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Southeastern College Art Conference Abstracts from the Annual Meeting in Savannah, Georgia

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Southeastern College Art Conference Abstracts from the Annual Meeting in Savannah, Georgia Southeastern College Art Conference Abstracts from the Annual Meeting in Savannah, Georgia November 9 - 12, 2011 Conference Chair: Sandra Reed, SCAD Savannah Abel, Troy. Virginia Tech. BeyonD Design EDucation: An Alternative MethoDological Approach to Sketching. As design educators know, sketching still proves to be a challenge for many of our visual communication/graphic design students. Student comments include, "I can generate ideas so much faster on the computer," or "I just don't know how to sketch," and "I can't draw.” The lack of exploration at this critical step of the design process impedes the success of students. I propose a unique methodology, which unites morphology and the notion of 'families,' when sketching. This method allows students to quickly produce several pages of sketches, and helps to prevent the pitfall of 'incestuous sketching.' Ackerman, Emily. The GraDuate Center, CUNY. Pioneering Cliché: Nickolas Muray anD Commercial Photography in the United States, 1920-1955. Commercial photographer Nickolas Muray’s (1889-1965), images were successful because he utilized and devised commercial clichés to sell commercial desires for abundance and comfortable domesticity to viewers. His photographs appeared in ads in publications such as Harper’s Bazaar, Vogue, and Vanity Fair and developed a unique style of American commercial photography targeted towards this trend in American corporate advertising. Media theorist Erving Goffman argues that the advertisements were “intentionally choreographed to be unambiguous about matters” of representation. During the 1930s through the 1950s, viewers often read advertisements published in illustrated periodicals as they would the editorial stories on the facing pages. The images and text were designed and written to jibe stylistically with the magazine as a whole. Agha, Anila Quayyum. InDiana University in InDianapolis. My ForkeD Tongue. My work explores the political relationships between gender, culture, labor and social codes through the creation of mixed media drawings and installations. A combination of textile and sculptural processes allows me to critique the patriarchal coding of textile art as inherently handmade, or woman’s work. Carrying subtle social questions that explore culture, language and sociopolitical relationships my work considers domestic, public, political, and sacred spaces. Materials are chosen to examine meanings of craft versus high art, class systems and economics. The layered use of thread, wax, dyes, beads, text, and textile patterns creates a visually complex dialogue reflective of complicated weavings of thought, artistic action and social experience. Airhart, ChaD. Carson Newman College. Beauty ReviveD: A Defense for Teaching Sensory Aesthetics in the American University. Since Dave Hickey announced that “beauty” would re-enter the conversation in the art world of the 1990s, the debate on the necessity of teaching sensory aesthetics has grown in the American university. My paper outlines the context for this historic departure of beauty and the reasons why a new passion is needed for the alliance of beauty and higher art education. The paper SECAC 2011 Presenter Abstracts Page 2 investigates significant beauty believers such as Meyer Schapiro, Peter Schjeldahl, Gordon Fuglie, and Frederick Turner. In addition, I plan to use my own experience as art student, artist, and art history professor to add a practical aspect to the discussion. Albers, Kate Palmer. University of Arizona. In So Many WorDs: AlfreDo Jaar’s Real Pictures. The Chilean-born contemporary artist Alfredo Jaar’s installation Real Pictures (1995) is comprised of 550 black linen archival photo boxes that contain and obscure 550 direct positive color photographs that Jaar made documenting the Rwandan genocide in late August 1994. Each box is labeled with white texts that describe the now-hidden images. In withholding the photographic image, Jaar's project addresses the ethics and efficacy of photojournalism, suggesting that the media saturation of images of Rwanda has resulted in a loss of their ability to affect us. That the audience cannot see the hundreds of (possibly gruesome) images may initially seem to disable the importance of the actual photographic subject. However, I argue that Real Pictures is deeply dependent on the viewer’s belief in the presence of the unseen photograph. As such, the photograph remains the driving intellectual force, despite its physical absence. AlDerson, Julia. HumbolDt State University. What Does “InDian” Architecture Look Like ToDay? A wave of new construction projects sponsored by Native American tribes is currently