Ornament? question behind in favor of others? Or is Dynamics. 358-0645. $ it necessary to retain these categories? Katherine Daniels, Independent Artist. This session aims to consider what Lance Larkin, University of Illinois Star-Lite Dining and Lounge Traditional fare with patio. Lunch and dinner daily. 2600 W Main St. 254-2667. $ Cultivating Beauty. forms the future of ceramics history at Urbana-Champaign. Producing and criticism should take. Ethnography as (Auto-)Parody: A Strawberry Street Café Established Fan spot with bathtub soup-and-salad bar, big menu. Lauren Frances Adams, Washington Comic Book Look at the Scientist at the Lunch and dinner daily. Sat and Sun brunch. 421 N Strawberry St. 353-6860. $$ University in St. Louis. NSFH (Not Amy Gansell, Emory University. Burning Man Arts Festival. Sticky Rice Funky Japanese-American hybrid café with tater tots and ice-cold PBR. Lunch Safe for Home): Politics and Domestic Ancient Ceramics in the Discourse of Mon–Fri. Dinner daily. 2232 W Main St. 358-7870. $ Decoration. Art History. Village Cafe Diversions for the young and old, rich & poor, wise & otherwise. At Harrison and Ruth Bolduan, Virginia Commonwealth Adrian R. Duran, Memphis College of Grace. Breakfast, lunch and dinner daily. 353-8204. $ University. Rococo Pattern, Decorative Art. Neither Art Nor Craft But Politics Order, and Modern Oblivion. and Painting: The Ceramics of Leoncillo 18 Leonardi. SECAC SOUTHEASTERN COLLEGE ART CONFERENCE

SECAC Officers Southeastern College Art Indiana South Carolina Conference Institutional Members Marian College Coastal Carolina University President College of Charleston Alabama Debra Murphy, University of North Florida Kentucky Columbia College Auburn University Centre College Converse College First Vice-President Auburn University at Montgomery Eastern Kentucky University Francis Marion University Floyd W. Martin, University of Arkansas at Little Rock Birmingham-Southern College Georgetown College Furman University Jacksonville State University Second Vice-President University of Louisville Lander University Troy University Pamela Simpson, Washington and Lee University Western Kentucky University South Carolina State University University of Alabama at Birmingham University of South Carolina Secretary-Treasurer University of Alabama in Huntsville Louisiana University of South Carolina Upstate Beth Mulvaney, Meredith College University of Alabama at Tuscaloosa Centenary College of Louisiana University of North Alabama Louisiana State University Tennessee Past President University of South Alabama Loyola University New Orleans Austin Peay State University Donald Van Horn, Marshall University Tulane University Belmont University Arkansas Editor, SECAC Review Cheekwood Museum of Art Arkansas State University Mississippi James Boyles, Meredith College East Tennessee State University Harding University Delta State University Memphis College of Art Henderson State University Jackson State University Chair, SECAC Fellowship Committee Middle Tennessee State University National Park Community College Millsaps College Jenny Hager, University of North Florida Rhodes College University of Arkansas at Fort Smith University of Mississippi University of Memphis Chair, 2010 Annual Conference University of Arkansas at Little Rock New York University of Tennessee Andrew Kozlowski, Virginia Commonwealth University University of Central Arkansas Munson-Williams-Proctor Arts University of the South Institute Vanderbilt University SECAC Board Members Florida Art Institute of Fort Lauderdale R & F Handmade Paints Alabama – Jason Guynes, University of South Alabama Virginia Florida Southern College Arkansas – Jane Brown, University of Arkansas at Little Rock North Carolina James Madison University Florida State University Kentucky – J. Barry Motes, Jefferson Community & Technical College Appalachian State University Longwood University Miami International University of Art Florida – Amy Broderick, Florida Atlantic University Brevard College Mary Baldwin College & Design Georgia – Tina Yarborough, Georgia College & State University Davidson College Old Dominion University Northwest Florida State College Louisiana – Gary Keown, Southeastern Louisiana University Duke University University of Virginia Ringling College of Art & Design Mississippi – Benjamin Harvey, Mississippi State University High Point University Virginia Commonwealth University University of Florida North Carolina – Pat Wasserboehr, University of North Carolina at Greensboro Meredith College Department of Sculpture University of Central Florida South Carolina – Jane Nodine, University of South Carolina Upstate North Carolina Central University Virginia Tech University of North Florida Tennessee – Vida Hull, East Tennessee State University North Carolina State University Virginia State University University of South Florida Virginia – Reni Gower, Virginia Commonwealth University The Fine Art Museum, Western Washington and Lee University West Virginia – Kristina Olson, West Virginia University University of West Florida Carolina University At Large – Kevin Concannon, University of Akron West Virginia Georgia University of North Carolina at Marshall University Agnes Scott College Asheville SECAC Affiliates Representatives West Virginia University Armstrong Atlantic State University University of North Carolina at Chapel Hill University of North Carolina at College Art Association Berry College Charlotte Doreen Davis, Member Services Columbus State University Emory College University of North Carolina at Coalition of Women in the Arts (CWAO) Georgia College and State University Greensboro Kyra Belan, Broward Community College Georgia Institute of Technology University of North Carolina at Georgia Perimeter College Wilmington Association for Textual Scholarship in Art History (ATSAH) Georgia Southern University Winston-Salem State University Liana Cheney, University of Massachusetts Lowell Georgia State University North Dakota Southeast Chapter of the Society of Architectural HIstorians (SESAH) Kennesaw State University Lake Region State College Pamela Simpson, Washington and Lee University North Georgia College & State University Foundations in Art: Theory and Education (FATE) Savannah College of Art and Design Greg Skaggs, Troy University University of Georgia University of West Georgia Visual Resources Curators of SECAC, a chapter of VRA, Visual Resources Valdosta State University Association (VRC) Wesleyan College Christina Updike, James Madison University

