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Cqnference Program E 12:30-2:00 PM Nerve Impulse: How Graphic Designers Respond 10 the World West Hall Meeting Room SISA. Level 2. LACC West Hall Meeting Room SISA, Level 2 Chair: Rachele Riley, University of . Charlotte ARTspace is a conference within the conference that is tailored to the interests and needs of artists but is open to all attendees. The Evolution a/Silence: Scars a/War aIId the Atomic Bomb Testing Organized by the Services to Artists Committee. it includes a Rachele Riley. University of North Carolina, Charlotte large audience session space and a media lounge. ARTspace is What's Eating You? The Graphic Language a/The Hole: the site of the Distinguished Artist Interviews held on Friday Consumer Culture vol. I afternoon. Each morning begins with coffee. tea. and juice. For John Jennings. University of . Urbana-Champaign; more information, visit www.collegeart.org/2oo91. Eye Trauma Studios Warren Lehrer: Responding to the World through Design aIId Story MEDIA LOUNGE Warren Lehrer, Purchase College. State University of ; School of the Visual Arts The Media Lounge will feature thematic programming put together by curators working in the Los Angeles area. Some Where's the (Brotherly) Love? Or, A Strange Thing Happened on the highlights are a new media program developed by L.A. Free­ Way to the Pro Bono waves. a one-person media program of the work ofT. Kim-Trang Frank Baseman. Philadelphia University Tran, and an exploration of global issues in new media. Sheep Hill Community 'Itee Kim Fleischman. Daemen College ARTSPACE SESSIONS AND EVENTS All ARTspace sessions are included in the complete chronologi­ 2:30-5:00 PM cal listing beginning on page 31. as well as here. All ARTspace The State of California Printmaking: History with a Future events are held in the West Hall Meeting Room srsA. Level 2. West Hall Meeting Room SISA, Level 2 Los Angeles Convention Center. Chairs: Sylvia Solochek Walters. State University; Barbara Foster, San Francisco State University Wednesday, February 25 The Importance a/Collecting Locally: California Contemporary Print 7:30-9:00 AM Archives at the Fine Arts A1usewn o/Sm2 Francisco Morning coffee. tea. and juice Karin Breuer, Fine Arts Museum of San Francisco Mission Grajica: Consejo Grajico and Bay Area Latino Pri11lmaking 9:30 AM-NOON Juan Fuentes, independent artist, San Francisco What's the Story? Public Art and Narrative in Los Angeles Independent Presses, Printers, and Regional Content in Chair: Cheri Gaulke. Harvard-Westlake School SOli them California The Theory aIId Practice o/Social Story Telling Patrick Merrill, California Polytechnic University. Pomona Marlena Doktorczyk-Donohue. Otis College of Art and Design Cultivating Creativity at Kala Art Institute Meanings That Change Over Time: The Public Faces a/Murals Archana Horsting. Kala Art Institute at Estrada Courts Housing Project in East LA California/Asian Connections in Printmaking Holly Barnet-Sanchez. University of New Mexico Jimin Lee, University of California. Santa Cruz More Than the Mediu", (Is the Message) Tamarind and the Birth a/Print Marketing in Los Angeles May Sun. independent artist. Los Angeles June Wayne. Brodsky Center, Mason Gross School of the Arts. This Story Which Is Not One: Fragments, Gaps ... Rutgers University Sheila Levrant de Bretteville. Yale University Venice Oakwood Public Art Project Jacki Apple, Art Center College of Design

CAA2009 FEBRUARY 25-28 27 Thursday, February 26 2:30-5:00 PM 7:30-9:00 AM My SO.(Cliled Second Life Morning coffee, tea, and juice West Hall Meeting Room SI SA, Level 2 Chair: Krista Hoefle, Saint Mary's College 9:30 AM-NOON Peljormillg Art's Secolld Life (Agaill) Art !lluminotinq Science Jessica Wyman, Ontario College of Art and Design West Hall Meeting Room SISA, Level eradal Chair: Ellen K. Levy, New York University Kalia Brooks, Institute for Doctoral Studies in the Visual Arts ProojPositiue Reellactment: MGalldhi's 'll'eadmill·Powered Salt March ill Second Life Lillian Ball, Cooper Union for the Advancement Joseph DeLappe, University of Nevada, Reno of Science and Art Virlual Lalldscapes: All Art Historiml's Joul'l1ey to Ithaka ill Second Life 1tigger Points and Virtual Concerts Alyson A. Gill, Arkansas State University Aviva Rahmani, independent artist. Vinalhaven, Maine Second·Life Dumpster AlphaWolJ Hajoe Moderegger, eteam Bill Tomlinson, University of California, Irvine Evidence in Synaesthetic Art? Carol Steen, Touro College Friday, February 27 7:30-9:00 AM Cultural Allalylics Morning coffee, tea, and juice Lev Manovich, University of California, San Diego Discussant: Barbara Maria Stafford, University of Chicago 9:30AM-NOON plGce Mmkers: Arlists, Technology, londscope 12:30-2:00 PM West Hall Meeting Room SISA, Level 2 CAA Services to Artists Committee Chair: Peter Dykhuis, Dalhousie Art Gallery Melo·Monlor: Answers to All of "Thoso" Questions .... 90 Degrees Equatorial Project West Hall Meeting Room SISA, Level 2 James Geurts, independent artist, Australia Chair: Reni Gower, Virginia Commonwealth University 4816 Riding Ihe Rails ojlhe Tellure 'll'ack Eva Maria Trischak, independent artist, Vienna Reni Gower, Virginia Commonwealth University A Year;,lthe Life ojthe World Public Arl as Improvisatioll Emily Vey Duke and Cooper Battersby, Syracuse University; Elizabeth Conner, independent artist, Vashon Island, Colgate University Washington The Other Night Sky Open Access: Teac/iillg ill Ihe Conmllmily·Col/ege Syslem Trevor Paglen, University of California, Berkeley Deborah Kirklin, Santa Rosa Community College

Gel Your Work·Oul: Build a Resume wilh Muscle 12:30-2:00 PM Rae Goodwin, Pikeville College Hils tho Streets: ~IJI·volllnnnn. MClrkeling l Hot Shot(s) Joe BieI, California State Universit y, Fullerton West Hall Meeting Room SISA, Level 2 Chair: Anne Bray, LA Freewaves; Claremont Gladuate A Place like 110 Other University; and University of Southern California Hunter Q'Hanian, Anderson Ranch Arts Center City as Screen/Body as Mouie Holly Willis, Institute for Multimedia Literacy Public Artjor Public Action: The City as Interactive Instal/ation Steve Dietz, OISJ Biennial and Northern Lights Freewaues' Hollywould Video Festiual at 50 Venues on Hollywood Bou/ward Anne Bray, LA Freewaves; Claremont Graduate University; and University of Southern California Remapping·LA: Social Computing Fabian Wagmister, University of California, Los Angeles; REMAP; and cheLA

28 CAA2009 FEBRUARY 25-28 2:30-5:00 PM ARTEXCHANGE Annual Artists' Interviews West Hall Meeting Room SISA, Level 2 Friday, February 27 Lawrence Weschler, of the New York Institute for the 6:00-8:00 PM Humanities and the Chicago Humanities Festival interviews LACC Concourse Foyer the light and space artist Robert Irwin. The subject of the second CAA's Services to Artists Committee sponsors ARTexchange, interview will be Ruth Weisberg, Dean, Roski School of Fine an open forum for sharing work at the Annual Conference. Arts, University of Southern California, in conversation with The event is free and open to the public; a cash bar is writer and lecturer, Barbara Isenberg. available. Utilizing the space on, above, and beneath a six-foot table, participating artists show prints, paintings. Saturday, February 28 drawings, photographs, sculptures, and small installations; 7:30-9:00 AM performance, sound and spoken word may also be included. Morning coffee, tea, and juice

9:30 AM-NOON CAA Services to Artists Committee Artists' Residencies West Hall Meeting Room SISA, Level 2 Chairs: Caitlin Strokosch, Alliance of Artists Communities; Tom Morrissey, Community College of Artists' Residency Overview and Funding Options Caitlin Strokosch, Alliance of Artist Communities Texarkana·Artworks: Start· Up Strategies for a New Artist Residency Program Tom Morrissey, Community College of Rhode Island International Artists Residencies Mary Sherman, TransCultural Exchange Arts Incubator Clayton Campbell, I8th Street Arts Center Artistic Haven Sarah Workneh, Ox·Bow School of Art The Communication of Spirit through Form Kathy Black, Vermont Studio Center Andaleeb Firdosy, independent artist

12:30-2:00 PM CAA Services to Artists Committee Return to the /\dists (mel Curotors on Deloroise', UI1 BOil que Ie ell Teflctpoyoc IAn HOlnoge to Olivier Debroise,1952-2008i West Hall Meeting Room SISA, Level 2 Chair: Rita Gonzalez, Los Angeles County Museum of Art

CAA2009 FEBRUARY 25-28 29

OffTheir Heads: Using Digital Learning Objects to Teach the E French Revolution All sessions will be held at the Los Angeles Convention Center Andrea Fredericksen, University College unless otherwise noted. Case Study: Using Collaborative Technologies to Develop an Online Exhibit in an Art-History Seminar Marjorie Och, University of Mary Washington Wednesday, February 25 The Wagnerpedia "Survey": A Wiki-Based Study of the Introduction 9:30 AM-NOON to Art History Sarah Scott, Wagner College Artist Educator Innovations: The Chcmging Nature of Cultural WOI"k Visualizing the Maternal Form: Using Wikis for Collaboration Concourse Meeting Room 402AB, Level 2 in a Graduate Seminar Chair: Jerri Allyn, Uplift the Arts, Los Angeles Denise Baxter, University of North ; Sara Wilson McKay, Virginia Commonwealth University The Centerfor Art and Public Life Sanjit Sethi, California College of the Arts Toward a Global Local Art History: Wiki to the Rescue Alan Moore, independent scholar, Staten Island Graduate Mentoring: A Unique Field Model ofCollaboration Pep6n Osorio, Tyler School of Art, Temple University Not a Moment Too Soon: Socially Engaged Art Practice Ornoment Now: Reossessing Its Theories (jnd Fundions Beverly Naidus, University of Washington Concourse Meeting Room 409AB, Level 2 Chair: Patricia Flores, California College of the Arts Food for Thought: Farmland Preservation as a Forumfor Art Education Abram Kaplan, Denison University Not Just Skin Deep: The Production ofPost mod en! Ornament Glenn Adamson, Victoria and Albert Museum Teaching Art as Social Practice: Fostering Capabilities Cindy Maguire, New York University 'IYacking Pattern: Feminist Ornamentation Claudia Sbrissa, SI, John's University Discussant: Jane Trowell, Platform, London Ornamentation and Identity in an Indian Sari Cristin McKnight Sethi, University of California, Berkeley American Council for Southern Asian Art (South) Asia in Art History (mel Ar! History in (South) Asio Decadent Ornament Concourse Meeting Room 405. Level 2 Lisa Wainwright, School of the Art Institute of Chicago Chairs: Robert Brown, University of California, Los Angeles; "Ornaphobia" and Su.bsequ.ent Uses o/Ornament in Painting Alka Patel, University of California, Irvine Thomas Weaver, , City University of New York The Career ofa Classical Art 1reatise: The Citra Sutra in Indian Art History Art, Ritual, Public: intBroelion and Meaning Parul Dave-Mukherji, Jawaharlal Nehru University Concourse Meeting Room 407, Level 2 Courtly Culture and Aesthetic Experience in Early Indian Art Chairs: Giovanni Freni, Princeton University; John Beldon Scott, and Architecture University of Julie Romain, University of California, Los Angeles The Personification o/Zion and the Marian Cult in Byzantine Psalters Multiple Origins, Singular Forms: The Sculpture ofAnish Kapoor with Marginal Illustrations Jennifer Field, New York University Mati Meyer, Open University of Israel Theorizing Street Graphics in South Asia Louis XIV and The Rue du Faubourg St-Denis: Ritual and Preminda Jacob, University of Maryland, Baltimore County "Jvfedieval Revival" Simone Zurawski, DePaul University Rethinking South Asian Visualities in the Age ofDigital Reproduction Natalie Marsh, Denison Museum Rituals o/Punishment: Luca Giordano, Giacomo Serpotta, and the Recapture ofMessina in [678 Sebastian Schutze, Queen's University Art Historians Interested in Pedagogy and Technology Web 2,0 (mel Art History The Disciplined Body and Rational Architecture: The Foro West Hall Meeting Room 503, Level 2 Mussolini in Rome as the Settingfor Performative Rill/al of Chairs: Kelly Donahue-Wallace, University of North Texas; Synchronized Gymnastics Eva J, Allen, University of Maryland University College Terry Kirk, American University of Rome

Whose Textbook Is It Anyway? SmARThistory a>ld Web 2,0 Invoking a Goddess in a Book: A Thirteenth-Century Manuscript Beth Harris, Fashion Institute ofTechnology, State University of of the Peljection of Wisdom and Its Ritual Worship at the Golden New York; Steven Zucker, Fashion Institute of Technology, State Temple, Patan, Nepal University of New York Jinah Kim, Vanderbilt University

eAA 2009 feBRUARY 25-28 31 Wednesday, February 25 California Design. 1940-65: "living in a Modern Way" 9:30 AM-NOON Concourse Meeting Room 403A. Level 2 Chairs: Wendy Kaplan. Los Angeles County Museum of Art; After Rauschenberg: The Metaphors and Politics of Bobbye Tigerman. Los Angeles County Museum of Art Contemporary Drowing Seeing in a Modern Way: The Visual Language ofSunset Concourse Meeting Room 403B, Level 2 Magazine. '940-65 Chair: Gary Garrels, Hammer Museum, University Hsiao~Yun Chu, San Francisco State University of California. Los Angeles A Little Paradise: Paul Laszlo and the Modern California House Robert Rauschenberg's Transfer Drawings Monica Penick, University of Texas at Austin Lewis Kachur, Kean University The Clothes ofModern Life: California Leisurewear Design. 1930-60 Idea, Process, Page, and Site: Thoughts in and 011 William Scott. University of Delaware Walter de Maria's Drawing Jane McFadden. Art Center College of Design From "California Look" to "Liebes Look}): Textile Designer Dorothy Liebes and the Emergence ofCalifornia Modernist Design Drawiug Discourse: Hamle Darboven's "Cultural History" Alexandra Griffith Winton. Parsons the New School for Design Daniel Adler. York University

Drawing as Reenactment: The Politics ofDrawing in Recent Art Luxury Devotional Books and Their Female Owners Claire Gilman. independent curator. New York Museum Lecture Hall. Getty Center The Metaphysics of Contemporary Drawing Chairs: Thomas Kren. J. Paul Getty Museum; Richard A. Leson. Gloria Sutton. Getty Research Institute University of Wisconsin, Milwaukee The Breviary ofBeatrijs van Assendelft ARTspace Anne Margreet W. As-Vijvers. independent scholar. What's the Story? Public Art and Narrative in los Angeles IJsselstein. Netherlands West Hall Meeting Room SISA. Level 2 Chair: Cheri Gaulke. Harvard-Westlake School Purple-Spun and Purple-Dressed: Imaging Mary for a Byzantine Princess The Theory and Practice ofSocial Story Telling Maria Evangelatou. University of California. Santa Cruz Marlena Doktorczyk-Donohue. Otis College of Art and Design Marginalia in the Psalter: Hours ofGhuiluys de Boisleux Meanings That Change Over Time: The Public Faces ofMurals at Richard A. Leson. University of Wisconsin. Milwaukee Estrada Courts Housing Project in East LA Holly Barnet-Sanchez. UniveIsity of New Mexico The Prayer Book ofQueen Claude de France Roger Wieck. Morgan Library and Museum More Than the Medium (Is the Message) May Sun. independent artist. Los Angeles Discussant: Anne Rudloff Stanton. University of Missouri, Columbia This Story Which Is Not One: Fragments. Gaps". Sheila LeVIant de Bretteville. Yale University Toward an Art Pedagogy for the Twenty-First Century Venice Oakwood Public Art Project West Hall Meeting Room SIIBC. Level 2 Jacki Apple. Art Center College of Design Chair: Randall Lavender. Otis College of Art and Design Teaching the Whole Student That Captured Instant of Time: Realism and Drama in Randall Lavender. Otis College of Art and Design Baroque Sculpture Harold M. Williams Auditorium. Getty Center Progressive Pedagogy for Professional (Art) Preparation Chair: Catherine Hess. J. Paul Getty Museum Roberta Tucci. Delaware State University The Languet de Gergy Tomb: Visible and Invisible Components Why N'Art Ain't Art: Critically Thinking Critical Theory Anne Betty Weinshenker. Montclair State University Brian Curtis, University of Miami Temporality and Narration in the SculpturalMorceaux de Reception Embodied Orphans: Fostering Artistic Dialogues with an of the Academie Royale in Extended Community Ursula Stroebele. Heinrich-Heine University Jennifer Macklem. University of Ottawa Acting and Symbolizing Sacred Narratives: Polychrome Sculpture Teaching Design: The Intersection ofFine Arts, Media Theory, in the Sacro Monte ofVarese and Philosophy Marco Musillo. Centro Incontri Vmani Kathryn Simon. Parsons School of Design Speaking ofLikeness: The Act ofLiveliness Maarten Delbeke. Ghent University Ferrata on Fire, Agnes in Flames Jessica Boehman, University of Pennsylvania