sweeping across Northern California. Federal recognition and Indian gaming have brought with them a flurry of development opportunities, particularly for casinos and tribal services buildings. This presentation will provide a visual overview of such structures, in order to illustrate the significant differences between the buildings tribes build for the general public and those they construct for their own use. Kitschy “Indian” decoration gives way to meaningful architectural references in this study. A visual analysis helps illustrate both the vision the general public has of Indian tribes, as well as the vision tribes have of themselves – and, the two continue to be strikingly different. AlligooD, ChaD. The GraDuate Center, CUNY. Women’s Work anD the Sculptural Legacy of Minimalism. In 1967, in the twilight of Minimalism’s heyday, Eva Hesse began to explore alternatives to the high-tech materials and industrial manufacture of Donald Judd and Carl Andre; vernacular materials, manipulated by her own hand, appeared alongside Hesse’s industrially inflected work. For a new generation of women sculptors, Hesse’s use of cords, latex, and cheesecloth inspired their own elaborations of minimalist practice. This shift—from third-party fabrication to firsthand labor, from the materials of industry to those of labor-driven work—comprises the central focus of this paper. I will present this shift in light of Minimalism’s alleged masculinity while considering the rise of feminism and the growing presence of women in the 1970s workforce. Finally, I will show how these artists opened avenues towards contemporary modes of sculptural practice. Altvater, Fran. University of HartforD. Wikis, PoDcasts, anD Blogs, Oh, My!: Technology and PeDagogy in Parallel in the Art History Classroom. New technology can help parallel classroom experience and simultaneously address both remediation and engagement. It is successful in addressing student deficiencies in fundamental academic skills, time management, and academic culture for greater success in degree programs. Making audio tours and digital videocasts offers exciting possibilities for student engagement by teaching new skills and disseminating learning beyond the static dyad of professor and student. SECAC 2011 Presenter Abstracts Page 3 Alvarez, AnDrea. Virginia Commonwealth University. Abstract Expressionism: The Formation of a Complete History. Because MoMA has been widely recognized for defining the canon of modern art since its opening in 1929, this paper will challenge this institution’s presumed preeminent role as a leader in the acceptance of Abstract Expressionism. I will examine how the 1978 exhibition “Abstract Expressionism: the Formative Years,” changed MoMA’s collecting and display practices. By looking at MoMA’s published catalogs, photographs of its permanent installations since that time, and the changing floor plans of its gallery reinstallations during this same period, this paper will demonstrate that the 1978 “Formative Years” exhibition was a crucial turning point in the overall scholarship and understanding of Abstract Expressionism. AnDerson, Carrie. Boston University. Hairstyles, HeaD Adornments, anD Colonial IDentity in Dutch Brazil. In 1644 Prince Johan Maurits of Nassau-Siegen returned from Dutch Brazil with countless images of the people, flora, and fauna that inhabited the region. Of these works, Dutch artist Albert Eckhout’s paintings of so-called ethnographic portraits, currently housed in the National Museum in Copenhagen, are the most famous. Hairstyle was a salient signifier of identity, as is exemplified by Zacharias Wagener, Johan Maurits’s steward in Brazil, who described the particular coifs of Eckhout’s Tapuya and Tupi women, distinguishing the Tapuyas’ “short hair” from the Tupis’ “long black hair [which] is plaited and hangs over their naked backs.” This paper will examine the ways in which hairstyles and head adornments played a role in constructing colonial identities in Eckhout’s paintings, and how these visualizations of status complicate the iconographical conventions associated with representations of the exotic. AnDerson, Jennifer, D. Hollins University. Printing the BoDy anD its Interior: From Dissection to Self Reflection. This presentation will explore the work of artists such as Kiki Smith, Leslie Dill and A. Conway Hubbard in an effort to understand how and why printmaking contributes to visual representations of the inner workings of the body, mind and spirit – and acts as a vehicle for understanding both our cultural and personal body. AnDerson, Lisa. University of South Carolina Upstate. A Beautiful Group of Letters: Typography in Communication Design anD the Visual Arts. This paper discusses the nature and history of typography use and shares creative works and classroom experiences. Walter Tracy states, “Type is a beautiful group of letters,
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