.. '.. ' ~ .... ~ .. ~ ;. l " ' " • ~ \o I CONFERENCE PROGRAM

OPEN SESSION (t1:J Sessions identified with this symbol address broader areas and disciplines within studio art and art history.

OFF-SITE SESSION Sessions identified with this symbol will be held outside the Conference site.

PRACTICUM (::J Sessions idcntitlcd with this symbol offer practical applications or deal with pedagogical issues.

MUSEUM SESSION ~ Sessions identified with this symbol focus on issues of interest to curators and other museum professionals.

AFFiliATED SOCIETY SESSION ~ Sessions identified with this symbol are sponsored by organizations atfi.liated with CAA.

CAA COMMITTEE SESSION Sessions identified with this symbol are sponsored by committees of CAA.

E"SESSION Sessions identified \vith this symbol address the use of digital technology and the Internet in studio mi, art history, and art education

February 18·-21, 2004 15 ART space

Brimming with events and activ­ ities of special interest to CAA's aiiist-members, ARTspace, intro­ Temporary On the Edge: West Coast duced at the 2001 Conference, Transformations: Public Art Performance in the will extend over the full three as Social Action Americas days of the conference. Pmi the­ Fresh Start; Perk up your senses ater and part lounge, this confcr­ with complimentmy coffee, tea, Chairs: Jason S. Brown, Chair: .Meiling Cheng, ence-\vitbin-a-confercnce will be or juice. A detailed schedule of University of Tennessee; Gregor University of Sou them the site for innovative program­ the day's events will be made A. Kalas, Texas A&M Califomia ming, ranging from artists' talks, available. University performances, and debates to Ecotone Claudia Buche1·, social and networking opportuni­ Dark AIalters: Informal Art, Pasadena Art Center ties. All attendees are cordially Collecth•e Practice, and the invited to be stimulated and to Contempormy Public Sphere Cu/Jing with a Broken1\firror converse, enjoy, and relax at Eva Hesse Today Gregory G. Sholette, School of Gwyan Rhabyt, California State ARTspace. the Art Institute of Chicago University, Hayward Chair; Sue Taylor, Potiland \Vith the exception of those State University Public Things: The Work and SRS: Stations Remain Stmcture sessions marked Conference Philosophy ofN55 Jon Sorvin, the gyri grip, 2 Gyrlz Badge Required for Admission, Grounding the Hesse/Pollock N55 Design Collective Perfonnative Arts entrance to ARTs pace events is Connection Jeanne Siegel, free and open to the public. School of Visual Arts Dyke Action .Machine! S Instant Pe1:(ormance Art in Western A/essaging: 11Branding 11 Lesbian Canada John G. Boehme, artist Unless otherwise noted, ART space Pre-Feminist/Post-Feminist Identity on the New YOrk City events will be held on Level 6, Hesse Kirsten Swenson, State Street Carrie .Moyer, artist Impossible Cohesions Jennie Meeting Rooms 602/603/604. University of New York, Stony Klein, Santa Ana College; Brook Jj•ree Guyton S Heidelberg Joanna Roche, California State Project in Detroit: A Community University, Fullerton Stayin 'A live: Cteativity, 1hmsj0rmed Cheryl Alston, Surviml, and Era Hesse \Vayne State University un-Becoming: An Vanessa Corby, independent Improvisational Automatic Self­ scholar Finding the Permanence of the PeJjOrmance Nicole R. Hodges, Temporlll)': Socially Engaged University of Sou them Discussant: Jane Blocker, Public Art and Place-Specijicity Califomia University of Minnesota Cameron Cartiere, Chelsea College of Art and Design, Conference badge required for Conference badge required for London admission admission Conference badge required for admission

Vie,ving of 11 Eva Hesse at SFMOCA," a DVD film of the Eva Hesse show at the San Closed for the Members' Francisco Museum of Modem Exhibition opening reception Art that documents the installa­ (see Special Events, p. 47) tion and offers commentary by Anne \Vaguer, Elisabeth Sussman, Alex Potts, Briony Fer, Doug Johns, and others.

You are welcome to bring your lunch.

16 CAA 92nd Annual Conference in Seattle ART space

ARTS EXCHANGE Art Foundation Information Session 11te Arts Exchange, given in Fresh Start: Perk up your senses conjunction with ARTspace, will NYFA Source: A National with complimentary cotiee, tea, serve as way for artists to pres­ Fresh Start: Perk up your senses Directory of Awards, Funding, or juice. A detailed schedule of ent some of their recent work. with complimentary coffee, tea, and Support Services for Artists the day's events will be made Artists attending the conference or juice. A detailed schedule of available. have signed-up for a six-foot the day's events will be made The New York Foundation for table to present small works on available. the Arts staff member, Melissa paper (drawings, photographs Potter, will demonstrate the and prints, etc) or a battery-pow­ nation's most extensive online Contemporary Art and Islam ered laptop presentation. Sales directory of awards, services, of works are not permitted. and publications, featuring over Chair: Fereshteh Dafta.-i, Activating Critical 7,000 programs for artists and Museum of Modem Art, New York Art's Bar will be open during Discourse: Models of Civic arts managers of all disciplines. the Art Exchange. Engagement and Public The Postmodern nnn in /slmllic Al'ts Practice The Marie Walsh Sharpe Art Calligraphy l\Iaryam Ekhtiar, This event will be held on level 4, Foundation: Infonuation for Metropolitan Museum of Art Ballroom 4B Chair: Bradley l\lcCallum, Artists ConjunctionArts Standing on Fonnalih"es: What The Sharpe Art Foundation was Is Con temporal)' Elsewhere? Animating Democracy: established in 1984 to provide Mysoon Rizk, University of Opportunity and Challenge at financial assistance to visual Toledo Electronic Arts Exchange the Intersection ofArt and Civic artists. Staff member Joyce E. Dialogue Pam Korza, Robinson will be on hand to Secularization, Hybridity, and Hosted by Heather Dew Americans for the Arts describe the Foundation's servic­ "Dis-Orienta/isms" in CoiJ/emp­ Oaksen, video artist from. es, distribute materials, and ormJ• Palestinian Art Gannit Seattle and regional mtist co­ Creative Capital-IncOJporating answer your questions. The Anlwri, Hebrew University of chair, and Norie Sato, artist Discourse as Part of Foundation offers estate plan­ Jemsalem from Seattle Comprehensi\•e Artist Support ning advice, a studio space pro­ Sean Elwood, Creative Capital gram, and exhibition opportuni­ Conference badge required for As a supporter of the creation ties, among other services. admission and presentation of art works Community Cultural using new technologies and digi­ Dewlopment Tomas Ybarro­ tal tools, ARTspace is pleased to Fmusto, Rockefeller Foundation announce that it will begin what Artist Residency Workshop may become a new tradition at Critical Condih'ons Patricia C. After the Capital the ammal conference. \Ve wel­ Phillips Campaign: Challenges to Chair: Duane Slick, Rhode come professional video artists Museums Island School of Design to screen their newest works or Conference badge required for to replay older works. Video admission Bellevue Art Museum's plight is Bring your own brown-bag lunch artists will be able to present up one topic in a discussion of the to 8 minutes of their work. After institutional and govemance each clip is shown, questions challenges f.1cing museums and comments will then be today. 11te discussion will Eighth Annual Artists' briefly opened up to the audi­ include both positive and critical Interviews ence. The purpose is to encour­ assessments of specific and gen­ age feedback often lacking at eral conditions. Following a conference tradition, fonnalized exhibitions. At the stimulating talk with two artists end of the session, attendees wiH Chair: Brian C. \Vallace, The to be announced, in an interview be invited to vote for their Galleries at Moore College of format. This year's subects are favorite video. A sign up sheet Art and Design Buster Simpson of Los Angeles will be available at ARTspace and Daniel Martinez of Seattle. beginning on Thursday morning.

Fcbmary 18-21,2004 17 TUESDAY-THURSDAY

r.i."§ LEONARDOffHE INTERNATIONAL SOCIETY FOR THE ARTS, SCIENCES, AND TECHNOLOGY Art, Science, and Orientation for Grant-Writing Workshop Technology: Problems and r.i."§ Interviewers and for Artists: Parts 1 and 2 Issues Facing an Emerging MID-AMERICA COllEGE ART Candidates Level6, Meeting Rooms 613 & 614 Interdisciplinary Field W2 ASSOCIATION level 6, Ballroom E Level 6, Meeting Room 609 Business Meeting Led by Barbara Bemstein, Level 6, Meeting Rooms 606 & 607 i\lichael Aurbach, Vanderbilt head of the Fine Arts Chair: Mark Resch, Onomy University Department at the Ringling Labs School of Art and Design in r.i."§ Laurie Beth Clark, University Sarasota, FL, and Douglas Sheila Pinkel, Pomona College WOMEN'S CAUCUS FOR ART of Wisconsin, Madison Chismar, Program Director, Julio BermUdez, University of Business Meeting Liberal Arts Program, also of the Utah; l\lichael Punt, Level 6, Meeting Room 609 David l\1, Sokol, University of Ringling School of Art and Metatechnology Research; Illinois at Chicago Design Nina Czegledy

Emmanuel Lemakis, CAA Admission by reservation only Discussant: Roger 1\'lalina, Leonardo Redefining American Modernism Till Level 6, Ballroom 6E r.i."§ Chairs: Anna Vemer ASSOC/A TION OF RESEARCH Convocation Andrzejewski, University of INSTITUTES IN ART HISTORY Wisconsin, Madison; Robert T. Business Meeting Welcome and Opening Cozzolino, University of level 6, Meeting Room 608 Remarks Wisconsin, Madison

Michael Aurbach, CAA Reexamining the Fonnalist President Body: The Gendering of r.i."§ American Abstract Art in the Presentation of Awards 1960s Marcia Brennan, Rice ASSOCIATION OF RESEARCH University INSTITUTES IN ART HISTORY Keynote Address Between the Museum and A Question of1.\1odemity: The the Academy: The Role of Figure in American Sculpture the Research Institute in IJene Susan Fort, Los Angeles WI Art History County Museum of Art level 6, Meeting Room 608 Reception Redefining American Chair: Elizabeth Cropper, Seattle Art Museum 1.\1odemism: How Realism Can Center for Advanced Study in 100 University Street Be 1.\.Jodern Gail Leyin, Bamch the Visual Arts Admission by ticket only College and the Graduate Center, ~ OPEN SESSION City University of New York

(J OFF-SITE SESSION What Is It to Be a 1\1odern (il PRACTICUM Artist?: Karl Zerbe S Painting and Teaching Judith l'i!il MUSEUM SESSION Bookbinder, Boston College

p;-y;o:J AFFILIATED SOCIETY ~SESSION Discussant: Patricia Hills, CAA COMMITIEE Boston University SESSION E-SESSION

18 CAA 92nd Annual Conference in Seattle 9:30AM-NOON THURSDAY

Thomas Kinkade, the Artist A Portrait of the Archer as a r.i§ Suzanne Lacy:~ and Leslie in the Mall TH 2 Hnmg Man: Refigwing ASSOCIATION OF ART Labowilz S In Mourning and in level 2, Meeting Rooms 2A & 28 Portraiture in Late Aledieva/ HISTORIANS Rage: Erasing the Silence about Flanders James J. Bloom, llorder Crossings in Art Rape Vivien Green Fryd, Chair: Alexis L. Boylan, Florida State University History: Britain and the Vanderbilt University Lawrence University United States, 1970s to Personijj•ing "Afodem" HistOI)': the Present TH s The Politics of Pedagogy and Marketing Upftft: Sources, The Use of Ottoman Imperial Level 6, Meeting Room 605 & 610 Community Arts in the Work of Strategies, and Pwposes of Portraits ill a Byzantine Judy Chicago and Amalie Mesa­ Thomas Kinkade S rJbrk Apocalyptic Chronicle Angela Chairs: Fintan Cullen, Baines Ruth R. I\liller, Diablo i\'lichael Clapper, Skidmore Vohm, University of Chicago University of Nottingham; Valley College College Deborah Cherry, University of Sussex The Collaborative PeJ:formances Back to the Future: Democrac;~ Colonial Curry and of the Icelandic Love Art, and Salvation at the Mall American Apple Pie: The Discrepant J\fodemisms!Feminist C01poration Anna Sigridur Patrie){ Luber, University of Transportation of Culture Intemationalisms: Art HistoJ)' Arnar, Minnesota State North Dakota and Nationalism in the and the Temporality of Borders University, Moorhead South Asian Diaspora, Ranjana Khanna, Duke The Selling Power of Nostalgia Inventing Indian ness as a University in the Art and bulus/1)' of Symbolic Site for Viewing riii'l Thomas Kinkade Andrea \Yolk, Contemporary Art Til 4 The Siwek~( the Old: A Fragile Alliance: Yale University level 3, Meeting Room 3A Protectionism a11d Indigenous Porcelain as Sculpture, Modes o.f Address Charlotte 1700 to 1900, Part 1 TH 7 1\1anr~f[lcturing "Maste1pieces" Chairs: Andrew L. Cohen, TownsendRGault, University of level 6, Ballroom 6A fm· the Alarket: Thomas Kinkade Southwest Missouri State British Columbia and the Rhetoric of "High Art" University; Rina Banerjee, Chairs: l\lartinn Droth, Hemy Monica Kjellman~Chapin, Bennington College Between Nottingham and Moore Institute; Alison Clark University Nowhere: Locating Gay Art Yarrington, University of What Is South Asian American HistOJ)• Michael Hatt, Glasgow Repetition, E\"clusion, and the AN? Marketing Raj Nostalgia or University of Nottingham Urbanism ofNostalgia: The a Stroll through 1\Iasala Alley? Derby Porcelain Figures and Architecture of Thomas Kinkade Sujata i\loorti, Old Dominion Embodied Histories: Royal Academy Sculpture circa Christopher Pearson, Trinity University Postcolonial Agency and Settler 1769-1799 Timothy Clifford, University Colonial AfenWI)' Annie National Galleries of Scotland Shahzia Sikander S Tattered Veils Coombes, Birkbeck College, Claire Daigle, The Graduate University of London Porcelain Repmductions of the r.i§ Center, City University of New Works o.FSir John Steel/, RSA INTERNATIONAL CENTER York (1804-1891) Rocco Lieuallcn, OF MEDIEVAL ART r.i§ Westem Oregon University Beyond the Sitter: The Who Is the Other? Annu WOMEN'S CAUCUS FOR ART Material Culture of Palakunnatbu r-.Iatthew, Negotiating Collaboration: "Zuviirderst ji1ctisch, nimmer Medieval Portraits, circa University of Rhode Island Aesthetics and Social problema tisch" Porcelain 1200-1500 TH3 Change TH 6 Afiniatures in Classical Weimar level 6, Ballroom 68 Slicing the Pie Allan dcSouza, Level 3, Meeting Room 38 Catriona i\lacLeod, University independent scholar and atiist of Pennsylvania Chairs: Sarah T. Brooks, Chairs: Liz Dodson, Women's Metropolitan Museum of At1; What Is Visibly South Asian in Caucus for Art; Jeanne Philipp, Gaspero Bruschi and the Tuscan Jennifer L. BaU, Brooklyn Contempormy Art?: Touring and Women's Caucus for Art Bamque: Some Unkown College, City University of New Tourism in Contempormy Art Sculptures in Doccia Porcelain York Practice, Producing the Sharing Stories, Creating Hope: Andrciana d'Agliano, indeR Cosmopolitan Jntemational Art Artists, Activists, ami Immigrants pendent scholar Portraiture and the PeJformance Scene Rina Banerjee, WOrking Jointly fOr Social of Loyalty at the Valois Courts of Bennington College Change ·Marilyn Cuneo, Part 2 of this session will be held France Stephen Perkinson, Women's Intemational League on Saturday at 2:30PM. Bmvdoin College for Peace and Freedom

The Jew in the Ret able Porh·aft or Sef{-Portrait Vivian B. Mann, The Jewish Museum

Fcbmary 18-21,2004 19 THURSDAy 9:30-NOON

lill Retrofitting: Traditional Subject, Subjection, Subjectivity: Regional Media Arts Identity Roller Coaster: East Asian Art in The Photographic Activity of Histories: Seedbeds of Between Magiciens de Ia Contemporary Painting PeJjOrmauce Art Kelly Dennis, Twentieth-Century Art terre and Documenta 11 Practice TH 9 University of Connecticut, StoiTs TH 12 Til 8 Level 6, Meeting Rooms 606 & 607 level6, Meeting Rooms 618 & 619 level 6, Ballroom 6C Namuth and Pollock: Chair: Mentet Larsen, Pmformance Photography Chair: Robin Oppenheimer, Chair: Norman Kleeblatt, The University of South Florida Peggy Phelan, Stanford Bellevue Community College Jewish Museum University Recoding the Roots: Genetic Kate Horsfield, Video Data From Form to Pla{form: l11e Reformation and Cultural No Ideas but in Things: Reading Bank Politics ofRepreseJ/Iation and Synthesi,V in the Era of Ganahl Reading 1\farx Nick Paul \Vong, Video In the Representation ofPolitics Globalization Lampo Leong, l\luellne1·, Ithaca College; Chris Cheryl Hai]Jer, The Gershman Y Johanne Lamoureux, University of Missouri, 1\liUs, New York University Universite de Montreal Columbia ~ Magiciens de Ia terre: The The ,\Jicrocosmic Reverie, or .My East-West Innovations and STUDIO ART OPEN SESSION: Roaring Success ofa Failure Brush with Chinese Paintillg Early Modern Court Reinventing Design Colleen Ovendcn, McGill Elisabeth Condon, University Culture TH tt Education TH l3 University of South Florida level 3, Meeting RoomS 307 & 308 level6, Meeting Rooms 611 & 612