32 CAA2009 FEBRUARY 25-28 From Eye to Ear (And Back Agoin): The Intersection of The Threat ofCodified Disappearance Visual Art and Modern Musicol Composition Nancy Popp, Harvard-Westlake School; Serena Laura Wellen, Concourse Meeting Room 404B, Level 2 independent artist and attorney, San Francisco Chair: Carey Lovelace, independent curator and critic, New York Statelessness: Gregor Schneider's Weisse Folter, Clean Torture, But Is It Synesthesia? and Guantcinamo Bay Greta Berman, Juilliard School Suzy Freake, University of Nottingham In the Blink ofan Ear: Toward a Non-Cochlear Sonic Art White Out: Extraordinary Rendition as Metaphor for Assimilation Seth Kim-Cohen, Yale University Peter Fine, New Mexico State University; Aaron Fine, Truman State University The Studio Composer a>ld the Graphic Score Brian Evans, University of Alabama Ancient Rites, Contemporary Practices: Aesthetics ofTortu.re and Accountability To Scream the Unspeakable: Yoko Ono's Sound and Vocal Cherra Wyllie, University of Hartford Experiments, I953-69 Jung-Ah Woo, Korea Advanced Institute of Science Discussant: Eve Meltzer, New York University and Technology Looking at Music What We Talk about When We Talk about Artist's Books Barbara London, Museum of Modern Art GRI Lecture Hall, Getty Research Institute Chair: Marcia Christine Reed, Getty Research Institute A Queslion of Depth: Collaborative and Interdisciplinary Read This IjYou Can; Or, Reader Beware Approaches in Ceramics Barbara Balfour, York University Concourse Meeting Room 404A, Level 2 Swiace Readings: Ruscha Surveys LA Chairs: Mary Drach McInnes, New York State College of Whitney Rugg, University of Chicago Ceramics, Alfred University; Linda Sormin, Rhode Island Fom,alism ofA,1ist's Books School of Design Tatiana Ginsberg, University of California, Santa Barbara Timothy John Berg, Pitzer College A Book as Peifomzance: Carolee ScI",eema",,'s ABC-We Print Neil Forrest, Nova Scotia College of Art and Design University Anything-In the Cards Rory MacDonald, University of Regina Kathleen Wentrack, Queensborough Community College, City University of New York Linda Sikora, New York State College of Ceramics, Alfred University Discussant: Monique Fouquet, Emily Carr University of Art On the Subject of the Photographic and Design Concourse Meeting Room 40SB, Level 2 Chair: Craig S. Smith, University of the Arts London Los An~Jeles Light and Space: Reconsidering The Impossibility ofNeutrality the Perceptual Rush Wiebke Leister, University of the Arts London West Hall Meeting Room srsB, Level 2 Chair: Kirsi Peltomaki, Oregon State University Difficulty and Photography Gary Nickard, University at Buffalo, State University Freeway Phenomenology: An LA Look at Larry Bell's Cubes of New York Rebecca Weller, California State University, Bakersfield Tracing the Digital: Photography and the Use ofan Archetypal To the Skyspace, or Perpetual Peace and Wonder: Benjamin's Political Image ofa Tree in a Video Sequence Thaumazeil1 in Thrrell's Oculi Stella Baraklianou, independent artist, Los Angeles Seamus Malone, London Consortium The Ghost in the Machine: Synthetic Photography and Its Eric Orr's Prolo~Materiality and the 1ta1l5cendental Minimal Mnemonic Resonance Dawna Schuld, University of Chicago Michael Goldberg, Sydney College of the Arts Discussant: James Meyer, Emory University The Fate of the Photographic Anne Marie Oliver, Pacific Northwest College of Art; Torture, Extraordinory Renditions, and the Aesthetics University of California, Santa Barbara of Disappearance Concourse Meeting Room 408A, Level 2 Chairs: Nancy D. Popp, Harvard Westlake School; Serena Laura Wellen, independent artist and attorney, San Francisco Counter Indications: Coercive Perjonmmce Jeff McMahon, Arizona State University

CAA2009 FE8RUARY 25-28 33 Wednesday, February 25 Preaching to the Masses: The Visual Presence of the Dominican 9:30 AM-NOON Order in Late Medieval Iberia Taryn Chubb, Cornell University Surrcoiism ou nofurel, Pori I III Pursuit oJSalvation: The Narrative oJSaint Nicholas oJBari in the West Hall Meeting Room SOIABC, Level 2 Funerary Altarpiece oJGonzalo Lopez de Polanco Chairs: Stephanie L. Taylor, New Mexico State University; Emily Kelley, Cornell Univesity Gavin Parkinson, Court auld Institute of Art Race, Religiosity, and Mexican Moden/ily: Obslmctions to the 1809 On Not Forgettillg Na~,re Capuchin Convent in Delores, Mexico Caitlin Haskell, University of Texas at Austin Amy Hamman, University of Arizona Joseph Comell's Elements of Natural Philosophy Fascism and Medievalism: Reconstmcting the Camara Santo Oviedo Kirsten Hoving, Middlebury College Flora Ward, University of Toronto Salvador Dal( alld J. H. Fabre: Creative Invoilltion and Atavistic Reverie Donna Roberts CAA Museum Committee '\4. Free alld Limitless Play ojAnalogies": Arshile Gorky, Hisloricizing the Presenl: Scholarship in Conlemporary Arl Surrealism, and Nature Concourse Meeting Room 403B, Level 2 Michael Taylor, Philadelphia Museum of Art Chairs: Brooke Davis Anderson, American Folk Art Museum; Sally S. Block, Association of Art Museum Curators Relocating Art and lis Public Donald Preziosi, University of California, Los Angeles Concourse Meeting Room 406AB, Level 2 Stephanie Barron, Los Angeles County Museum of Art Chair: Kim Yasuda, University of California Institute for Research in the Arts, University of California, Santa Barbara Cynthia Burlingham, Hammer Museum, University of California, Los Angeles Dark Matter Gregory Sholette, Queens College, City University of New York CAA Education Committee The Manifesto as a Democratic Process: Reclaiming the Artist's Voice Pedagogy Not Politics: Facully"Driven Assessment Stralegies ill the Public Art Debate and Tools Cameron Cartiere, Birkbeck College, University ofLondon Concourse Meeting Room 404B, Level 2 The Cellter Jor Tactical Magic: Mixing Magic, Art, alld Social Chair: Hilary Braysmith Engagement since 2000 Studio Portfolio Assessment Aaron Gach, Center for Tactical Magic Doug Boughton, Northern Illinois University Signs oJChange: Social Movemellt Cul~/Yes, I960s to the Present From the Grollnd Up: Crafting Assessment Dara Greenwald, Rensselaer Polytechnic Institute John Howell White, Kutztown University Justseeds.org Changing Studio Instmelion through Process Assessment Josh MacPhee, Justseeds.org Richard Siegesmund, University of Georgia The Makrolab and Luminous Green: New Formatiolls oJthe Collective Marko Peljhan, University of California Institute for Research in Art Historians of Southern California the Arts, University of California, Santa Barbara Cubes (mel Anmchy: DClvld Smith/ Geometry, (md Nimble Infrastructure: Socially Engaged Art Practices ill Chicago Midcentury Scu!pture Transfann Institutions Concourse Meeting Room 408A, Level 2 Daniel Tucker, AREA Chicago magazine Chairs: Carol S. Eliel, Los Angeles County Museum of Art; Christopher B. Bedford, Wexner Center for the Arts, Ohio State University Wednesday, February 25 Sculpture "as Found": The Reality oJIncollgnlity I2:30-2:OO PM Alexander Potts, University of

American Society for Hispanic Art Historical Studies Down David Smith's Garden Path Groduote Vlork in Hispcmic Studies Kenneth E. Silver, New York University Concourse Meeting Room 407, Level 2 COllstmctions: Gender Assignment and David Smith's Stalues Chair: Mickey Abel, University of North Texas David J. Getsy, School of the Art Institute of Chicago Fillding Solid Groulld: Site Appropriatioll as Legitimacy alollg the Labor, Skill, and David Smith Medieval Iberian Frontier Anne M. Wagner, University of California, Berkeley Kelly Watt, University of Louisville

34 CAA2Q09 FE8RUARY 25-28 Getty Research Institute ARTspace Nelworb cmd Boundaries Nerve Impulse: How Graphic Designers Respond 10 Ihe World Museum Lecture Hall, Getty Center West Hall Meeting Room SI sA, Level 2 Chair: Thomas Gaehtgens, Getty Research Institute Chair: Rachele Riley, University of North Carolina, Charlotte Photographic Contacts: Reflections on Photography and Orientalism The Evolution ofSilence: Scars of War and the Atomic Bomb Testing Ali Behdad, University of California, Los Angeles Rachele Riley, University of North Carolina, Charlotte

Convergences and Collisions: Art Networks in What's Eating You? The Graphic Language ofThe Hole: Nineteenth-CenhllY Istanbul Consumer Culture vol. I Mary Roberts, University of Sydney John Jennings, University of Illinois, Urbana-Champaign; Object and Space: George Kubler's Prime Object and the Eye Trauma Studios Searehfor TerritO/ial Definitions Warrell Lehrer: Responding to the World through Design mid Story Avinoam Shalem, Kunsthistorisches Institut; Institut fUr Warren Lehrer, Purchase College, State University of New York; Kunstgeschichte der UniversWit Miinchen School of the Visual Arts

Where's the (Brotherly) Love? Or, A Strallge Thillg Happelled Oil the Eumpean Drawings; 1400-1900 Way to the Pro Bono Harold M. Williams Auditorium, Getty Center Frank Baseman, Philadelphia University Chairs: Lee Hendrix, J. Paul Getty Museum; Stephanie Schrader, J. Paul Getty Museum Sheep Hill Commullity Tree

Kim Fleischman l Daemen College Dirk Vellert's Apocalypse Drawings, Diirer, and Some Refonllist Images in Allfwerp Ellen Konowitz, State University of New York, New Paltz Art Libraries Society of North America Not Just Good, but Belter and Bes!: Ar! Programs in Michelangelo's Sh,dy Child's Head ill Haarlem: The Artist's los Angeles Area Public Libraries Nephew as a Baby or a Black African Girl? Concourse Meeting Room 402AB, Level 2 Joaneath Spicer, Walters Art Museum Chairs: Alfred Willis, Art Libraries Society of North America; With His Back to Nature: The Rhetoric ofLandscape in Rubens's Amanda Bowen, Art Libraries Society of North America Drawing of a Fallen Tree ,vith Brambles, ca. 1615-17 No Illstitutional Affiliation? No Problem! Materials alld Services Catherine H. Lusheck for Illdepelldellt Fine Artists ill Public Libraries Anatomy of a Design Repertory: Giulio Romano's Drawings jor Dining Cathy Billings, Art Libraries Society of North America Valerie Taylor, independent scholar, Burbank The Dynamic Duo: Scholar alld Art Librariml! A New Source for David's Architectural Perceptiveness: The Roman Alyssa Resnick, Art Libraries Society of North America Drawings ofHubert Robert Serving the Arts Community and Creative Industries Heidi Kraus, University of Iowa Emma Roberts, Art Libraries Society of North America Lessons I Learned at the La Brea Tar Pits Women's Caucus for Art Mary Stark, Art Libraries Society of North America Breakinq in Two and Mending: Art and Molherhood Concourse Meeting Room 406AB, Level 2 Chairs: Margaret Lazzari, University of Southern California; Association for Critical Race Art History Sabine Sighicelli, Brooks Institute of Photography Business Meeting Concourse Meeting Room 404A, Level 2

Art Spaces Archives Project MitigalinfJ Ihe Obvious Culture (md Ihe Seorch fOI- Broader Association of Historians of American Art Hurnanily: Bridginq the Gop belween Lis and Them Business Meofing Concourse Meeting Room 405. Level 2 Concourse Meeting Room 403A, Level 2 Chair: David Platzker, Specific Object Joshua Decter, University of Southern California Leonardo/International Society for the Arts, Sciences, and Technology Edgar Arceneaux, Watts House Project Business Meeting Concourse Meeting Room 40gB, Level 2

CAA2009 FEBRUARY 25-28 35 Wednesday, February 25 Digital Physicality: Explorillg Hybrid Practices ill Drawing 2:30-5:00 PM and Printmaking Angela M. Geary, University of Northumbria Open Session: Painting Invisible Intimacies and Cold Burn: Haptic iVIigrations in 3D Concourse Meeting Room 404B, Level 2 Tele-Immersioll Choreography Chair: David Pagel, Claremont University Graduate School Katherine Mezlir, University of Washington Dynamic Encounter and the Benjaminian Aura The Aesthetics of the Counterculture Wafaa Bilal, New York University Concourse Meeting Room 403B, Level 2 Chairs: Elissa Auther, University of Colorado, Colorado Springs; Adam Jay Lerner, The Lab at Belmar The Medieval Manuscript Transformed Museum Lecture Hall, Getty Center Libre: ArchiteclHre in the COllnterculture Chairs: Kristen Collins, J. Paul Getty Museum; Christine Sciacca, Amy E. Azzarito, Cooper-Hewitt, National Design Museum; J. Paul Getty Museum Parsons the New School for Design Cult alld Codex: The Case of the SI. Alballs Psalter Maximal Art: The Origins and Aesthetics of West Coast Light-Shows Kathryn Gerry, Walters Art Museum Robin Oppenheimer, Simon Fraser University; University of Washington Interleaving Narrative and Devotion: Fifteenth-Century Additions to a Late Romallesqlle Vita Christi (Getty Ms.IOI) Naked Pictures: Ansel Adams and Esalen Kristen Collins, J. Paul Getty Museum Suzanne Hudson, University of Illinois, Urbana-Champaign Destructiml and Reinvention: Reconstructing the Laudario "Experiments in Environment": The Joint "VVorks/lOps of Anna ofSant~gnese and Lawrence Halprin on the Creative Process Christine Sciacca, J- Paul Getty Museum Eva J. Friedberg, University of California, Irvine Cut, Pasted, and Cilt Again: The Original Function and Later USCO: Getting Ollt ofYollr Milld to Use YOllr Head Collection of Early Prints in Western Europe Michel Oren, California State University, Fullerton Kathryn M. Rudy, Koninklijke Bibliotheek Pilgrimage through the Pages: Pilgrims' Badges in Late Medieval Seeing and/or Believing the Photograph Devotional Manuscripts Concourse Meeting Room 406AB, Level 2 Megan H. Foster-Campbell, University of Illinois, Chair: Jordan Bear, Urbana-Champaign Photography, History, (Dis)Belief Discussant: Adam S. Cohen, University of Toronto Ulrich Keller, University of California, Santa Barbara

Photography and the Edllcation ofthe Eye in the Fin-de-Siec/e Cabinet Piclures in Seventeenth-Century Europe Josh Ellenbogen, University of Pittsburgh Harold M. Williams Auditorium, Getty Center Persuading with the Unseen?Die Arbeiter-Illustrierte-Zeitung, Chair: Andreas Henning, State Art Collections Dresden Photography, and German Communism's IcOl1ophobia Praise or Censure ofSmall Pictures? Rubens as a Critic Andres Zervigon, Rutgers University ofAdam Eisheimer Photographillg the NOli-Existent: Alfred Watkins's Discovery Michael Thimann, Kunsthistorisches Institut in Florenz; (or Illvelltioll) ofthe Notorious Ley-Lilies That Have So Plaglled Max-Planck-Institut

British Archaeology The Cabhlet Pictl~re: 1bward a Definition Michael Charlesworth, University of Texas at Austin Susannah Rutherglen, Princeton University

American History Reinvented The Love for the Small and Curious: Pailltillgs Oil Copper by the Warren Neidich, Goldsmiths, University of London Children ofBaccll1ls in Rome Christine Gottler, University of Washington The Tangialiry of Digital Media ffPiccole" Paintings for the Home: vVomen and the lvlarketfor Concourse Meeting Room 40gAB, Level 2 Cabinet Pictures in Seventeenth-Century Bologna Chairs: Paul Catanese, Columbia College Chicago; Erin J. Campbell, University of Victoria Joan Truckenbrod, School of the Art Institute of Chicago The Cabinet ofMinister Colbert Tallgled [IIItfrjallgibles: Code as Thillg and Idea Tatiana V. Senkevitch, University of Southern California Paul Hertz, Northwestern University Object Oriellted Mashing Harrison Higgs, Washington State University, Vancouver

36 CAA2009 FEBRUARY 25-28 Jean-Luc Nancy Clnd the Sense of the Visual Teaching Museum Ethics West Hall Meeting Room 5IIBC, Level 2 Concourse Meeting Room 408A, Level 2 Chairs: Louis Kaplan, University ofToronto; john Paul Ricco, Chair: janet Marstine, Seton Hall University University of Toronto Real Life Lessons: A Teachillg 1I1oment in Ethics at a The Place ofSense: !eall-Luc Nancy's Landscape Aesthetics College Art Museum Warwick Mules, University of Queensland Karol A. Lawson, Sweet Briar College !ean-Luc Nancy: What Makes all Image Ethical? Specters in Storage: The Colonial Legacy Haunts Art Museums Hagi Keenan, Tel Aviv University Preminda jacob, University of Maryland, Baltimore County

From Appearance to Exposure Buildhlg a Virtual Learning Community for Museum Ethics Philip Armstrong, Ohio State University janet Marstine, Seton Hall University OlHlining Art: On Jean-illC Nancy'sTrop andLe Plaisir au dessin Ethics ofResponsibility: From Individual Burden to Ginette Michaud, University of Montreal OrganizationalOpportimity Discussant: Ian Balfour, York University Adelheid Mers, School of the Art Institute of Chicago; Nicholas Lowe, School of the Art Institute of Chicago Historians of Islamic Art Discussant: Christopher Steiner, College On the Erotic ond the Sensuous in Islamic Art Concourse Meeting Room 402AB, Level 2 Furniture and Fashion: intefClctions Chair: Francesca Leoni, Rice University West Hall Meeting Room 50rABC, Level 2 Making Love Not War: The Iconography ofthe Cockfight Chair: Alia Myzelev, University of Guelph

in Medieval Egypt Dressing Rooms: Ready~Made Fashion Fahmida Suleman. British Museum Louisa Iarocci, University of Washington Madness and Ecstasy in Muslim Menswear: Gender mId Designs on the Body: Richard Riemerschmid's Corporeal Vision for Se/fExpression Furniture, Fashion, and the Interior Nazanin Hedayat, De Anza College Freyja Thorbj0rn Hartzell Visibly Foreign, Visibly Female: The Eroticization ofZan-i Farangi Textile, Body, Space, and Plane in Portraits by Gustav Klimt 1908-18 in Seventeenth-Century Iranian Painting Sara Ayres Amy S. Landau, Los Angeles County Museum The Aesthetic Batiks and Artistic Interiors ofMarguerite Zorach Erotic n-ansgressions in the Rose Garden: Govardhan's Illustration Monica Obniski to Sa'di's Gulistan Mika M. Natif, College of the Holy Cross Furnish the Land ofMy Dreams: Nostalgia and the Formation ofthe Canadian Art-Deco Interior O/Beardless Youths, Courtesans, and Voyeurs: Modern Persian Alia Myzelev, University of Guelph Erotica in the Kinsey Institute Christiane J. Gruber, Indiana University Stealth Public Art Concourse Meeting Room 408B, Level 2 Paul R. Williams: African American Architect to the Chair: Patricia C. Phillips, Cornell University Hollywood Stars (clOd That's Just the Beginning) West Hall Meeting Room 503, Level 2 Orange Work: Renegotiating Public Space Chairs: Leslie 1. Luebbers, University of Memphis; John Hawke, Suffolk Community College james M. Lutz, University of Memphis Take It to the Air: Radio as Public Art Architect to the Stars and Other Constellations: Mapping Sarah Kanouse, University of Iowa the Clientele ofPaul R. Williams Networked Cultures: Circulations o/Unsolicited Connectivity Daisy-O'lice Ida Williams, Hampton University Helge Mooshammer, Vienna University of Technology Modern Living, Segregated Living: The Legacy ofPaul R. Williams in Meanwhile Las Vegas, Nevada Zoe Sheehan Saldana, Baruch College, City University Mahlon W. 1. Chute, University of California, Santa Barbara of New York Paul R. Williams in Collaboration with Fellow Architects Alfred E. Willis, Hampton University Remembering the Unknown Soldier in Honolulu: Paul Williams's Pacific War Memorial Design of I952 Amy j. Lyford, Occidental College

CAA2009 FEBRUARY 25-28 37 Wednesday, February 25 Unauthorized Good Taste: The Reception of Royal Portraiture in 2:30-5:00 PM Late-Colonial Buenos Aires Emily A. Engel, University of California, Santa Barbara Paula Modersahn-Becker; Arl, Risk, and Fame Spinning the King West Hall Meeting Room SISB, Level 2 Kelly Donahue-Wallace, University of North Texas Chair: Diane J. Radycki, Moravian College

