Wednesday Sese oblectari in dies: The Meditative Function of the Wierix Prints PROGRAM SESSIONS Pasted into the Cistercian Prayerbook of Martinus Boschman All sessions will be held at the Hilton New York unless Walter S. Melion, otherwise noted. Miraculous Matter of Neapolitan Baroque Art Helen Hills, Wednesday, February 13 Discussant: Alexander Nagel, Institute of Fine Arts, 9:30 AM–12:00 PM New York University

The Proof Is in the Print: Avant-Garde Approaches to the Historical Materials of Photography’s Avant-Garde Nordic Modernism at Home and Abroad, 1880–1920 Rendezvous Trianon, 3rd Floor Morgan Suite, 2nd Floor Chairs: Mitra Monir Abbaspour, The ; Chairs: Kirsten Jensen, Hudson River Museum; Leslie Anne Lee Ann Daffner, The Museum of Modern Art Anderson, The Graduate Center, City University of New York The Platinum and Palladium Initiative: Tools and Strategies for Krøyer’s Beach: Nordic Modernism and the Reemergence of Denmark, Interdisciplinary Collaboration 1880–1910 Constance McCabe, Thor J. Mednick, University of Toledo Tzara’s Mark: The Vintage Photographic Print, Unique Nordic “Genius”: German Patronage of Edvard Munch’s Art and Proliferating Hilde Marie Jamessen Rognerud, Nasjonalmuseet for kunst, Adrian Sudhalter, Dedalus Foundation arkitektur og design, Oslo Failure to Launch: Photography and the Modern American Mural Creating a Finnish National Identity at the 1900 Kara Fiedorek, Institute of Fine Arts, New York University Universal Exposition Margaret Herman, The Graduate Center, City University of “You Have Seen Their Pictures”: Towards a Material History of New New York Deal Photography Stephen Pinson and Erin L. Murphy, The New York Public Library The Norwegian Contributions to the 1912–3 Scandinavian Art Exhibition and Their Impact on North American Painting Clarence Burton Sheffield, Rochester Institute of Technology Destruction of Cultural Heritage in European Countries in Transition, 1990–2011 Discussant: Patricia G. Berman, Wellesley College Sutton Parlor Center, 2nd Floor Chair: Rozmeri Basic, University of Oklahoma Multiples in Context: The Early Years Impossible to Silence: Enduring Trauma and the Legacy of Vernacular Sutton Parlor North, 2nd Floor Architecture in the Middle Gediz Valley, Western Turkey, 1900–2011 Chairs: Meredith Malone, Mildred Lane Kemper Art Christina Luke, Boston University Museum, Washington University in St. Louis; Bradley Bailey, Saint Louis University Transitional Territories and ’s East German Cultural Heritage Kristine Nielsen, University of Illinois Paradox of the Original and Its Reinterpretation: Marcel Duchamp and Man Ray’s Editioned Replicas The Neglected Murals of Macedonia with Special Emphasis on the Adina Kamien-Kazhdan, The Israel Museum Holy Mother of God Peribleptos Church, Ohrid, Macedonia Rolf Achilles, independent art historian Art à prix modéré: Spectacle and Social Democracy in the GRAV’s Multiples New Memorials for New Countries: Substituting Collective Lily Woodruff, Michigan State University Memory for Spite Rozmeri Basic, University of Oklahoma Samples without Value: Piero Manzoni’s Art of Distribution Gregory Tentler, Rhode Island School of Design Discussant: Ekaterina Kudryavtseva, Stetson University The “Expandable, Renewable” Artwork Liz Kotz, University of California, Riverside Transmaterialities: Materials, Process, History Beekman Parlor, 2nd Floor Chairs: Richard Checketts, University of Leeds; Marta Ajmar, Seeing/Knowing: Image Theory and Learning Strategies Victoria and Albert Museum across the University Curriculum Madison Suite, 2nd Floor The Generative Possibilities of Base Materiality in Postwar Chair: Natalie R. Marsh, Graham Gund Gallery, Kenyon College Conceptions of Art and Architecture Alex Potts, University of Michigan Seeing, Knowing, Showing: Experiments in “Visualizing the Liberal Arts” The Material Means of Bauhaus Paper Studies Laurel Bradley, Carleton College Jeffrey Saletnik, Amherst College Seeing, Knowing, and Showing: Curricular Exhibitions in the Library Margaret Pezalla-Granlund, Carleton College