The Whitney 1\fuseum 1993 Invisible Energy: Asian Art Chairs: Jacqueline Musacchio, Chair: Christopher Ozubko, Biennial: An AfleJword; Public Form lnjluences in Afy Work Vassar College; Sally Ann University of Washington Outrage, Institutional Lili "'bite, miist 1\'letzler, D'Arcy Museum, Consequences, 1\farket Impact, Loyola University, Chicago Design as Research; Research Critical Benchmark Elisabeth Kazari: The Potential of by Design Barbara Martinson, Sussman, independent curator Traditional Japanese Decoration Ashvnomy at the ,\Iedici Courts: University ofMilmesota Symbolism and Cra.fls in Art and Science in the Fami~J•'s Ordering the Universe: Comempormy Painting Practice Sen•ice Roberta J ..M. Olson, Research in 17/emy of Documenta 11 and the Chie Fueki, independent artist New-York Historical Society; Collaboration: Course in Apotheosis ofthe Occidental Jay 1\1. Pasachoff, Williams Collaborative Process Muneera Gaze Sylvester Okwunodu Five East Asian Promcations College U. Spence, Oregon State Ogbechie, University of l\lernet Larsen, University of University California, Santa Barbara South Florida Ten Thousand Jiered Peaks in a Black Box: The Camera Obscura Designing Research from the Discussant: Reesa Greenberg, Discussant: Daphne Lange and Perspectival Paillfing at the Bottom Up: Fonmt!ating York University Rosenzweig, Ringling School of Kangxi Court Chin~Sung J\fetlwds }Or Essential Decision­ Art and Design Chang, Yale University J\faldng in bllerdisciplinm)' Research Michael Gibson, "lm•enlion" in Technology and University of North Texas Almost Still: Photography, the Arts in Early A!odern Court Performance, and the Culture Joancath Spicer, Contemporm)' issues in Design: RecordTH to Walters Art Museum A Writing lntensh•e Course level 6, Meeting Rooms 613 & 614 Andrea Marks, Oregon State Oil and Hellenism: 17Je d'Este University Chairs: Nick 1\'lueUncr, Ithaca Court and Realism in Ferrarese OPEN SESSION ~ College; Chris 1\IiUs, New York Art ofthe Fijieenth Centwy (! OFF-SITE SESSION University Rupert Shepherd, Ashmolean Museum (;;j PRACTICUM Beyond the Document: Pel:fOrmative Aspects in Early The Art of Innovation: Alchemic lill MUSEUM SESSION Conceptual Photography Traditions in Courtly Europe r;r;iiJ AFFILIATED SOCIETY Catharina 1\lanchada, The circa /600 Sally Ann Metzler, ~SESSION Graduate Center, City University D' Arcy Museum, Loyola CAA COMMITIEE SESSION of New York University, Chicago E·SESSION

20 CAA 92nd Annual Conference in Seattle 12:30-2:00 PM THURSDAy

Eva Hesse Today TH 14 Art and Alemmy: Recovered ~ rill] Level 6, Meeting Rooms Visions ofa Combat Experience ART HISTORY OPEN SESSION: AMERICAN INSTITUTE OF 6021603/604 Viehwm 1967-68, Sculpture and NATIVE AMERICAN ART GRAPHIC ARTS D1nwings as _~\letaphor Allen Current Research on Business Meeting Chair: Sue Taylor, Portland i\looney, State University of Northwest Coast Native Level 6, Ballroom 6A State University New York, Cortland Arts: Ancient to Twentieth Century TH 17 rill] Grounding the Hesse/Pollock Re.fi"aming the Shot: Yasumasa Level 6, Meeting Rooms AMERICAN SOCIETY OF Connection Jeanne Siegel, Alorimura's Slaughter Cabinet II 6151616/617 HISPANIC ART SCHOLARS School of Visual Arts and Eddie Adam's General Loan Business Meeting Executing a Viet Cong Suspect Chair: Robin K. "'right, Level 6, Meeting Room 608 Pre-F em i 11 is t/Post-F em i 11 is t Kirstin Ringelberg, Elon University of Washington Hesse Kirsten Swenson, State University University of New York, Stony The Renaissance as Humpty­ lil Discussant: Suzaan Boettger, Dumpty: Putting Northwest Brook ARTIABLE Bergen Community College Coast Art Histmy Back Together Art Paths: Alternative Stayin 'Alive: Creativity, Again Ronald \V. Hawker, Careers in the Viusal Arts Survival, and Eva Hesse Zayed University TillS Vanessa Corby, independent l!iill Level 2, Meeting Rooms 2A & 2B scholar Authentic Decor TH 16 David Nee/: Contemporm)' and level 6, Meeting Room 608 kwakwaka' wabv? Carolyn Chair: Katie Hollander, Discussant: Jane Blocker, Butler Palmer, University of ArtTable University of Minnesota Chair: Guy \Valton, New York Pittsburgh University Susan Coliton, Paul G. Allen A new video on Eva Hesse, pro­ New Attributions in Northwest Foundation duced in connection with the In the House ofMiiTors: Coast Si/ven!•ork Katie Bunn­ Elizabeth A. Brown, Henry Art exhibition held at the San Painting and Experience in the Ma•·cuse, University of Galle1y Francisco Museum of Modern Dutch Republic .i\lariet 'Vashington Robin Oppenheimer, Bellevue Art, will be shown immediately \Vestermann, Institute of Fine Community College following this session. Arts, New York University Revivals and Re\•isions in Coast Barbara Jolms, independent Salish Wool Weaving Barbara curator This session will take place in Reconstructing the HOtel de Brotherton, Seattle Art Museum ARTsjJaCe .Menm·s on the Place des Victoires Alden Rand Gordon, rill] Trinity College ASSOCIATION OF HISTORIANS Rebels with a Cause; or, Of AMERICAN ART The Wounded Generation: Unserer Viiter Werke: HisfmJ~ The American(ist) Agenda CAA TOWN MEETING TH 19 Revisiting Vietnam-Era Art Authenticity and German Is CAA leading the Level 3, Meeting Room 3B and Its Contemporary National Identity Sabine Future Direction of Art Revisions TH ts \Vieber, University of Chicago and Art History Chairs: \Vanda Corn, Stanford level 6, Meeting Room 609 Scholarship? Creating and Recreating Old University; John Davis, Smith Level 6, Ballroom 6E Chair: Kim S. Theriault, Grand World Atmosphere: The Dining College Valley State University Room at 0/tma Karen 'Ve are counting on your par­ Zukowski, independent scholar "'endy Bellion, Rutgers ticipation throughout CAA's .Men at Work: .Minimal Afaking University planning process; close com­ in the Hiw Jl>m:s, 1965-1970 Derrick Cartwright, Hood munication among the mem­ Julia Bryan-\Vilson, University Museum of Art, Dartmouth bership, the board, and the of California, Berkeley College staff will enable us to set Richard i\lcyer, University of meaningful goals for the years How to Tell a H'llr Stm)' Southem Califomia ahead. Richard E. Nickolson, Indiana Gwendolyn Shaw, Harvard Univeristy University

Business meeting will follow.

Febma

r.lli:l ~ ~lil r.lli:l ASSOCIATION FOR TEXTUAL CAA COMMITIEE ON WOMEN CM SERVICES TO ARTISTS SCHOLARSHIP IN ART HISTORY IN THE t\RTS COMMITIEE The Agonistic Arts: HISTORIANS OF GERMAN AND Roads Scholars or Personal and CENTRAL EUROPEAN ART AND Redefining the Paragone Dedicated Teachers?: Environmental Health and ARCHITECTURE within and without Italy Women as Adjunct Safety for Artists and Art Business Meeting Tll20 laborers TH 21 Institutions Ill TII23A level 3, Meeting Room 307 & 308 Level 6, Meeting Rooms 613 & 614 Level 6, Meeting Rooms 618 & 619 Level 6, Ballroom 6C r.lli:l Chair: Leatrice 1\Iendclsohn, Chairs: Eleanor Dicldnson; Chair; Duane Slick, Rhode independent scholar Karen A. Bearor, Florida State Island School of Design INTERNATIONAL ASSOCIATION University OF ART CRITICS The Paragone between Painting Alan Cantara, Enviromncntal Public Art and the Art and Music b1 the Cinquecenlo Health and Safety Manager, Critic: Advocate or Academy: Textual Traces ~lil Rhode Island School of Design Antagonist Til 25 Leslie Korrick, York University CM INTERNATIONAL Level 6, Meeting Rooms 605 & 610 COMMITIEE Best Practices for Other patiicipants to be l11e Paragone as Conversion: announced. Chair: Susan Platt, independent International At'! Projects scholar Quinten .~\Iassys at the TH22 Crossroads beht•een Silence and level 6, Meeting Rooms 611 & 612 Sound Christiane J. Hessler, r.lli:llil Gloria Bornstein, artist; Berlin University FOUNDATIONS IN ART: Barbara Goldstein, Mayor's Chair: Jan Brown Checco THEORY AND EDUCATION Office of Art and Cultural A Chinese Paragone? Some Nurturing the Social Role Affairs, Seattle; Node Sato, The Leveraged Residency Issues Surrounding the Painter of Art: Service learning in artist; Matthew Kangas, art Kurt Perschke, artist SuShi S Claims for the Unity of the Foundations critic; John Feodorov Painting and Poet1y in Song Curriculum TH 24 Ala king the Best of Grants and China EUsabeth Brotherton, level 3, Meeting Room 3A Discussant: Eleanor Hartney, Fellowships Beauvais Lyons, State University of New York, lntemational Association of Art University of Tennessee Critics I New Paltz Chair: Barbara Nesin, Spelman College r.lli:l Operating a .~\1ulticultural Painting as Philosophy S Sister: Ceramics Workshop: Cia;~ A Paragone Argument from Community 1\1osaic: Art, Col01; and Fire Kirk .Mayhew, INTERNATIONAL CENTER OF Samuel van floogstraeten S Politics, and the E11Vironmentfor artist MEDIEVAL ART lnleyding tot de Hooge Schoole Future Teachers Judith Baker, Business Meeting \ der Schildcrkonst (1678) University of Wisconsin, Fox Best Practices-Artworks for Level 6, Ballroom 68 Thijs \Vcststeijn, Universiteit Valley Campus Public Greenspaces Gerald van Amsterdam r.lli:l lil Checco, Cincinnati City Parks Implementing SeJl'ice Learning in an Art Curriculum with Ease MID~AMERICA COLLEGE ART Art in an international Context: and Effectiveness Antoinette ASSOCIATION Seeingfinm Both Sides Linda 1\Iartin, Windward Community The "Interplay" Conference Cunningham, artist College, Hawai'i TH 26 Level 6, Meeting Rooms 606 & 607 ~ Campus Community CAA PROFESSIONAL PRACTICES Collaboration: Service Learning Chair: "'ayne E. Potratz, ~ OPEN SESSION COMMITIEE in the Art Foundations Laura University of Minnesota Ct·edentialing in the Arts Ruby, University of Hawai 'i at (3 OFF-SITE SESSION Tll23 Manoa Karen \Virth, Minneapolis PRACTICUM level 6, Meeting Rooms 609 College of Art and Design; Irve lil Dell, Saint Olaf College Iii MUSEUM SESSION Chairs: Kristi Nelson, GETIY RESEARCH INSTITUTE University of Cincinnati; Anna ~AFFILIATED SOCIETY Markets and Value TH 24A SESSION Callouri Holcombe, Kansas Level 6, Meeting Rooms CAA COMMITIEE State University 615/616/617 ~ SESSION E·SESSION [3 Participants to be announced. Chair: Thomas Crow, Getty Research Institute

22 CAA 92nd Annual Conference in Seattle 2:30-5:00 PM THuRSDAy

OFF-SITE SESSIONS D~ Temporary The Court ofthe Afmgrave of Historical Techniques/ Transformations: Public Art 1\feissen and Its Impact on I'H§~ Contemporary Innovations: as Social Action TH 30 Naumbwg Cathedral Jacqueline AMERICAN INSTITUTE FOR Sosa/w-hanga, the Japanese Level 6, Meeting Rooms Jung, University ofCalifomia, CONSERVATION Water-Based Woodcut 6021603/604 Berkeley learning through looking: TH 28 Examining African Art Chairs: Jason S. Brown, Jumping Our Big Holes: Saul, Tll27 Chair: Kathleen Rabel, Comish University of Tennessee; Gregor Political ldeolog;~ and Court in College of the Arts A. Kalas, Texas A&M the Psalter of St. Louis Chair: Andrea Kirsh, independ~ University Christopher Hughes cnt scholar This session will be held at Cornish College of the Arts, Dark .Matters: Infomwl Art, Francesco di Giorgio 1\fartini This session will be held at the I 000 Lenora Street, Seattle. Collective Practice, and the and the Novesco Oligarchy: The Seattle Art Museum. Contempormy Public Sphere Architectural Style of Siena S From Convention Center, walk Gregory G. Sholette, School of Post-Republican Elite A conversation with Steven five blocks north on 9th Avenue the Art Institute of Chicago (I 487-1 512) Fabrizio Ncvola, Mellor, conservator and Director to Lenora Street. University of Wanvick of Conservation, National Public Things: The Work and Museum of African Art, Philosophy of N55 Jon Sorvin, The 1\101gan Picture Bible Smithsonian Institution, and Pam NSS Design Collective beh\'een the Courts ofEurope McClusk.')', curator of African and Iran l\Iarian Simpson, and Oceanic Art, Seattle Art CAA Distinguished Dyke Action 1\fachine! S Instant independent scholar Museum. This gallery~based Scholar's Session in Messaging: "Branding" Lesbian workshop will address questions Honor of James Cahill Identity 011 the New York City of constntction, surf.1ce condi­ Street Carrie 1\Ioyer, artist Art and Commerce: tion, and evidence of histmy and Decentered, Polycentric, Corporate Support of the use of sub-Saharan African Ali. and Counter~Canons in 1)'ree Guyton S Heidelberg Arts in Twentieth-Century Can we determine the original Chinese Painting TH 29 Project in Detroit: A Community American Art TH 32 appearance of these artworks? level 6, Ballroom 6E Transformed Cheryl Alston, level 3, Meeting Room 38 Do they show evidence of ritual \Vayne State University use? How much of their appear­ Chair: Richard Vinograd, Chair: Michael Bzdak, Johnson ance reflects collecting standards Stanford University Finding the Pennanence ofthe and Johnson and Rutgers and subsequent treatments? Tempormy: Socially Engaged University Attendance will be strictly Southern Song Ghost Paintb1g Public Art and Place-Specificity limited, by prereservation. and Its Ajternfe Yoshiaki Cameron Cartiere, Chelsea At the Intersection o.lArtistic Shimizu, Princeton University College of Art and Design, Production and Good London Citizenship: Case Studies from Challenging the Canon: Tobacco Indusl1J' Philanthropy Socialist Realism in Traditional This session \Viii take place in in the 1990s Margaret Daniel, Chinese Painting Revisited ART space. University of Califomia, San Xlaoping Lin, Queens College Francisco Courts and Court Styles Afaking the Bi-Disc Round: Revisited: A Session in The Absent Center of the 1996 Imperial Collecting b1 the Memory of Harvey Stahl Hugo Boss Prize Beck Qtng Dynasty, Patricia TH 3! Feibelmau, University of Berger, University of Level 3, Meeting Room 3A Pennsylvania California, Berkeley Chair: Caroline Bruzelius, buluslly: Art Angel? C01porate Constructing Art Histmy in Duke University Art Patmnage in the 1940s Republican China, Julia Deirdre A. Robson, Thames Andrews, Ohio State Privileging Styles for Private Valley University University and Public Audiences: Painting and Illumination at the Papal Brand Name 1\fodemism: Helena Discussant: James Cahill Court ofAvignon. Cathleen Rubenstein S Art Collection and Fleck, University ofNotih Women S Business Culture CAA is gratejill to the Samuel Carolina, Wilmington Marie Clifford, Wl1itman H. Kress Foundationforfimding College the fOurth CAA Distinguished ScholarS Session Discussant: Sandra Lang, New York University