Fragments, Fruits, Mirrors, Sweet Lips: The Paintings ofPaula ARTspace Modersolm-Becker i" the Writillgs ofRainer Maria Rilke The Stole of Colifomia Printmaking: History with a Fulure Brigid Doherty, Princeton University West Hall Meeting Room SISA, Level 2 in Modersolm-BeckerIModersolm-Becker in Japan Chairs: Sylvia Solochek Walters, San Francisco State University; Tsutomu Mizusawa, Museum of Modern Art, Kamakura Barbara Foster, San Francisco State University and Hayama The Importance ofCollecting Locally: California Contemporary The 1J'ope of the Motherin Weimar Art: Otto Dix, Georg Schrimpf, Print Archives at the Fine Arts Musewn oiScH! Francisco and Paula Modersolm-Becker Karin Breuer, Fine Arts Museum of San Francisco Michelle Vangen, Graduate Center, City University of New York Mission Grajica: Consejo Grajico and Bay Area Latino Printmaking Modersolm-Becker on lvfadisoJl Avenue: Helen Serger, Galerie Juan Fuentes, independent artist, San Francisco La Boetie, and the European Avant-Garde Independent Presses, Printers, and Regional Content in Monica J. Strauss Southern California The Artist Nude: The Body in Artfrom Paula Modersolm-Becker to Patrick Merrill, California Polytechnic University, Pomona Cindy Sherman Cultivating Creativity at Kala Art Institute Rainer Stamm, Paula Modersohn-Becker Museum Archana Horsting. Kala Art Institute The Paintings ofPaula Modersolm-Becker in Feminist Art History California/Asian Connections in Printmaking Alison Ferris Jimin Lee, University of California, Santa Cruz Tamarind and the Birth ofPrint Marketing in Los Angeles Cultivalinf) a Toste for Photography in los Angeles, 1960-90 June Wayne, Brodsky Center, Mason Gross School of the Arts. West Hall Meeting Room S02AB, Level 2 Rutgers University Chair: Gloria Williams Sander, Norton Simon Museum of Art IfThis Was a Sport It Would Be Called ''Extreme Photography" Darryl J. Curran, independent artist, Los Angeles Thursday, February 26 7:30-9:00 AM Against the Grain: Photographers as Directors of Their Own History in Los Angeles Art Historians Interested in Pedagogy and Technology John Upton, independent artist, author, and curator, Art History, Technology, Pedagogy: New Diredions San Clemente, California Concourse Meeting Room 402AB, Level 2 From the Inside Out: The State ofCollecting Photography in Los Angeles Chair: Andrea Pappas, Santa Clara University duYing the I9705 Pedagogy of Assessment: Assessment ofPedagogy (Taking the Stephen White, independent collector, author, and curator, Sting Ollt ofAssessment) Studio City, California Stephen B. Carroll, Santa Clara University Artists Who Use Photography: MaCA's Relationship to the Medium Rebecca Hejduk Morse, Museum of Contemporary Art, Italian Art Society Los Angeles Business MeetintJ Concourse Meeting Room 403A, Level 2 Beholding Royalty in the Arts of Ibero-America, 1520-1820 Concourse Meeting Room 403A, Level 2 European Architectural History Network Chair: Jeffrey Schrader, University of Colorado, Denver I"fonnolianol Meeting Encoding Nobility and Power: The Indigenous Coats ofArms of Concourse Meeting Room 404A, Level 2 Sixteenth-Century Mexico Monica DomInguez Torres, University of Delaware Beholding and the Beholden: The Politics ofPatronage in Colonial Cuzco Michael J. Schreffler. Virginia Commonwealth University [nka Royal Women: Portraits ofPride, Lineage, mid Noble Symbolism Carol Damian, Frost Art Museum, Florida International University

3B CAA2009 FEBRUARY 25-28 Thursday, February 26 The Iranian Dynastic Sanctuary and the Global Nature ofIranian 9:30 AM-NOON Kingship between Alexander and Islam Matthew Canepa, College of Charleston ReCHTon()il1fj Abstroction West Hall Meeting Room SIIBC, Level z In the Footsteps ofthe Sasanians: Funerary Architecture and Chair: Kim Anno, California College of the Arts Bavandid Legitimacy Melanie Michailidis, Carleton College Pretext and Context: Abstraction and Representation in the Ilventy-First Century Kingship Co-opted, Kingship Sewlarized in Modern Iran Clarence Morgan, University of Talinn Grigor, Brandeis University Lookingfrom underneath the Counter: Rearranging Abstraction in Our Daily Lives Association of Historians of Nineteenth-Century Art Stephan Hillerbrand, University of Houston The Networked Nineteenlh Century West Hall Meeting Room SOIABC, Level z Queer Abstraction/Queer Narration Chair: Anne Linden Helmreich, Case Western Reserve University Tirza Latimer, California College of the Arts Jules Dalou's Exile during the Networked Nineteenth Century A Sense ofPlace: Abstraction, 'ltauma, and Release Cassandra Albinson, Yale Center for British Art Liam Kelly, University of Ulster Global Events and Local Visual Culture: Reactions to the Anglo-Boer Radiance: Abstracting with a Little ria" War in Paris and Munich Kim Anno, California College of the Arts To Briggs, Yale Center for British Art Paris-Vienna-Berlin: The Role ofDealer-Networks for the EighteenthCenlury Arl, Decomtive Ads, and Dissemination a/Impressionism Architeclure: Shaltering the Nineteenth-Cenlury Imogo Christian Huemer, Getty Research Institute of Eighteenth Cenlury West Hall Meeting Room srsB, Levelz Central European Groups and the Networks of Chair: Alden Rand Gordon, Trinity College Competitive Collaboration Anne Brzyski, University of Critical Biases at the TIm! ofthe Century: The Case ofthe Hostility to Pierre-Paul Prud'hon A Network ofAssociations: Aestheticism in a Guilded Age Elizabeth M. Rudy, Metropolitan Museum of Art Melody Deusner, University of Delaware The Comtesse de Verrue: Alexandre Dumas's Dame de Volupte "Speaking Portraits": John Singer Sargent's Paintings and Rochelle Ziskin, University of Missouri, Kansas City Alphonse Bertillon's Criminal Showcase at the r893 Chicago Coilanbian Exposition Art, Decoration, and Industry in Precapitalist Europe Andrew Stephenson, University of East London T. Nicholas Napoli, independent scholar, Brooklyn

The Invention of the Boucher Personae in the Nineteenth-Century Arts Council of the African Studies Association and the Nationalist Idea ofStyle WoIOi Is Powet: African Arl His/NY Beverly Schreiber Tacoby, independent scholar, New York Concourse Meeting Room 402AB, Level 2 Art History as Political Commentary in Nineteenth-Century France: Chair: Shannen Hill, University of Maryland Publishing the Archives of the Acadimie Royale de Peinture The Movement ofAesthetic Objects on the Benue River et de Swlpture Sidney Kasfir, Emory University Sharon 1. Boedo, independent scholar, Canandaigua, New York Water Discussant: Thomas Gaehtgens, Getty Research Institute Bright Ugochukwu Eke, University of Nigeria Nsukka Afro-Indian Ocean Display Logics: The Politics ofOrnamelll of Architecture Kingship: From the Ach"emenids mId Material Life in Coastal East Africa to Pahlovis Prita Meier, Johns Hopkins University Concourse Meeting Room 404A, Level 2 Chairs: Talinn Grigor, Brandeis University; Sussan Babaie, DungamanzilStirring Waters: Water and Its Significance as a independent scholar, Ann Arbor Medium ofTI'ansformation Nessa Leibhammer, Tohaunesburg Art Gallery Palace-Plain-Domain: The Panoptic Porticoes ofPersepolis Margaret Cool Root, University of Michigan, Ann Arbor Discussant: Henry Drewal, University of Wisconsin, Madison

CAA2009 FEBRUARY 25-28 39 Thursday, February 26 Got Tickets? To the Gun Show! 9:30 AM-NOON Juan Juarez, Syracuse University Free Access for All: Performance Art in Second Life Science and Aesthetics: Models and Metaphors lovana Stokic, Institute of Fine Arts, New York University Concourse Meeting Room 403A, Level z Chairs: Susan larosi, University ofLouisville; Elizabeth Kessler, The Power ofInstant Communities: MySpace and Facebook Ursinus College as Activist Centers Michael Salmond, Northern Illinois University Photo Doctors and Pixel Surgeons: The Medicine ofPhotography in the Digital Age The Sinuous Mobile World Tanya Sheehan, Rutgers University lanet Bellotto, Zayed University Architecture mid Embryos: Biological Analogies and the Built Environment since I945 Baroque Anotomy: Motives and Methods James Maxwell Stevenson, University of Essex West Hall Meeting Room 503, Level z Chairs: Victoria Sancho Lobis, Columbia University; When Art Results from the Scientific Method: Model into Metaphor Karolien De Clippel, Universiteit Utrecht lean Robertson, Indiana University The Knife al/d the Mirror: Self Dissection and SelfReflexivity in Weird Science Pietro da Corona'sTabulae Anatomicae of 1618 Aspen Mays, School of the Art Institute of Chicago; David Packwood, University of Warwick AnnieLaurie Erickson, School of the Art Institute of Chicago An Exploration ofthe Female Life Model in Early Modern Gyorgy Kepes's Scientific "Pattern-Seeing" Eve Straussman-Pflanzer. Institute afFine Arts, Anna Vallye, Columbia University New York University Blue Morph Bernini's Heavenly Bodies lames K. Gimzewski, University of California, Los Angeles Tod Marder, Rutgers University The Crystal Interface: Metaphors of the Organic mid Inorganic Patient Models: Plaster Casts for the Apprenticeship ofDrawing in from Worringer to Deleuze to Altmejd the Preacademic Northern Netherlands (1600-80) Mark A. Cheetham, University of Toronto cecile Tainturier, Fondation Custodia, Collection Frits Lugt Image Science and Evolution "... we have the very subject before us ... :" Parsing the "n-uth" in Oliver Grau, Danube University Seventeenth-Century Anatomical Images Lyle Massey, University of California, Irvine ARTspace Proof: Art Illuminating Science CAA Committee on Women in the Arts West Hall Meeting Room 515A, Levelz Pan-Feminism: The Dispersal of a Critical Attitude Chair: Ellen K. Levy, New York University Concourse Meeting Room 406AB, Levelz Chairs: lanet T. Marquardt, Eastern Illinois University; Proof Positive lorge Daniel Veneciano, Sheldon Museum of Art Lillian Ball, Cooper Union for the Advancement of Science and Art Pan-Feminism: A Riposte in Radical Democratic Terms Trigger Points and Virtual Concerts lorge Daniel Veneciano, Sheldon Museum of Art Aviva Rahmani, independent artist, Vinalhaven, Maine (En)Gendering Violence at Abu Ghraib Jennifer Kosakowski, University of California, Irvine AlphaWolJ Bill Tomlinson, University of California, Irvine The Effect of Tropical Light on White Men Evidence in Synaesthetic Art? Catherine Lord, University of California, Irvine Carol Steen, Touro College A Feminist InheritmlCe? Robert Gober's Questions ofAmbivalence and Subjectivity Cultural Analytics Lev Manovich, University of California, San Diego Marisa White, Kean University Discussant: Barbara Maria Stafford, University of Chicago Kitsch in the 1960s: Modernism's Subversive Other Concourse Meeting Room 408B, Levelz MySpace, Faceboak, Second Life: What Is Community Now2 Chairs: loan M. Marter, Rutgers University; Mona Hadler, Concourse Meeting Room 403B, Level 2 Brooklyn College and Graduate Center, City University Chairs: loe Lewis, New York State College of Ceramics, Alfred of New York University; Barbara Lattanzi, New York State College of Ceram­ ics, Alfred University Pre-Funk Peter Saul David McCarthy, Rhodes College

40 CAA2009 fEBRUARY 25-28 Claes Oldenburg's Pornotopia Renaissance Society of America Tom Williams, Stony Brook University, State University Renaissance andlar Early Modern: Naming (md/or of New York Knowing the Past Concourse Meeting Room 408A, Level 2 Niki de Saint Phalle's Assemblages: Waging War with Chairs: David Rosand, Columbia University; Janet Cox-Rearick, Paint and Plastic Graduate Center, City University of New York Jennifer A. Sudul, Institute of Fine Arts, New York University Some Thoughts on Misnaming/Misreading the Past Kitsch in Italy: Umberto Eco's MidcuIt and Superstudio's Marvin Trachtenberg, Institute of Fine Arts, Plastic Furniture New York University Ross Elfline, University of California, Los Angeles Renaissance Perspective: A A1edieval Invention? Learningfrom Kitsch: Postwar Architecture aIId Popular Culture Samuel Y. Edgerton, Williams College Patricia Morton, University of California, Riverside When the Renaissance Came to Germany Jeffrey Chipps Smith, University of Texas at Austin Association for Latin American Art The Americanization of Neoclassicism in Latin America The Retllrn oft"e Renaissance Concourse Meeting Room 409AB, Level 2 David Cast, Bryn Mawr College Chairs: Paul Barrett Niell, Arkansas Tech University; Stacie Graham Widdifield, University of Arizona John Cage: Repercussions "Where Will Painters aIId Sculptors Find Original Models of Concourse Meeting Room 407, Level 2 Antiquity?" Controversy and Conflict in the Royal Academy of Chair: Sandra Skurvida, School of Visual Arts; Parsons the San Carlos, Mexico (I781-9S) New School for Design; Fashion Institute ofTechnology Susan Deans-Smith, University of Texas at Austin John Cage 1l'ust Recasting Civic Identity in an Early-Nineteenth-CenWry Laura Kuhn, John Cage Trust, Bard College CubaH Neoclassicism The Anarchist Aesthetic Paul Niell, Arkansas Tech University Jonathan David Katz, ; National Por­ A Western Mirage on the Bolivian Altiplallo trait Gallery, Robert Bradley, University of North Carolina, Charlotte Cagean Structures The Plantation Landscape and Its Architecture: Classicism, Liz Kotz, University of California, Riverside Representation, and Slavery The Chance Protocol: John Cage's Performance Events at Black Charles Burroughs, Case Western Reserve University MOllntain College Discussant: Stacie G. Widdifield, University of Arizona Eva Diaz, Art in General; Princeton University Legacies ofJohn Cage in the Photogrophy and Architecture: Shaping (] New Dialogue Nadja Rottner, Columbia University Concourse Meeting Room 405, Level 2 Chairs: Antonella M. Pelizzari, Hunter College, City University Land Usc in Contemporary Art of New York; Paolo Scrivano, Boston University Concourse Meeting Room 404B, Level 2 Building Sacre-Coeur: Construction Photography and the Rhetoric Chair: Kirsten Swenson, University of Nevada, Las Vegas ofFund raising Field Operations: The Geographical Impllise in Post-1960s Art Claude Baillargeon, Oakland University Emily Eliza Scott, University of California, Los Angeles Preserving China: Photographs in Lian Sicheng's Architectural International Airport Montello: Land Use and the eteam's Survey of the 19305 and 19405 Aesthetics ofDelay Wei-Cheng Lin, University of North Carolina, Chapel Hill Paul Monty Paret, University of Utah Developing Socialism: The Photographic Condition ofArchitecture in The Land and the Economics ofSlIstainability Postwar Romania Janet Kraynak, New School University Juliana Maxim, University of San Diego The Making ofthe Mllseographic Landscape From Chicago to Hunstal1ton: The Role of the Architectural Image Navjotika Kumar, Kent State University from Neo-Avant-Garde to Postmodern Claire A. Zimmermann, University of Michigan Land Art to Museum: Glufer Eliasson's Lava Floor Martino Stierli, UniversWit Basel Close Encounters: Peter Zwnthor and Hans Dmlllser Philip Ursprung, Universitat Zurich Discussant: Matthew Coolidge, Center for Land Use Interpretation

CAA2009 FE8RUARY 25-28 41 Thursday, February 26 A Place like no Other IZ:30-2:OO PM Hunter O·Hanian. Anderson Ranch Arts Center

National Endowment for the Humanities Association for Critical Race Art History Fundino Sources from the National Endowment for the Artists' Roundtables: Doing the Wmk HUn1clOities: New Programs clOd Updates on Gmnts for ;\rt Concourse Meeting Room 403B. Level 2 Hisforicins, EducCltors and Museums l Chair: Camara Holloway. University of Delaware West Hall Meeting Room S03. Level 2 Chairs: Barbara Bays. National Endowment for the Humanities; Rodney Ewing Danielle Shapiro. National Endowment for the Humanities Farzad Kohan Alma Lopez Visual Resources Association You Can Do It, We Con Help: Buildinn Digital~lmage Collections Together Society of Contemporary Art Historians What is Contemporary Art Ilistmy? West Hall Meeting Room S01ABC. Level 2 Chair: Maureen A. Burns, University of California. Irvine Concourse Meeting Room 408A. Level 2 Chairs: Suzanne Hudson, University of Illinois, accessCemmics.org: Building em Artist-Centered, Browseable Image Urbana~Champaign; Alexander Dumbadze. George Col/ection with Flickr Washington University Margo Ballantyne. Lewis and Clark College; Jeremy McWilliams. Lewis and Clark College Pamela Lee. Digital Fieldwork: The Peril and Promise ofSharing an Archive Richard Meyer. University of Southern California Alka Patel. University of California. Irvine Miwon Kwon, University of California, Los Angeles It's the Network: How the Society ofArchitectural Historians Is Grant Kester. University of California. San Diego Building all Image Col/aboratory Olu Oguibe. University of Connecticut Ann Whiteside. Institute of Technology Discussant: Joshua Shannon. University of Maryland. It Takes a Village: Building Collective Responses to College Park Copyright Challenges Gretchen Wagner. ARTstor

CAA Advocacy Session Creative Capital Foundation Sponsored by the CAA Board of Directors and Altenlian Must Be Poid CAA Publications Committee Concourse Meeting Room 406AB. Level 2 lnrernotiono! Low and Visual Arts. Chair: Sean Elwood. Creative Capital Foundation West Hall Meeting Room S02AB. Level 2 Erin Cosgrove. independent artist Chairs: Paul Jaskot. CAA President. Jeffrey P. Cunard. CAACounsel Lynn Hershman~Leeson. independent artist This year's Special Advocacy Session offers a presentation Sharon Lockhart. independent artist. Los Angeles by Mark Stephens. a leading solicitor in the UK with expertise in international law. Mr Stephens. a partner at ARTspace the British law firm of Finer Stephens Innocent. discusses CAA Services to Artists Committee the international aspects of copyright. art. and libel law. Meta~Mentor: Answers to All of "Those" Ouestions" West Hall Meeting Room SISA. Level 2 Chair: Reni Gower, Virginia Commonwealth University National Council of Art Administrators The Good, the sod, ond the Ugly of Nolional i(clilking Riding the Rails of the Tenure '!rack of Ali Per'Or(,",; Reni Gower, Virginia Commonwealth University Concourse Meeting Room 407, Level 2 Public Art as Improvisation Chairs: Paul Lee, University of , Knoxville; Elizabeth Conner. independent artist. Vashon Island. Washington Joe Seipel. Virginia Commonwealth University Why Administrators Like Rankings? Open Access: Teaching in the Community~College System Deborah Kirklin. Santa Rosa Community College Paul Lee, University of Tennessee, Knoxville