30 college art association February 13 –16, 2013 31 Wednesday From Visual Pedagogies to Learning Theories: Using Academic Plato’s Dilemma: Unweaving the Threads Binding Art The Digitizing of Maori Cultural Heritage: Blurring the Boundaries of Wednesday, February 13 Museums to Catalyze Campus-Wide Learning and Religion an Object, Its Documentation, and Its Distribution 12:30 PM–2:00 PM Steven S. Volk and Liliana Milkova, Oberlin College West Ballroom, 3rd Floor M. Brinker Ferguson, University of California, Santa Cruz Chair: Donald Preziosi, University of California, Yo Veo: Visual Interventions Performing Culture: The Art Practice of Ani O’Neill Association of Academic Museums and Galleries Robert Colby, University of North Carolina at Chapel Hill Attentiveness, Decreation, Immanence: Benjamin, Weil, Deleuze Caroline Vercoe, The University of Auckland A Two Way Street: How Academic Museum and Gallery Jae Emerling, University of North Carolina, Charlotte Programming Can Achieve Curricular Impact Platform: The University Museum as Propagator and Disseminator Beekman Parlor, 2nd Floor of Cross-Disciplinary Research An Icon for Nonconformists New Media Caucus Chair: Leonie Bradbury, Montserrat College of Art Galleries Kathryn Bonansinga, University of Cincinnati Andrei Pop, University of Basel Art in the Age of High Security Nassau Suite, 2nd Floor Using Art Museums to Leverage Campus-Wide Learning: A Queer Cross: Art, Religion, and the Thorns of Desire Chairs: Jenny Vogel and David Stout, University of North Texas Two Case Studies from Oberlin College Horace Ballard, Brown University Beyond Good or Bad: Practice-Derived Epistemologies Steven S. Volk and Taylor Allen, Oberlin College Images for an Unknown Public of Studio Critique From Ritual Objects to the Avant-Garde: Jews and the Search for Jenny Vogel, University of North Texas Art and Science in Dialogue: Object-Based Workshops at the Regent Parlor, 2nd Floor Religious Meaning in Art Smart Museum Chairs: Adelheid Mers, School of the Art Institute of Chicago; Jeffrey Abt, Wayne State University Noise, Art, and Weaponized Abstraction Anne Leonard and Sidney R. Nagel, University of Chicago Judith Leemann, Massachusetts College of Art and Design David Stout, University of North Texas Against the Day: Chiasmatic Disconcordances and Semblances Academic Galleries as Learning Laboratories: Bridging Theory and Getting Closer: Critique as an Integral Source in Learning amongst the Ungoverned Building a More Perfect Drone Practice at Columbia College Chicago through Making Scott Contreras-Koterbay, East Tennessee State University Nadav Assor, Connecticut College Sara Black, Antioch College Neysa Lillian Page-Lieberman and Robert John Blandford, How Does a Patriot Act? Columbia College Chicago Demystifying Critique: Exploring Language and Interaction ARTspace Clark Shaffer Stoeckley, Bloomfield College with Non-Native Speakers of English On the Practice of Artist Arbiter Allison Yasukawa, Maryland Institute College of Art Discussant: David Schwarz, University of North Texas Society for Photographic Education Murray Hill Suite, 2nd Floor Traversing the Void: Synchronized Community Projects