Febmary 18--21,2004 23 THURSDAy 2:30-S:OOPM

oo;J From Press to Panic: Fine Art and Experimental Diagramming the Unborn in OPEN SESSION Recontextualizing Images in Animation: Ct·eative and Early .Modem French Visual Contemporary Northwest British Visual Culture Jennifer Theoretical Affinities TH 36 Culture Lianne l\lcTa,ish, Native, First Nations, and Friedlander, Pomona College level6, Meeting Rooms 618 & 619 University of New Bnmswick Alaskan Native Arts TH 33 level6, Meeting Rooms 605 & 610 1\.faking 1\facl.:intosh and Chair: Janeann Dill, Patterson 17w Uncharted Kahn: The 1\farketing .Modernism in Grilly Center for the Arts and 11sua/ity ofPlanning and Chairs: !\'Ia rio A. Caro, Glasgow J. Philip Gruen, Emopaische Universitat fiir Promotion in the 1930s and University ofCalifon1ia, Santa University of Califomia, Interdiszipliniire Studien, 1940s Andrew l\I. Shanken, Barbara; i\Iaric K. \Vatt, Berkeley Switzerland Oberlin College Portland Community College Japanese 11suality for Britain: Liw and on Film! The Self­ Screen Themy and Chiasmus Andrea 1\Iarie \Vilbur-Sigo l11e Late Nineteenth- and Early Consciousness ofthe Creative Donald Kunze, Pennsylvania Othniel Art Oomittuk Twentieth-Cel11mJ' Cult ofthe Act, circa 1900 Nancy 1\'Iowll State University Lillian Pitt Japanese Garden Toshio 1\-lathews, Williams College James Lavadour \Vatanabe, Chelsea College of Art and Design A Critical Balance: 1\fodern and Myth and Modern Art, Postmodem Analyses of Part 1 TH38 ~.!."§ Experimental Animation Level 6, Ballroom 6A HISTORIANS OF BRITISH ART Necro-Techno: Exam1>les Lorettann Gascard, Franklin British Visual Culture, the from an Archaeology of Pierce College Chair; Alison Hilton, Public Sphere, and Media TH3S Georgetown University Visuality TH34 level6, Meeting Rooms 611 & 612 1\1usical Time Brian Evans, Level 6, Meeting Rooms 606 & 607 Unlversity of Alabama 1\fax Klinger: .Myths of Origin Chairs; Rebecca Cummins, and Identity Marsha l\'lorton, Chair: Julie Cod ell, Arizona University of,Vashington; Tom Animation Bntt: Homage and Pratt Instihiie State University Gunning, University of Chicago Inspirations ofArt Bmt in the Puppet Animation Films of Degenerare or Renovare: The Live Architect!lre, 1951: Cultural Optics: Narrowing Stephen and Timothy Quay 1\fyth of the Phoenix and the Envisioning the Alodem British Down the HistOI)' of Visuality Suzanne Buchan, Surrey Afyth ofEtemal Return City Deborah Lewittes, City Tom Gunning, University of Institute of Art and Design, Giovanna Costantini, State University of New York, Chicago University College University of New York, \ Kingsborough Commmllty Oswego College 1\fessengers and Kings Paul Digital Technology in Hand­ Dei\larinis, Stanford University Drawn m1d Video Animation Andre ,\Iasson S Zarathustra I11e Nineteenth-Century Turkish Y. David Chung, George Mason Clark V. Poling, Emory Baths and the Public Display of Dust: JllenWI)~ Optics, and a University University J\fa/e Bodies John Potvin, Beam ofLight Ellen Zweig Queen's University ~Mark Rothko and the 1\fythic Another Correction, Please!: The Art of Diagrams/The Image in the 1940s Uina C. Toward Sheddi11g the Pro­ Diagramming of Art TH 37 Faletti, University of Texas, Western Bias in "Pre-Cinema" level 2, Meeting Rooms 2A & 28 Austin Studies Erkki Huhtamo, University of California, Los Chairs: Paul Emmons, Virginia Part 2 of this session will be held Angeles Polytechnic Institute and State on Saturday at 9;30 AM. University, 'VashingtonR !§ OPEN SESSION Alexandria Architecture Center; (! OFF-SITE SESSION Carol Emmons, University of Wisconsin, Green Bay [i;j PRACTICUM The Diagrammatic Vernacular in MUSEUM SESSION i'J American Art Pedagogy r.r.l AFFILIATED SOCIETY Barbara Jaffee, Northem ~SESSION Illinois University CAA CO,\tMITIEE SESSION (3 E-SESSION

24 CAA 92nd Annual Conference in Seattle 2:30-S:OOPM THURSDAY

1l§ inappropriate Appropriations: ri:§lil Paintings ofthe Desert ASSOCIATION FOR lATIN Sturtevant, Gende1; and HISTORIANS OF EIGHTEENTH­ Southwest Jane Culp, artist AMERICAN ART Repetition l\lichael Lobel, Bard CENTURY ART AND Telling Images: Interactions College ARCHITECTURE Pai1l!ings and Collages Mark between Visual and Art on Display: Collecting, Lewis, University of Tulsa Performing Arts in the Lee Bontecou and the Secret Exhibiting, and Viewing Art Paintings and Digital Americas TH 39 World of 1960s Sculpture Jo in the Eighteenth Century Ron Janowich, Level 6, Meeting Room 608 Applin, University College, TH 42 Photographs London Level 6, Meeting Rooms University of Florida, Chair: :Margaret A. Jackson, 615/616/617 Gainesville University of Miami Surviving Supremafism: Lazar Khidekel Alia Efimova, Chair: Heather McPherson, Nafllre as Teacher Armin When Sculptures Sing, Dance, University of California, University of Alabama at i\Hihsam, Northwest Missouri and Drink: An E.1ploratio11 ofthe Berkeley, Art Museum Birmingham State University Pe1:formative Aspects ofJama­ Apprentice Tourist, £,pert Coaque Figurative Sculptures L'Espace du roi or L'Espace du 1l§ Joyce L. Banks, University of 1\fodemist: 1\f!trio de Andrade peuple? The Politics of and a (Brazilian) Themy of RENAISSANCE SOCIETY OF Texas, Austin Displaying and Viewing AMERICA .Modernism Esther Gabara, Portraits in the Grand Duke University Whither Connoisseurship? Reconstructing the World: Appartements of Versailles Todd Part 1 TH 44 Eighth-CenlwJ' Maya L. Larkin, Montana State Level 6, Ballroom 6B Coronation Ritual at Temple 22, University Copan, Honduras Jennifer F. Female Relations: Imagery of Women and Girls in Chair: Jeffrey Chipps Smith, Ahlfcldt, Columbia University SlwppingjOr Pictures in Early University of Texas, Austin Late Antiquity and Eighteenth-Centlll)' London Byzantium TH 41 Hidden Transcripts in the Carol Gibson-\Voorl, University Jan val/ Eyck's van der Paele Level 6, Meeting Rooms 613 & 614 Highland Andes: Native Dancers of Victoria Madonna: The Technical in Colonial Cmpus Christi Evidence fOr a New Reading Chairs: Kriszta Kotsis, Processions Susan Verdi Jean de Jullienne and the Maryan Ainsworth, University of\Vashington; \Yebster, University of St. i\1onumentality of Drawings in Metr~politan Museum of Art Thomas Cecily J. Hennessy, Courtauld Eighteenth-CenlwJ' Paris Institute of Art Jennifer Jones, Columbia Ever-Evolving Connoisseurship: Drawing Out the 1btth in University Ladies in Waiting Eunice UnfOlding the Early Colonial Nalwa Courtrooms Netherlandish Diptych Dauterman Maguire, Johns Deliah A. Cosentino, DePaul Eighteenth-Cenlwy Engravings Ron Spronk, Harvard Hopkins University University in the Crayon 1\fwmer: A University Art Museums Growing 1\farket for an Enlarged Donor as Doormat: Portraits of Public Sophie Raux­ F'emale Patrons in the Floor Connoisseurship and the Study Other Objects, Other Carpentier, Universite de of Renaissance Illuminated Artists: Alternative 1\fosaics of Churches in Charles de Gaulle Byzantine Palestine Karen C. 1\fanuscripts Gregory Clark, Accounts of Twentieth­ University of the South Century Art TH 40 Britt, University of Louisville Selling the Self in Revolutionwy Level 6, Ballroom 6C France: The Case ofFram;ois Themy and Discernment in the "Woman to Woman": Vincent and the Boyer-Fm!(rede Parturient-Midwife lmagety in Art ofDiirer Charles Talbot, Chairs: Christina Kiacr, Family Amy Freund, University Trinity University Columbia University; Richard Byzantine Art l\Iatilda l\leyer, of Califomia, Berkeley l\'lcycr, University of Southern The Hebrew University of 1\Iatthias Griinewald S Small Jemsalem California Cmciftxion Painting: Painting, ~ Practice, and Personal Style Recovering Complex Space in Girls in Church and Court STUDIO ART OPEN SESSION Cecily J. Hennessy, Courtauld E. l\lelanie Gifford and the 1960s: Robert Smithson, the Mirroring landscape TH 43 Susanna Griswold, National Instihtte of Art Park Place Group, and the Level 6, Meeting Room 609 Gallery of Art, \Vashington; "Fourth Dimension" Linda Norma Uemura, independent Discussant: Anna D. Kartsonis, Dalrymple Henderson, Chairs: Hearne Pardee, scholar University of Texas, Austin University of\Vashington University of Califomia, Davis; Gina \Verfel, University of Part 2 of this session will be held Califomia, Davis on Sahtrday at 9:30 AM.

February 18-21, 2004 25 THuRSDAy 2:30-5:00, 5:30-7:00 PM

Art and Visual Perception rill] rill] at Fifty TH 45 ARTS COUNCIL OF THE DESIGN FORUM Level 3, Meeting Rooms 307 & 308 ~[;l AFRICAN STUDIES Business Meeting CAA ANNUAL CONFERENCE ASSOCIATION level 3, Meeting Room 38 Chair: Ian Verstcgen, Temple COMMITIEE Business Meeting University How to Develop a Session level 2, Meeting Rooms 2A & 28 fOI' the Annual Conference r!§[;l Arnheim S Psychology 1bday: Tll46 rill] FOUNDATIONS IN ART: THEORY AND EDUCATION The Case of Li'ghl and Color level 6, Meeting Rooms 606 & 607 ASSOCIATION OF t\RT MUSEUM Tiziano Agostini, University of CURATORS A Foundation fOI' Trieste Chairs: Ellen K. Levy, School The Curator in the Foundations: An of Visual Arts; Emmanuel Museum Today: Interactive Presentation .J"find over Malter: Composing Lemakis, CAA Conversations with and Panel TH Sl level 3, Meeting Rooms 307 & 308 the Spiritual and Visceral Trustees from the Centers within the Human Other patiicipants to be Association of Art Museum Chairs: Scott Betz, \Veber State Figure Laurie Taylor-l\Iitchell, announced. Curators TH 49 University; Steven Bleicher, Art Hood College Colin Bailey, Frick Collection, Institute of Fort Lauderdale Amheim :~Lesson: Cubism, rill] New York; Stefano Carboni, Art School and Collage, and Gestalt Roger I. AMERICAN SOCIETY FOR Metropolitan Museum of Art, EIGHTEENTH-CENTURY STUDIES lnterdisciplinaril)•: Del'eloping Rothman, Bucknell University New York; Philip Conisbee, Seeing the Body in the National Gallery of Art, Foundation as a Shared Space Monique Fouquet, Emily Carr Amheim and ContempormJ' Eighteenth Century TH 47 \Vashington, DC; Douglas level 6, Meeting Rooms 618 & 619 Institute of Art and Design Film TheoiJ' Kevin Parker, Druick, Art Institute of Chcago University of North Carolina, Chair: Eric Garberson, Virginia Building a Pedagogical Chapel Hill Incorporated over a year ago and Commonwealth University newly affiliated with CAA, the Foundation Mary Stewart, Northem Illinois University Association of Art ~vluseum Seeing the Royal Body: The Curators provides a national Grand Habit in Eighteenth­ fonnn for discssing issues and A Theoretical Foundations Centwy Portraiture Kimberly trends of concem to the curatori­ Component Steven Shipps, Chrisman Campbell, al profession. Four founding Emerson University Huntington Library Trustees of the AAMC will con­ duct an infonnational session Regional Roots John P.l\'lcGee, Reading the Entrails: C01poreal about the organization, its Ball State University Address in The Death of Cato accomplishments, goals, and Lela Graybill, Stanford plans for the future. Addressing Global Issues University level 6, Meeting Rooms 605 & 610 Paul R. Solomon, Westem :Michigan University Black Bodies, H1Tite Vision: The Gaze a_{ Science and Girodet 's ~[;l and Benoist's Portraits of CAA CULTURAL DIVERSITY r.:;§ A.fh"cans Susan Houghton COMMITIEE HISTORIANS OF BRITISH ART Libby, Rollins College Diversity in the Classroom Business Meeting TH SO level 6, Meeting Room 609 level 6, Meeting Rooms

~ OPEN SESSION 6151616/617 rillllil (! OFF-SITE SESSION Chair: Joseph P. Ansell, Aubum NATIONAL COUNCIL OF ART University ADMINISTRATORS [;j PRACTICUM Those Who Do Can, and Those Who Do Not, Do !iiiil MUSEUM SESSION Joseph .Mannino, Carnegie Mellon University Too: Balancing a r;r.J AFFILIATED SOCIETY Significant Art Practice ~SESSION Sallie 1\lcCorkle, Pennsylvania with an Administrative CAA COMMITTEE State University SESSION Melanie Herzog, Edgewood Position TH 52 (3 £-SESSION College level 3, Meeting Room 3A

Chair: Joe Lewis, Fashion Institute of Technology

26 CAA 92nd Annual Conference in Seattle 8:00-10:30 I'M THURSDAy

ri,!;3 ri."§lill.3 Picturing the Nation: Marquillas LetS Make It QOicial: A New QUEER CAUCUS FOR ART VISUAL RESOURCES Cigarerras Cubanas Alison Look at Third Millennium BC Business Meeting ASSOCIATION Fraunhar, University of Cylinder Seal impressions Sarah level 6, Ballroom 68 The Digital Classroom: Safe Califomia, Santa Barbara Janner Scott, University of Harbor or Danger Zone? Pennsylvania TH56 Discussant: Vanessa Schwartz, level 6, Ballroom 6A University of Southem Theban Tomb Painting mtd the SOCIETY OF HISTORIANS OF Califomia Negotiation of Identity Melinda EAST EUROPEAN AND RUSSIAN Chair: Benjamin R. Kessler, K Harh,ig, Georgia State ART AND ARCHITECTURE University of Chicago University Consuming the Avant· On the Edge: West Coast Garde: Russia, Eastern and The ArtSTOR Project PNformance in the Exotica and the Early 1\1inoan Central Europe TH 54 l\Iax Marmor, ArtSTOR Americas TH ss Elite: A Biography Cynthia Level 6, Meeting Room 608 level 6, Meeting Rooms Colburn, Pepperdine University The Afadison Digital image 602/603/604 Chair: Jane A. Sharp, Rutgers Database (AID/D) in tile Art The Afterlives of Objects: The University Histmy Classroom Kathryn E. Chair: Mciling Cheng, Case ofthe Lost Treasures of Monger, James Madison University of Sou them Athena from Lindos Josephine Constructing Identity: The Image University California Shaya, College of Wooster ofRussian Fulllrism 1910-1914 in Contempormy Russian Media An Uncanny Likeness: Ecotone Claudia Bucher, Through a Glass Face to Face: Sarah Dadswcll, University of Art HistOJ)' and Digital Pasadena Art Center The Lives of the Etruscan Mirror Shefiield Reproduction Dana Leibsohn, Evelyn E. Bell, Califomia State Smith College Cutting with a Broken 1\1irror University, San Jose Five 0 'Clock on the Sun: Gwyan Rhabyt, Califomia State Women Artists' Film and Video University, Hayward Beyond Danmatio Memoriae: in Estonia and Hungmy Angela Desh·oying the Power of Images Dimitrakaki, University of SRS: Stations Remain Structure in Roman Gennany Rachel Southampton ri,!;3 the gyri grip, 2 Gyrlz Kousser, Columbia University ART HISTORIANS OF Pcrfonnative Arts What Is Dead when a Russian NINETEENTH-CENTURY ART Noncm!formist Dies? Obituaries Nineteenth-Century Pe1:(onnance Art in Western Iii of the "Go/den Ages" ofTimur Popular Arts TH 57 Canada John G. Boehme, artist Shopping "It" Around: An Novikov lvor A. StodoJsky, level 6, Meeting Rooms Off-Road Approach Til 60 University of Helsinki 615/616/617 Impossible Cohesions Jennie level 3, Meeting Room 38 Klein, Santa Ana College; Chair: Ann Bermingham, Joanna Roche, Califomia State Chair: Rcni Gower, Virginia (i]!il University of Califomia, Santa University, Fullerton Commonwealth University STUDENT AND EMERGING Barbara PROFESSIONALS COMMITIEE tm-Becoming: An On the Road: 17w Traveling Harnessing the Power of the The Beast in the Box: Playing Improvisational Automatic SelF· Show Reni Gower, Virginia Pen: Professional Writing with Empire in Nineteenth­ Pe1:(ormance Nicole R. Hodges, Commonwealth University Strategies for Future Artists, Centwy Britain Romita Ray, University of Southern Art Historians, and Museum Georgia Museum of Art, California Cloud Seeding: Circus of the Professionals TH 55 University of Georgia Pe~fOnnative Object George Ferrandi, artist level6, Meeting Rooms 613 & 614 This session will be held in The Diorama: Ultraroya/ism and ARTspace. Inside the Box-011/side the Box Chair: Patricia Flores, 1\1ode1'11if)• Daniel Harkett, Avantil