Get Your Work~Out: Build a Reswlle with Muscle Rae Goodwin. Pikeville College Association of Historians of Nineteenth~Century Art Future Directions in I~rr Hot SllOt(s) Concourse Meeting Room 404A, Level 2 Joe Bie!. California State University. Fullerton Chair: Andrei Molotiu, Indiana University, Bloomington

42 CAA2009 FEBRUARY 25-28 Publishing Gerome American Institute for Conservation of Historic Emerson Bowyer, Columbia University and Artistic Works Leaming to Look: Early Photographs The Promise ofBlunders; or, Why "Literary" Architecture Matters Now Erin Hazard, Western Washington University J. Paul Getty Museum Chair: Rebecca Anne Rushfield, independent conservator, Critical Lines: Visual vs. Verbal Art Criticism ofDelacroix in the New York Salon caricatural of the Charivari Charlotte Mende, University of Heidelberg Weston Naef, J. Paul Getty Museum Sarah Freeman, J. Paul Getty Museum We Have Never Been Instantaneous: Charles Negre in the r850s Jacob W. Lewis, Northwestern University Public Art Dialogue Southeastern College Art Conference Public Art and Pedagogy Southern Influences/Southern Themes West Hall Meeting Room SIIBC, Level 2 Chairs: Nancy Scott, Brandeis University; Erika Doss, Concourse Meeting Room 409AB, Level 2 University of Notre Dame Chair: Debra L. Murphy, University of North Florida Collaborative Field Projects: From NOLA to San Joaquin Valley Sporting Life in the Nineteenth·Century SO/,th: Edward 1toye's Suzanne Lacy, Otis College of Art and Design Racehorse Portraits Jessica Dallow, University of Alabama, Birmingham Memory/Works Memorial to Slavery, Nantes, France Julian Bonder, Bonder Associates; Roger Williams University Southern Folk Art: Collectors' Myths and Artists' Imentions Cheryl Rivers, independent scholar, Brooklyn Pragmatic Pedagogy: Public Art as Civil Society in Cuba ofthe Special Period Song ofthe South Peter Kalb, Brandeis University Cynthia Marsh, Austin Peay State University Education or Reeducation: The Specter ofCritical Public Art in Orientalism on Parade: New Orleans Mardi Gras a/ld the Middle East Contemporary China Lealan Swanson, University of Oregon Poyin Auyeung Native and Newcomer: Rediscovering Southern Sensibilities Christopher Luhar-Trice, Mississippi State University Catalogue Raisonne Scholars Association Artists: Develop a Lifetime Inventory Association of Historians of American Art Concourse Meeting Room 404B. Level 2 Crosstalk: The Pedogogy of the Obiect in the Academy Chair; Roberta K. Tarbell, Rutgers University, Camden and in the Museum Artist-Endowed FOlmdations: Artists' Assets Serving a Public Benefit Concourse Meeting Room 403A, Level 2 Christine Vincent, Aspen Institute National Study of Artist­ Chair: Andrea Pappas, Santa Clara University Endowed Foundations Jules Prown Meets Fred Wilson: Which Object in Which Space? Creating a Lasting Legacy: The Joan Mitchell Foundation Supports Marian Wardle, Brigham Young University Museum of Art Elder Artists i1lterdisciplinary Exhibitions at the Tang Teaching Museum Paul Sepuya, Joan Mitchell Foundation John S. Weber, Tang Teaching Museum and Art Gallery at My Experience Starting a Lifetime Invemory Skidmore College Mildred Howard, independent artist, Berkeley The Real Thing: Art Objects and Museum Pedagogy Sarah Vure, Long Beach City College CAA Committee on Women in the Arts Feminist Curatorial Intervention Now Society for the Study of Early Modern Women Concourse Meeting Room 402AB, Level 2 Early Modern Women and Reli(lious Art: What's Next? Chairs: Midori Yoshimoto, City University; Concourse Meeting Room 408B, Level 2 Tracy Fitzpatrick, Neuberger Museum, Purchase College, Chair: Andrea Pearson, independent scholar, State University of New York Silver Spring, Maryland The Women ofA1etal Project: Innovation, Connection, and Education Imeracting with the Sacred at Giambologna's St. Antoninus Chapel Susan Messer, University of Wisconsin. Whitewater; Sally J. Cornelison, University of Kansas Teresa Faris, University of Wisconsin, Whitewater "This Relick ofSyon:" The Visual Construction ofEnglish Women beyond Borders Catholicism at Syon Abbey, Lisbon Anette G. Kubitza, California State University, Channel Islands Elizabeth Perry, Framingham State College The Offering Table: Women Artists and Activists from Korea Women and Vasari's Lives of the Artists L.Inson Choy, independent curator, Menlo Park, California Marjorie Och, University of Mary Washington Cornelia Butler, Museum of Modern Art Discussant: Jacki Apple, Arts Center College of Design

CAA2009 FEBRUARY 25-28 43 Thursday, February 26 Thursday, February 26 I2:30-2:OO PM 2:30-5:00 PM

Reiation, Generation, Practice: Looking ot Pment/Child Posler Sessions Collaborotions in Art Concourse Foyer Concourse Meeting Room 407. Level 2 Poster sessions are informal presentations for small Chairs: Patricia Briggs, Minneapolis College of Art and Design; groups displayed on poster boards by individuals. The Judith Yourman, independent artist, St. Paul poster display is usually a mixture of a brief narrative Collaboratioll, Approprialioll, Dialogue paper intermixed with illustrations, tables or graphs, Judith Your man, independent artist, st. Paul and other presentation materials. With a few concisely written areas of focus, the poster display communicates Reconsidering Sally Mann's Immediate Family: Sixteen Years Later the essence of the presenter's research, synthesizing its Stacey McCarroll Cutshaw, Boston University main ideas and research directions. Poster displays will be Daily Development: Falher/Daughter alld the Autobiographical on view for the duration of the conference, beginning on Graphic Novel Thursday morning. On Thursday and Friday, from 12:30 to George Cochrane. Fairleigh Dickinson University 2:00 PM, presenters wiII be available at the Poster Area. Identity Crisis: Filldillg Buried Culture through Parellihood Foundalion Level Compuler Art: Vectors Firsl; An Argument Yoko Nogami, University of South Florida for Ihe Order ofSoflware IlIIroduclion Amy Bautz, St. Louis University Nursillg Jounleys alld the l1ifallt-Collaborator Rachel Epp Buller, Bethel College John Quinn's Collection ofAfrican Arl and lis Pholographi Portfolio by Charles Sheeler (I9I9) Yaelle Biro, University of Paris I-La Sorbonne Rights to Expression YS. Regimes of Power in the Public Sphere Ahmanson Auditorium. 1st Floor, Museum of Contemporary Teaching Graphic Design 10 Archilecls and IlIIerior Art, Grand Avenue Design Swdmts Chairs: Noah Chasin, Bard College; Susan Merriam, Bard College Diane Fox, University of Tennessee A1eans to Ends, Ends to Mea115: Repetition and Expression in the 19805 Integrated Studelll Learning Using a Mullicullural Approach Johanna Burton, Whitney Museum Independent Study Program Courtney Grim, MedaiIIe College Markillg Rights: The Polilics of the 1l'ace ill the Work ofAllora Souvenirs ofthe Rest Cure: Medical Tourism and Eugene alld Calzadilla Delacroix's Late Drawings Yates McKee, Columbia University Joyce Bernstein Howell, Virginia Wesleyan College Leon Ferrari vs. the nBarbarism o/the West" Teaching Art History Online Todd Porterfield, University of Montreal Diane Kontar, The University of Findlay Structures o/Experience: Thomas Hirschhorn agai115t Architecture The Association ofCreative Zoology Lisa Lee, Princeton University Beauvais Lyons. University of Tennessee Gunners and Runners: Counterterrorism Design in an Age 0/ Fear The Index: Documenting and Accessing an American Arl Peter Mortenbock, Goldsmiths, University ofLondon Marsha MacDowell, Michigan State University Museum; Mary Worrall, Michigan State University Museum A Conspiracy TheNY of Images: Art and Cold-Wm Visudity Interactiue Web Design Optimization Using Genetic Concourse Meeting Room 409AB, Level 2 Algorithm Driven CSS Chair: fohn Curley, Wake Forest University Sunyoung Park, Briar Cliff University Techlliques of the Cold-War Observer Interpreling Ihe American Cullural Landscape: Land Use Katarzyna Murawska-Muthesius, Birkbeck College, mid Preservation Policy with Regards 10 Earlhworks ofIhe University of London I960s-I980s Mark Rothko's Black Paintings alld Cha>1gillg Defillitiolls of Addy Smith-Reiman, Cornell University Cold-War AuthorilY Gabrielle Gopinath, College of the Holy Cross Silk Scree115 and Television Screens: Maoism, the Fifth Republic, alld the Posters ofMay I968 Victoria H. F. Scott, College of William and Mary Voices behind the Curtain: Language, Ideology, and Systems in the Works ofKabakov alld KIIIUk, I960s-70S Maia Toteva, University of Texas at Austin Discussant: Christine Mehring, University of Chicago

44 CAA2009 FEBRUARY 25-28 The Globolizolion of Japanese Papule>r Cullure Space and Place in the "Viel Rentier" ofthe Lords ofAudenarde Concourse Meeting Room 403B, Level 2 Margaret Goerhing, Alfred University Chair: Deborah Anne Deacon, Harrison Middleton University The Space oj"Semblmlce" in Valois Palaces and Their Swlpture Okamoto Ippei alld the Mallga Implosion of '920S-30S Japall Elizabeth Ross, University of Florida Miriam Wattles, University of California, Santa Barbara Framing Heterotopic Space: Late-Medieval Loggia and Image Murakami Takashi: M011Ster 7h~n5formalions/Postmoderl1 Kim S. Sexton, University of Arkansas Schizophrenics Sufi Writers and City Spaces in the Medieval Islamic World Paul Sutcliffe, Temple University japan Campns Ethel Sara Wolper, University of New Hampshire Playful Violence alld Deceptive Innocence: The Superflat Art of Takashi A1urakami and Chiho Aoshima ARTspace Cindy Lisica, University of the Arts, London My So Called Second life The Influence ofManga in American Logo Design West Hall Meeting Room 515A, Level 2 Mervi Pakaste, Kansas State University Chair: Krista Hoefle, Saint Mary's College Japanese Video Game Art in the Western Context Pelfarming Art's Second Life (Again) Peter Chanthanakone, Southeast Missouri State University Jessica Wyman, Ontario College of Art and Design eracial International Association of Art Critics (AICA/US) Kalia Brooks, Institute for Doctoral Studies in the Visual Arts Just Anolher Critical Doy in P"radise: Art Writing Reenactment: MGandhi's TI-eadmill-Powered Salt March in Second Life in los Angeles joseph DeLappe, University of Nevada, Reno West Hall Meeting Room 515B, Level 2 Chairs: Peter Frank, THEmagazineLA and Riverside Art Museum; Virtual Landscapes: An Art Historiall's Jounley to Ithaka in Second Life Shana Nys Dambrot, Flavorpill Alyson A_ Gill, Arkansas State University Betty Ann Brown, California State University, Northridge Second-Life Dumpster Hajoe Moderegger, eteam Susana Smith Bautista, University of Southern California

Tulsa Kinney, Artillery magazine Thai's Entertainment: Reconfiguring the Native American Andrew Berardini, LA CityBeat and Pre-Columbian Post in Contemporory Populm Culture Concourse Meeting Room 406AB, Level 2 Chairs: Margaret A. Jackson, Stanford Humanities Center; The Sublime, Then dnd Now Patricia Toan Sarro, Youngstown State University Concourse Meeting Room 403A. Level 2 Chairs: Marc GotIieb, Williams College; Susan Hollis Clayson, When National Treasure's Not TI-easure Enough Northwestern University judy Sund, Queens College and Graduate Center, City University of New York Sublime Damage Ivan Gaskell, Fogg Art Museum, Harvard Art Museums Fabricating Precolwnbian Cultures in the National Geographic Magazine The Time ofHell Magali Carrera, University of Massachusetts, Dartmouth Nina Dubin, University of Illinois, Chicago Facing the Inka Knock-Off Sublime? The Lalldscape ofStalinist Visual Culture Carolyn Dean. University of California, Santa Cruz Anna Wexler Katnelson, Culturally in Bed and Embedded: Stories ofHow Red Becomes White Lalldscape Photography and the Political Sublime Heidi Nickisher, Rochester Institute ofTechnology Kelly Dennis, University of Connecticut Discussant: Constance Cortez, Texas Tech University Eric Fischl'sThmbling Woman and the Negative Sublime Karen Lang, University of Southern California

Medieval Spatiality Concourse Meeting Room 405, Level 2 Chairs: Gerry Guest, john Carroll University; Laura Hollengreen, University of Arizona Metaspace, Relics, and the Devotional Imagination Karen Eileen Overbey, Tufts University

CAA2009 FEBRUARY 25-28 45 Thursday, February 26 The Performing Archive 2:30-5:00 PM Suzanne Lacy, Otis College of Art and Design Mnemonic Reading: Fictions, Objects, and Quotation in Art Design Studies Forum and Literature Design on Disploy: Exploring How Museums Exhibit Lucy Mulrouney, University of Rochester Designed Obiects Concourse Meeting Room 402AB. Level 2 Blogging as Wzmderkammer: Finding the Authenticness in Virtual Chair: Marianne Lamonaca, The Wolfson ian, Florida Collections and Personal Taxonomies International University Heather McDougal, independent artist, Davenport, California The Hand That Rocks the Cradle: Changing Interpretations in the The Artist as Reader: Renee Green's Bibliophilism Life ofan Object Monica McTighe, Thfts University R. Ruth Dibble, Williams College The Latino Cabinet ofCuriosities: A Postcolonial Interrogation Hardware Stores, Jewelry Boxes, and Machines: Design on Display Amalia Mesa·Bains, California State University, Monterey Bay at MaMA, I934 Floating Fast like a Hummingbird Kristina Wilson, Clark University Alissa Walls Mazow, Pennsylvania State University The Political Symbolism ofContemporary American Textiles Discussant: Judith K. Brodsky, Rutgers University Shown in the Smithsonian's 1951-52 1taveling Exhibition Program Margaret Re, University of Maryland, Baltimore County Clothing, Flesh, Bone: Visual Culture above and below Design and Display: The Museum as Project, V+W Desigll_ Matrix the Skin, Pad I Veronique Souben, independent curator and scholar, Paris West Hall Meeting Room SIIBC, Level 2 Discussant: Michael Prokop ow, Chairs: Victoria Rovine, University of Florida; Sarah Adams, University of Michigan School of Nursing 0loen Session: Fifteenth ond Sixteenth Century Art Life after Death at the Wellcome Collection Concourse Meeting Room 408B, Level 2 Pam Meecham, Institute of Education, University of London Chair: Mark A. Meadow, University of California, Santa Barbara; From Bust to Bone: Making and Seeing Faces in Art and Plastic Surgery Leiden University Jeanette Kohl, University of California, Riverside; University Als ich can: Poetic Origins oflan van Eyck's Device Elucidate ofLeipzig Artistic Identity in The Madonna with Canon Van der Paele Materia Medica: Interacting with the Corpus Jamie Smith, George Washington University Linda Carreiro, University of Calgary A Convergence ofIcon and Portrait in Naples arOlmd I450 Embodied/Disembodied Self Sarah Kozlowski, Yale University Joyce Cutler Shaw, University of California, San Diego Venus and Mars: Intimate Encounters Discussant: Sarah Adams, University of Michigan School Rebekah Compton, University of California, Berkeley of Nursing Law, Commerce, and Social Anxiety in 1542: Marinus van Reymerswaele'sThe Lawyer's Office Feminist Design, a Quiet Transformation? Robert Mayhew, Duke University Concourse Meeting Room 404B, Level 2 Interpreting Africa in I602: Neo·Stoicism and the Iconographic Chairs: Aaris Sherin, SI. John's University; Stephen Eskilson, '!radition in the Description and Historical Account of the Gold Eastern Illinois University Kingdom ofGuinea The Question o/Feminism and Interior Design Elizabeth A. Sutton, University of Iowa Lucinda Kaukas Havenhand, Virginia Commonwealth University Wunderkammer: Art as Information/Information os Art The Design that Was not One: Engendering Design Discourse Concourse Meeting Room 40SA, Level 2 Stuart Kendall Chairs: Ferris Olin, Rutgers University; Judith K. Brodsky, Rutgers University; Gloria F. Orenstein, University of International Exhibitions in East Asio Southern California Concourse Meeting Room 404A, Level 2 Creating a Feminist Art-History Archives in Academia: Chairs: Meiqin Wang, California State University, A WWlderkammer o/Women Artists' Voices and Visions Northridge; Inhye Kang, McGill University Gloria F. Orenstein, University of Southern California Universality vs. Asian Utopia: The Politics of the Japanese Pavilion at the I893 Chicago World's Fair Inhye Kang, McGill University

46 CAA2009 FEBRUARY 25-2B Gutai: Decentering Modernism Thursday, February 26 Ming Tiampo, Carleton University 5:30-7:00 PM The Shanghai Biennale: Redressing the "Passive and Peripheral Position" o/Chinese Contemporary Art Coalition of Women in the Arts Organization joe Martin Hill, Institute of Fine Arts, New York University Mothers of Innovation II: Exploring Mixed Medici, New Media Nationalism via Globalism: The Third Beijing International Concourse Meeting Room 404A, Level 2 Art Biemwle Chair: Kyra Be\;in, Broward College Meiqin Wang, California State University, Northridge Between Dimensions Farewell to Postcolonialism? The Third GuangzllOu 7riennial Ruth von jahnke Waters, Peninsula Museum of Art and Its Discontents Alice Ming Wai jim, Mother Earth, Thought Woman: Mixed·Media Installation Kyra Belan, Broward College