Working Space: Online Models for Studio Art Critiques Chairs: Shannon Rae Stratton, threewalls and School of Gramercy B, 2nd Floor Cultivating Nature as Art: Dialogues on the Rustic Garden in David MacWilliam, Emily Carr University of Art and Design the Art Institute of Chicago; Duncan Mackenzie, Columbia Chair: Shannon Lee Castleman, Nanyang Technological University College Chicago the Long Eighteenth Century and the Contemporary Practice Sometimes the Work Has to Risk Not Being Art: Studio Critique, of Organic Art in the Landscape Post-1960 Truthtelling, and Generosity Gibson Room, 2nd Floor CAA International Committee Randy Lee Cutler, Emily Carr Institute of Art and Design Studio Art Open Session Chairs: Susan Wilson, independent scholar; Yuen Lai Winnie Chan, International Collaborative Arts: Conversations on Practice, The Empathetic Body: Performance and the Blurring of Expanding the Critique: Contemporary Art as Practice Research, and Education Private Self in Contemporary Art Sutton Parlor Center, 2nd Floor Joey Orr, Emory University Picturesque before the Picturesque: Elements of Rustic Nature Sutton Parlor South, 2nd Floor Chairs: Diane Derr and Radha Dalal, Virginia Commonwealth in Polish Gardens before the Middle of the Eighteenth Century Crit-Space as a Research Place Chair: Tricia Van Eck, 6018NORTH University in Qatar Graeme Sullivan, Pennsylvania State University Anna M. Oleńska, Polish Academy of Science and Encountering the Empathetic Audience in Contemporary Art Humanities, Warsaw Planetary Collegium and the I-Node: The Right to Knowledge Tricia Van Eck, 6018NORTH Katerina Karoussos, I-Node, Planetary Collegium To What End? Eschatology in Art Historiography The Rustic Taste in Holland’s Early Nineteenth-Century Xavier Le Roy, independent artist Petit Trianon, 3rd Floor Landscape Garden Leading through Collaboration: A Chairperson/Faculty Perspective Chair: Jeanne-Marie Musto, Fordham University Vesna Krstich, Upper Canada College Vanessa Bezemer Sellers, New York Botanical Garden Muneera Spence, Virginia Commonwealth University in Qatar Projecting the Future in German Art Historiography of the Nineteenth Potluck: Bring/Do/Be What You Can “Humble and Simple”: Rustic Summerhouses in Nineteenth-Century Postnational Technollaboration within the Postbiotanical Village Century: Franz Kugler, Karl Schnaase, and Gottfried Semper Amy M. Mooney, Columbia College Chicago American Landscape Gardens Max Kazemzadeh, Gallaudet University Henrik Karge, Technische Universität Kerry Dean Carso, State University of New York at New Paltz Discussant: Katrina Chamberlin, independent artist Delacroix, Chenavard, and the End of Art History Michael Singer and Xu Bing: On the Nature of the National Council of Art Administrators

David O’Brien, University of Illinois Urbana-Champaign Contemporary Garden Hot Problems/Cool Solutions in Arts Leadership Pacific Arts Association David Henry Ehrenpreis, James Madison University Morgan Suite, 2nd Floor The Rest is Silence: The Sense of Roger Fry’s Endings Rethinking Pacific Art:T he Currency of the Object Chair: Jim Hopfensperger, Western Michigan University Benjamin Harvey, Mississippi State University Bryant Suite, 2nd Floor From Colonial Roots to the Rhizome: Location, Dislocation, and Chairs: Caroline Vercoe and Nina Tonga, The University of Auckland Translocation in Contemporary Artists’ Organic Art Practices in Nan Goggin, University of Illinois, Urbana-Champaign Origin and Immanence: Benjamin’s Art Historiography in the the Anthropocene Age Sergio Soave, The Ohio State University Trauerspiel Book Contemporary Hawiian Feather Art: Plucking from Tradition to Edwina Fitzpatrick, Wimbledon College of Art Jenny Doussan, Goldsmiths, University of Renegotiate Place and Space Kristina Olson, West Virginia University Teresa Wilkins, Indiana University Discussant: Xin Wu, The College of William and Mary World Art Histories and the Cold War Kim Russo, Ringling College of Art and Design Robert Born, Humboldt Universität zu Berlin and Performing Lien Pohnpei: Poetry and Urohs (Applique Skirts) Geisteswissenschaftliches Zentrum Universität Leipzig Emelihter Kihleng, Victoria University of Wellington, New Zealand Colin Blakely, Eastern Michigan University Echoes of Gunantuna: Garamut Richard Heipp, University of Juie To’Liman-Turalir, OLSH Teacher Training College, Kabeleo, Steve Bliss, Savannah College of Art and Design Papua New Guinea