Febntary 18-21,2004 27 THURSDAY a:oo-10:301'.11

Revivals Revisited: History, .Monuments ofHumUity: rill] ~ Memory, and Visual Renaissance Humanists and the HISTORIANS OF GERMAN AND ART HISTORY OPEN SESSION Culture, 1789-1950 TH 61 Churches ofAntiquity Iryna CENTRAL EUROPEAN ART The History of level 6, Meeting Room 609 Oryshkevich, Columbia The Central European Photography TH 66 University Diaspora Tll64 Level 6, Ballroom 6C Chair: Elizabeth Guffey, State Level 6, Ballroom 6A University ofNe\v York, Ornament as Identity: Problems Chair: Douglas R. Nickel, Purchase ofInte1pretalion in the Gm1di Chair: Thomas DaCosta Center for Creative Photography, Palace in Florence Linda Kaufmann, Princeton University of Arizona Alfred Waterhouse and the Pellecchia, University of University Evolution of1\femm)' Cymbre Delaware Joel Snyder, University of Raub, North Carolina State T/Je Cosmopolitan and Nation Chicago University Villas and Portraits: Veronese Idiom ofJewish Art in the 1920s and the Classical Tradition Irena Kossowska, Institute of Julia Afargaret Cameron~'f Thomas Eakins and the Colonial John Garton, Cleveland Art and Humanities, Polish Studies for Artists Joanne Reviml Akela Reason, Institute of Art Academy of Sciences Lukitsh, Massachusetts College University of Maryland of Art Cmporeality in 'fllian S Venus at The Opposite ofNation: Lighting the Past: Isamu Her Min·or Jodi Cra11ston, Hybridily and Diaspora in the Inventing "DowmentmJ•" in Noguchi S Akm·i Lanterns Boston University Work ofLasar Segall Edith American Photography: Toward Kate Lemay, Indiana University 'Volfe, University of Texas, a New HistOJ)' ofIdeas Sarah Austin M ..Miller, University of 1\Iodernism as Revival in Cold Artist Biographies: Chicago TT'llr Germany Greg Castillo, Historical Objectivity Socialism and the House: University of Miami versus Political Correctness 1\fargarete Sclultte-Lihotzky in 1.\figrant 1.\1othe1; 1\ligrant Tll63 Turkey Esra Akcan, Columbia Gender: Rereading the fVork and level 6, Meeting Rooms 618 & 619 University L(fe ofDorothea Lange Sally ~ Stein, University of Califomia, ART HISTORY OPEN SESSION Chair: Evelyn Kain, Ripon Artistic Dreams: The Temptation Irvine Italian Renaissance Art, College ofthe Free World and Other 1300-1600 TH 62 Afodernist Afyths Deborah The Rayograph in the 1\fodern Level 6, Ballroom 68 Writing around Thomas Hart Schultz, University of Sussex Paragone Susan Laxton, Benton Justin \Volff, Harvard Columbia University Chair: Andree Hayum, University Fordham University The Relevance of Tradition Woman S 11-auma, .Masquerade, in Contemporary Art TH 65 Art and Criticism on the T/Je Renaissance Pulpit: Art and and Afadness: Yayoi Kusama in Level 6, Meeting Room 608 Campus: The University as P1·eac!Jing in Ita!;~ 1400--1550 the Si\·fies 1\'lidori Yamamura, Medium TH 67 Nirit Bcn-At1'eh Debby, Ben The Graduate Center, City Chair: Norman Lundin, Level 6, Meeting Rooms 613 & 614 Gurion University University of New York University of Washington Chairs: Simone Osthoff, .Male Artists and the 1\fale Gaze: Piero S Progeny: Renaissance Pennsylvania State University; Tom Wesselmann and t\1el Tradition in Contempormy Geraldo Orthof, Universidade Ramos in Context Joe A. Paillling Ann Bronwyn Paulk, de Brasilia Thomas, Clarion University of Beloit College Pennsylvania The On-Campus Server as an ~ OPEN SESSION Fmm Negotiating with Nature to Incubator fOr New Jvfodels Q( Ana J.\Iendieta-l11e Late WOrks D OFF-SITE SESSION Negotiaang with Cultures Zhi Production Relationships Lauta Roulet, Hirshhom Lin, University of Washington Robert Dansby, California ~ PRACTICUM Museum and Sculpture Garden Institute of the Arts fi!il MUSEUM SESSION Art and Arts ill the Post, Present Disconcerting Self-Disclosure in Era Elaine A. King, Carnegie Artists, Networks, and t:r.:l AFFILIATED SOCIETY the Work ofRichard Billingham MeHon University Institutions: Do We Need a New ~SESSION and Tracey Em in Kris Belden, 1\fodel for Production, CAA COMMITIEE The Graduate Center, City SESSION Traditional and Contempormy Publishing, and Access? University of New York E-SESSION Art: Crafl versus Content Tim Carlos Rosas, Pennsylvania Doud, American University State University

28 CAA 92nd Annual Conference in Seatlle 7:00-8:30,9:00-11:30 AM FRIDAy

Postcolonialism: Chicano Degrees ofFreedom-Afode/s of Eric Lutz, University of Critical Art Pedagogies Judith COJ]Jorate Relationship: H11e11 California, Santa Barbara L. Huacuja, University of Should Hmuls-off Be Hands-on, Dayton When Hands-011, Hands-o.O? Snapshots: 1\1onumentality in Sara Diamond, Banff New Posh1•ar Architecture Sarah The "Art Building" and the Media Institute 'Villiams Goldhagen, Harvard Impact oflts Form Jim Jacobs, University CAA COMMITIEE ON WOMEN Weber State University; Prescott The Value of Collaboration IN THE ARTS Muir, Prescott Muir Architects between Artist and Technologist 111is Didn't Kill That: Annual Recognition Dana Plautz, Intel Research Architectural Histmy through Awards Ceremony Ft Council 1\1edia Shannon Mattern, Nancy Spero and Betye [§ University of Petmsylvania Saar will be honored this QUEER CAUCUS FOR ART The Artist, the Scientist, and the year. What Next?: Reconsidering Entrepreneur: Rethinking the Steinlwf The Afodernist .Mental Queer Methodologies TH 68 Avant Garde with Saint-Simon Hospital and Its Represenation This event will be held at the level 6, Ballroom 6E and the National Academy of Leslie Topp, Oxford Brookes Sheraton Seattle Hotel and Sciences 1\lichael Century, University Towers, Second Floor, Chairs: l\laura Reilly, Brooklyn Rensselaer Polytechnic Institute Metropolitan Ballroom, 1400 Museum of Art; James Smalls, John Cage and Architecture Sixth Avenue University of Maryland, Jim Lutz, University of Baltimore County The Case for Comics TH 70 Memphis Preregistration is required level 3, Meeting Room 3A Historical 0\•en•iew of LGBTQ [§ Visual Studies James Saslow, Chair: James Stm·m, National Multiplicity: Printmaking ART HISTORIANS INTERESTED IN Queens College and The Association of Comics Art and the Use of Multiples in PEDAGOGY AND TECHNOLOGY Graduate Center, City University Educators Native American Cultures Teaching with Technology: Partnering on Next Steps of New York Tll72 FlA Sequential Art Basics Ted level 6, Meeting Rooms 605 & 610 level 3, Meeting Room 3A Lesbian Space in Queer Time: Stearn, Savannah College of Art Regional Histon"es outside and Design Chair: Melanie Yazzie, Chair: Laetitia La Follette, Academe Tee A. Corinne, artist University of Arizona University of Massachusetts and independent scholar The Cons and Prose o_(Comics in an Art School Context Confessions ofa Thief Have We Exhausted Foucault? Christa Donner Elizabeth Hanemann, \Vest Choosing Partners: Wlto Can Eugenio Filice Virginia University Art HistOI)' Trust in the Post­ Comics and Sequential Art: The E/..1agraphic Era? Daniel Bridgman, Smith College The New Adam and Dream ofa Studio Class Joel Priddy, The Politics of Representation New Painting Jonathan Memphis College of Art and and Sovereign Definitions in \Veinberg, Getty Research Design Northwest Coast Art as it Partneringjlmn a Publishing John Swanson, Institute Relates to the WOrk ofLany Perspectit•e Interdisciplinat)' Approaches McNeil Lany i\lcNeil, Boise Wadsworth Publishing/ Thomson Leaming and Benefits of Comics in Studio State University ~ Art Programs Christian Hill, Parhler in Pedagogy or The Artist in Industry and California State University, Corwin Clairmont \Vanda the Academy: Fullerton Joe Fcdderson Purveyor ofProduct? i\Ulcs, Leaming Technologies lnterdiscil>linary Research Lynne Allen, Rutgers Center for Collaborations Til 69 Innovative Print and Paper level6, Meeting Rooms 611 & 612 ~ [§ ART HISTORY OPEN SESSION Discussant: John Hitchcock, Chair: Edward A. Shanken, Modern Architect TH 71 University of Wisconsin, COMMUNITY COLLEGE PROFESSORS OF ART AND ART Duke University level 3, Meeting Rooms 307 & 308 Madison HISTORY Business Meeting in silica Chair: David Van Zanten, vl.O: A Discovei)'­ level 6, Meeting Rooms 606 & 607 Based 1\1ode/ for Art-Science Northwestern University Collaboration Ruth \Vest, University of California, Los At the lllfersection of Angeles Architecture and Photography: The Fonnation o.f R. 1\f. Schindler S J.Hodemist Vision

Fcbnmy 18-21,2004 29 FRIDAY 9:00-11:30AM

rill] The Noble Failure in Neural Architecture: A Smart Overseas Campaigns: Creating ITALIAN ART SOCIETY Renaissance and Baroque Building Is a Nermus Building Hybrid Art HistOIJlStudio Field Business Meeting Art FJ Deborah G. Aschheim, Courses in London, England Level 6, Meeting Rooms 613 & 614 level 2, Meeting Rooms 2A & 28 University of Califomia, Irvine Gerard Curtis, Memorial University of Newfoundland Chairs: 1\lichael Amy, Rochester Joannis C. Ycssios, Cleveland Instihtte of Technology; Institute of Art Discussant: Ginger Sheridan, Giancado Fiorenza, independ­ Jacksonville University Cultural Exchange between ent scholar the Netherlands and Italy, Educated Glass FS 1400-1530 F2 Daniele da 1'0/terra, level6, Meeting Rooms 605 & 610 :eJ;J Level 3, Meeting Rooms 307 & 308 ,\Iichelangelo, and a Contested ART HISTORY OPEN SESSION Lineage Morten Steen Hansen, Chair: Bonnie Biggs, Cornish Baroque Art F7 Chair: Ingrid Alexande•·• Walters Art Museum College of the Arts Level 6, Meeting Room 608 Skipnes, Stavanger University College The Consh·uction ofFailure: The Fluidity of Clumge: Chairs: Margaret D. Canoll, Prospera Brescia noS Moses The Glass A1atrL\· in the Wellesley College; Jeffrey F/oreJlline Bankers and Flemish Steven F. Ostrow, University of Collaborative Print Stu(Uo Collins, University of Friars: New Light on the Califomia, Riverside Preston B. La\\ing, Saint Washington Patronage of the Portinari Mary's University of Millllesota Altmpiece Diane \Volfthal, The Critique of ",\{ere Practice" Todd Olson, University of Arizona State University in Renaissance and Baroque Developing College Glass Southern Califomia Writings on Art Erin Campbell, Curriculums Kenneth von 1\Jem/ing's Impact on the Early University of Victoria Roenn, University of Louisville Signature Killer: Caramggio S Raphael Barbara G. Lane, Bloodiest Conceit David M. Queens Col1ege and The Buying a Condemned Painting: The Place of Collaboration Stone, University of Delmvare Graduate Center, City University 11ze Duke of1\lantua, Giulio Pike Powers, Pilchuck Glass of New York ,\{ancini, and Caravaggio S School Poussin :~Reflection Jonathan Death of the Virgin Opher Unglaub, Brandeis University Agostino Chigi 's Flemish Mansour, Courtauld Institute of 1\Iany Hands 1\Iake Light Work Connection (1466-1520) Ingrid Art Richard Posner, University of Engagement and Deferral in D. Rowland, American the Arts, Berlin Dutch Group Portraits: Riegl Academy in Rome "Certainly a Base Concept": and the Posographical Paolo de ,\1atteis S Self-Portrait Imperative Harry Berget; Jr., 1\fainz at the Crossroads of James Clifton, Sarah Campbell Study Abroad: Academic University of Califomia, Santa Utrecht and Venice: Erhard Blaffcr Foundation Arcadia or just Another Cmz Reuwich 's Illustrations for Grand Tour? F6 Pcregrinatio in terram sanctam Level6, Meeting Rooms 613 & 614 Bernini S Shifling Signifiers: (1486) Elizabeth Ross, Harvard Iil Apollo, Daphne, and the Rolling University Designing for Security: Our Chairs: 1\lartha Carothers, Stones Perry Brooks, Bamch New Urban Environment University of Delaware; Jeffery College, City University of New Regional Styles and Political F4 Cote de Luna, Dominican York Ambitions: ,\largaret ofAush·ia ~· level 3, Meeting Room 38 University ,\.fonastic Foundation at Brou Discussant: Erika Naginski, Laura D. Gelfand, University Chair: Deborah Bershad, Art Drawing on Florence Jeffery Massachusetts Institute of of Akron Commission of the City of New Cote de Luna, Dominican Technology York University

~ OPEN SESSION Sandra Bloodworth, Aiis for Art and Culture in ,\{ali, West Contemporary Art and (! OFF-SITE SESSION Transit, Metropolitan Africa Janet Goldner, Antioch Islam F8 Transportation Authority University Level 6, Meeting Rooms fil PRACTICUM 602/603/604 liii1 MUSEUM SESSION Building Security Design: Not Just Another Roman Holiday Achiel•ing Transparency in Civic Carrie Galbraith, Scuola Chair: Fereshtch Daftari, r;1"'J AFFILIATED SOCIETY ~SESSION Architecture Barbara A. Nadel, Intcrnazionalc di Grafica; Museum of Modem Art, New Elizabeth Canoll, Indiana CAA COMMITIEE Barbara Nadel Architect York SESSION University (3 E·SESSION