Distinguished Sehal",'s Session: Svetlano Alpers Resonances Paintings/Problems/Possibilities Kay Kang, independent artist, San Francisco West Hall Meeting Room S02AB, Level 2 The Deep SOllg ofMaterials: How the Photographic Subject Indicates Chair: Mariet Westermann, New York University Dubai Process and Materials Carol Armstrong, Princeton University Alejandra Chaverri, independent artist, Palo Alto Thomas Crow, Institute of Fine Arts, New York University Association for Textual Scholarship in Art History james Hyde, independent artist, Brooklyn, New York Taking It 10 the Streets: The Theater of Public Piety Stephen Melville, Ohio State University Concourse Meeting Room 403B, Level 2 Chair: Tina Waldeier Biz2arro, Rosemont College MariH Westermann, New York University Dubai Joseph as Mary's Champion: The Distinctive Connection between the Madonna del Giglio, the Compagnia di San Giuseppe, mid the RevisitinfJ the Lotin Boom Church ofSail Giuseppe, Florellce West Hall Meeting Room 501 ABC, Level 2 Carolyn C. Wilson, independent scholar, Houston Chairs: Adriana Zavala, Tufts University; Mary K. Coffey, Dartmouth College "Menhir" Madonnas: Toward a Cultural Excavation ojStreet Tabernacles in Florence Beyond the Blockbuster: Inserting Artfrom Latin America into the Roger j. Crum, University of Dayton Narratives ofModern Western Art Cecilia Fajardo·Hill, Cisneros Fontanals Art Foundation Valencia's "Fallas" in Historical Context Gail Levin, Baruch College, City University of New York US Latino Art: Que Boom? Chon A. Noriega, University of California, Los Angeles Devotion and Veneration: Chicano Lowrider Processions and Audience Interaction The Latin American AtJarket Comes ojAge: Growing Pains Megan K. Young, University of North Carolina, Greensboro Mary-Anne Martin, Mary-Anne Martin Fine Art Discussant: Maureen Pelta, Moore College of Art and Design Preserving the Jungle: A View from the College Art Museum james ales, Davis Museum and Cultural Center, Wellesley College Foundations in Art: Theory and Education Green Foundations.: Curricular cmd Env!ronmentd Are the Terms "Latin American" and uLatino" as Used in Exhibition Sustainability Titles by US Museums Still Relevalll? Concourse Meeting Room 406AB, Level 2 Alma Ruiz, Museum of Contemporary Art, Los Angeles Chair: Steven Bleicher, Coastal Carolina University Collectors, the Market, mId Latin American Art since the Boom Teaching Sustainabliity: First Year, and Every Year, Always Beverly Adams, Diane and Bruce Halle Collections Tim Rumage, Ringling College of Art and Design; Sheryl Haler,

For Immediate Release: A1edia Culture and Museum Policy Oil Latino Ringling College of Art and Design and Latin American Art Econnect: Imagine, Collaborate, Sustain Roberto Tejada, University of Texas at Austin Tracy Doreen Dietzel, Edgewood College Millimizillg Art's Footprint/Maximizing Art's Mark Linda Weintraub, independent artist and author, Rhinebeck, New York

CAA2009 FEBRUARY 25-28 47 Thursday, February 26 Japan Art History Forum 5:30-7:00 PM Art os Marketing: Examples from Eady Modem and Modern Jopan National Endowment for the Arts Concourse Meeting Room 408A, Level, Grcmt Opportunities Chair: Hilary K. Snow, Stanford University West Hall Meeting Room so,AB, Level, Representing the Cause o/"Enlightenedll Professional Mounters Chair: Robert Frankel, National Endowment for the Arts (Hyogushi) in the Age ofArt Exhibitions: Domoto Insho's Sliding Door Paintings in the 19305 Midwest Art History Society Yasuko Tsuchikane, Columbia University New Directions for Art Museums in the Midwest Marketing Femininity in Meiji lapa>!: A Photographic Viewbook Concourse Meeting Room 408B, Level 2 Karen Fraser, Santa Clara University Chairs: Judith Walker Mann, Saint Louis Art Museum; Promoting Edo: Ema at Naritasan Joseph Becherer, Frederick Meijer Gardens and Sculpture Park Hilary K. Snow, Stanford University Recasting the Archive? Reclaiming the Studio Tateyama's Promotional Materials Saralyn Reece Hardy, Spencer Museum of Art Caroline Hirasawa, Sophia University Rethinking Institutional Models Selling the Periphery, Engaging the Center: The Kuroda Domain's Matthias Waschek, Pulitzer Foundation for the Arts Use ofCeramics as Cultural Capital Clash ofllIe Titans: Purpose, Taxonomies, and Tourists in the Design of Andrew Maske, University of Kentucky Recent American Art Museum Buildings European Paintings Produced for Asian Markets or Exported Marc Wilson, Nelson-Atkins Museum of Art in the Early Seventeenth Century: The Case of the English East Company The Center for Craft, Creativity, and Design Timon Screech, School of Oriental and African Studies, Post and Future Textiles in AwdemiCi University of London West Hall Meeting Room S"BC, Level, Discussant: Julie Nelson Davis, University of Pennsylvania Chair: Christy Matson, School of the Art Institute of Chicago Tailored to Fit: The Role ofFibers in the Art Department at Appalachian American Society for Hispanic Art Historical Studies State University Business Meeting Jeana Eve Klein, Appalachian State University Concourse Meeting Room 402AB, Level 2 Integration: Digital + Hand Vita Plume, North Carolina State University Association for Latin American Art New Materials and Technology from the Perspective ofan Art Institute Business Meeting Pauline Verbeek-Cowart, Kansas City Art Institute Concourse Meeting Room 403A, Level,

Design Studies Forum Catalogue Raisonne Scholars Association BenjClmin's Obiects Business Meeting Concourse Meeting Room 40S, Level, Concourse Meeting Room 404B, Level, Chair: Robin Schuldenfrei, University of Illinois, Chicago Historians of German and Central European Art Shipping and Packaging Things and Substances: Walter Benjamin's and Architecture City uDenkbilder" Business Meeting Rainer Rumold, Northwestern University Concourse Meeting Room 407, Level, The Presence o/the Human Thing in Walter Benjamin's On the Mimetic Faculty International Association of Art Critics Michael Golec, School of the Art Institute of Chicago Business Meeting Benjamin's Monad%gy West Hall Meeting Room SISB, Level, Anthony Auerbach, Jan van Eyck Academie Dolls, Puppets, Gods: Walter Benjamin and the Mediation ofPlaythings Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Joyce Cheng, University of Chicago Transgender Caucus for Art, Artists, and Historians Business Meeting Concourse Meeting Room 409AB, Level,

Pubic Art Dialogue Business Meeting Concourse Meeting Room 411, Level 2 Suzanne Lacy: Recent Work, Critical Concerns

48 CAA2009 FEBRUARY 25-28 Society of Architectural Historians Gravity vs. Gravitas: Playflliness and SlIbversion in Northern Business Meeting Renaissance Grisailles Demonstration of New Online journal Capacities Charlotte M. Houghton, Pennsylvania State University West Hall Meeting Room 50IABC, Level 2 Jacques-Louis David Disarmed Katie Lee Hanson, City University of New York Visual Culture Caucus Gravitation as Social Force in Bo}wmil Kubista's Representation Business Meeting of the Modern Spirit West Hall Meeting Room 503, Level 2 Eleanor F. Moseman, Colorado State University Falling to Heaven: Salvador Dalts Anti-Gravity Painting Friday, February 27 Elliott H. King, Colorado College 7:30-9:00 AM

CAA Professional Practices Committee Italian Futurism, One Hundred Years later CAA Professional Guidelines: The who, What, When, and Concourse Meeting Room 407. Level 2 Where They Come From and How You Can Use Them Chair: Jennifer Bethke, independent scholar, Concourse Meeting Room 404B, Level 2 Pleasant Hill, California Chair: Maxine Payne, Hendrix College Italian FlIturism and the Legacy ofthe Milanese Scapgliatllra Sue Gollifer, University of Brighton David Gariff, National Gallery of Art

L'arte difarmanifesti: Marinetti's "Collaging" ofthe Manifesto National Council on Education for the Ceramic Arts Matthew D. McLendon, Cornell Fine Arts Museum, The Strategic Critique: Effective Approaches for Rollins College Studio Professors Concourse Meeting Room 403A, Level 2 The "Primitive" in Italian Futurist Art and Architecture: Chair: Keith J. Williams, Concordia University, St. Paul The Case ofCapri Michelangelo Sabatino, University of Houston The Strategic Critiqlle: Effective Approaches for Studio Professors Keith J. Williams, Concordia University, st. Paul Benedetta Cappa Marinetti: Futurist, Fascist, and Feminist? Siobhan Conaty, LaSalle University ARTstor Discussant: Ara Merjian, Harvard University; Breakfast New York University Concourse Meeting Room 406AB, Level 2 The Use, of Pathology Community College Professors of Art and Art History Concourse Meeting Room 404A, Level 2 Business Meeting Chairs: Rachael Z. DeLue, Princeton University; Concourse Meeting Room 402AB, Level 2 Allison Morehead, Queen's University

Desire and Pathology: Poster Mania in nm,-ofthe~Century Paris Radical Art Caucus Karen L. Carter, University of North Florida Business Meeting Concourse Meeting Room 403B, Level 2 Matisse, Bergson, and the Pathology of Perception Todd Cronan, Virginia Commonwealth University Southeastern College Art Conference Vienna's van Gogh? The Making ofOskar Kokoschka at the Breakfast Hagenbund,19 11 Concourse Meeting Room 407, Level 2 Gemma Blackshaw, University of Plymouth Jean Epstein's Aesthetics and "The Normal Subconscious": The Generative Potential ofChronic Intellectual Fatigue Friday, February 27 Katie Kirtland, University of Chicago 9:30 AM-NOON Mutant Voices: Artaud and the Pathological Mode in the Work of Gravity and levity in Art Wallace Berman and Bruce Conner West Hall Meeting Room 503, Level 2 Lucy Bradnock, University of Essex Chairs: Elizabeth Bailey, Wesleyan College; Mary D. Edwards, Descent, Elevation, and Ascent: Oppositional Forces in the Strozzi Chapel and Dante's Inferno Kathleen G. Arthur, James Madison University

CAA2009 FEBRUARY 25-28 49 Friday, February 27 Protestantism and Hegel's End ojArt Thesis in Paul Chenavard's 9:30 AM-NOON Pantheol11VIurals Daniel Guernsey, Florida International University Stirring the Remix: Charting Locations and Identifies Hegel, Pater, aHd the Past ness 0/ Art Concourse Meeting Room 408B, Level 2 Jeremy Melius, University of California, Berkeley Chair: Allan deSouza, San Francisco Art Institute Arche-Painting; or Color after Hege[ Identity Politics Now: The Contribution to Art and Its Context Molly Warnock, Princeton University Nizan Shaked, California State University, Long Beach Hege['s Contested Legacy Lingering in Los Angeles: Enabling Spaces, Dissenti11g Specters, and Jason Gaiger, Open University Activism amid Irans/ocal Flows Mario Ontiveros, University of Massachusetts, Amherst Radical Art Caucus Asian American Art as Necessity and Extravagance Miwolion Struggles and Miwalory Aesthetics Susette Min, University of California. Davis Concourse Meeting Room 405. Level 2 The Invention ofContemporary African Art Chairs: Kirsten Forkert, Goldsmiths College, University of Steven Nelson, University of California, Los Angeles London; Karen Kurczynski, Massachusetts College of Arts Teaching Race: Lewis Hine at Ellis Is[and ARTspace Leslie Urena, Northwestern University pluce Markers: Adists, Technology, and landscape The Inner Public ojKrzysztojlJ/odiczko's "If you see something .,," West Hall Meeting Room SISA, Level 2 Kathleen MacQueen, Stony Brook University, State University Chair: Peter Dykhuis, Dalhousie Art Gallery of New York 90 Degrees Equatoria[ Project Immigrants' Eyes James Geurts, independent artist, Australia Lydia Nakashima Degarrod, California College of the Arts 4816 Photography aHd Social Consciollsness: A Pedagogical Practice Eva Maria Trischak, independent artist, Vienna Sheila Pinkel, Pomona College A Year in the Life of the World Emily Vey Duke and Cooper Battersby, Syracuse University; Italian Art Society Colgate University The Intemationul Contribution to Italian Renaissance and The Other Night Sky Bmoque Art Trevor Paglen, University of California, Berkeley West Hall Meeting Room S02B, Level 2 Chairs: Jack Freiberg, Florida State University; Patricia Waddy, The New Woman in Art (mel Visld Culture: An Syracuse University Interndionoi Perspective The "Greek Style" in Sixleenlh~Centli.rJl Italian Art and Theory West Hall Meeting Room sorABC, Level 2 Andrew Casper, Miami University Chairs: Susan Fillin-Yeh, independent scholar, Block Island, A "Young Spaniard" Arrives: Alonso Berruguele in Italy Rhode Island; Ruth E. Iskin, Ben-Gurion University of the Negev Dennis V. Geronimus, New York University Dawnier's Political Women Caravaggio, Spanish Citizen and "Italian" Painter: Evidence oj Judith Wechsler, Tufts University Iberian-Italian Cultural Hybridization in Baroque Art Between Substmlce and Void: Illustrative Abstraction, Race, and the Kathy Johnston-Keane, University of Pittsburgh Politics ofGibson's Gir[ Jewish Art in the Venetiall Baroque Style Jennifer A. Greenhill, University of Illinois, Urbana-Champaign Gail Ann Wingard Gould, University of Oregon In the Interstices oJTecJmiques and Languages: The "New Women" Oppenord in Ita[y: The French Academy in Rome and the Debate a/Russian Aual1l~Garde Design over the Baroque Ariela H. Katz, Institute of Fine Arts, New York University Jean-Fran<;ois Bedard, Syracuse University Domesticating the Harem: uNew Woman" Imagery in Colonial Indim! Photography International Center of Medieval Art Gianna Carotenuto, University of California, Los Angeles Byzantine Art as Medievol lingua {ronco Discussant: \:Vhitney Chadwick. San Francisco State University West Hall Meeting Room SIIBC, Level 2 Chair: Cecily J. Hilsdale, Northwestern University Art and Art History after Hegel The Fresco of the FOllr Hierarchs at Crllsader Asca[on: A Rough Concourse Meeting Room 402AB, Level 2 Tolerance o/Byzantine Culture? Chairs: Lisa Florman, Ohio State University; Cordula Grewe, Glenn Peers, University of Texas at Austin Columbia University "Byzantine" Art in Post-Byzantine Southern Italy Linda Safran, University of Toronto so CAA2009 FEBRUARY 25-28 Interpreting at the Margins: The Byzantine Alexander Romance in Diasporic Boundaries: Art, Slavery, and the Visual Field the Hellenic Institute in Venice and Its Ottomml Commentator Concourse Meeting Room 406AB, Level 2 Merih Danali Uz, Harvard University Chairs: Julie L. McGee, University of Delaware; Moyo Okediji, Changing Hands and Diverging Narratives: The Icon of the University of Texas at Austin ThreeBanded Virgin in the Orthodox World 'frans-Atlantic Souvenirs: A Dialogue ofSlavery and Memory in Elena N. Boeck, DePaul University Kongophone ReliefSCIIlpture, ca. I840-19IO Discussant: Anthony Cutler, Pennsylvania State University Nichole N. Bridges, University of Wisconsin, Madison Sugar Cane, Slaves, and Ships: Geography. Power, and Altors, Relics, cmd Ascetics: The Invention of Religion in Colonial1tajectories in Nineteenth-Century Canadian and Contemporary Art West Ilidiall Lalldscapes Charmaine Nelson, McGill University West Hall Meeting Room 5r5B, Level 2 Chair: Pepe Karmel, New York University Purposeflll Remembrallce ill the Vodou OwifO Peoforming the Sacred: Constructing Martyrdom in the Leslie Brice, Corcoran College of Art and Design Art ofGina Pane Arts ofHistorical Desire ill 1950S alld 1960s Spanish Harlem Klare Scarborough, independent scholar, Kristine Juncker, James Madison University Swarthmore, Pennsylvania Discussant: Moyo Okediji, University of Texas at Austin Marina Abramovic's "The House with the Ocean View": Redefining the Sacred in SeCIIlar Public Space Courbet: A Reappraisal Chanda Carey, University of California, San Diego Concourse Meeting Room 403A, Level 2 Joseph Beuys: The 'fransubstantiation ofthe Readymade Chairs: Mary Morton, J. Paul Getty Museum; Karen Leader, Leah Sweet, Institute of Fine Arts, New York University New York University Non-Site-Specificity: Robert Smithson and the Holy Land COllrbet alld the SOlmdscape Alexander Nagel, Institute of Fine Arts, New York University James Rubin, Stony Brook University, State University of Altar Egos: Sacrifice in the Art ofGilbert and George New York Shana Lindsay, Fashion Institute of Technology, State University Gustave Courbet alld the Female Fig Leaf of New York Paul Galvez, Ohio State University "The Landscape Artists Are Dead in the Water:" Gustave Courbet National Committee on the History of Art alld Charles-Frallcois Daubigny Art History as a Developing Practice Lynne Ambrosini, Taft Museum of Art West Hall Meeting Room 502A, Level 2 Courbet's Helvetia: Public Swlptllre and the Politics ofExile Chairs: Thomas DaCosta Kaufmann, Princeton University; Caterina Pierre, Kingsborough Community College Thomas Gaehtgens, Getty Research Institute Discussant: Linda Nochlin, Institute of Fine Arts, New York University The Mesoamerican House and Garden Channel: Viewing Familial, Community, Ritual, and Cosmic Spoce Concourse Meeting Room 404B, Level 2 Disrupting Reality: limiting Pictorial Illusion in Early Chairs: Cynthia Kristan-Graham, Auburn University; Modern Ad Jeff Karl Kowalski, Northern Illinois University Concourse Meeting Room 409AB, Level 2 Chairs: Todd M. Richardson, University of Memphis; Model Houses in Ancient West Mexico: The Topographical John Roger Decker, Georgia State University Construction ofPolitical Ideology Mark Miller Graham, Auburn University Hellri Bles's Crypto-AnthropomorpllOses as Theoretical Objects Michel Weemans, L'Ecole des hautes etudes en sciences sociales Household Living: Corporate and Individual Iden,tity in the Teotihuacan Apartment Compound . Readillg alld the Rupture of Pictorial Illusion ill the Carrara Herbal Eulogio Guzman, School of the Museum of the Fine Arts, Sarah Kyle, Emory University Boston; Thfts University Marvelously Real: Jan vall Eyck's Madonna in a Church and the To Build a House: Domestic Architecture and Creation Mythology in Disruptioll ofIllusioll Ancient Maya Thought Christine Normore, University of Chicago i i Karl A. Taube, University of California, Riverside Perspective Disrupted: Projection mId Inversion in Fift;~n'tlz'-century House HWlling at Chichen Itza: Domestic Architecture and Identity Italian Painting , Annabeth Headrick, University of Denver Patricia Simons, University of Michigari, Ann Arbor Phallic "Houses" and Cosmic Courtyards: A Reconsideration ofthe 'ltaversing the Distance: From Caravaggio's C~l(~r to .fIeavelr:~Re'alin Anne Muraoka, Temple University ." :' SCIIlptural Imagery at Chichen ltza , , ,i Laura M. Amrhein, University of Arkansas, Little Rock Friday, February 27 Opening the Holy ofHolies: Early-TIventieth-Century Explorations 9:30 AM-NOON ofthe Saneta Sanctorum, Rome Kirstin Noreen, Loyola Marymount College The Age of Extremes Concourse Meeting Room 408A, Level 2 ARTspace Chair: Katy Siegel, Hunter College, City University of New York Video Hils the Slreets: Art, Surveillance, Marketing, From Allalogue to Digital Photography: The Challgillg Nature of and Mobile Media Objectivity ill the Work ofBernd alld Hilla Becher and Alldreas Gursky West Hall Meeting Room SISA, Level 2 Matthew Biro, University of Michigan, Ann Arbor Chair: Anne Bray, LA Freewaves; Claremont Graduate University; and University of Southern California Russian Art after Perestroika Bettina Jungen, University of Zurich City as Screen/Body as Movie Holly Willis, Institute for Multimedia Literacy Arte POlJera il1 Extremis: Between Poetics and Politics Christopher G. Bennett, University of Southern California Public Art for Public Action: The City as Interactive Installation Steve Dietz, OlSJ Biennial and Northern Lights Our Literal Speed, Evellts ill the Vicillity ofArt alld Histmy Freewaves' Hollywould Video Festival at 50 Venues on Hollywood Boulevard Artists ocd Models Anne Bray, LA Freewaves; Claremont Graduate University; Concourse Meeting Room 403B, Level 2 and University of Southern California Chair: Ruth Weisberg, University of Southern California Remapping-LA: Social Computing Models: Wholelless alld Specificity Fabian Wagmister, University of California, Los Angeles; John Nava, independent artist, Ojai, California REMAP; and cheLA Model Daughter Joanne Leonard, University of Michigan, Ann Arbor Historians of Eighteenth-Century Art and Architecture The Reluctant AtIuse: Images of"Lllcy" i1l1l'fark Greenwold's Paintings New Schobrs of Eighteenth-Century Art and Architecture Lucy Bowditch, College of Saint Rose Concourse Meeting Room 404B, Level 2 Discussant: Alicia Weisberg-Roberts, Yale Center for British Art Chair: Sarah R. Cohen, State University of New York, Albany Sensing Watteau: The Artist's Nlusical Images as Prelu.des to the Age ojSensibility Friday, February 27 Pamela W. Whedon U:30-2:OO PM French Sculptors and Painters in the Royal Court ofSweden Linda Hinners, University of International Committee for the History of Art (CIHA) The World at Stake The Boudoir ofEleonore-Christine de La Rochefoucauld de Roye West Hall Meeting Room S02A, Level 2 Diana Cheng, McGill University Chair: Taynie Anderson, University of Melbourne The Family Romance Revisited: Fathers and Daughters ill Crossillg Cultures: The Research Agellda Set by the Post-Revolu.tionary Art Melbourne Congress Heather Belnap Jensen, Brigham Young University Jaynie Anderson, University of Melbourne Art alld Anthropology CAA Publications Committee Thierry Dufrene, Institut international d'h istoire de l'art The Stole-of-the-Field Essay West Hall Meeting Room SOIABC, Level 2 The Challellge ofthe Object ill a Global World Chairs: Julie Nelson Davis, University of Pennsylvania; Ulrich Grossmann, Germanisches National Museum Jesus Escobar, Northwestern University 1-1. Perry Chapman, University of Delaware Italian Art Society The I01oglnOl"y Middle Ages: The Real and the Ideal Wanda M. Corn, Stanford University in the Italian Medieval Revivol Sylvester Okwunodu Ogbechie, University of California, Concourse Meeting Room 406AB, Level 2 Santa Barbara Chair: Martina Bagnoli, Walters Art Museum Discussant: Julie Nelson Davis, University of Pennsylvania The Eve oJffRoma Capita/e" and the Discovery oJEarly Christian San Clemente Discussant: Jesus Escobar, Northwestern University Cristiana Filippini, American University of Rome Making the Medieval Hilltown: Visions ofModern San Gimigllano Charles Griffith Mann, Cleveland Museum of Art