Mid-America College Art Association (MACAA) Tommy White, Cleveland Institute of Art

MACAA MID-AMERICA COLLEGE ART ASSOCIATION

MACAA Officers MACAA Board Members MACAA Institutional Members Jeff Boshart, Eastern Illinois University Northwest Missouri State University President Kurt Dyrhaug, Lamar University Lamar University, Pennsylvania John Richardson, Wayne State University Vance Farrow, Herron School of Art and Design / IUPUI Virginia Commonwealth University Past President and VP for Continuity Barbara Giorgio, Ball State University University of Minnesota Phil Laber, Northwest Missouri State University Ralph Larmann, University of Evansville Missouri State University Scott Scherer, University of Texas San Antonio St. Francis University, Texas Vice President Maria Velasco, University of Kansas TBA Tommy White, University of Oklahoma

Conference Chair Ex-officio Board Members Andy Kozlowski, Virginia Commonwealth University FATE Representative Secretary Marlene Lipinski, Columbia College Chicago Mysoon Rizk, University of Toledo 2010 Conference Consultant Melanie Christian, Virginia Commonwealth University

FATE Representative Marlene Lipinski, Columbia College Chicago

19 2010 SECAC/MACAA SCHEDULE AT A GLANCE

WEDNESDAY, OCTOBER 20 9:45–11:45am: Session II 1:45–3:15pm: Session IV Geographic Divide and Pedagogical Utopian Aspirations in Shift: A Re-examination of Contemporary Art and Architecture. 10:00am–5:00pm: Sponge: Other Memory and Art: How Artists and New Directions in British Art Wölfflinian Methodologies in Art Coolidge Meeting Room. Chairs: Pedagogies and the Phylum Art Historians Remember, Session 1. History. Empire Meeting Room. History. McKinley Meeting Room. Meredith Malone, Washington Porifora. Hope Ginsburg, Virginia Empire Meeting Room. Chair: Laura Chairs: Douglas Fordham, University Chairs: Sarah Falls, New York School of University in St. Louis and N. Elizabeth Commonwealth University. M. Amrhein, University of Arkansas at of Virginia and Mitchell Merling, Interior Design and Virginia Hall, Schlatter, University of Richmond . 907 1/2 W Franklin St, 3rd floor. Little Rock. Virginia Museum of Fine Arts. Johns Hopkins University. Synergy: The Collaboration 2:30–3:30 pm: SECAC Executive Indigenous Art of the Americas, Making Nothing, Making Trouble: 6:00–7:30pm: Pablo Helguera, Between Art and Science. Harrison Committee Meeting Part 1. Flemish Meeting Room. Chair: Dematerialization Yesterday and Keynote Address. Meeting Room. Chairs: Erika Osborne, Dito Morales, University of Central Today. Flemish Meeting Room. Jefferson Hotel Ballroom. West Virginia University and Keith D. 2:30–3:30 pm: MACAA Executive Arkansas. Chairs: Sharif Bey, Syracuse University Waddington, University of Miami. Committee Meeting and Kevin Mertens, Coastal Carolina 7:30–10pm: Member Show About Face: Investigating the Community College. Reception. 1708 Gallery, 319 West Perspectives on Abstraction. 4:00–7:00pm: SECAC Board Meeting Problematics of Portraiture. Broad Street. Roosevelt Meeting Room. Chair: Dominion Meeting Room. Chair: What Was I Thinking? Artists Joyce Bernstein Howell, Virginia 4:00–7:00pm: MACA A Board Meeting Michelle Moseley-Christian, Virginia Explore Gray Matter. Dominion Wesleyan College. Tech. Meeting Room. Chair: Matt King, FRIDAY, OCTOBER 22 6:00–7:30 pm: Early Registration Virginia Commonwealth University. The Visual Arts in France after Check-In Art Education Forum VII-B 8:00–9:30am: Session I 1964? McKinley Meeting Room. Research, Instruction, and Best Sculpture and the Televisual. Chairs: Catherine Dossin, Purdue 6:00–8:00 pm: Reception for “Imaging Practices. Commonwealth Meeting Commonwealth Meeting Room. Chair: FATE: Foundations in Art: Theory University and Stéphanie Jeanjean, South Africa: Collection Projects” by Room. Chair: Mary Lou Hightower, Hilary Harp, Arizona State University. & Education, Open Session. Empire The Graduate Center, CUNY. Siemon Allen. VCU Anderson Gallery, University of South Carolina Upstate. Meeting Room. Chair: Greg Skaggs, 907 1/2 West Franklin Street Reexamining Realism and Troy University. 