30 CAA 92nd Annual Conference in Seattle 9:00-11:30AM FRIDAy

The Postmodern Titm in Islamic Indeterminate Terminology: Art and Money Fl2 The Rise and Fall of Calligraphy i\'laryam Ekhtiar, Intermedia Enhvined on the level 6, Meeting Rooms Memorial Sculpture, Metropolitan Museum of Art Internet Lynda Bunting, 615/616/617 Part 1 F14 Museum of Contemporary Art, level6, Meeting Rooms 618 & 619 Standing on Formalities: What Los Angeles Chair: Paul Mattick, Adelphi Is Contemporm)' Elsewhere? University Chairs: Sarah Blake l\leHam, l\lysoon Rizk, University of Cyborg Art HisiOJ)': Techno~ Rutgers University; Margaret A. Toledo Aesthetics and .Metafictions of Art versus 1\Joney: Landscape Kuntz, Drew University Digital Culture Elizabeth Drawing in the Seventeenth Secularization, Hybridit;~ and Menon, Purdue University CentWJ' l\lichael Zell, I3oston Homer and the Monument: "Dis-Orientalisms" in University .Memorial Strategies and the ContemporatJ' Palestinian Art New Untidy Afedia and Inter~ Ancient Tomb Elizabeth Gannit Ankori, Hebrew activity Christian Gerstheimer, The Cost of Originality Richard McGowan, Williams College University of Jemsalem El Paso Museum of Ali Spear, University of Maryland Intergenerational Stmytelling: This session will take place in Out ofthe (Inte~)~Afedia and into Consumption ofArt and Dealer The Enduring Language of ARTspace. the Mediation: The Case against Initiative in Early 1\Iodern .Medieml Memon'als Elizabeth Art Administrator Art i\lark Van France Hans J. Van Miegroet, Valdez del Alamo, Montclair Proyen, San Francisco Art Duke University State University Representation after Institute Representativeness: Form as Gold Standard: The Origins q{ the American Problems in African· Discussant: Judith Hoffberg, Aesthetic and Commercial Value Memorial Tradition Sally American Art Now F9 Umbrella Associates in MoAlA S Machine Art \Vcbster, The Graduate Center, level6, Meeting Rooms 611 & 612 Exhibition, 1934 Jennifer City University of New York Marshall, University of Chair: Darby English, il@l Califbmia, Los Angeles The Rise a,{ Memorial Sculpture University of Chicago CAA MUSEUM COMMITIEE in the United States: Martin Approaches to Exhibiting MilmoreS 1867 Soldiers Cornered: Adrian Piper as Modern and Contemporary @3 Monument Lucretia Hoover African-Amerian Artist John P. Asian Art in the United COMMITTEE ON WOMEN IN Giese, Rhode Island School of Bowles, Indiana University States Fll THE ARTS Design level 6, Ballroom 6E First-Generation Artists and "Bye, Bye Black Girl": Lama Scholars: Fresh Vision or Part 2 of this session will be held Revision Fl3 Simpson S Figurath•e Retreat Chairs: l\'limi Gates, Seattle Art on Saturday at 9:30 AM. Huey Copeland, University of Museum; Barbara Johns, inde~ level 3, Meeting Room 3A California, Berkeley pendent curator Chairs: Gloria Maya, Westem "Craft," "Curio," and 1\fatters ofRace: 1\fedium, Collecting Contempormy Asian New Mexico University; Flavia "Curiosity": Art, Material, and Post-Identity Art in Today S .Museums: Who Rando, New Jersey City Commodity, and the Kianga Ford, University of Decides? Vishakba N. Desai, University Politics of Exchange FIS Califomia, Santa Cmz The Asia Society level 6, Meeting Rooms 606 & 607 First Nation and Canuck Artists It :s My Body and I'll C,y if I On Familiar Ground: in the Diaspora Charleen Chair: Karen E. Milbourne, Want To: The Art of Dave Contempormy Asian Art in the Touchette, independent scholar University of Kentucky McKenzie Hamza \Valker, Asian .Museum Pauline J. Yao, University of Chicago Asian Art Museum of San Gmwing F01ward Carolynne Can>ing Out Identity: Seattle S Francisco "'hitefeather, Utica College of Ye Olde Curiosity Shop and Discussant: Glenn Ligon, artist Syracuse University Nm1*chah*nulth Totem Poles Curatingfrom a Distance: A Kate C. Duncan, Arizona State Dialogue with Contempormy Art Visioning Contexts for Dialogue University Untidy Minds: Current of East Asia Betti-Sue Hertz, Marty Spence, Columbia Problems in lntermedia San Diego Museum of Art University UNESCOS Role in Benin S Historiography FlO Contempormy Art Development: level 6, Ballroom 6A Curating the ContempOI'WJ'-' How Curious? Dana Rush, Chinese E\perimental Art Inside University of Illinois, Urbana~ Chair: Peter Frank, L.A. and Outside China Melissa Champaign JVeekly!Angeleno magazine Chin, The Asia Society

Discussant: Lisa Conin, Seattle Art Museum

Fcbma.y 18--21,2004 31 FRIDAy 9:00-11:30 AM, NOON-1:30PM

Cu/tute in the 1\Jarketp/ace: The Issue ofPictorial Sources Discussant: Suzanne P1·eston California Indian Traditional Reconsidered: 1\fodels Blier, Harvard University Arts Margaret Dubin, inde­ Reproducedfimn MenWIJ' in the CM TOWN MEETING pendent scholar Sephardic Haggadot Katrin Kogman-Appel, Ben Gurion What Do Artists Want from CAA, Anyway? rllil Not Only for Their Beauty: Art, University of the Negev ASSOCIATION FOR LATIN Level 6, Ballroom 6E Craft, and the African Art Center AMERICAN ART Marilyn "'ymau, San Jose State Pati 2 of this session will be held Business Meeting We are counting on your partic­ University on Saturday at 9:30 M.l. level 2, Meeting Rooms 2A & 28 ipation throughout CAA's plan­ Discussant Christophel' B. ning process; close communica­ Steiner, Connecticut College The Maya World: Artistic tion among the membership, [i]liJ Continuities and Change the board, and the staff will CM COMMITIEE ON enable us to set meaningful F17 INTELLECTUAL PROPERTY goals for the years ahead. ~ Level 6, Meeting Room 609 Fair Use: Who Has the ART HISTORY OPEN SESSION Rights? F20 Medieval Art History and Chairs: Carol Ventura, rllil Level 6, Ballroom 6C Historiogt·aphy, Part 1 Fl6 Tennessee Technological AMERICAN INSTITUTE OF Chair: Patricia Failing, Level 6, Ballroom 68 University; He Zhang, William GRAPHIC ARTS University of Washington Paterson University Special Session FIB Chair; \Villiam Tronzo, Tulane level 6, Ballroom 6A University "J\faya Baroque" Churches of Fair Use ofImages in the the Colonial Period Carol Chairs: Frank Baseman, Classroom: How Far Is Fair? A Chalice that Cemented Ventura, Tennessee Philadelphia University; Christine Sundt, University of Friendship: Collecting and Technological University Elizabeth Resnick, Oregon Appreciating Byzantine Art in Massachusetts College of Art the 1910s RobertS. Nelson, Can•ing the J\1ountain of the Fair Use: An Image Provider's University of Chicago Ancients: Living 1\faya Artists Participants to be announced. Perspective David \Veiskoph, and Their Conception of the Past Corbis Corporation Pavel FlorensJ..y :., Iconostasis Allen J. Christenson, Brigham and Its Pj)'clwanalytical Young University Don't Forget About Trademarks: PeJ:'>pective Tatiana V. rllil Fair Use of Trademarked Text Scnkevitch, University of Persistence and Change: THE ARTS COUNCIL OF THE and Images Sean O'Conner, Michigan J\fexican Stitch Resistlne Resist AFRIC•\N STUDIES ASSOCIATION University of\Vashington School Skirts Virginia Davis, independ­ Women, leadership, and of Law Art in Africa Fl9 Dating Periods Eric .Fernie, ent scholar Courtauld Institute of Art Level 6, Meeting Rooms 605 & 610 Discussant: Jeffrey P. Cunanl, Working J\fetlwds and Highland Debevoise and Plimpton, Ordering Disorder: Gothic Made Jl'em•ing: Documenting Change Chairs: Victoria Rovine, Attorneys at Law Rational, 1770-1820 Sarah in the Histmy of Guatemalan University of Iowa Museum of Thompson, University of Textiles Catie A. Cadge-.Moore, Art; Christa Clarke, Newark California, Santa Barbara De Anza College Ivfuseum CM EDUCATION COMMITIEE Praise and Power: WOmen, Proving We Know They Continuity and Change in the Leadership, and the Arts among Know: Considering Textile Traditions of }~tcatecan the Kuba Patricia Darish, Assessment F21 Amelia l\'1. Trevelyan, Principia J. independent scholar Level 6, Ballroom 68 ~ OPEN SESSION College

~ OFF·SITE SESSION The King Is a Woman: Gender Chair: Steve Shipps, Emerson and Authority in Cemral Aji'ica College liJ PRACTICUM Mary Nooter Roberts, Fowler !iiil MUSEUM SESSION Museum of Cultural History, Assessment and Its Relation to University of California, Los Accreditation Steven Bleicher, r.r.J AFFILIATED SOCIETY ~SESSION Angeles Art Institute of Fort Lauderdale CAA COMMITTEE SESSION "Remembering" Royal Women: Assessment Results from "The £-SESSION Art, 1\femOJy, and Power at the Survey ofthe Survey" Kevin Court o_j'Benin, Nigeria Flora Concannon, University of Akron Edonwayc S. Kaplan, New York University

3 2 CAA 92nd Annual Conference in Seattle NOON-1:30PM FRIDAy

Portfolio Assessment in All the Flack about Audrey Flack ~ Early Ottoman Wall Painting Ca/ifomia S Teacher Education and the Decorative Altematil'e and Her Artistic Response to the HISTORIANS OF EIGHTEENTH­ Program in Art Mika Cho, Twenty-first Centw)' Arthur CENTURY ART AND Richard nnnbull, Fashion Califomia State University, Los Jones, University of North ARCHITECTURE Institute of Technology Angeles Dakota New Scholars: Making Meaning in Eighteenth­ Wall Paintings from DWerent Assessment from the United Shelter against Violence: A Case Century Visual Culture F25 Cultures in Western Anatolia Kingdom Art/Design Perspective for Empowerment i\'luriel Level 3, Meeting Room 38 Inci Kuyulu Ersoy, Ege Sue Gollifer, University of Magenta, Arizona State University Brighton University Chair: Laura Auricchio, Parsons School of Design and Student TVriting as Evidence in The Archetypes of the Feminine Cooper-Hewitt, National Design ~ Assessment David McCarthy, and the Politics of Spirituality Museum ITALIAN ART SOCIEW Rhodes College Kyra Belan, Broward Continuity and Change: Community College Construing the Oeuvre in The State of Research on Discussant: l\Iartha Eighteenth-CentW)' France Sixteenth-Century Italian Dunkleman, Canisius College Graham Larkin, Stanford Art F27 ~~ University Level 6, Meeting Rooms 613 & 614 COMMUNITY COLLEGE ~fiiii'l~ PROFESSORS OF ART AND ART TI1e Oxford Almanack and the Chair: Bernadine Barnes, \Vake CAA MUSEUM COMMITIEE HISTORY Pomfret Statues: The Ideology of Forest University What Curators Need to Disconnected: Artists and Vertu Dennine Dudley, the Community College F24 Know: Evaluating University of Victoria The Cult a_{ Materials .Michael Curatorial Studies level 6, Meeting Rooms 606 & 607 Cole, University of Pennsylvania Programs F22 The EmperorS Tlm Bodies level 6, Meeting Room 608 Chairs: Thomas Morrissey, Judith Dolkart, Brooklyn Acquisition and Identity in Community College of Rhode Museum of Art Sixteenth-Cenllll)' Rome: The Chairs: l\laria Ann Conelli, Island; Leo Morrissey, Brevard Case o_(the Pope's Daughter Fashion Institute of Technology; Community College The Death of Caesar and The Caroline Murphy, University of Katherine B. Crum, Parrish A11 Death of Virginia by Vincenzo California, Riverside Museum {f I Stopped Making Art . .. Camuccini and the Politics of Would Anyone Notice? Leo Classicism in Italy, 1793-1815 Best Sellers: Problems with Michael Conforti, Sterling and Morrissey, Brevard Comnmnity Jon L. Scydl, J. Paul Getty Prints Christopher L. C. E. Francine Clark Art Institute College Museum \Vitcombe, Sweet Briar College Joan l\Iarter, Rutgers University Re~Energizing Arts Education: Alicia Longwell, Parrish Art The Importance of Developing NATIONAL ENDOWMENT FOR the Role ofArtist/Arts Educator THE ARTS Museum HISTORIANS OF ISlAMIC ART Jean Linville, Briarcliff Manor Funding Opportunities at Erica E. Hirshler, Boston Islamic Wall Painting F26 Union Free School District the National Endowment Museum of Fine Arts Level 6, Meeting Room 609 for the Arts F28 To Do or Not to Do: Uphill Level 6, Meeting Rooms 618 & 619 Chair: Richard nu-nbull, Battle or Downhill Slide? ~ Fashion Institute of Technology COALITION OF WOMEN IN THE Thomas Morrissey, Community Participants to be announced. ARTS ORGANIZATION College of Rhode Island Women Artists as Wall Painting in Pre-1Hongo/ Iran and Cellfral Asia: New Interpreters of Socio­ Discussant: Sheldon Hurst, ~ Discoveries in Samarkmul Yury Political Issues of the Adirondack Community College PART-TIME EMPLOYMENT TASK Karcv, Russian Academy of Twenty-First Century F23 FORCE Sciences Level 3, Meeting Rooms 307 & 308 Part-Time Employment in Art History and the Arts: Chair: Kyra Bclan, Broward The Crafismen and Builders Open Discussion F29 Community College Represemed in the Painting Level 3, Meeting Room 3A Cycle at the Umayyad Palace at Interactive Art Janice Hartwell, Qusayr •Amra: An Chairs: Irina Costache, Hana Florida State University Iconographical Analysis Califomia State University; D. Taragan, Tel Aviv University Fairchild Ruggles, University of Illinois, Urbana-Champaign

Febnoary 18-21,2004 33 FRIDAy NOON-1:30, 2:00-4:30 PM

1illl Visual Ethnography in Visual Ut Pichtra Poesis: A [i,l[3 Culwre Studies Karin Becker, Romanesque Poetic ElqJ/wasis QUEER CAUCUS FOR ART Where to Draw the line FJS Konstfack Stockholm and Its "Ear"-Relevant Queer Artists Speak FJO Level 6, Meeting Rooms 618 & 619 Level6, Meeting Rooms 611 & 612 Illustrations Peter Scott Brown, Columbtis State University Chair: Susan E. Boye, Comish Chair: Sallie McCorkle, College of the Ms Pennsylvania State University Program or Assemblage: SPECIAL ADVOCACY SESSION Looking for Afeaning in Circumventing Hand and Brain Harmony Hammond, Cultural Heritage in Time Romanesque Sculpture Connections: lf We Stop University of Arizona of War FJIA James D'Emilio, University of Drawing, We Stop Thinking like Sallie l\'lcCorklc, Pennsylvania Level 6, Meeting Rooms 613 & 614 South Florida Artists and Designers Craig State University 'Varner, Nortlnvest Missouri Carrie :Moyer, Dyke Action Chair: l\'larta Teegen, CAA The Nude, Phantasia, and the State University Machine! A.O'ective Powers of Romanesque Sculpture Thomas E. A. Dale, Robert Repinski Report from Iraq D~(lning How the Line Is Cultural Heritage: Why Should University of Wisconsin, Drawn: Educating Undergradu­ H0 Care? Madison ate Artists in the Twenty-first 1\fodels for Reconstruction: Centwy Yonsenia "'hite, VISUAL CULTURE CAUCUS Bosnia, Cambodia, Ajglwnistan Virginia Polytechnic Instihtte Teaching Visual Culture Sight, Sound, and Touch: and State University Zainab Bah1·ani, Columbia Studies FJI Sensory Percelltion in level 6, Meeting Rooms University; James A. R. American Art F34 A JJ'aste o_{Time? How Changing 615/616/617 Nafziger, Willamette University level 6, Meeting Rooms 606 & 607 Student Opinions Can Infonn the College of La\v; Jeffrey B. Teaching of Drawing within Chairs: Jill Casid, University of Spurr, Harvard University; Chairs: 'Vendy Bellion, Rutgers Design Cu1Ticula Edwin Jager, \Visconsin, Madison; Erica John H. Stubbs, World University; Rachael Z. DeLue, University of Wisconsin, Rand, Bates College Monuments Fund; Yasser University of Illinois, Urbana­ Oshkosh Tabbaa, Oberlin College Champaign Teaching Visual Culture at the Drawing and Design: The Pencil Cooper Union Maren Stange, Other participants to be At the 1\fouth ofthe Cave: On and the A1ouse and Reinventing Cooper Union announced. the Sights and Sounds of Thomas the Wheell\lark Fetke\\icz, ColeS Kaaterskill Falls i\Uchael University of Northem Colorado Using Visual Culture to Gaudio, University of Challenge Cultural VG/ues, Annual Artists' Interviews Minnesota, Twin Cities Better? Worse? Or Just F32 Beli~(s. and Assumptions D(O'erent! Chl"is Garvin, The \Vanda B. Knight, Pennsylvania Level 6, Meeting Rooms From Sonic to Social: Noise, University of the Arts State University 602/603/604 Quiet, and Nineteenth-Centwy American Banjo Image1y Leo G. From Gen X to Y to Z: A Participants to be announced. Mazow, Palmer Museum of Art, Partisan Canons, Part 1: Transgenerationaf Approach to Pennsylvania State University Discursive Sites F36 f1suaf Culture John Corso, This session will take place in Level 6, Meeting Rooms Cornell University ARTs pace. The Illusion of "Experience" 615/616/617 and the Circulation of the Senses in Gilded-Age Trompe L'Oeil Chair: Anna "'· Brzyski, Romanesque Sculpture Meredith Davis, Columbia University of Ken tuck.')' Studies: Where Are We University ~ OPEN SESSION Now? FJJ Drawing on l11eir Friends: Level 6, Ballroom 6E Shake, Rattle, and Roll Janine D OFF-SITE SESSION i\1anuscript Style as Political i\lileaf, Swarthmore College 1\fessage in the Art of Eleventh­ [ij PRACTICUM Chairs: Kirk Ambrose, CenfwJ' Flanders Diane J. University of Colorado, Boulder; You.May TVant to Hem: .. the Reilly, Indiana University fii'il MUSEUM SESSION Robert Maxwell, University of Sound of Bruce Nauman S Art rr.l AFFILIATED SOCifTY Pennsylvania Janet Kraynak, State A Usejit! and Glorious E\·ercise: lio.l'!J SESSION University of New York, The 1667 Academic Conj'erences CAA COMMITIEE Roots or Retro: Romanesque S Purchase SESSION and the Construction ofa Paradoxical Paradigm Linda E·SESSION French Artistic Canon Carolyn Seidel, University of Chicago Allmendinger, Ackland M Museum, University of North Carolina, Chapel Hill