52 CAA2009 FEBRUARY 25-28 Historians of British Art LA Art Schools: A Conversation about the RethinkinfJ the Archive: Methodological Problems and Post and Present Practical Strategies Concourse Meeting Room 4II, Level 2 Concourse Meeting Room 404A, Level 2 Chair: Hunter Drohojowska-Philp Chairs: Craig Hanson, Calvin College; Anne Helmreich, Roy Dowell, Otis College of Art and Design Case Western Reserve University Russell Ferguson, University of California, Los Angeles Shelley Bennett, Huntington Library, Art Collections, and Botanical Gardens Thomas Lawson, California Institute of the Arts Marcia Reed, Getty Research lnstitute Ruth Weisberg, University of Southern California

Pacific Arts Association Historians of German and Central European Art Urban Pacific Art in Aotearoa New Zealand and Architecture Concourse Meeting Room 40SB, Level 2 Emel-ging Scholors Chairs: Christina Hellmich, de Young Museum, Fine Arts Concourse Meeting Room 405. Level 2 Museums of San Francisco; Giles Peterson, Whitecliffe College Chair: Eva N. Forgacs, Art Center College of Design of Arts and Design Picturing Slavic Sparta, Bllilding Croatian Athens: Paintings of From Niu to New Jaroslav Cermak and Vlaho Bukovac Giles Peterson, Whitecliffe College of Arts and Design Rachel Rossner, University of Chicago Fresh Gallery Otara: Contemporary Pacific Art and Audiences in Radiating Space, Didactic Phatasmagoria: Kurt Schwitters South Auckland Delivers a Slide Lecture Ema Tavola, Fresh Gallery OIara, South Auckland Megan Luke, Harvard University Woven Worlds Constructing a Useable Past: Josef Albers, the Homage to the Square, Lelani Kake, independent artist, New Zealand and Ancient Atfexicall Architecture Discussant: Christina Hellmich, deYoung Museum, Fine Arts Kiki Gilderhus, Rocky Mountain College of Art and Design Museums of San Francisco Life mId the Polish Engagement wilh International Atfodernism jenni Drozdek, independent scholar, Pittsburgh Captivating Audiences: A Visitor

CAA2009 FEBRUARY 25-28 53 Friday, February 27 12:30-2:00 PM Poster Sessions Concourse Foyer ArtTable Poster sessions are informal presentations for small Arffoble Career"Advisory Roundtables groups displayed on poster boards by individuals. The West Hall Meeting Room SI2, Level 2 poster display is usually a mixture of a brief narrative Chair: Melissa Rae Messina, ArtTable paper intermixed with illustrations, tables or graphs, For registration information, please go to www,arttable,org. and other presentation materials. With a few concisely written areas of focus, the poster display communicates the essence of the presenter's research, synthesizing its Association of Art Museum Curators main ideas and research directions. Poster displays will be Conlemporary Art in a Global Age: Challenges for the Cu!"Olor on view for the duration of the conference, beginning on Concourse Meeting Room 403B, Level 2 Thursday morning. On Thursday and Friday, from 12:30 to Chair: George Shackelford, Museum of Fine Arts, Boston 2:00 PM, presenters will be available at the Poster Area. Foundation Level Computer Art: Vectors First; An Argument Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender for the Order ofSoftware Introduction Caucus for Art. Artists, and Historians Amy Bautz, SI. Louis University Roundtable: Queering Craft West Hall Meeting Room S02B, Level 2 John Quinn's Collection ofAfrican Art and Its Photographi Chair: Jenni Sorkin, Yale University Portfolio by Charles Sheeler (1919) Yaelle Biro, UniverSity of Paris 1"La Sorbonne The Feminist Craft Corner Miki Foster, University of California, Santa Cruz Teaching Graphic Design to Architects and Interior Design Students Faggotstitch Diane Fox, University of Tennessee Jesse M. Kahn, Art Institute of Boston, Lesley University Integrated Student Learning Using a Multicultural Approach Identity Crisis: Reimagining Craft Using Queer Tactics Courtney Grim, Medaille College Lacey Jane Roberts, independent artist, San Francisco Souvenirs ofthe Rest Cure: Medical Tourism and Eugene Discussant: Julia Bryan"Wilson, University of California,Irvine Delacroix1s Late Drawings Joyce Bernstein Howell, Virginia Wesleyan College Arts Council of the African Studies Association Roundtable on a Survey of Modernism in Twentielh"Century Teaching Art History Online African Art Diane Kontar, The University of Findlay Concourse Meeting Room 403A, Level 2 The Association ofCreative Zoology Chairs: Monica Blackmun Visona, University of Kentucky; Beauvais Lyons, University of Tennessee Gitti Salami, University of Kansas The Quilt Index: DOCllmenting and Accessing an American Art Themes and Topics for Inclusion in a Survey Text on African Modernism Marsha MacDowell, Michigan State University Museum; Monica Blackmun Visona, University of Kentucky Mary Worrall, Michigan State University Museum Theoretical Issues for Consideration in a Survey Text on Interactive Web Design Optimization Using Genetic Algorithm African Modernism Driven CSS Gitti Salami, University of Kansas Sunyoung Park, Briar Cliff University Interpreting the American Cultural Landscape: Land Use American Council for Southern Asian Art and Preservation Policy with Regards to Earthworks ofthe loose Canons in South Asian Art: A Mixed Blessing? 1960s-1980s Concourse Meeting Room 402AB, Level 2 Addy Smith"Reiman, Cornell University Chair: Joanna Gottfried Williams, University of California, Berkeley Susan Bean, Peabody Essex Museum Daniel Ehnbom, University of Virginia Catherine Asher, University of Minnesota, 1\vin Cities Padma Kaimal, Colgate University

Mid America College Art Association Business Meeting Concourse Meeting Room 407, Level 2

54 CAA2009 FEBRUARY 25-2B Friday, February 27 The Classical Unconscious 2:30-5:00 PM West Hall Meeting Room SISB, Level 2 Chair: Nina M. Athanassoglou·Kallmyer, University of Delaware Gustave Moreau's "Allegorical Archaeology" ARTspace Scott Allan, J. Paul Getty Museum Annual Artists' Interviews West Hall Meeting Room SISA, Level 2 Dionysian Modernism in the Work ofHenry Van de Velde and Ludwig Hofmann Lawrence Weschler, of the New York Institute for the Katherine Kuenzli, Wesleyan University Humanities and the Chicago Humanities Festival inter­ views the light and space artist Robert Irwin. The Mythological Body: Absence a>ld Presence in Redon's Nudes Barbara Isenberg. writer and lecturer, will interview Isabel Suchanek, University of Pennsylvania painter Ruth Weisberg, Dean of the Roski School of Fine Claiming the Classical Past: Ottoman Archaeology at Magnesia Arts, Universitly of Southern California. andLagina Amanda Herring, University of California, Los Angeles

ranching Contemporary Art The Magic of the Ma>lifest: Classical a>ld Colonialist Geneaologies of Freud's Dream Imagery West Hall Meeting Room S"BC, Level 2 Diane O'Donoghue, Tufts University; Boston Psychoanalytic Chair: Elizabeth Adan, California Polytechnic State University Society and Institute Please Touch the Art Objects Mary McGuire, University of California, Santa Barbara Postel: The Measure of a Medium Touch Me: Yoko Ono's Haptic Art Concourse Meeting Room 405, Level 2 Kevin Concannon, University of Akron Chairs: Laura Auricchio, Parsons New School for Design; Dwelling by Hand: Do·Ho Suh's Homes Melissa Hyde, University of Florida Jennifer Johung, University of Wisconsin, Milwaukee "There Is Labour in the lvrost Irifli119 Things": John Russell's Elements Open Gestures: Materiality, Touch, and Embodiment in Drawing of Painting with Crayons and the Politics ofPastel Sara Schneckloth, University of South Carolina Gillian Forrester, Yale Center for British Art Touched An Androgynous Medium? Odilon Redon, Pastel, and Symbolism Amy Schmierbach, Fort Hays State University Rachel Sloan Pastel Notions: Edward Ruscha's Word Pastels from the I970S A.rI History Open Session: Ad in Contemporory Chino Leslie Jones, Los Angeles County Museum of Art West Hall Meeting Room S03, Level 2 A Line That Cuts like a Knife: Regendering Pastel Chair: Julia Frances Andrews, Ohio State University Diane Rosen, Teachers College, Columbia University Art and the Public in Republican China: Critical Debates on the 1929 Discussant: Eik Kahng, Walters Art Museum National Art Exhibition Ying Chua, Ithaca College Colcl·Wm Cultures: Reconsidering the Art of the Playing Cards with Cizarme: A Short History ofthe Western Cmlon Two Germanys in Contemporary Chinese Art Concourse Meeting Room 408A, Level 2 De·nin Lee, Bowdoin College Chairs: Stephanie Barron, Los Angeles County Museum of Art; The Unskilled Migrant: Global Conceptualism and Dafen Readymades Lutz Koepnick, Washington University in SI. Louis Winnie Wong, Massachusetts Institute ofTechnology FigurationJ CrisisJ Commonality: The Dystopian Working-Class Icon Constructing Market and History: The 1992 Guangzhou Biennial in East and West German Painting of the 1970S and the Second Documents Exhibition Claudia Mesch, Arizona State University Peggy Wang, University of Chicago Bernhard Heisig and the Fight for Modern Art in East Germany Discussants: Kuiyi Shen, University of California, San Diego; April A. Eisman, Iowa State University Jane Debevoise, Hong Kong University 'ytdvertisement for the Avant-Garde>}: Zero in the Economic Miracle Jess Atwood Gibson, Yale University "No Longer and Not Yet": Imi KnoebelJs Raum I9 Colin Lang, Yale University Discussant: Sabine Eckmann, Washington University in St. Louis

CAA2009 FEBRUARY 25-28 S5 Friday, February 27 Creative Enterprise: Collaborative Models for Supporting 2:30-5:00 PM Artistic Production Abigail Satinsky, InCUBATE Thinking Experimental Animation before William Kentridge: An Art-Historical U-Turn About Face: Portrait, Mask, ond Facial Expression in Concourse Meeting Room 4oBB, Level 2 Mesoamerica and the Andes, 6000 BC-AD 1600 Chair: Janeann Dill, Institute for Interdisciplinary Art and Concourse Meeting Room 406AB, Level 2 Creative Intelligence Chair: Cecelia F. Klein, University of California, Los Angeles Thought and Timing in the Round: Muybridge, Engel, and Deleuze Introduction: What's in a Face? Janeann Dill, Institute for Interdisciplinary Art and Cecelia F. Klein, University of California, Los Angeles Creative Intelligence Portraiture, Emotion, and the Representation ofEtlmicity at Cacaxtla Pat O'Neill: The Old Dodge and the Rhizome on the "Experimental" Claudia Brittenham, University of Michigan and the "Real" Erika Suderburg, University of California, Riverside Portraits of place in Ancient Maya Plaza Art Flora S. Clancy, University of New Mexico An Art ofRadical Juxtaposition: The Expanded Cinema ofSta>! VanDerBeek and Robert Breer The 'lYance Eye in Ancient Andean Art Andrew Uroskie, Stony Brook University, State University Rebecca R. Stone, Emory University of New York Beyond Face Value: Locating the Indigenous in Colonial Portraits Signature as Sense and Sensation: Animating Affect as of the Sapa Inka wlusical Diagram Janet Stephens, University of California, Los Angeles James Tobias, University of California. Riverside Artist as Startup: Web Application as Cultural Intervention Art and the Memory of Revolution, 1789--1939 Concourse Meeting Room 402AB, Level 2 West Hall Meeting Room S02B, Level 2 Chair: Michael Mandiberg, College of Staten Island, City Chair: Andre Dombrowski, University of Pennsylvania University of New York George l-Vashinglon's Southern Accent MyFrienemies.com: Anti-Social Networking Maurie D. McInnis. University of Virginia Angie Waller, Parsons the New School for Design Looking Ahead and Going Nowhere? Photography, Revolution, Mechanical Olympics and the Paris Commune of 1871 xtine burrough, California State University, Fullerton Jeannene M. Przyblyski, San Francisco Art Institute Beyond Friend Collecting and the Gossip Mill: Social Networking Tears and Revolution in A1exico for Change Andrea Noble. Durham University Brooke Singer, Purchase College, State University of New York Remembering October, 1917-37 Add-Art.org: Why Reinvent the Wheel When One Gear Can Make Christina Kiaer, Northwestern University the Whole System Run Backwards Steve Lambert, Eyebeam Center for Art and Technology Women's Caucus for Art Invenlive Concepts: Models of Participatory leadership in the Arts The Secret Spaces of Early Modem Europe West Hall Meeting Room S02A, Level 2 Concourse Meeting Room 404B, Level 2 Chairs: Karen Frostig, Lesley University; Brandeis University; Chairs: Timothy McCall, Villanova University: Sean Roberts, Martina Reuter, WochenKlausur University of Southern California Fluidity and Illteractivity: The LA Art Girls Discuss The Secret and the Sacred: Unveiling the Body Collaborative Practice Elina Gertsman, Southern Illinois University, Carbondale Angela Ellsworth, LA Art Girls: Arizona State University The Material Culture ofSecrecy: Anonymous Drop-Boxes and the Why Collaboration Might (or Might Not) Change the World ... 'lYansmission ofShame in Early Modern Florence Scott Rigby, basekamp Allie Terry, Bowling Green State University The Political Economies ofP'u.llgnlul A Secret Space for a Secret Keeper: Cardinal Bibbiena at the Eun Jung Park Smith, University of California, San Diego Vatican Palace Henry Dietrich Fernandez, Rhode Island School of Design Developing Leaders: Artists as Catalysts for Social 'lYansformation Pam Allara, Brandeis University Michelangelo's Open Secrets Maria Ruvoldt, Fordham University Test·71,be Artwork Chris Csikszentmihalyi, Media Lab, Massachusetts Institute ofTechnology

S6 CAA2009 FEBRUARY 25-28 Indigeneity and Artistic Transnalionalism: First Nalions Artists Historians of British Art clOd Global Discourse Collecting and Displaying Art in london and the Empire, Concourse Meeting Room 407. Level 2 1753-2010 Chairs: Kate Morris, Santa Clara University; Kathleen Concourse Meeting Room 403A, Level 2 Ash-Milby, National Museum of the American Indian Chairs: Anne Nellis Richter, independent scholar, Washington, DC; Morna O'Neill, Vanderbilt University Native Contemporary Artists and International Biennial Culture Bill Anthes, Pitzer College Collecting and Displaying in Russia: Wedgwood, the Frog Service, and Catherine II Forty Years on the Brink: Indian Artists and Their Seemingly Endless Susanna Cole, Columbia University and (Mostly) Futile Campaign to Rock the World, and Why It Won't End Anytime Soon Salty Sea Dogs in the Picture Gallery: J. M. W. 1lIYner and the Visual Paul Chaat Smith, National Museum of the American Indian Education a/Britain's Sailors Catherine Roach, Columbia University Alone on the Snow/Alone on the Beach: Atanarjuat, Fountain, and t he Question ofCosmopolitanism Painting as Display: Heterotopic Space, Commodity Cu/ture, and Jessica L. Horton, University of Rochester Artists' Aesthetic Authority Julie Cadell, Arizona State University Terra (In)Firma: Indigenous Representations ofSpace and Place in the Shifting Landscape ofGlobalism Portrayal and Perception: The Challenge ofCollecting at the National Kate Morris, Santa Clara University Portrait Gallery, London Emily Talbot, Museum of Modern Art Extreme Culture: Indigeneity as a Strategic 'J}-adition Jolene Rickard, Cornell University The New Establishment: Exhibiting and Col/ecting Photography at the Victoria and Albert Mu.seum, 1968-81 Discussant: Kathleen Ash-Milby, National Museum of the Susan Bright, independent curator, New York American Indian Bringing Home "Pinkie" and "Blue Boy": The Reinstallation of the Huntington Art Gallery, 2008 Art and Class Melinda McCurdy, Huntington Library, Art Collections, and Concourse Meeting Room 403B, Level 2 Botanical Gardens Chair: Frances K. Pohl, Pomona College