32 college art association February 13 –16, 2013 33 Wednesday American Council for Southern Asian Art Scientific Analysis in Attribution Questions: High Expectations, Neces- CAA Education Committee Wednesday, February 13 Thinking beyond Royalty: Reassessing Temple Patronage sary Collaborations, and a Question of an Early Vincent van Gogh What We Teach: Perspectives on the Logic, Scope, and Value 2:30 PM–5:00 PM in Premodern South Asia Jennifer Mass, Winterthur Museum; Kristin de Ghetaldi, University of Art Appreciation Bryant Suite, 2nd Floor of Delaware Petit Trianon, 3rd Floor Art History Open Session Chairs: Katherine E. Kasdorf, Columbia University; Risha Lee, Chairs: Brian Seymour, Community College of Philadelphia; Northern European Art, 1400–1700: Recent Discoveries National University of Singapore Julia A. Sienkewicz, Duquesne University Pacific Arts Association through Technical Art History Divine Kingship Revisited: Indian Temple Art and Patronage in the The Home, the Museum, and the Gallery: Illuminating the From Critical to Creative Thinking: The Role of Art Appreciation Trianon Ballroom, 3rd Floor Sixth to Eighth Centuries Nexus between Identity, Materiality, and Visual Culture in the Curriculum Chair: Maryan Wynn Ainsworth, The Metropolitan Museum of Art Julie Romain, Los Angeles County Museum of Art and University in the Pacific Henry Sayre, Oregon State University, Cascades The Fishing Party in the Louvre by Jan van Eyck? of California, Los Angeles Nassau Suite, 2nd Floor Appreciating Art in an Online Environment Claudine A. Chavannes-Mazel, University of Chairs: Fiona P. McDonald, University College London; Mapping Artistic Space: Style and the Kaveri River Alison Fleming, Winston-Salem State University Bronwyn Labrum, Massey University Image Processing for Research on the Ghent Altarpiece Padma Kaimal, Colgate University From “Art Appreciation” to “Art and Visual Literacy”: Designing a Maximiliaan Martens and Annick Born, University of Ghent Leaving Home: Representing Material Histories Between “Temple” and “Shrine”: Merchants and Mendicants along Curriculum for Twenty-First-Century General Studies Bronwyn Labrum, Massey University From the Naked Eye to the Super Computer: New Light on Dirk Bouts’s the Madhumati Deanne Pytlinski, Metropolitan State University of Denver Canvas Paintings Tamara Sears, Yale University Biculturalism and Its Discontents: Making Maori Art in the Museum To Thematize or Not to Thematize: The Construction of an Art Diane Wolfthal, Rice University; and Catherine Metzger, National Conal McCarthy, Victoria University of Wellington Elite Collaborations for a Hoysala Style: Merchants, Kings, and Temple Appreciation Course Gallery of Art Patronage in Dorasamudra (Twelfth-Thirteenth Centuries) The Mutable Woolen Blanket: In the Home, the Studio, the Museum, Kathy Anne Quick, Providence College Reconstructing the So-Called “Berlin Sketchbook”: New Insights Katherine E. Kasdorf, Columbia University and the Gallery Resulting from Material Analysis Fiona P. McDonald, University College London Visual Culture Caucus Discussant: Risha Lee, National University of Singapore Ilona van Tuinen, Leiden Gallery Visual Representations of Success and Crisis: Negative and Positive Branding of Cities and Urban Spaces The Adjustments of a Triptych by Pieter Claeissens I: An Exceptional Appraisers Association of America ARTspace Sutton Parlor South, 2nd Floor Situation