12:00pm–1:45pm: SECAC/MACAA Beyond the Phallus: Abstraction. Coolidge Meeting Luncheon, SECAC Awards 7:00–9:00 pm: Welcome Reception Representations of the Penis in Room. Chair: Timothy Andrus, Virginia Image: The Very Form And Feature Presentation. Jefferson Hotel + Open House. VCUarts Fine Arts Modern and Postmodern Culture. Commonwealth University. Of The Artist. Flemish Meeting Ballroom. Advance registration required. Building, 1000 West Broad Street. Coolidge Meeting Room. Chairs: Room. Chairs: Claire Black McCoy, Temma Balducci, Arkansas State Slow Looking. Harrison Meeting Columbus State University and M. 1:45–3:15: Session III University and Charissa Terranova, Room. Chair: Marnin Young, Yeshiva Kathryn Shields, Guilford College. THURSDAY, OCTOBER 21 University of Texas at Dallas. University. Unpacking Howard Singerman’s Mediating Architecture. Dominion Art Subjects. Empire Meeting Room. 7:30am: Registration Begins Gone But Not Forgotten: Mary Magdalene Through the Meeting Room. Chair: Katherine Chair: Beauvais Lyons, University of Recovering History in the 21st Ages. Roosevelt Meeting Room. Smith, Agnes Scott College. Tennessee, Knoxville. 8:00–9:30am: Session I Century. Harrison Meeting Room. Chair: Mindy Nancarrow, The Chair: Gerard Brown, Temple University of Alabama. Research and Design: A Beginning and End of FATE: Busting Boundaries in University. Match Made in Heaven or Hell. Representation. Flemish Meeting Foundation Drawing. Empire Ephemeral Architecture. McKinley Commonwealth Meeting Room. Chair: Room. Chair Matthew Kolodziej, Meeting Room. Chair: Marlene Biography, Psychology and Identity Meeting Room. Chair: Steve Arbury, Alma Hoffmann, Harrington College of University of Akron. Lipinski, Columbia College Chicago. in Abstract Art. Roosevelt Meeting Radford University. Design, Studio2n. Room. Chair: Herbert R. Hartel, Jr., The Good Ol’ Days: Understanding “Picture Perfect.” Truth, falsity, John Jay College of Criminal Justice, 3:30–5:30pm: Session V ATSAH: Giorgio Vasari’s Anniversary the Multiplicity of Artistic Re- and the Polemics of Image Making CUNY. Celebration of 500 Years. Coolidge Embracements of the Visual Past. and Image Breaking in the Early Conversations with Contemporary Meeting Room. Chair: Barbara Watts, Dominion Meeting Room. Chair: Ryan Modern World. Flemish Meeting Patron-Viewer-Artist and the Art Artists: Photography. Empire Florida International University. Hechler. Room. Chairs: John R. Decker, Georgia of the Ancient World. McKinley Meeting Room. Chair: Vesna Pavlovic, State University and Todd Richardson, Meeting Room. Chairs: Rachel Foulk, Vanderbilt University. Thomas Kinkade in the Classroom. Understanding Art History University of Memphis. Emory University and Anthony F. Harrison Meeting Room. Chair: Julia Through Popular Culture. Mangieri, Savannah College of Art and The Administration of Art: The Art Alderson, Humboldt State University. Commonwealth Meeting Room. Chair: Curriculum Development Design-Atlanta. of Administration. Flemish Meeting Alison C. Fleming, Winston-Salem Workshop: From Mission to Room. Chairs: Virginia Derryberry, Approaches to Art History State University. Outcome. Dominion Meeting Room. 12:00–1:30pm: Session III University of North Carolina at Education. Roosevelt Meeting Room. Mary Stewart/Florida State University. Asheville and Joe Seipel, Savannah Chair: Rhonda L. Reymond, West Architecture as Art: Duck or Memory and Art: How Artists and College of Art and Design. Virginia University. Decorated