Remembering the Unknowns: Memorial and Class Conflict after Interpreting Spolia in Medieval Architecture and Art the 19II 'J}-iangle Shirtwaist Fire Concourse Meeting Room 404A, Level 2 Ellen Wiley Todd, George Mason University Chair: Jenny H. Shaffer John Sloan and the Work of Picturing Roma Aeterna after the Fall: Coin-Set Objects and the Spoliation of Michael Lobel, Purchase College, State University of New York the Imperial Image in the Early Medieval West Characterizing Class: Southern Migrants in City Scenes by Ashley Jones, Yale University; Center for Advanced Study in Archibald Motley, Jr. the Visual Arts, National Gallery of Art Phoebe Wolfskill, Dartmouth College Spoliation and Resurrection: Emperor Henry II aIId the Specter ofthe The New Old Subjects: Redefining the Proletariat in the 1980s Carolingian Past Philip Glahn, Tyler School of Art, Temple University Eliza Garrison, Middlebury College Out ofSight: Visualizing Service and Production Laborers Other People's Dishes: The Use and Meaning o/Bacini Rachel Schreiber, California College of the Arts (Ceramic Basins) on Medieval Churches in Europe Karen Rose Mathews, University of Miami The Ecologicollmoginotion: From land Art to BioAr, Exspoliation: Shedding New Light on Norman Visual Cu/ture Concourse Meeting Room 409AB, Level 2 Lisa Reilly, University of Virginia Chair: Rita Raley, University of California, Santa Barbara Discussant: Lex Bosman, Universiteit van Amsterdam Homeostasis Is Not Enough: Order and Survival in Eco-Systemic Artwork,1968-71 Problems with Rembrandt Melissa Sue Ragain, University of Virginia West Hall Meeting Room 50IABC, Level 2 Ways ofBeing in Locative Art's Metaphysics ofRisk Chairs: Rebecca Thcker, Colorado College; Paul Crenshaw, Francisco J. Ricardo Washington University in St. Louis Visualizing/Actualizing: The Evolution ofEnviron",ental Art Rethinking Rembrandt's Etchings Linda Weintraub, independent artist and author, Rhinebeck, Stephanie Dickey, Queen's University New York Rembrandt and the Art ofOthers: Why Is It So Essential That We Looking at Artificial Creatures Contextualize Rembrandt's Art? Rita Raley, University California, Santa Barbara Amy Golahny, Lycoming College

CAA2009 FEBRUARY 25-28 57 Reframillg Rembrandt's Insiders and Outsiders: Domesticity CAA International Committee and Itinerancy at the Borders Exporting Cultural Goods: Moving Art Collections and Nanette Salomon, College of Staten Island, City University Acodemic Institutions oroundthe Globe of New York Concourse Meeting Room 405. Level 2 "Rembrandt's Faith": New Methods Chairs: Jennifer Milam, University of Sydney; Shelley Perlove, University of Michigan, Dearborn Barbara Groseclose, Ohio State University Rembrandt, Aesthetic Purity, and Creative Integration Andrew McClellan, Tufts University Catherine Scallen, Case Western Reserve University Hilary BaIlon, New York University, Abu Dhabi Charles Merewether, Tourism Development and Investment Friday, February 27 Company, Abu Dhabi 5:30-7:00 PM Saud Sharaf, Sarna Dubai

Community College Professors of Art and Art History Leonardo/International Society for the Arts, Sciences, Reexomining TeCiching: New Ideas in Siudio Praclice and Arl and Technology History in the Community College Shifting Poradi~Jms in Media Art, Science, and Technology Concourse Meeting Room 406AB, Level 2 Education in a Global Conlext Chairs: Trudi Abram, Glendale Community College; Susan West Hall Meeting Room SOIABC, Level 2 Altman, Middlesex County College Chairs: Andrea Polli, Hunter College, City University of Think, Write, Draw: Using Writing to Help Studio Artists New York; Nina Czegledy Susan Altman, Middlesex County College Leonardo Education Forum 1"'hat about Online Learning? Victoria Vesna, University of California, Los Angeles Trudi Abram, Glendale Community College Art as Cultural Studies in the Media Context Discussant: Thomas Morrissey, Community College of Ryszard W. Kluszczyski Rhode Island The Contextualization ofArt in Expanding Areas ofResearch Paul Thomas CAA Committee on Intellectual Property Cibercultura Explorin[J Sociol TClfJging for Enhanced Access 10 Diana Domingues Art HistNical Materials Concourse Meeting Room 407, Level 2 Media Art in SOllth Africa Chair: Murtha Baca, Getty Vocabulary Program Christo Doherty Social Tagging: Technical Implicatiolls, and Use in Libraries Design, Art, Science, and Technology in Public Universities in Joe Shubitowski, Getty Research Institute Latin America Felipe C. Londono Cataloguing by Crowd: What Visitors Can Tell Museums about Their Collections Susan Chun, Steve: The Museum Social Tagging Project International Association of Word and Image Studies Dcmmofio rnemorioe: Ideologicol Ruins cmd Politicoi Memories Social Tagging: An Art Historian's View Concourse Meeting Room 404B, Level 2 Karen Lang, University of Southern California Chair: Maria Elena Versari, Universita di Messina Reframing Political Monuments in Postlmijied Berlin CAA Committee on Diversity Practices Kristine Nielsen, University of Chicago Socilliidenlity, Class, Inslilulioualily West Hall Meeting Room S02B, Level 2 Reunited Germany and the Visual Heritage of the GDR Chairs: Julia Bryan-Wilson, University of California, Irvine; Arnold Bartetzky, Universitat Leipzig Jacqueline Francis, California College of the Arts Boris Mikhailov's Soviet Bodies Mark Cottle, Georgia Institute of Technology Liliana Milkova, National Gallery of Art Kianga Ford, Massachusetts College of Art Arts Council of the African Studies Association Rita Gonzalez, Los Angeles County Museum of Art Business Meeting Romita Ray, Syracuse University Concourse Meeting Room 403A, Level 2

Association for Textual Scholarship in Art History Business Meeting Concourse Meeting Room 402AB, Level 2

58 CAA2009 FEBRUARY 25-28 Association of Historians of Nineteenth-Century Art Casting in the Contemporary Art Studio Program: The 1l'aditional Business Meeting Cast Object as Subjective Conceptual Metaphor. Concourse Meeting Room 403B, Level 2 Rian Kerrane, University of Colorado, Denver Make It Fucked Up (An Object-Maker's Ode to Jon Spencer Design Studies Forum Blues Explosion) Business Meeting Adam Frelin, University at Albany, State University of New York Concourse Meeting Room 404A, Level 2 Beautiful Networks: Systems and Emergence Theories for 7lventy-First-Century Sculptors New Media Caucus Mason Cooley, Art Center College of Design; M. A. Greenstein, Business Meeting Art Center College of De sign Concourse Meeting Room 4oBA, Level 2

Cultures for Display: Practiees of Exhibiting Non-Western Pacific Arts Association ClOd latin Ame";can Contemporary Ar·t in Euto-Ameriecm Business Meeting Institutional Networks Concourse Meeting Room 4oBB, Level 2 Concourse Meeting Room 407, Level 2 Chairs: Francesca Dal Lago, Leiden University; Miriam M. Saturday, February 28 Basilio, New York University 7:30-9:00 AM Exotic Ethnography, Modernist Formalist Icon, or Aboriginal Art? The Contrasts between Global and Australian Exhibitions of Australian Society of Contemporary Art Historians Aboriginal Contemporary Art Business Meeting Sarah Scott, Charles Darwin University Concourse Meeting Room 403A, Level 2 Tate's Modernity: A Nonpolemicized Concept ofLatin American Art? Taina B. Caragol-Barreto, Graduate Center, City University Women's Caucus for Art of New York Business Meeting Dear Tate Modern: Where Is Postwar Japanese Art? Concourse Meeting Room 404A, Level 2 Reiko Tomii, PoNJA-GenKon The African Curatorial Game: Mapping Cognitive Structures Saturday, February 28 and Territorial Indeterminacy out ofAfrica 9:30 AM-NOON El Hadji Malick Ndiaye, Universite de Rennes I "Whose" Display? The Role of the Collector in the Canonization of Baroque Art from d Globol Perspective: Hybridizotion in Contemporary Chinese Art: Uli Sigg and "Mahjong" latin America, Asia! Africo, ond Eostern Europe Franziska Koch, Staatliche Akademie der Bildenden Kunste Concourse Meeting Room 403A, Level 2 Chair: Gauvin Alexander Bailey, University of Aberdeen Bat!lelines: Pointing Portraits Today Kongo Art in the Baroque Era Concourse Meeting Room 403B, Level 2 Cecile Fromont, Michigan Society of Fellows Chair: Brandon Brame Fortune, National Portrait Gallery, Imitatioll and Reflection: Mirrors and Painting in the Colonial Smithsonian Institution Churches OfCUlCO, Peru Portrait as Subject: A Contemporary Romance with the Genre Emily M. Breault, Columbia University Nadia Tscherny Tea Practice in Sixteenth· Century Japan: Looking Beyond Zen 1taditional and Modern Elements in the Portraits o!Lennart Anderson Joan H. O'Mara, Washington and Lee University Douglas R. Giebel, Roberts Wesleyan College The Baroque Gothic: The Hybrid Architectures ofJ. B. Santini and The Match Game: Kathleen Gilje's Portraits o/Curators, Critics, the Culture ofMemory in Post·Refonnation Bohemia and Connoisseurs Pavel Kalina, Czech Technical University, Prague Beth S. Gersh-Nesic, New York Arts Exchange; Purchase College, State University of New York Solid into Sculpture Curticulum The Eal'llest Face of the Contemporary Portrait Concourse Meeting Room 404B, Level 2 Rafael Francisco Salas, Ripon College Chairs: Jason S. Brown, University of Tennessee, Knoxville; Christopher McNulty, Auburn University Let Loose the Dogs of War Rene J. Marquez, University of Delaware Blurrillg tile Lines: The Issue ofGenerational Change ill Sculpture Pedagogy Andrea Stanislav, University of Minnesota, Twin Cities

CAA2009 feBRUARY 25-28 59 Saturday, February 28 Ancient Maya Swlpture and the Materiality ofRitual 9:30 AM-NOON Megan E. O'Neil, University of Southern California

Pilgrimage to the Past and Fl~ture: The Aztec New Fire Ceremony Armchair Cosmopolites ond Worldly Travelers: Eloise Quinones Keber, Graduate Center, City University of The Dialogue between Real and ViCGrious Travel in the New York Greco-Roman World Concourse Meeting Room 405. Level 2 Urban Order and Sacred Space in Sixteenth-Cenlllry Chairs: James F. D. Frakes, University of North Carolina, Mexico-Tel10chtitlan Charlotte; Celeste Lovette Guichard, Savannah College of Art Barbara E. Mundy, Fordham University and Design The Amauta's Voice: Rethinking the Palaces ofInca Cuseo Memories ofGreece, Souvenirs ofEgypt: The Visual Culture of Adam L. Herring, Southern Methodist University Expatriatism il1 Hellenistic Alexandria Rachel Kousser, Brooklyn College, City University of New York African Amel-ican Arl in the Abstract Expressionisl Ero Exotic Animals in Late Hellenistic lv[osaics: 1Yave', Identity. and the Concourse Meeting Room 408A, Level 2 Pursuit ofKnowledge Chair: Janet Berry Hess, Sonoma State University

Evrydiki Tasopoulou, Bryn Mawr College Emma Amos: Reflections 011 Architecture as Souvenir: The Temple ofZeus-Ask Ie pi os and the Emma Amos, Rutgers University Politics of'lYavel Richard lvlayhew: Lyricism and Community Ufuk Soyoz, University of Texas at Austin Richard Mayhew, Pennsylvania State University 'lYojan Myth on Romau Walls: Epic Exempla in the Domestic Sphere African American Expressionism: History and Context Jennifer Ledig, Harvard University Bridget Cooks, University of California, Irvine The Decellnalia Base, the Senate, and the Tetrarchy; Putting Distant Esthetique Noir? African American Abstract Painters in Emperors Back in Their Place Post-World War II Europe Elizabeth Marlowe Mamie Hyatt, Boston University Reading Literary Theory with Romal'e Bearden Historians of Netherlandish Art Nora Niedzielski-Eichner, Stanford University The Obiect of Netherlandish Art West Hall Meeting Room SOIABC, Level 2 Chairs: Claudia Goldstein, William Paterson University; Representing Difference in Contemporary Museums: Alexandra Onuf, University of Hartford Theory and Practice Concourse Meeting Room 406A, Level 2 "Leave This Panel Closed": The Object Lessons ofthe liege Satirical Chairs: Ilona Katzew, Los Angeles County Museum of Art; Diptych, ca. 1520 Daniel Sherman, University of North Carolina, Chapel Hill Noel Schiller, University of South Florida Democracy and the Common iHan: The Barnes Foundation's The Medium and the Message: Tapestry in the Seventeenth Century Politics ofDisplay Koenraad Brosens, Flemish Science Foundation, University Karen Katherine Butler, Barnes Foundation of Leuven Exhibiting Replicas at the Musee d'Etlmographie dll'lYocadero, Paris Cultures of the Object, Objects ofCulture: Seventeenth-Century Marianne Kinkel, Washington State University Dutch Still-Life Painting Julie Berger Hochstrasser. University of Iowa Shaping Identity: A Sociowllllral Model Analyzing PowClIKnowledge Relationships in Art Displays Sign ofthe Times: Nationalism and the Politics of the Van Eyck Louise Ryan, University of New South Wales Ghent Altarpiece Jenny Graham, University of Plymouth Exhibition, Collection, and Education: The Identities of the l\1exican A[useunl ofSan Francisco Discussant: James J. Bloom, Vanderbilt University Karen Mary Davalos, Loyola Marymount University Se/fExoticism, l\'.!ulticulturalism, and 1ta'lsnationalism: Activating the Sacred: Rilual dnd Space in the "Exhibiting Korea" in Contemporary America Precoiumbian Americas Sohl Lee, University of Rochester West Hall Meeting Room SIIBC, Level 2 Chairs: Angela Marie Herren, University of North Carolina. Charlotte; Ruth Anne Phillips The QlIincwlx Earth-Altars ofla Vellta: Sites ofHealing, Protection, Divination Carolyn E. Tate, Texas Tech University

60 CAA2009 feBRUARY 25-28 Art Criticism, Art History, and Art Magazines Landscaping History as Modernist Critique: The i\tfuseum of Concourse Meeting Room 409AB, Level 2 Modern Art's Japanese HOllse and Garden (1953-55) alld Its Chairs: Jennie Klein, Ohio University School of Art; Historical Precedents Sylvie Fortin, Art Papers magazine Sarah Teasley, Northwestern University The Unpredictable Art Magazine with Nonformidable Criticism in a Disposable FOYlnat: Art-Rite, 1973-78 Modem Architecture in East Asia: Regionalism/ Gwen Allen, San Francisco State University Transnationalism On Cultural Democratization: Editors Share Their Experiences of West Hall Meeting Room S03, Level 2 Chairs: Vimalin Rujivacharakul, University of Delaware; Establishing and Running aJI Online Art Journal Ken Tadashi Oshima, University of Washington Drain Magazine Editorial Collective, Drain magazine Taichwzg's Opera House: Its Antecedents and Implications I'm Looking through YOll: On Lawrence Alloway, Expamionists Dana Buntrock, University of California, Berkeley Aesthetics, and the Demise of Formalism Martin Patrick, Massey University Inhabiting Opaque 1tansparency: Cinematic Reflections and Glass Architecture in China Artists' Writes and Wrongs Weihong Bao, Columbia University Margaret Morgan, independent artist, Los Angeles Ambivalent Modernism: Asia, Architecture, and Ma Qillgywz's Blacks and BICIckness in European Visual Culture of the long Father's House Nineteenth Century Lilian Chee, National University of Singapore Concourse Meeting Room 402AB, Level 2 From Yeouido Airfield to Incheoll Airport: Postmodern Wings or a Chairs: Susan Houghton Libby, Rollins College; Adrienne Louise New Koreml iHodenz? Childs, University of Maryland, College Park Alice S. Kim, University of California, Berkeley Us and Them: Camper's Odious I'Ligne Faciale" and Gericault's Raft Albert Alhadeff, University of Colorado, Boulder Reviewing the American Landscape Milk and Coffee: Sepamting and Mixing Black Serval1lS in Russiml West Hall Meeting Room srsB, Level 2 Aristocratic Portraitllre Chair: Janice Simon, University of Georgia Paul Kaplan, Purchase College, State University of New York The Viewer in the Lalldscape: Thomas Cole's Atmosphere ofArt Painting the African mid the Black: Representing Ira Aldridge as Julia A. Sienkewicz, University of Illinois, Urbana-Champaign Othello in Nineteenth-Century European Visual Culture To Elevate the Mind: Female Instruction and the Womell of the Earnestine Jenkins, University of Memphis Hlldson River School Racial Antics in Late-Nineteenth-Century France Nancy Siegel, Towson University James Smalls, University of Maryland, Baltimore County Lllminism il1 Social-Historical Perspective Challellgillg the Myth of the Dark COIltillent: Edvard Mllllch's Images Alan Wallach, College of William and Mary ofSill tall Abdlll Karim Geologic SlIblime, Managerial Oversight: The Rise of tire Mlltable Alison W. Chang, University of Pennsylvania Landscape ill the Gilded Age John Ott, James Madison University Japan Art History Forum American Landscape in the 1\vellty-First Centllry: Paul Pfeiffer'S Ideology and Ecology in JClpcmese LandscClpe Traditions Morning after the Deluge, 2003 Concourse Meeting Room 404A, Level 2 Isabelle L. Wallace, University of Georgia Chair: Elizabeth Lillehoj, DePaul University

The Past Comillg Alive: Photographic Landscapes aIId the Historians of Islamic Art State-Sllrvey ill Early Meiji Japall 2009 Mailis Gyewon Kim, McGill University and University of Tokyo Dorothy Collins Brown Auditorium, Lower Level, Bing Center, YOga Landscapes alld Early Meiji Ideology Los Angeles County Museum of Art Laura W. Allen, independent scholar, Albany, California Chair: Marianna Shreve Simpson, independent scholar, Baltimore Japan's Orient? Tomioka Tessai's Narrative Landscapes Tamaki Maeda, University of British Columbia Islamic Art Renata Holod Lightscapes: Cherry Blossoms at Night (Yozakllra) alld the IIlllmillation ofCllltllral Properties in the Era ofNeon Ught-Ups Miya Elise Mizuta, University of Southern California