or Common Practice? Today’s Qualified Appraiser: An Essential Ally for Artists, CAA Services to Artists Committee Chair: Lina Tegtmeyer, Freie Universität Berlin Anne van Oosterwijk, Groeningemuseum and University of Ghent Meta-Mentors: How to Make a Living as an Artist, With or Museums, and University Galleries Without a Dealer Gibson Room, 2nd Floor Racializing Cities, Naturalizing Space: The Panoptics of “Slum” Life Murray Hill Suite, 2nd Floor Chair: Anne Frances Moore, AFM-MFM Fine Art in the Twenty-First Century The Watercolor: 1400–1750 Uli Linke, Rochester Institute of Technology Bryant Suite, 2nd Floor Chairs: Sharon Louden, independent artist; Sharon Butler, Eastern Amy J. Goldrich, Lynn and Cahill LLP Chairs: Susan Anderson, Harvard University Art Museums; Connecticut State University Ineffably Urban: Imaging Buffalo Sylvia Leonard Wolf, Sylvia Leonard Wolf, Inc. Odilia Bonebakker, Harvard University Hudson, Feature Gallery Miriam Paeslack, University at Buffalo, State University of New York British Art Theory of Limning from Hilliard to Norgate Lyrical City: Charles Sheeler and Paul Strand’s Manhatta Matthew Deleget, Minus Space Volunteer Lawyers for the Arts, Inc. Ulrike Kern, Goethe University Kristen Oehlrich, Brown University Ask the Lawyer: Fair Use, Risk Management, Contracts, Jay Gorney, Mitchell-Innes and Nash Gallery Watercolor in French Manuscript Painting: The Songe du Pastourel Corporations, and More (Vienna, Österreichische Nationalbibliothek, Cod. 2556) Michelle Grabner, School of the Art Institute of Chicago Gramercy A, 2nd Floor International Association of Art Critics Christoph Brachmann, University of North Carolina at Chapel Hill Chair: Elena Paul, Volunteer Lawyers for the Arts, Inc. Art Criticism and Social Media Magdalena Sawon, Postmasters Gallery Regent Parlor, 2nd Floor The Artful Evolution of Catherine Perrot’s Career: Painter, Teacher,

Chair: Phyllis Tuchman, independent critic Academician, Author CAA Committee on Women in the Arts Catalogue Raisonné Scholars Association Joanne McKeown, Moravian College Gender Politics in the Workplace, Part I Sarah Douglas, New York Observer Collaborative Understanding through Technical Rendezvous Trianon, 3rd Floor Investigations: Art Scholar, Conservators, and Scientists Lindsay Pollock, Art in America Chair: Claudia Sbrissa, St. John’s University Researching in Tandem ARTspace Walter Robinson, independent artist Design as Intermedia Practice Madison Suite, 2nd Floor Xabier Arakistain, independent curator Murray Hill Suite, 2nd Floor Chairs: Steven Manford, independent scholar; Joyce Hill Stoner, Barry Schwabsky, poet and independent critic University of Delaware and Winterthur Museum Shelly Bahl, independent artist Chair: Jacki Apple, Art Center College of Design Carey Lovelace, independent critic and curator Annie Chu, Chu and Gooding Architects and Woodbury University Revealing Hidden Layers in Late Rembrandt Paintings Association of Art Historians Annelies van Loon and Petria Noble, Mauritshuis, The Royal Martha Rosler, independent artist The Future Role of Art History in Curating Historic Collections Kati Rubinyi, Civic Projects Foundation Picture Gallery Sutton Parlor North, 2nd Floor Patricia Villalobos Echeverria, Western Michigan University Nobuho Nagasawa, Stony Brook University, State University of Chair: Alison Yarrington, University of Hull “Edgar Degas ”: An Innovative Systematic Catalogue New York

Suzanne Lindsay, University of Pennsylvania; and Shelley Sturman, Veronica Davies, The Open University Daphne Barbour, Barbara Berrie, Michael Palmer, and Suzanne Ini Archibong, Design by INI Lomax, National Gallery of Art Joe Doucet, Joe Doucet Studio The Techniques of Henry O. Tanner Amber Kerr-Allison, Smithsonian American Art Museum; and Anne Marley, Pennsylvania Academy of Fine Arts