34 CAA 92nd Annual Conference in Seattle 2:00-4:30 PM FRIDAy

I rVould Rather Look at a r.i,l:3 Cai!lebotte, Dumnd-Ruel, rna Painting ofa Landscape than a ITALIAN ART SOCIETY Rewald, and the Impressionist The Period-Room Debate Real Landscape: Reflections on The Meaning of Portraiture Canon James E. Cutting, and the Making of the Crossroads H1zere Hrmum in Renaissance and Cornell University America's Public Art Longing and Anxiety 1\feet, Baroque Italy F4l Museums FJS Landscape Painting and the Level 6, Ballroom 6A Afodemist Forma/ism in the level 6, Meeting Room 608 Fiction of "Nature" Gregory _Making: Paul Signac's From Amenoff, Columbia University Chairs: Irving Lavin, Jnstitute Eugene Delacroix to Nco­ Chair: Sally Anne Duncan, for Advanced Study; Beth L. Impressionism i\Iichellc A. Foa, Plymouth State University Painting What:'>' Left of the Holman, Bard Graduate Center Princeton University Landscape: 17wughts on Picture Houses and Period Wounded Beaut)' Tim Casey, Identity in Renaissance Portraits In Picasso S Defense: Building a Rooms: Wallace Nutting, the Bard College Joanna \Voods-Marsden, Canon of Modernism in the Real Musewn, and the ~Market University of Califomia, Los Bohemia Nicholas Sawicki, Thomas Andrew Denenberg, American Pastoral Dennis Angeles Grinnell College \Vadsworth Atheneum Museum Congdon, Rhode Island School of Art of Art and Design Gianmarco Cavalli S Testoni of Part 2 of this session will be held Francesco II Gonzaga: The 011 Sahtrday at 2:30 PM. Style and Lifestyle in the The Duwamish Wate1way: Circulation ofAllegoJ)' and the Machine Age: The 1\fodemist Paintingji-om a Supelfwul Site Legitimacy of Rule in Period Rooms ofThe Architect Philip Govedare, University of Renaissance 1\Iantua Gregory New Approaches to the and the Industrial Arts Kristina Washington Harwell, Princeton University History and Theory of \Viis on, Yale University Art Montage F37 Gallery 1\fedici Portraits and the Level 2, Meeting Rooms 2A & 28 r.i,l:3 Santissima Anmmziata of Alexander Dorner's Atmosphere INTERNATIONAL ASSOCIATION Florence Bernice Iarocci, Chairs: Brigid Doherty, Room: The Museum as OF WORD AND IMAGE STUDIES University of Toronto Princeton University; Elizabeth Experience Curt Germundson, Walter Benjamin and the Otto, State University ofNe'v Minnesota State University, Visual Arts F40 Costanza Bonarelli: ~Model, York, Buffalo Mankato Level 6, Ballroom 6C 1\fistress, Afuse? Sarah McPhee, Emory University Ernst Neumann S New Values of Frederic Remingtml 's Studio: An Chair: Michfle Hannoosh, Fine Art: Art and 1\1ass Culture Innovative Exhibition Sh·ategy at University of Michigan The Loaded Portrait: Caricafllre at the Tum ofthe Centw)' the Whitney Ga/leJ)' of Western and Artistic Identity in Early Sherwin Simmons, University Art Elizabeth Kennedy, Terra Benjamin's Snapshot of Afodern Italy Sandra Cheng, of Oregon Museum of American Art surrealism: Afetaphm; Image, University of Delaware and Action Raymond Spiteri, Reading 1\fontage: The Discussant: Alan \Vallach, University of North Dakota Trmtsfation of Montage via College of William and Mary Investigating New Art in German and American "Earths Eye," the Horizon, and F•·anceF42 Photography Books Andrea tile Shadow of the Object A ron level 6, Meeting Room 609 Nelson, University of Minnesota Nature in Crisis: Landscape Vinegar, Ohio State University in the Twenty-first Century Chair: Martin Patrick, Illinois Pictorial Suture and Radical F39 Walter Benjamin's 1\fateria/ist State University Politics: John Heartfield's AIZ Level6, Meeting Rooms 605 & 610 Physiognomy John Welchman, Photomontages Sabine Kriebel, University of California, San Tom l\lcDonough, Binghampton University of Califomia, Chair: Philip Govedare, Diego University Berkeley University of\Vashington The Screen: Visuality and Artist 011 the Bridge: Ousmane 1\fontage Artist as Marketer in What Can Landscape Say Responsibility after the A uratic Sow's Outdoor Paris Japan Genuifer \Veisenfeld, Sarah McCoubrey, Syracuse Demise Dag Peterson, Royal Retrospective James E. Duke University University Library, Denmark Houseficld, Texas State University, San Marcos Warhol's Sleep: Serial Slowness Beyond Benjamin:'> Aura? and the Body ofFilm \Villi am RethinJ..ing his Contribtttion to Situations franc;aises: Atlanta l\'lci\lanus, Princeton University Studies ofArt and Visual PreseJlfS New Art from France Culture :Ruth E. Iskin, Ben Lisa Fischman, Atlanta College Gurion University of A•i Gallery

Febmary l8-2l, 2004 35 FRIDAy 2:00-4:30 PM

Antoine Vigue, independent Paul Thek: HzjJpopotamus r.:.I;3 Redressing the Gender of scholar Poison and Other Consen•ation JAPAN ART HISTORY FORUM Jnduslly: in and Around Concerns l\lichael Duffy, The Hidden Agendas: Political Bauhaus Textile Production Vivian Rehberg, ARC/Musee Museum of Modem Art, New Symbolism in japanese Art T'ai Smith, University of d'Art modeme de Ia Ville de York F46 Rochester Paris level 6, Meeting Rooms 611 & 612 The Assertion of Form i\Iartha Buskirk, Montserrat College of Chair: Sarah E. Thompson, OFF-SITE SESSION Rewriting jacob lawrence: Art University of Oregon A Proposition F43 aJ Australian Aboriginal Art level 6, Ballroom 68 Op Ed: Bridget Riley on Bruce Anthropommplwsis and AllegOJ)' F48 Nauman Linda G. Norden, in The Picture Scroll of the \Var Seattle Art Museum, lecture Hall Chair: Richard J. Powell, Duke Fogg Art Museum of the 1\velveAnimals Sarah E. University Thompson, University of Oregon Discussant: Bruce J. Altshuler, Chair: Brenda Croft, National Gallery of Australia When Haiti Was in Vogue: Jacob New York University Politics of Partying: Scenes of Lawrence :'i' Accoullf o..fToussaint Pleasure in1\fansions Susan Louverture Lindsay J. 1\va, Lee, Florida State University University of North Carolina, r.:.I;3 This session will feature indige­ nous curators from Australia, Chapel Hill HISTORIANS OF The Dual Regime: Political Canada, and the United States NETHERlANDISH ART Connotations of£do-Period The long legacy of the who discuss their experiences in Black Femininity and Makura-e Amaury Garcia, El Devotio Modema F45 establishing a place in main­ llllertextuality in Jacob Colegio de Mexico Lawrence S Harriet Titbman Level 3, Meeting Room 38 stream institutions. As a case example, they will trace the Series (1939) Joan DeiPiato, Politics ofthe Stone: Some Chair: Nanette Salomon, The development and difficulties Simon's Rock College at Bard Conceptualist and Mono-ha College of Staten Island, City encountered in putting together Works in the Late 1960s Reiko University of New York an exhibition entitled Jesus Nineteen Forty-Six Richard J. Tomii, independent scholar Powell, Duke University Loves 1\fe This I Know. Tltis The Ghent A!tmpiece and exhibition is cmrently in fonnu­ Discussant: Andrew .M. Pelformative Painting i\'larc lation for an international tour "'atsky, Vassar College Revisiting the Presence of De l\ley, Ghent University and addresses a subject not often the Object F44 reviewed with critical perspec~ 1\/mys at the Tomb: Paintings, tives in ati museums. The ses­ Level 3, Meeting Rooms 307 & 308 Textiles, 1890-1940 F47 Sculpture, and a Passion Play sion will be held at the Seattle Level 3, Meeting Room 3A Chair: Robin Reisenfeld, Built fOr One Kathryn i\f, Art Museum, followed by a Rudy, Utrecht University reception and a tour of a local Christie's Education Chair: Virginia Gardner Troy, private collection. Berry College What S the Object? Theater and Hieronymus Bosch: Inner Eye and Empty Talk Reindert 17zeatricality in Comempormy Textiles and Architecture: Falkenburg, Leiden University Art Howard N. Fox, Los Wea''ing 1\fodem Discourse Angeles County Museum of Art Aliki Economides, Centre J\1e/ancholia and the Afagdalene: Canadien d'Architecture Meet the Candidates J.Cminity m1dlas Interiority Lisa level6, Meeting Rooms 611 & 612 Rosenthal, University of Sophie Taeube1; Hans A1p, and Illinois, Urbana-Champaign the Politics of Cross-Stitch Become an engaged and edu­ ~ OPEN SESSION Bibiana Obler, University of cated voter! Learn the back­ Rembrandt S Pahlfed Portrait of California, Berkeley grounds and positions of the ~ OFF-SITE SESSION the Remonstrant Clergyman candidates for CAA's Board of Johannes Wtenbogaert and the ~ PRACTICUM Art into Life: Russian Directors. All CAA members 1\fodem Devotion David A. Consh'ltctivist Textile Designs are strongly urged to attend fil1l MUSEUM SESSION Le\1ne, Southern Connecticut and Atelier Simultane of Sonia this important meeting. State Un1versity ~ AFFILIATED SOCIETY Delaunay Julia 1\1lovsky, l.ai!J SESSION Moscow State University CAA COMMIITEE Discussant: Ellen Kmmwitz, SESSION State University of New York, Wearing Wood: World Jl'clr I and E-SESSION New Paltz the Development ofKunstseide in Germany l\laria l\'lakcla, independent scholar

3 6 CAA 92nd Annual Conference in SeaHle 6:00-8:30 PM FR I DAy

The Symbolist Artist in1900: Nostalgia and Resistance in the The Aporia of Photographing Degeneracy Acknowledged or Study ofPlwtography under the Abjection: Charcot:~ Nouvelle Third Waves: Genius Proclaimed? Sharon Raj Gary Sampson, Cleveland Iconographic de Ia Salpetriere Contemporary Feminism/ Hirsh, Dickinson College Institute of AI1 Fae Brauer, University of New Contemporary Art F49 South Wales Level6, Meeting Rooms 613 & 614 Fashioning Artistic Identities: The Critical Pe1:(ormance of ~[il Looking at Lynching Chair: Elizabeth Adan, Whistler and Smgentl\leaghan CAA INTERNATIONAL Photographs: Sadistic Voyeurism COMMITIEE University ofCalifomia, Santa Clarke, University of Sussex or Historical Witness? Dora Going Global: Defining Barbara Apel, \Vayne State University Cm!founding the Homeland: CAA's Role in the International Community From Womyn to Gnrls: The Precarious Reception of Having OneS Cake and Eating It F52 Fostering Understanding Brancusi S Peasant Identity Too: ArNsts 'Strategies of Level 3, Meeting Room 3A beh1•een Feminist Generations Alexandra Parigoris, independ­ Substitution and the Rhetoric of l\Iaria Elena Buszek, Kansas ent scholar Photographic Evidence 1\'lary Chairs: A. Victor Coonin, City Art Institute Beth Heffernan, Occidental Rhodes College; Allison Discussant: Susan Sidlauskas, College 1\Iorehead, University of Nowhere and EveJJ'lVhere: The University of Pennsylvania Chicago LesMan Presence in Feminist Art ofthe 1990s Aviva Dove­ Part 2 of this session will be held Redefining the Work of Positioning CAAJOr Viebahn, University of on Saturday at 9:30 AM. Art: Artists and Art International Activities Ann Rochester Scholars Collaborate F54 Davis, The Nickle Aiis Museum, level 6, Ballroom 6A University of Calgary From Goddess to Cyborg: Postmodern "Possession": Contempormy Asian WOmen The Reception and Chairs: Andrea Feeser, ClemsOn The Case ofNorthern Cyprus: Artists Jieun Rhee, Seoul Reappraisal of Victorian University; Gaye Chan, Cultural Welfare and Political National University Art in the New Millennium University of Hawai'i F51 Stalemate Michael J. K. \Valsh, Eastem Mediterranean A Data Body Discourse in Image level6, Meeting Rooms 605 & 610 Renovations, Conversations: University and Text Simone \Vin Paterson, Female Co-Creativity 1970- University of Newcastle and the Chair; Susan P. Castcras, 2003 Judith Bntalion, Valuation, Ownership, and Hunter Institute of Technology University of Washington Courtauld Institute of Art Protection ofHeritage Sites of "Universal" Significance: New Trappings: Stories of Women, Repossessing Victorian Sculptural Consciousness: Age Trend or Noble Fallacy? PoweJ; and Clothing Tiffany Royal Portrait Traditions: Recontextualizing the System John H. Stubbs, World Lurlv.ig and Renee Piechocki, Representing Diana, Princess of Aesthetic Celina Jeffery, Monuments Fund and Columbia Two Girls Working ·wales Colleen Denney, Savannah College of Art and University of\Vyoming University Design; James Coupe, South Bank University Beyond Catalogued Losses: The Fashioning the Public Self: Victorian Tendencies among Iraq Museum Database Project Modernity, Transformative Contemporm)' Artists Sharon Using Histm)': The Role ofan at the Oriental fnsh'tute Clemens Fictions, and the Social Lacey, independent scholar Art Historian in Fred Wilson J· Reichel, University of Chicago Construction of Artistic Speak of Me as I Am Paul H. D. Identity, Part 1 F50 Queer Orienta/ism: i\1asculinity Kaplan, State University of level 6, Ballroom 6E of the Other in William Etty and New York, Purchase; Fred 1\1u/ready Jongwoo J. Kim, Photography and the \\'ilson, Skidmore College Abject F53 Chairs: Susan ~I. Canning, Institute of Fine Arts, New York level 6, Meeting Room 608 College of Nc'v Rochelle; University 1\fargaret Crane/Jon Winet: Patricia G. Berman, \Vellesley Collaboration and Hybrid Work Chair: Laurie Dahlberg, Bard College "They that Look on Her 1\fust Jon \Vinet, University of Iowa; College Come to 1\fe ":Abjection and Margaret Crane Cezanne in Public and Prh•ate: Alterity in Dante Gabriel Disaster and Dissolution in the Fashioning the Self in the Image Rossetti S Images ofJane 1\forris Discussant: Olu Oguibe, Victorian .1\fass-Reproduced ofthe Other Carol Armstrong, Amy Bingaman, Cornish University of Com1ecticut Image Gerry Deegan, Rutgers Princeton University College of A11 University