Shed? Coolidge Meeting Art Education Forum VII-A: Policy, Art Historians Remember, Session Room. Chair: Alexis Gregory, Administration, and Accreditation. II. Empire Meeting Room. Chair: Jacek Crafting the 21st Millennium. VRC: United We Stand: Forging Savannah College of Art and Design. Commonwealth Meeting Room. Chair: J. Kolasinski, Florida International Dominion Meeting Room. Chair: Robert Partnerships in Support of the Bryna Bobick, University of Memphis. University. F. Lyon, University of South Carolina. Digital Classroom. McKinley What Should the Art Criticism Meeting Room. Chair: Jeannine Course Be About in the 21st Increasing the Efficacy of the Indigenous Art of the Americas, “The Art of Assemblage” at 50. Keefer, University of Richmond. Century? Harrison Meeting Room. Studio Art Class for Non-Majors. Part 2. Flemish Meeting Room. Chair: Commonwealth Meeting Room. Chair: Rosemary C. Erpf, Savannah Coolidge Meeting Room. Chair: Joe Denise Smith, Savannah College of Art Chair: Edward Powers, Queens 9:45–11:45am: Session II College of Art & Design. Meiser, Bucknell University. and Design. College, CUNY. Who Cares Who Sees? Empire Making Paper Perform. Roosevelt Modern/Medieval: Convergences in About Face: Investigating the Bloodlines: Portraying the Meeting Room. Chair: Todd Cronan, Meeting Room. Chair: Eve Faulkes, Scholarship. Harrison Meeting Room. Problematics of Portraiture. American Animal. Coolidge Emory University. West Virginia University. Chairs: Lindsay Caplan and Saisha Dominion Meeting Room. Chair: Meeting Room. Chairs: Crawford Grayson, The Graduate Center, CUNY. Andrew Hottle, Rowan University. Alexander Mann III, Rhode Island Paint Plus… Flemish Meeting Beyond Ka-Blam! Teaching Comics School of Design and Mary Peterson Room. Chair: Reni Gower, Virginia in College. McKinley Meeting Room. Memories of a Fractured Nation: Art Education Policy Meeting. Zundo, University of Illinois at Urbana- Commonwealth University. Chair: John Lowe, Savannah College The Politics of Commemorating Commonwealth Meeting Room. Champaign. of Art and Design. the American Civil War. Roosevelt From Eve to Mary: Models and Meeting Room. Chair: Evie Savidou- A Report from Sponge: Other Beyond Turf and Silo: Cultivating a Anti-Models of Women in the 3:30–5:30pm: Session IV Terrono, Randolph-Macon College. Pedagogies and the Phylum New Foundation. Harrison Meeting Middle Ages. Dominion Meeting Porifera. Harrison Meeting Room. Room. Chair: Maureen Garvin, Room. Co-Chairs: Tessa Garton, Finding a Place in Contemporary Popular Culture and Nineteenth- Chair: Hope Ginsburg, Virginia Savannah College of Art and Design. College of Charleston and Peter Scott Art. Empire Meeting Room. Century Art. McKinley Meeting Commonwealth University. Brown, University of North Florida. Chairs: Howard Risatti, Virginia Room. Chair: Peter L. Schmunk, Reconstructing the Avant-Garde. Commonwealth University and Wofford College. Information Session for 2011 Roosevelt Meeting Room. Chair: Collaborative Art: Teams, Margaret Richardson, Marshall Conference, Savannah GA. Coolidge Christoph Klütsch, Savannah College Communities, Networks. University. Meeting Room. Savannah College of of Art and Design. Commonwealth Meeting Room. Art and Design. Chairs: Nathaniel Hein, Delta State Pecha Kucha. Flemish Meeting University and Jennifer Gonzales, Room. Chair: Jason Guynes, SECAC European and Postwar Memphis College of Art. University of South Alabama. and Contemporary Art Forum. Roosevelt Meeting Room. Chair: Victoria H.F. Scott, Virginia Commonwealth University. 