CAA2009 FEBRUARY 25-28 61 Saturday, February 28 The Photographs ofArtllllr Luckhalls and the New Architecture of 9:30 AM-NOON Richard J. Neutra Ruben A. Aleolea, University of Navarra ARTspace The Unlikely Director: Paul Fejos mid the Hollywood Connection, CAA Services to Artists Committee I927-28 Artists' Residencies Dorothy Barenscott, Social Sciences and Humanities Research West Hall Meeting Room SlSA, Level 2 Council; Trent University Chairs: Caitlin Strokosch, Alliance of Artists Communities; Tom Morrissey, Community College of Rhode Island Modeled, Cast, or Carved: Reevaiuoting Sculptural Artists'Residency Overview and FWldillg Options Reproductions from the Eighteenth fa the Twentieth Cenfury Caitlin Strokosch, Alliance of Artist Communities West Hall Meeting Room S02B, Level 2 Texarkana-Artworks: Start-Up Strategies for a New Artist Chairs: Jennifet Wingate, St. Francis College; Jenny Mayfield Residency Program Carson, Maryland Institute College of Art Tom Morrissey, Community College ofRhode Island The Fallen Warrior: The Odd Fabrication at the Capitoline International Artists Residencies Sandra Barr, University of Arizona Mary Sherman, TransCultural Exchange Artistic Collaboration in the Studio of William Henry Rinehart Arts Incubator Jenny Carson, Maryland Institute College of Art Clayton Campbell, 18th Street Arts Center John Rogers's Mass-Reproduced Originals Artistic Haven Michael Clapper, Franklin and Marshall College Sarah Workneh, Ox-BolV School of Art Is the Little Dancer "Wrong''? New Developments in Degas Sculpture The Communication o/Spirit through Form Patricia Failing, University of Washington, Seattle Kathy Black, Vermont Studio Center Alexander Archipenko's Sculptural Production Andaleeb Firdosy, independent artist Alexandra Keiser, The Archipenko Foundation

Database Aesthetics: Artists Sorting through Bits and Flesh Saturday, February 28 Concourse Meeting Room 406B, Level 2 I2:30-Z:00 PM Chair: Victoria Vesna, University of California, Los Angeles Database Aesthetics and an Aesthetics ofDignity: New-Media Art as AP Studio Art Program a Form ofActivism The Role AP Can Play in Transitianing Millenials to College Sharon Daniel, University of California, Santa Cruz Study in the Visual Arts The Reconfigllration ofAnimals: Ethical Isslles in Database Aesthetics Concourse Meeting Room 403B. Level 2 Carol Gigliotti, Emily Carr University Chair: Jan Feldhausen, Milwaukee Institute of Art and Design Time Capsule Eduardo Kac, School of the Art Institute of Chicago ARTspace CAA Services to Artists Committee Aesthetic and Cultural Perspectives through Data Visualization Return fo the Table: Artists and Curators on Olivier Debraise's George Legrady, University of Cilifornia, Santa Barbara Un Banquete en Tellapayac IAn Hornoge to Olivier Debroise, Discussant: Lev Manovich, University of California. San Diego 1952--2008) West Hall Meeting Room SlSA, Level 2 Chair: Rita Gonzalez, Los Angeles County Museum of Art Historians of German and Central European Art and Architecture Forging Colifornia Modernism: Central European Emigres on Radical Art Caucus the West Coost between 1920 and 1945 Migration Struggles and Migratory Aesthetics Concourse Meeting Room 408B, Level 2 Concourse Meeting Room 408B, Level 2 Chair: Isabel Wiinsche, Jacobs University Chairs: Karen Kurczynski, Massachusetts College of Art; Kirsten Forkert, Goldsmiths, University ofLondon A Position "Neither Here Nor There": Hansel Mieth's and Otto Hagel's California Photographs, I928-36 Contested Borderspaces: The New Border Regime and Migration Dalia Habib Linssen. Boston University Struggles in Europe Henrik Lebuhn, San Francisco Art Institute Camera Infirma: John Gutmaml in California Miriam Paeslack, California College of the Arts The Global within the Rural: Media Intervention and Migration Benj Gerdes, Binghamton University, State University of New York; 16 Beaver Group International Students: Betwee11 Nomads and bnmigrants Carla Herrera-Prats, California Institute of the Arts

62 CAA2009 FEBRUARY 25-2B Association for Latin American Art Creative Capital IWarhol Foundation Arts Writers Emerging Scholars Session Grant Program Concourse Meeting Room 402AB, Level 2 Proiect Presentations Chair: Elisa C. Mandell, California State University, Fullerton West Hall Meeting Room Sal ABC, Level 2 If the Walls Could Speak: Terminal Classic Mural Painting in the Chair: Margaret Sundell, Creative CapitallWarhol Foundation Northern Maya Lowlands Arts Writers Grant Program Victoria I. Lyall, University of California, Los Angeles American Council for Southern Asian Art Sa>lta Rosa de Lima: The Living Portrait of God Business Meeting Nenita Ponce de Leon Elphick, Harvard College Concourse Meeting Room 404B, Level 2 Remove My Heart and Bury It in Your Choir: Body Parts and the Politics o/Portraiture Art Historians of Southern California Lauren Grace Kilroy, University of Oregon, Eugene Business Meeting Concourse Meeting Room 405, Level 2 National Art Education Association Assessment and Evaluation in the Visual Arts Association of Asian American Artists and Art Historians Concourse Meeting Room 40SA. Level 2 Business Meeting Chair: Melody Milbrandt, Georgia State University Concourse Meeting Room 406A, Level 2 Educational Policy and Assessment in the Visual Arts All are welcome to attend this organizing meeting. Doug Boughton, Northern Illinois University Association of Art Editors ThJo Worlds ofAssessment Business Meeting Elliot W. Eisner, Stanford University Concourse Meeting Room 406B. Level 2 Evaluation, Assessment, and Higher-Education Policy Ray Allen, Maryland Institute College of Art Historians of British Art Bus.iness Meeting Visual Culture Caucus Concourse Meeting Room 407, Level 2 Queer Pictures Concourse Meeting Room 403A, Level 2 Visual Resources Association Chair: Joey Orr, School of the Art Institute of Chicago Business Meeting The Queer Picture Gallery in Max Ewing's Closet Concourse Meeting Room 409AB, Level 2 Chad Heap, George Washington University Ivtilitant Melancholia: Art, Activism, and the Wojnarotvicz Archive Saturday, February 28 Nadja Millner-Larsen, New York University 2:30-5:00 PM On Forms ofVisibility Johanna Schaffer, Linz Art University Touching Contemporary Art, Part II Concourse Meeting Room 405, Level 2 Out of the Closets, Into the Vaults: Queer Film Archiving and the Outfest Chair: Elizabeth Adan, California Polytechnic State University Legacy Collection Maria San Filippo, Wellesley College Tactility ",uVin the Aesthetic Event: Dialogism, Difference, and Corporeality renee c. hoogland, Wayne State University CAA Student and Emerging Professionals Committee Emly-Career Publishing Strotegies At HaJ/d: The Tactility ofRichard Pettibone's Small-Scale Art Copies Concourse Meeting Room 404A. Level 2 Elisa Schaar, Oxford University Chair: Julia A. Sienkewicz, University of Illinois, Differentiating Touch Urbana-Champaign Fiona Candlin, Birkbeck College, University of London Stephanie Fay, University of California Press Touching Sound: Extending the Listening Experience Natalie Kampen, Barnard College, Columbia University Rupinder Dhillon, University of California, Santa Cruz Susan Rosen, Art Institute of Chicago Curating through Craft: Centralizhlg TOllch in a Museum Environment Buzz Spector, Cornell University Namita Gupta Wiggers, Museum of Contemporary Craft

CAA2009 FEBRUARY 25-2B 63 Saturday, February 28 Chana Orloff: Sculpting as a Modern Jewish Womall 2:30-5:00 PM Paula J. Birnbaum, University of San Francisco Crossing Boundaries: The New Chinese Woman and Chinese Artistic Ilineraney in Early Modern Art Cinema in 1935 Concourse Meeting Room 408B, Level 2 Li-Lin Tseng, Pittsburgh State University Chair: Lloyd DeWitt, Philadelphia Museum of Art Discussant: Janis Bergman-Carton, Southern Unintended COllsequellces: The Stylistic Illfluellce ojFrall,ois Balthazar Methodist University SolvYlls's Work Oil Company School Pailltillg Malia E, Finnegan Serrano, Grossmont College Branding, Collectives, and Collaborations; The "Imagille, ifyou will .....: Gerard de Lairesse (1640-17II) alld the Decentered Practice Collaborative Pictorializatioll oj1l'avel ill the North West Hall Meeting Room 50IABC, Level 2 Jacquelyn N. Coutre, Institute of Fine Arts, New York University Chairs: Ethan Wells Greenbaum, Pratt Institute; A Bridge betweell Reality and Imagination: A Study ojlohall Nieuhofs Jennifer Dudley, Ramapo College Images ojChilla Sara Greenberger-Rafferty, Suffolk County Community College Jing Sun, Leiden University Michelle Grabner From Willem to Guillhelmo: The Reillvelltioll ojWillem van Aelst Colleen Asper Tanya Paul Drew Heitzler Mediterranean Self-Fashioning: L.-F. Cassas, Itinerant Artist ill the Ottomall Empire Dushko Petrovich, Boston University Elisabeth Fraser, University of South Florida Tyler Coburn Shana Lutker Art and the Memory of Revolution, 1789-1939, Part II West Hall Meeting Room 5"BC, Level 2 Chair: Andre Dombrowski, University of Pennsylvania Digital Technology in Foundation Studies: If, How, and Why West Hall Meeting Room 502B, Level 2 Natural Attacks? The Politics ojLightllillg alld the Frellch Revolwioll Chairs: Daniel G. Hill, Parsons the New School for Design; Christian Fuhrmeister. Zentralinstitut flir Kunstgeschichte Shari Diamond, Parsons the New School for Design Skeletons in the Closet: Secrets and Lies in Revolutionary France Technology ill the First Year: Looking Forward, Looking Back Richard Taws, McGill University Beth Warshafsky, Pratt Institute [lll]Sewre Space: The Mellah ojFez, Morocco The Digital Foundation: What to Teach? How to Teach? Michelle Huntingford Craig, University of California, Jane Venes, Iowa State University Los Angeles Choosing a Fitting Punch to Ride 's Life of Toussaint L'Ouverture and History Emily Ward Bivens, University of Tennessee, Knoxville Paiwillgjrom Below Linda Kim, Smith College Digital or "Digital-ese?" A New Foundational Language jor an Illcreasingly Complex World The Revolutiollary Future Anterior: Johll Heartjield's 1930S Kevin Henry, Columbia College Chicago; Industrial Designers Photomontages Society of America Sabine Kriebel, University College Cork The Norfhern Court Artist, 1400-1650 Concourse Meeting Room 402AB, Level 2 The New Woman in Art and Visual Culture: An International Chairs: Heather Madar, Humboldt State University; Ashley West, Perspective, Part II City College of New York, City University of New York Concourse Meeting Room 404A, Level 2 Chairs: Susan Fillin·Yeh, independent scholar, Block Island, What Court Artists Did (and Sometimes Did Not Do) Rhode Island; Ruth E. Iskin, Ben-Gurion University of the Negev Carol Herselle Krinsky, New York University New Women aslllustrators Hans Springinklee, Johannes Stabius, alld the Emperor's Bailey Van Hook, Virginia Tech Printed Horoscopes Suzanne KarrSchmidt, Art Institute of Chicago An American Queen as New Woman Art Collector Mary Warner Blanchard, Rutgers Center for Historical Analysis Sculpture, the Alltique Mode, aIId Aristocratic Identity at Courts ojthe Low Countries, 1520-50 Ethan Matt Kavaler, University of Toronto

64 CAA2009 FEBRUARY 25-2B Jacopo Strada: Court Antiquarian/Court Artist The Physiognomy ofModern Architecture in Germm'Y, ,890-'9'4 Sarah E. Lawrence, Cooper-Hewitt. National Design Museum Didem Ekici, University of Michigan, Ann Arbor The Artist is Dead! Long Live the Artist! Peter Lely in England What a Body Can Do Jennifer Hallam, independent scholar, New York Irene Small, University of Illinois, Urbana-Champaign Discussant: Victoria Rovine, University of Florida Empathy in Media Concourse Meeting Room 408A, Level 2 Chair: Darrin Martin, University of California, Davis Reviewing the American Landscape, Pari II West Hall Meeting Room SISB, Level 2 United and Severed: Collaborative Research and Cognitive Authority Chair: Janice Simon, University of Georgia Kristine Diekman, California State University, San Marcos The Imperial Picturesque on the Northern Caribbean Frontier: Thomas The Case for Empathic Engagement: What We Can Learn from Coram's Representations of the LOWcowltry Plantation Landscape Reception Theory and the Viewer's State ofMind Anna O. Marley, University of Delaware Herman du Toit, Brigham Young University Museum of Art Meaningful Places: Nineteenth·Century Photography and the Local Toward Empathy Landscapes of the American West Cooper Battersby, Colgate University Rachel Sailor, University of Texas at Tyler BLW: Stumbling Speech (from the Certain Location ofLeft) The Last Frontier? Bierstadt's Wreck of the "Ancon" and the Problem Sarah Lewison, Southern Illinois University, Carbondale of the Alaskan Landscape Toward a Phenomenology of the Witness to Pain Elizabeth Hutchinson, Barnard College, Columbia University Christine Stoddard, University of Manchester Remapping the Regional and National Landscape: American Modernists in Canada Association of Historians of American Art Donna M. Cassidy, University of Southern Maine Agents of Civilization: Civic Art and the National Body atthe Turn of the Twentieth Century Anne 1tuitt's First (I961) and the Landscape ofMemory Concourse Meeting Room 403A, Level 2 Michael Alavar de Baca, Harvard University Chair: Sarah Moore, University of Arizona "The Present is the Past ofTo-morrow": Edwin Blashjield, Mural Art History Open Session: East Asian Buddhist Arl Painting, and Pagea11lry at the Wisconsin State Capitol Concourse Meeting Room 406B, Level 2 Annelise K. Madsen, Stanford University Chair: Nancy S. Steinhardt, University of Pennsylvania Color Hierarchies and American National Identity at the 1901 Buffalo Mandala-Making and Mogao Cave '4 Pan-American Exposition Michelle C. Wang, State University Evie Terrono, Randolph-Macon College Forming and Reforming the Tomyaji Six Kamman Sculpture Group An Elevating Influence: Beaux-Arts Public Parks in Sherry Fowler, University of Kansas Rachel Iannacone, University of Minnesota A Hidden Dhyana Cave in Shanxi Province The Complexity ofCivic Murals in the Progressive Era: Russell's Lewis Lidu Yi, University of Toronto and Clark Meeting the Indians at Ross's Hole (1912) Kate Elliott, University of Iowa The Art ofHuayan Buddhism at the Courts ofEmpress Wu and Emperor S/lOmu Diseussant: Sally Webster, Graduate Center, City University Dorothy Wong, University of Virginia of New York Continental Influences on Salvation Motifs in Japanese Hell Painting Caroline Hirasawa, University of British Columbia Clothing, Flesh, Bone: Visual Culture obove and below the Skin, Part II Foreign Origins of the Buddha 1tiad Senbutsu Unearthed in Japan Yoko Hsueh Shirai, independent scholar, Arcadia, California Concourse Meeting Room 404B, Level 2 Chairs: Victoria Rovine, University of Florida; Sarah Adams, New Questions about East Asian Buddhist Art University of Michigan School of Nursing Nancy S. Steinhardt, University of Pennsylvania Fashioning the Maternal Body: Rei Kawakubo, Georgina Godley, and Leigh Bowery Francesca Granata, University of the Arts London; Metropolitan Museum of Art Shift·ed Perceptions: The Fabricated Body in Lorna Simpson's Shift Dress Works Nika Elder, Princeton University

CAA2009 FEBRUARY 25-28 65 Saturday, February 28 rrulh Clnd Dare: Documenfary offer the Collapse of the 2:30-5:00 PM Fact/Fiction Divide West Hall Meeting Room 503, Level 2 land Use in Contemporory Art, Port II Chair: julie Wyman, University of California, Davis Concourse Meeting Room 407. Level 2 Conditional Tense: The Speculative Reality in Recent Video Chair: Kirsten Swenson, University of Nevada, Las Vegas Lucas Hilderbrand, University of California, Irvine On Wheat Playas, an Interventionist Documentary in Progress Kimberly Paice, University of Cincinnati Adele Horne, California Institute of the Arts Urban Earthworks: Land Art and Gender in 1970S New York Documentary, Critical Realism, and the Long Take: Some Influences Alexandra Schwartz, Museum of Modern Art Liza johnson, Williams College Scratches, Roads, and Monuments: Ground Truth in Land Arts YouThbe and the Phenomenon of Fred ofthe American West Alexandra juhasz, Pitzer Colleged Chris Taylor, Texas Tech University Fiction; or, Will the Real Real Please Stand Up? MushroomslClouds: Musewns, Interdisciplinary Networks, julia Meltzer, Clockshop; David Thorne, Canele and Environmental Initiatives Ann Wolfe, Nevada Museum of Art Saturday, February 28 Land Ethics: Post-Land Art 3:30-6:00 PM Patricia Watts, Ecoartspace Art (mel Archeology of Ancient Greece Clnd Rome "Sofl, Squishy Things!" New Media Artists and The Auditorium, Getty Villa Biological Science Chair: Karol B. Wight, j. Paul Getty Museum Concourse Meeting Room 409AB, Level 2 Relationships between Divine and Human Bodies: The Temple of Chair: Marcia Tanner, independent curator, Berkeley Asklepios at Epidauros (ca. 390-375 BCE) Primate Cinema: A Soft Squishy Science Ann E. Patnaude, University of Chicago Rachel Mayeri, Harvey Mudd College Adopting Identity: Afterlife Personae in Second- and AntiGyne: Biotechnology and the Dream ofBirth without Women Third-Century Rome Philip Ross, University of San Francisco Linda Moskeland Fuchs, independent scholar, Ithaca, New York R-E-S-P-E-C-T. Artists Envisage Alternative Models for Portraits ofPiety: Images ofPriestesses in the Second Century CE Interspecies Research Molly Lindner, Kent State University Meredith Tromble, San Francisco Art Institute Virtus and the Virtuous Breast Beautiful Hermaphrodite Lillian B. joyce, University of Alabama, Huntsville Gail Wight, Stanford University Roma and AU9ustus on the Gemma Augustea By Any Media Necessary? BioArt 'Ita verses the Gender-Continuum Mark Fullerton, Ohio State University Diane Willow, University of Minnesota

Surreolism au naturel, Part II West Hall Meeting Room 503, Level 2 Chairs: Stephanie L. Taylor, New Mexico State University; Gavin Parkinson, Courtauld Institute of Art Breasts and Eggs for Breakfast: A Surrealist Farm Analisa Leppanen-Guerra, DePaul University The Duality ofUon 11'tundjian's Biomorphism: The Burden of Survival and the Searchfor Life jean Murachanian, University of California, Los Angeles Rurality Meets Urbanity in Man Ray's I:Etoile de mer Robert Belton, University of British Columbia, Okanagan Destructive Salvation: Max Ernst's Microbes and the Politics of the Atom Peter Mowris, University of Texas at Austin

66 CAA2009 FEBRUARY 25-28