Discussant: Tom Keenan, Bard College

February 18-21, 2004 37 FR I DAy 6:00-8:30 PM

The Activist Artist: Renaissance and Revolution in The Place of the local in The Living Temple as Space Community-Based Art ContempormJ' Papermaking American Art History F58 of Ruins: Documentmy Practice FSS Susan Gosin, Dieu Dollllf: level 6, Meeting Rooms Photography in Nineteent!J­ Level6, Meeting Rooms 611 & 612 Papennill, Inc. 615/616/617 Centlll)' British India Gita Pai, University of California, Chairs: Barbara Goldstein, City Thinking in Paper and the Art of Chair: \Vendy Katz, University Berkeley of Seattle, Mayor's Office of Collaboration Anne Q. of Nebraska, Lincoln Arts and Cultural Affairs; Lisa i\IcKeown, Rutgers Center for "Tesori d'arte ed oggetti di vita": Richmond, City of Seattle, Innovative Print and Paper FitzHugh Lane: Time, Afemol): Archaeology .Meets Aesthetics in Mayor's Office of Arts and Canvas, and Lumber in the Antiquarium Ostiense Cultural Affairs Handmade Paper and the Nineteenth-CentUI)' Coastal New Margaret Laird, University of Printed .Mark, from T\\'O to Three England J\largaretta Lovell, Chicago OnRamp Arts-Collaborations Dimensions Joan Hall, University of California, in Digital.Media Jessica Irish, Washington University, St. Louis Berkeley The Archaeologist and the OnRampArts Architect: Fragments of.Memmy "Paper Covers Rock": From Regional to Local: Alfi"ed and Rhetorics ofReconstruction Artist as Cultural Actil•ist Institutionalizing the Stlldio Jacob Afiller and Painting in Sheila Crane, University of Lonnie Graham, artist Marilyn Sward, Columbia Baltimore, 1840--1860 Lisa Califomia, Santa Cmz College, Chicago Strong, independent scholar Who S Right: The Artist or the Fragments Estranged: Visuality Community? Steve Durland, "Little ofArtistic Merit?": The and Concealment at the Site of Community Arts Network Working on living Artists Problem of Solllhem Art Histmy Psychoanalysis Diane F57 Maurie :Mcinnis, University of O'Donoghue, Tufts University An Institutional View: The level 6, Meeting Rooms 606 & 607 Virginia and School of the Museum of Community-Based Artist Fine Arts Residency J. Susan Isaacs, Chair: Susan Jarosi, Duke Entrepreneurial Elites and the Delaware Center for the University Nationalization of the Art World Discussant: Boreth Ly, Contemporary Arts in Gilded Age America John University of Utah Reading Lips: Field Notes on Ott, James Madison University the Art Historian as Cultural Paper: Art Practice and Anthropologist Da,id E. Little, Haunted Lines: Negotiating Signs of Devotion: Bathtub Collaboration; Material The Museum of Modern Art, German-American Identity in Madonnas, Highway and Innovation F56 New York John W m·nkler 's San Francisco Crosses, and Personal level 3, Meeting Room 3B Chinatown Etchings Louise Manifestations of Art and Crafi: .Making Work and Siddons, Stanford University Spirituality and Chairs: Susan Gosin, Dieu Making Exhibitions Robert Memorialization F60 Donne Papennill, Inc.; Anne Q. StmT, independent curator and level 3, Meeting Rooms 307 & 308 1\'lcKeown, Rutgers Center for critic; Institute of Fine Arts, New Strange Fragments: Innovative Print and Paper York University Reassessing the Chair: Ellen Kosmer, \Vorcester Relationships between Art State College In the Belly ofthe Beast: History and Archaeology The Artist's Daughter as Art F59 Homemade Sacred: Personalized Historian Hannah HJggins, level 6, Ballroom 6C Shrines at the Family Cemete1y University of Illinois, Chicago Christina Bertoni, Rhode Island Chairs: Barbara Kellum, Smith School of Design On the Teaching, Reception, and College; Kara Olsen Theiding, ~ OPEN SESSION Dissemination ofArt Hermann University of California, Viernes de Dolores: Altars to the Nitsch, artist Nancy (! OFF-SITE SESSION Berkeley Virgin ofSorrows Deffebach, Rice University (il PRAGICUM The National Geographic Style: The Role ofFantasy in Articles ofFaith: 1\laterials l~{ fi!iil MUSEUM SESSION Arclweological Inte1pretation Belie/Robert l\'Iertens, r:r.l AFFILIATED SOCIETY with Special Focus on Artist and University of Wisconsin, f..iol'!J SESSION Archaeologist at Troy Maureen \Vhitewater CAA COMMITIEE Basedow, University of SESSION Cinciimati Discussant: Kellen J\Iclntyre, E·SESSION University of Texas, San Antonio

3 8 CAA 92nd Annual Conference in Seattle 9:30AM-NOON SATURDAY

riiiil ~ Haiti on My Mind: Rethinf.."ing Breaking Down the ART HISTORY OPEN SESSION the Concept of Harlem and Its Boundaries: What Happens Michelangelo F63 Relationship to Haiti in Jacob When Educators Curate F61 level 6, Ballroom 68 Lawrence S The Life of level 2, Meeting Rooms 2A & 2B Toussaint Louverture La Nitra Chair: \Villiam E. \Yallace, Walker, Duke University CAA Annual Business Chair: Tamara l\'loats, Henry \Vashington University, Saint Meeting Art Gallery Louis Asiamericasia: Towards a Level 6, Meeting Rooms 606 & 607 Globalized Asian American Art Other Voices, Other Rooms: Art Editing a Life: Micltelangelo in HisfOJ)' Joan Kee, University of and Education in Context Bologna and Renaissance Art See your CAA Board of Hong Kong Cal'Dlyn H. Wood, Ackland Art Histmy Randi Kleban off, Directors in action. You are Museum Carleton University cordially invited to attend this Archive Fel'ers: Colonialism, important meeting to hear the Afodemil)! and the Politics of latest reports on what's hap· Display Jennifer A. Gonzalez, Considering Exhibition Structw~ 1\enty-First-Centwy Tagger "Meine Kunst kriegt hicr zu Margaret Weigel, MACHA ~ frcssen": 1\Iax Beckmann S Public Persona during the Great Media PACIFIC ARTS ASSOCIATION Business Meeting WOr Amy Kelly Hamlin, Framing [Con] text: Gra.lfiti and Level 3, Meeting Room 303 lnstihtte of Fine Arts, New York Place Ella Chmiclewska, University Canadian Centre for Architecture Alienation and Stardom: Cries from the Pueblo: .Me.,·ican Delmmay·Terk :'i' Se({-Portraits Political Graffiti and Street Art Sherry Buckbenough, ASSOCIATION OF HISTORIANS University of Hartford Pamela Scheinmau, Montclair OF AMERICAN ART State University Postcolonialism, Anti-Portrait on an umourist: Globalization, and Jacques Vaclu~ and the Persona ~Mark .My Words: Epigraph)~ American Art SAl of Trauma Kirsten Strom, Inscription, or Gra,_Oiti? Level 6, Meeting Rooms .606 & 607 Michelle A. Rein, University of Grand Valley State University Pennsylvania Chairs: Bill Anthes, University "Also sprach der Oberdada": of Memphis; Elizabeth Johannes Baade1; 1\1adness, and Lettered/Visual/Orders: Hutchinson, Bamard College Illegibility and Culture Oitique Nietzsche SA/ode/ Adrian Sudhalter, Busch·Reisinger in Grafliti Art Joe AusHn, Tanne1; Hybridif); and the Blood Museum, Harvard University Art Bowling Green State University ofthe Holy Laad Alan C. Museum Braddock, Syracuse University Discussant: Susan Sidlauskas, University of Pennsylvania

February 18-21,2004 39 SATURDAy 9:30AM-NOON

Myth and Modern Art, Yax Pasaj and the Palencano Reconsidering Clyi]Ord Still: The Art History de jure SA? Part 2 SA3 Presence at Coplm Rhonda Creation ofAbsh·act Art as Spirit Level 6, Meeting Rooms level 3, Meeting Room 3A Taube, University of Califomia, Power Herbert R. Hartel, Jr., 615/616/617 San Diego; Karl Taube, John Jay College, City Chair; Alison Hilton, University of California, University of New York Chair: Elizabeth C. Mansfield, Georgetown University Riverside University of the South Discussant: Ray Kass, Virginia Sculptor Bikky Sunazawa and Culturaiidenti(j• mid Stylistic Polytechnic Institute and State From Sam S Cafe to United Art His Use ofAbm Traditional Spheres at Las Higueras, University Contractors: Actionable Art? Afyths as a StatemeJ/1 ofEthnic Veracruz John L. 1\'lachado, J1·., Kevin Concannon, University Pride Chisato 0. Dubreuil, University of Texas, Austin Discussant: Susan Fillin-Yeh, of Akron University of Victoria independent scholar An Art Practice for a Community A11dy SArtor Dull Documellls: Fernand Leger S 1\!yth of without Borders: Placing the Defining Warhol S Photographic Regeneration: Fomeming B01gia Group 1\fanuscripts Anne After Vietnam: Traces of Legacy in the Courtroom Revolution or Constructing \Valke Cassidy, Columbia Exile and Fragments of \Villi am V. Ganis, New York Colonialism? Maureen G. University Homeland in Canadian Arl Institute of Technology Shanahan, State University of SA6 New York, Oswego The West 1\fexican-1\1imbres Level 6, Ballroom 6A Big Picture, Fine Print: The Connection: I1!f/uence, Swprising Impact ofthe Illicit 1\fodem Transformations and Appropriation, or Collision at Chairs: Martha Langford, Art n·ade on Ttu Law and Art 1\fedusa Kimberly Allcn­ the Northern Frontier James McGill University; Jerry Historians Anne-lHarie Rhodes, Kattus, Northern Kentucky Farmer, Virginia Zaslove, Simon Fraser Loyola University School of Law University Commonwealth University University Art HistOI)' and the New Ancient Subtext, Modem Death, Etlmicit;~ and the State in Re: Considering Cultural iconoclasm Elizabeth C. Context: An ArtistS Contribution the Tarascan Society of the Early Production in Vancou~'er during Mansfield, University of the Andrea Eis, Oakland University SL\·teenth CentW)' Angelica the 1960s and 1970s: A South Afanador, University of Discussion of11vo Intermedia California, Los Angeles Texts by Roy Kiyooka Glen Oeyond Style: Fashioning Lowry, Coquitlam College Activating Critical Cultural Identity in Ancient Discussant: Jeff Karl Kowalski, Discourse: Models of Civic Mesoamerican Art and Northem Illinois University A Critical Beauty: Engagement and Public Architecture SA4 Plwtoconceptual Art in Arts Practice SA8 Level 6, Meeting Room 608 Vimcouver Sharla Sava, Simon Level 6, Meeling Rooms @];] Fraser University 602/603/604 Chairs: Julia Guernsey ART HISTORY OPEN SESSION Kappelman, University of The Northwest School: Far Conceptual Lithography at Nova Chair: Bradley McCallum, Texas, Austin; Anna beth Oeyond and Deep Within Scotia College of.Art and C01~unctionA11s Headrick, Vanderbilt University SAS Design: From Acconci to Level 6, Ballroom 6C Wieland Jayne "'ark, Nova Animating Democracy: Scotia CoHege of Art and Design Opporlllnity and Challenge at Chair: 1\Iartha Kingsbury, the Intersection ofArt and Civic University of \Vashington American E"J.patriate Artists in Dialogue Pam Korza, Cmwda: A Life ofExile or Americans for the At1s 1\fark Tobey: Construction ofan Prelude to NAFTA Peter ~ OPEN SESSION Artistic Identity Sheryl \Vollheim, Boise State Creative Capital-Incorporating Conkelton, independent scholar University D OFF-SITE SESSION Discourse as Part of Comprehensive Artist Support [;j PRACTICUM North ofNorthwest: Relations Sean Elwood, Creative Capital between American and Canadian fi'ii!l MUSEUM SESSION Early 1\fodem Artists on the Community Cultural r.r.l AFFILIATED SOCIETY Pacific Coast Gerta Moray, Development Tomas Ybano­ ~SESSION University of Guelph Frausto, Rockefeller Foundation CAA COMMITTEE SESSION Critical Conditions Patricia C. E-SESSION Phillips, SUNY New Paltz

This session will take place in ARTspace.

40 CAA 92nd Annual Conference in Seattle 9:30AM-NOON SATURDAY

The Rise and Fall of "And lOu Don~ Stop": ~Iii Whither Connoisseurship of the Memorial Sculpture, Collaborative, Interactive NATIONAL ART EDUCATION Rembrandtesque; 01; What to Do Part 2 SA9 Hip-Hop Pe1:{ormance Frank ASSOCIATION with All the Not Rembrandts? level6, Meeting Rooms 613 & 614 Barber, Columbia College Artful Mentoring in Higher Catherine B. Scallen, Case Education: Role Models Western Reserve University Chairs: Samh Blake iUcllam, Acting as though Digitalis Just and Pedagogical Strategies Rutgers University; i\largaret A. Another Tool Gwyan Rhabyt, for Enhanced learning in 1Gt."ing the "Con" Out of Kuntz, Drew University California State University, the Arts SAI2 Connoisseurship (and Pulling Ha)"vard Level 3, Meeting Room 38 the Visual Knowledge Back In) The Public A1emorial in Benjamin Binstock, New York Nineteenth-Centwy italy: Stmyscape: An E'perience Chair: Renee Sandell, Maryland University Giuseppe Grandi and the Design Site ofEm•ironment, Institute College of Art 1\1onument to the Five Days of 1\fedia, and Event Woven Appraising Fanzago: Discerning Milan, 1881-1894 David M. Together by Stmy Jacki Apple, Role 1\Jodels and Pedagogical Eyes in Seventeenth-Cellttll)' Gariff, University of Wisconsin, Art Center College Strategies for A1entoring Naples J. Nicholas Napoli, Stout Students into Art Professionals Princeton University Kathleen Desmond, Central Colonial Embodiment: Greater [3 Missouri State University France, Great G/01)', and the Media Screens/Screen @]3 Gare St.-Charles in 1\1arseil/es Media SAil The Role of.Alentoring in the ART HISTORY OPEN SESSION Jennifer Foley, Cornell Level 2, Meeting Rooms 2A & 2B Senior Thesis Project Richard Relocating the Pacific SAI4 University Hamwi, Mercyhurst College Level6, Meeting Rooms 605 & 610 Chair: Katie Mondloch, The Fall and Rise oflosif Stalin: University of Califomia, Los Tite Community in the Chair: Terry Smith, University Iconoclasm and Resurrection of Angeles Classroom: Breaking into the of Pittsburgh Public kfonuments in the Post­ IT1tite Cube Carol Janson, Soviet Era Mike O'l\Iahony, lntel:faces in Electronic .Media Westem Washington University Traversing the Pacific: Mai, University of Bristol Yvonne StJielmann, HBK Cultural Entanglement, and Braunschweig, Germany Helping Stude11ts Follow Their Indigenous Appmpriation Jos Loss as Vanished Form: On the Paths: A Visual Record Hackforth-Jones, Richmond, Anti-;\{emorial Swlptures of Projecting Screens: Lucio Phyllis Plattner, Maryland The American Intemational Horst Hoheisel Ellen Handler Fontana S Spatial Spectacle Institute College of Art University in London Spitz, University of Maryland, Stephen Petersen, University of Baltimore County Delaware 1\fentoring in Higher Education: Images ofthe Pac(fic: Aesthetic Exploring the Possibilities Connections between Australia The Depreciation ofthe Carole Henry, University of and the American JT'est [3 Relational: The Media Screens Georgia 1850-1930 Erika Esau, Collaborative Teaching of ofLiza Afay Post Christine Australian National University Collaboration: Teaching Ross, McGill University Interdisciplinary Digital ~ Split Vision: Figuring the Pac!fic Media and Performance Translucent Temporalities: RENAISSANCE SOCIETY OF in New Zealand in the 1970s AMERICA SAIO Afotilif)~ Atll0110111)~ and the Christina Barton, Victoria Whither Connoisseurshi1>? Level 6, Meeting Rooms 618 & 619 Video Projection Screen University of \Vellington Part 2 SAI3 Margot Bouman, University of Level 3, Meeting Room 303 Chair: Jeff i\lcMahon, Arizona Rochester Islands of Dt[Terence: Spatial State University E,p/orations and Pedagogkal Chair; Jeffrey Chipps Smith, Another Language of New Lessons in the Pacific Karen K. University of Texas, Austin Collaborative Teaching for 1\fedia: Rethinldng 1\fowment, Kosasa, University ofHawai'i at lnterdisciplinmy Curriculum lnteractivity, and the Screen Manoa Connoisseurship and the Study Patricia Clark, Arizona State i\Hchele "'bite, Wellesley of Renaissance Stained Glass University College Discussant: Nicholas i\Urzocff, Virginia Raguin, College of C. SUNY, Stony Brook the Holy Cross Approaching the Body: Interdisciplinmy Student Quality Control: Vittoria S Collaborations Petra KU1111ers, Portrait Busts as Case Studies in Bryant College Comwisseurship Thomas l\lartin, Bard High School Early College