20 New and Innovative Projects in Designing the Future: Building a 12:00–1:30pm: Session III 1:45–3:15pm: Session IV Graphic Design. Dominion Meeting Paradigm for a Sustainable Design Room. Chair: Gary A. Keown, Practice. Coolidge Meeting Room. Women and War: Themes of Minor Artists of the Italian Southeastern Louisiana University. Chair: Mark DeYoung, Austin Peay Victory, Violence, Peace and Renaissance. Dominion Meeting State University. Reconciliation Part II. Flemish Room. Chair: Norman Land, University History of Photography: Meeting Room. Chair: Helen Langa, of Missouri-Columbia. Documentary after Robert Frank. The Renaissance of the Pilgrimage. American University. Commonwealth Meeting Room. Harrison Meeting Room. Chair: Replacing the art in Public art Chair: Mark Miller Graham, Auburn Martina A. Pfleger Hesser, Mesa Slight of Mind: The Magnetic with a Capital A. Commonwealth University. College. Convergence of Science and Meeting Room. Chair: Jim Hirschfield, Magic in the Modern Era. Dominion University of North Carolina at Chapel Contemporary Folk, Self-Taught, Technology in Graduate Education: Meeting Room. Chair: Melissa Geiger, Hill. and Outsider Art. Coolidge Meeting Past, Practice, and Speculation. East Stroudsburg University of Room. Chairs: Carol Crown, University Roosevelt Meeting Room. Pennsylvania. The Art of Teaching Through of Memphis and Lee Kogan, American Chair: R. Eric McMaster, Virginia Critique. Coolidge Meeting Room. Folk Art Museum. Commonwealth University. Undergraduate Open Research Chair: Jane Hesser, Rhode Island Session II. Commonwealth Meeting School of Design. Environmental Shifts: Nature From the Inside Out: Meaningful Room. Chair: Elise L. Smith, Millsaps as Unnatural Phenomena: Approaches to Critical Thinking College. MFA Studio: Current Research and Creative Manifestations and in Studio Art Curricula. McKinley Practice. Harrison Meeting Room Transformations in Contemporary Meeting Room. Chairs: Karen Technically Speaking. Coolidge Chair: Amy Feger, University of Art Between 2008 and 2010. Bondarchuk and Cat Crotchett, Meeting Room. Chairs: John Alabama. Harrison Meeting Room. Chair: Moira Western Michigan University. Richardson, Wayne State University Marti Geoffrion, University of Arizona. and Mike Bogdan, Wayne State Teaching With Web 2.0 Tools: 9:30–11:00am: “Intellectual University. Strategies, Problems and Righting the Writing Component Curiosities” an Architectural Possibilities. Roosevelt Meeting of the Art History Survey. Roosevelt Walking Tour of Richmond. Begin Travelers in Virtual Worlds. Room. Chairs: Paul Karabinis and Meeting Room. Chair: Cynthia Kristan- at the Jefferson Hotel. Meet outside McKinley Meeting Room. Chairs: Christopher W. Luhar-Trice, University Graham, Auburn University. under the awning at main entrance Peter Baldes Virginia Commonwealth of North Florida. on 2nd floor. Free, but advance University, Charles Westfall University Drawing: Beyond Formal registration required. of Georgia. Teaching History of Graphic Approaches. McKinley Meeting Design: A Bore or a Blast? McKinley Room. Chair: Chris Kienke, Savannah 9:45–11:45am: Session II 12:30–3:30pm: Technical Meeting Room. Chair: Sharokin College of Art and Design. Demonstrations. FREE. VCU Fine Betgevargiz, Savannah College of Art Art in the Culture of Continuous Arts Building, 1000 W. Broad Street. and Design. 6:00–8:30pm: Virginia Museum Spectacle. Empire Meeting Room. The Fine Arts Building is a 10–15 of Fine Arts Reception. 200 N Chair: Margy Rich, Savannah College minute walk from the Jefferson Hotel. 2:00–3:00pm: Eclectic Electric Boulevard, Marble Hall. Courtesy of Art and Design. There is a courtesy shuttle from the (Museum of Appliances). 823 West shuttle available. Jefferson to the Fine Arts Building if Broad Street. Free, but advance Women and War: Themes of you prefer. registration required. 10–15 minute 8:00–10:00pm: InLight Richmond Victory, Violence, Peace and walk from Jefferson Hotel and across Opening. Shockoe Slip. Courtesy Reconciliation Part I. Flemish A Digital Demonstration of the street from VCU Fine Arts Building. shuttle available. Meeting Room. Chair: Debra Murphy, Three Dimensions! – 3D Printing, Directly adjacent to the VCU dorms. University of North Florida. Scanning and Software R. Eric McMaster. VCU Fine Arts 3:30–5:00pm: FEATURED SESSION: SATURDAY, OCTOBER 23 In Memory of Carol Purtle: Topics Building, room 101. Quest and Spectacle: Carnival on Fifteenth Century Art. Dominion Elements in American Art 7:00–8:00am: SECAC Members Meeting Room. Chair: Vida J. Hull, CNC / XYZ Grace Street Theater, 930–934 W. Meeting. Flemish Meeting Room. East Tennessee State University. Miriam Ellen Ewers. VCU Fine Arts Grace St. Hosted by Gregory Volk. This Building, room 112. venue is a 10–15 minute walk from the 7:00–8:00am: MACAA Members Undergraduate Open Research Jefferson Hotel and a 3-minute walk Meeting. Upper Brandon Meeting Session I. Commonwealth Meeting Clay Demo: à la a giant collaboration from the VCU Fine Arts Building. Room. Room. Chair: Jane Brown, University VCU Fine Arts Building, room 230. of Arkansas at Little Rock. 3:30–5:30: Session V 8:00–9:30 am: Session I “Optical Allusions” Representing History by Other VCU Fine Arts Building, room 222. Visual Artists in the Time of Evaluating Contemporary Means in the Long Nineteenth Conflict. Dominion Meeting Room. Exhibition Records for Promotion Century. Coolidge Meeting Room. Paint Plus… Chair: Christopher Olszewski, Jackson and Tenure. Empire Meeting Room. Chair: Meredith Davis, Ramapo Organized by Reni Gower. VCU Fine State University. Chairs: Michael Aurbach, Vanderbilt College of New Jersey. Arts Building, rooms 330 and 332. University and John Douglas Powers, Pattern and Decoration from University of Alabama at Birmingham. The Indecisive Moment: Is it Magic? No it’s Lasers the Rococo to the Present. Photography in the Age of Banality. Jill Zevenbergen. VCU Fine Arts Commonwealth Meeting Room. Igniting Ecstasy: The Unchartered Harrison Meeting Room. Chair: Liz Building, Center For Digital Print Chairs: Ruth Bolduan, Commonwealth Quest to Resurrect the Sublime in Murphy Thomas, Lincoln Memorial Media, Room 342. University and Vittorio Colaizzi, Contemporary Art. Flemish Meeting University. Winona State University. Room. Chair: Sarah Lippert, Louisiana Intaglio Inverse Reverse: or State University Shreveport. Interdisciplinary Design Education Returning to the Orientation of Art and Consumption. Coolidge for the New Creative Economy. Drawing Through Aquatint Reversal Meeting Room. Chairs: Rachel Snow, Tough Times/Tough Choices: Case Roosevelt Meeting Room. Chair: Catherine Brooks. VCU Fine Arts University of South Carolina Upstate Studies of Institutional Galleries Ashley John Pigford, University of Building, Intaglio Studio, room 340. and Emily Pugh, Center for the and Museums. Dominion Meeting Delaware. Advanced Study of the Visual Arts. Room. Chairs: Vicky A. Clark, Clarion 1:00–3:00pm: Museum of the University and Jody B. Cutler, All That Was Old Is New Again: The Confederacy and the White Beyond the Art/Craft Divide: Independent Scholar. Revival of Alternative Photographic House of the Confederacy. 1201 Rethinking Ceramics History. Processes. McKinley Meeting Room. E. Clay Street. Self guided tour of the Harrison Meeting Room. Chair: Bibiana Blackboard or Blackbeard? Chairs: Kris Belden-Adams, Kansas museum, and guided tour of the White Obler, George Washington University. Commonwealth Meeting Room. Chair: City Art Institute and Amelia Ishmael, House. Courtesy shuttle available. Mary Jo Titus, Lake Region State School of the Art Institute of Chicago. Collaborative Ethnography in Art College. and Design. Roosevelt Meeting Room. Chairs: Susan Falls, Savannah College of Art and Design and Jessica Smith, Savannah College of Art and Design.