Febnmry 18-21,2004 41 SATURDAY 9:30AM-NOON

Venice, Venus, and the Biography and Nature and the Divine: The Artij(JC!tlal Art: Fiction Virgin: The Search for Contemporary Art SA16 Chapel Jim/Is at Ingolstadt and Illustration in Late Nineteenth­ Arcadia in Sixteenth· level 6, Ballroom 6B the Space of.Mystica/ Experience Centwy Shanghai Lisa R. Century Painting SAIS Ethan Matt Kavalcr, Claypool, Lewis and Clark Level 6, Meeting Room 609 Chair: Judith Stein, independent University of Toronto College curator Chair: Joanne Snow-Smith, Edo Remakes ofKansai University of Washington 1\finor Characters: Stieglitz S liiil Publications: A Look at Pandora S Box Judith l\lara Acquiring the Past: 1tforonobu S Drawing Power and Sebastiana del Piombo S Death Gutman, The New School A Critical History of Edo Publishing during the of Adonis: Beh\'een Venice and University Collecting Classical Seventeenth CentW)' Helen l\'1, Rome Irene Trevor, The Antiquities SA18 Nagata, Milwaukee Institute of Museum of Fine Arts, Houston David Smith i\'lichael Brenson, level 3, Meeting Rooms 307 & 308 Art and Design independent art critic The Spiritual and the Corporeal Chair: Julie Van Voorhis, Censorship and Politics in in Titian S Danae }1-om Naples Inside Ab-Ex: Talk as Biography Indiana University Ukiyo-e: The Elwn TaikOki Luba Freedman, The Hebrew Geoffrey Dorfman Incident of 1804 Julie Nelson University of Jemsalem How Romans Organized Greek Davis, University of Shaping, Structuring, and Sculpture Peter de Staebler, Pennsylvania Vernacular Ideals ofBeauty: Editing the Past: Jack Goldstein Institute of Fine Arts, New York Pietro Bembo S Gli Asolani and Richard A. Hertz, independent University 1\fapping the HistOJ)' of Temple Titian S Paintings of Beautiful scholar and Shrine Prints in Japan Women, circa 1515 Judith B. Cultivating Antique Culture in Sherry Fowler, University of Gregory, University of Ed Kienholz in Art History: the Middle Ages: The Pahiotism Kansas Delaware and the Delaware Reconsidering the ArtistS and Injluences of Petrarch College of Art and Design Biography Damon \Villick, Charles Stewart, Indiana Loyola Mmymount University University Sensual Skin, 11brant Views, and Charming Colors: The Integrating Classical Antiquities rilll Gendering of Venetian Oil [tJ:3 in Sixteenth-Centwy Florence ART HISTORIANS INTERESTED IN PEDAGOGY AND TECHNOLOGY Painting Karen Goodchild, ART HISTORY OPEN SESSION Claudia Lazzaro, Come!! Business Meeting Wofford College Medieval Art History and University Historiography, Part 2 SA17 level 6 Ballroom 6C Venetia figurata or r-enus: The level 4, Meeting Room 401 Fmm Antiquarianism to Female Nude in Sixteenth­ Archaeology: Ancient Roman Centwy Venice Elizabeth Chair: \Villiam Tronzo, Tulane Antiquities in the Capitoline rilll ART HISTORIANS OF Carroll, Indiana University, University .Museum Heather Hyde Minor, SOUTHERN CALIFORNIA Bloomington, and Scuola University of Colorado, Boulder New Perspectives from the lnternazionale di Grafica Celestial Jerusalem in the Art Historians of Southern Morgan Beatus: A Unique Image Collecting Contextual Sculptures California for a Transformed World Alison Jens Daehner, The J. Paul Getty level 6, Meeting Rooms 606 & 607 Locke, Yale University Museum

The Political Representation of Art History PhD Survey: Hemy JJ Eliza B. Garrison, The Printed Image in East Combining Career and Northwestern University Asia SA19 Family in the Humanities, ~ OPEN SESSION level6, Meeting Rooms 611 & 612 A Struggle to Juggle for (! OFF-SITE SESSION Text, Audience, Image: Men and Women! SA19A Iconographic Specificity in the Chair: Suzanne E. "'right, level 4, Meeting Room 401 [;j PRAa!CUM Choir Frescoes ofDomwregina University of Tennessee Kerr Houston, Maryland liiil MUSEUM SESSION Chair: Marcsi Ncrad, University Institute CoHege of Art Woodcut Pictorial Advertising in of\Vashington, Center for r:TOil AFFILIATED SOCIETY Traditional China Ellen Innovation and Research in ~SESSION Hoc est corpus meum: Visual Johnston Laing, University of Graduate Education CAA COMMITIEE Michigan SESSION Space and Theological Construction in Aledieval Dance (3 E·SESSION Susan Ball, College Art of Death Image1y Elina Association Gertsman, Boston University Pauline Yu, American Council of Lcamed Societies

42 CAA 92nd Annual Conference in Seattle 12:30-2:00 PM SATURDAy

The panel will discuss a national [§ and landscape design. Hear the [§ study concentrated on career out­ ASSOCIATION FOR lATIN preliminary results of the survey INTERNATIONAl SCUlPTURE comes of some 500 art history AMERICAN ART and discuss your own institu­ CENTER PhDs who graduated between Open Session SA2I tion's situation. Leam how other Recognition Opportunities 1985 and 1991 from 54 (all) level 3, Meeting Room 38 institutions arc thinking about fot· Emerging Artists and U.S. art-history doctoral pro­ documentation, study, and Their Faculty and Art grams. The panelists will focus Chair: Patrick Frank, preservation of the physical Departments SA24 on the sihmtion of women schol­ University of Kansas plants of their campuses, as they Level 6, Meeting Rooms 605 & 610 ars in the humanities with an pl

Febmary 18-21, 2004 43 SATURDAy 12:30-2:00,2:30-5:00 PM

rl§ Partisan Canons, Part 2: NEW MEDIA CAUCUS RADICAL ART CAUCUS Institutional Sites SA29 Paris Plasticity: From Constructing Boundaries: Business Meeting Level 6, Ballroom 68 Integration of the Arts to Approaches to the level 3, Meeting Room 304 Environmental Semiotics Larry Discourse of New Media Chair: Anna \V. Brzyski Busbea, Manhattan College · Aesthetics SA26 University of Kcntuc.ky ' Level 6, Meeting Rooms 618 & 619 A1odeling Conceptual Canon Fodder: Mexican Art at Architectwe: Of Eisenman, Chair: Doreen Maloney rl§ New York-~ Afuseum ofAlodem Kosuth, and Paradox Nan a University of KentuckY ' Art ill the J\1id-1950s Catha Last, Rice University AMERICAN SOCIETY OF HISPANIC ART SCHOLARS Paquette, University of Jonathan Binstock, Corcoran California, Santa Barbara Haacke S .Maller Graham Gallery of Arl Cultural Crossings: Spain, Italy, the Netherlands, and Bader, Harvard University Nancy Atakan, miist and critic the Americas SA28 American Artists Paint the City: Rachel Clarke, Califomia State level 6, Meeting Room 608 Katharine Kuh S Disruption of Caracas as Ciudad Dispositive: University, Sacramento Canonical Paradigms at the Imagen de Caracas:\' Critique of Sara Doris, University of Chair: Lynette l\'1. F. Bosch, 1956 Venice Biemwle Caroline Venezuelan .Modernism Kenhtcky State University of New York, Simpson, University of Marguerite :Mayhall, Kean Genesco Nebraska University rl§ PACIFIC ARTS ASSOCIATION Com•ento Retablos: Miss ionizing Recovering and Reconstructing Women, Cloth, and Afexico in the Sixteenth Cenflll)' Afodem Art in DivMed Berlin Art and Religion in Polynesia: The Legacy of Eloise Quinones Kebcr, The Claudia Mesch, Arizona State Nineteenth-Century University America SA31 Jehanne Teilhet-Fisl< SA27 Graduate Center and Baruch level 3, Meeting Room 303 College, City University of New level 3, Meeting Rooms 307 & 308 York Chinese Art, the National Palace Chair: Anne E. Guernsey Allen Afuseum, and Cold War Politics Chair: Charles Colbert, Indiana University South~ast ' Pe1jormance and Image in Post­ Jane C. Ju, National Chengchi Portland State University Conquest 1\fexico: Syncretic University The Urban in the Island: Expressions of Power on the NatureS Hieroglyphs and the Traditions of Change Karen Farade of the Casa Montejo, Canons Apart and Apartheid 1\1asonic Vision of Thomas Cole Stevenson, Canterbury 1\ferida, Htcatan Linda Kristine Canons: Casting Black South David Bjelajac, George University, Christchurch \Villiams, University of Aflican Art Locally and Globally Washington University Washington Julie L. l\IcGcc, Bowdoin The Formation ofa New Textile College Building the House q{ Wisdom: Tradition: Cook Island Tivaevae Spain and the Pearl ofthe Violet Oakley's Early .Murals Phyllis Herda, University of Antilles: JHudejar-.Morisco and Christian Science Baile~· Auckland Building Practices in the Space, Spectatorship, and Van Hook, Virginia Polytecimic Colonial Architecture of Cuba, the Dialogue between Art Institute and State University Jehmme Tei/het-Fisk and the Sh"teenth-Eigllteenth Centwies and Architecture Practices, Acculturative Process Hilary Alka Patel, University of 1950-1980 SA30 All r'i-IJ' Fast and Going to the Scothorn, Florida State · Michigan Level 6, Meeting Rooms T'i-1)' Dogs: Quakers and the University 615/616/617 Visual Ans Kristin Fedders, Imperial Eclecticism at the Earlham College Cathedral of Plasencia and Chairs: Noah Chasin, Bard College; i\lonica Amor, Evangelical Christianity Hitches ~ OPEN SESSION CJceres Sergio Sanabria, Miami University of Ohio Maryland Institute College of a Ride "Down the River": The ~ OFF-SITE SESSION Arl Visual Te.tts ofUncle Tom's Cabin Jo-Ann l\Iorgan, Costal (iJ PRACTICUM Discussant: Mark Denaci State University of New York, ' Bodies and Cih"es: VO!ie ExportS Carolina University rij MUSEUM SESSION Geneseo Body Cm!figurations in Architecture Jill Dawsey r;TOiJ AFFILIATED SOCIETY Stanford University · ' [AI!J SESSION r.:l CAA COMMITIEE L!l SESSION (3 E-SESSION

44 CAA 92nd Anmml Conference in Seattle 2:30-5:00 PM SATuRDAy

A Fragile Alliance: PACIFIC ARTS ASSOCIATION Retooling Dissent Emily "Ask Somebody Else Porcelain as Sculpture, Bodily (Re)Presentations in Forman, School of the Art Something Else": Analyzing 1700 to 1900, Part 2 SA32 Oceania SA33 Institute of Chicago the Artist Interview SA36 level 6, Ballroom 6C level6, Meeting Rooms 611 & 612 level 6, Meeting Rooms 613 & 614 Bring NAFTA Back to Tijuana S Chairs: Martina Drotb, Henry Chair: Stacy L. Kamehiro, Maquiladora WOrkers: A Chairs: Johanna Burton, Moore Institute; Alison University of Califomia, Santa Traveling Art Exhibition Fred Princeton University; Lisa Yarrington, University of Cmz Lonidier, University of Pasquariello, Stanford Glasgow California, San Diego University Body Inte1pretations by a The Sculptural Prestige of Samoan Artist Jewel Castro, Asocijacija Apsolutno: A Jliew Against Criticism: The Artist Boizot ;., Grand 1'i1se for sevres: artist on G/obalizationfmm "Other'' Interview in Avalanche A French Royal Commission of Europe Jelena Stojanovic, Aiagazine, 1970-1976 Gwen 1783 Juliet Carey, Courtauld Fish Caskets as Social Bodies, Ithaca College Allen, Stanford University Institute of Art S.E. Solomon Islands Deborah B. 'Vaite, University of Hawai'i, Dan 'Vang Robert Ryman, Retro~pective A Revolutionmy Currency: Manoa Suzanne P. Hudson, Princeton Sevres Medallions Produced University during the French Rei'O!ution Paul Gauguin S Ttthitian Medieval Venice: Emily Richardson, University Allegmy of Virtue and Vice Mythogenesis and Self­ Method Acting: The Artist­ College London Suzanne Donahue, Temple Transformation SA3S Interviewer COII\'ersation Tim University level 6, Meeting Room 609 Griffin, ArUOrum Porcelain: .Materiality and i\Ieaning in Post-RevolutionmJ' The Pleasures of Trawl: Chair: Anne l\IcClanan, Discussant: Rhea Anastas, Bard France Stephen Adams, Victorian "Lady 7i·ave/ers" and Portland State University College University of Hertfordshire Embodied Encounters in the South Pac({ic Heather The State of Venetian Art The Collaboration of Gauguin 'Valdron11, University of HistOIJ'-' The Viewfrom 2004 and Chaplet at the Dawn ofthe California, Santa Cmz Debra Pincus, National Gallery not~design, not-art: Art Nouveau \'eon Shim Chung, of Art, Washington, D. C. Crafting and Naming an Institute of Fine Arts, New York Discussant: Riet Del sing, lnterd isci pI inary University University of California, Santa San 1\Iarco and the Kinship of Curriculum SA37 Cmz Stone Fabio Barry, Columbia level 6, Ballroom 6A Discussant: l\Ialcolm Baker, University University of Southem Chairs: Tina Simonton, Georgia Califomia The Foundation of Venetian Institute of Technology; Sabir RADICAL ART CAUCUS State Power through Lion Khan, Georgia Institute of Aesthetics, Politics, lmage1y l\'larina Karem, inde~ Technology and the Counter­ pendent scholar Globalization Movement (ln)discipline Kenneth SA34 Forces at Work: Venice S Urban Fitzgerald, Old Dominion level6, Meeting Rooms 618 & 619 Economy am/the Reliefs of University Wor/..:ing L({e on the Portale Chairs: Janet Koenig, Radical Maggiore of San .Afarco Mark "2x4D: Time-Based Site-Specf{ic Art Caucus; Noel Douglas, Rosen, University of Califomia, Collaboration "-A Pilot Slade School of Fine Art Berkeley Jnterdisciplilwl)' Project for First- }'ear Art Foundation Another (Art) World Is Possible: Discussant: Helena Szepe, Students "'inn Rca, Long Island Theorizing Oppositional University of South Florida University Cmwergence Gene Ray, Alexander von Humboldt Against the Grain: An Foundation and Kunshverke JnterdisciplinaJ)' Course Tr'l'thin Institute for Contemporary Art, a Traditional Curriculum Berlin J. Bradley Adams, Mount Deny College

Discussant: Linda 'Veintraub, Oberlin College

February 18-21,2004 45 SATuRDAy 2:30-5:00, 7:00-8:30 PM

Work in Progress: ~ "Doing What Nature Does": Presentations by CAA CAA PROFESSIONAL PRACTICES Japonisme, Laurence Binyon, Professional Development COMMITIEE and Transcendence in the Works OFF-SITE SESSION Fellowship Recipients SA38 Is the Visual Arts of Wyndham Lewis circa (! level 31 Meeting Room 38 Studio/Classroom a 1910-1914 Jonathan Shirland, 11 Hostile Environment"? independent scholar Session on New Media SA42 Chair: Lauren Stark, CAA SA39 Level 3, Meeting Room 3A Japonisme, through the Looking Chair: Barbara London, Pe1:formalive Notions: Your Glass Alicia Volk, Yale Museum of Modern Art, New Crown Is Bought and Paid For Chair: John 1\I, Sullivan, University York Lisa Bradley, School of the Art Arkansas Tech University Institute of Chicago Participants to be announced. A New Etiquette for Teaching Modernist Abstraction Looking In/Looking Out: The Contempormy College Figure across the Disciplines SA41 See Special Events, p. 48. Representation of Race in 1950s Drawing Classes, with Level 6, Meeting Rooms 606 & 607 and 1960s United States Comparisons to the Salon Photography Erina Duganne, Approach Janice Trusky, Chairs: l\-Iarshall Brown, University of Texas, Austin Indiana University of University of Washington; Pennsylvania Marek \Vieczorek, University Photographs, Books, and Ideas of Washington of Community Jonathan The Nude Dilemma in Academia Gitelson, Columbia College Ross Zirkle, University of Conceming the Spiritual-and Chicago Kentud.)' the Concrete-in Kandinsf..J' :~Art Lisa Florman, Ohio State Michelangelo S Soul: The Battle University of Cascilla as Psyclwmachia Rethinking japonisme SA40 James Carlton Hughes, level 3, Meeting Rooms 605 & 610 Greenberg Disciplining University of North Carolina, Greenberg Randall Van Cha]lcl Hill Chairs: Aileen Dashi Tsui, Schepen, Roger Williams Columbia University; Noriko University Soma types: Race and Materiality Murai, independent scholar in Twentieth-Centwy Sculpture 1\Jonochrome 1\fedicine 1\lark Linda Kim, University of Fantasies ofAsia Ting Chang, Cheetham, University of California, Berkeley rvlcGill University Toronto

Assimilation or Resistance? The An Early Example ~(Japonismc 1\forris Louis, eta/: Court Production and Consumption of in American Interior Design: Painters to Liberal America Tlingit Beadu·ork .Megan Louis Comfort Ti.LTany :~ Rooms Alexander Nemerov, Yale Smetzer, University of British in the Bella Aparhnents Ellen E. University Columbia Roberts, Boston University

Rethinking "Japan Mania": Popular Consumption and the Gendering ~f Japan Elizabeth Kramer, University of Manchester ~ OPEN SESSION

(! OFF-SIT£ SESSION

liJ PRACTICUM

l'i1 MUSEUM SESSION

r;y.;J AFFILIATED SOCIETY ~SESSION CAA COMMITTEE SESSION E-SESSION

46 CAA 92nd Annual Conference in Seattle