21 W Leigh St I Bowe St -9 5 / W Catherine St I Norton St -6 4 W Clay St N Harrison St

N Hancock St W Marshall St

W Grace St

BROAD1 ST W Franklin St 3 Goshen St

West Ave 6

Park Ave Shafer St 2 Grove Ave

Brook Rd N Laurel St

N Pine St

Floyd Ave Monroe

Park BROAD ST N Harrison St Harrison N S Cherry St Cherry S S Laurel St Laurel S W Grace St MAIN ST N Henry St

N Monroe St W Franklin St

CARY ST ST 4

N Madison St

N Jefferson St 5 BELVIDERE ST BELVIDERE S Pine St Pine S S Linden St Linden S N Adams St MAIN ST 195 / DOWNTOWN EXPRES SWAY W Canal St N Foushee St

CARYN 1stST St

N 2nd St

N 3rd St

N 4th St

N 5th St

N 6th St

1 VCU FINE ARTS BUILDING • 1000 W BROAD STREET 2 VCU ANDERSON GALLERY • 907 1/2 W FRANKLIN ST 3 GRACE STREET THEATRE • 934 W GRACE ST 4 JEFFERSON HOTEL • 101 WEST FRANKLIN STREET 5 1708 GALLERY • 319 W BROAD STREET 6 ECLECTIC ELECTRIC • 823 W BROAD STREET

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mid-america college art association

Welcome to the joint meeting of the Southeastern College Art Conference (SECAC) and the Mid-America College Art Association (MACAA)

Curiouser: Where Cerebellum Meets Antebellum

Oct 20–23 2010 Richmond, Virginia

hosted by Virginia Commonwealth University School of the Arts curiouser.vcu.edu vcu.edu/arts