34 college art association February 13 –16, 2013 35 Wednesday About Face: Looking Beyond the Icon’s Gaze The Darwin Effect: EvolutionaryT heory, Art, and Reanimating the Muted Site of Modernity Jesus as Mother: The Politics of Gendering the Sacred Heart in Gibson Room, 2nd Floor Aesthetic Thought Shima Baradaran Mohajeri, Texas A&M University New Spain Chair: Charles Barber, University of Notre Dame Regent Parlor, 2nd Floor Lauren Grace Kilroy, College, City University of New York Indigenous Archaeologies of Ottoman Anatolia: Decolonizing Spolia Chairs: Michael Dorsch, The Cooper Union for the Advancement The Anaphoric Icon: The Traveling Virgin of Naupaktos Benjamin Anderson, Cornell University Women’s Trajectory in the Mexican Academy of San Carlos: of Science and Art; Jean Marie Evans, The Oriental Institute of the Anthony Cutler, Pennsylvania State University Her Incorporation into the Art World University of Chicago Submerged Stories from Eastern Turkey: Dams, Archaeology, and Elizabeth Fuentes Rojas, Universidad Nacional Autónoma Asleep and Awake: At the Scene of “Private Devotion” with the the Unnamed “Colonial” Sculpting a Sumerian Race: The Nineteenth-Century Reception de México Byzantine Man of Sorrows Laurent Dissard, University of California, Berkeley of Sumer Mitchell Merback, Johns Hopkins University Incorporated Vision: A Feminist Critique of Development Discourse Jean Marie Evans, The Oriental Institute of the University Ana Maria Reyes, independent scholar Face of the Icon, Avatar of the User: The Procedural Rhetoric of Chicago Myth and Modernism: New Perspectives on the 1913 of the Byzantine Icon Armory Show Now We See You, Now We Don’t: Feminisms in Argentine Art, Inscribing Darwin: Nineteenth-Century Representations of Evolution Roland Betancourt, Yale University West Ballroom, 3rd Floor 1980s–1990s Judith Berman Kohn, Cambridge University Chairs: Marilyn Kushner and Kimberly Orcutt, New-York Historical Marta García Barrio-Garsd, independent scholar The Nonvisual Face in Levinas and Byzantine Art Evolving From “Savages”: Mannequin Displays of Prehistoric Society; Stephanie A. D’Alessandro, The Art Institute of Chicago Rico Franses, American University of Beirut Humans and Race Who Bought What at the Armory Show: Forgotten and Uneasy Guardians: Ensuring the Future of Intractable Linda Kim, Drexel University Not-So-Famous Collectors Art Forms What is Yucatecan about Yucatán: Art Historical Discourse in Seeing and Not Seeing: The Post-Darwinian Eye and Aesthetics Vivian Endicott Barnett, independent scholar Gramercy B, 2nd Floor Yucatán’s Visual Culutre, Precolumbian through Contemporary in Great Britain Chairs: Megan Metcalf, University of California, Los Angeles; Madison Suite, 2nd Floor How Futurism Got Left Out at the Armory: A Case Study in the Politics Barbara Larson, University of West Florida Holly Rachel Harrison, Los Angeles County Museum of Art Chairs: Charles Cody Barteet, University of Western Ontario; of Exhibition and Its Repercussions Amara Solari, Pennsylvania State University Origins, Loss, and Desire in Gauguin’s Tahitian Eve Zoe Marie Jones, Humboldt State University Coproduction at The Museum of Modern Art Martha Lucy, Drexel University Glenn Wharton, New York University and The Museum of Painting in the Vernacular: Contextualizing Chichen Itza and the American Beauty: , the Armory Show, and Modern Art; Fernando Domínguez Rubio, Centre for Research Roots of Yucatecan Identity Artistic Authority on Socio-Cultural Change and University of San Diego Victoria Lyall, Los Angeles County Museum of Art Art and Artists in the Field of Cultural Production: Alexis L. Boylan, University of Connecticut Reception Studies, Part I Of Mutability: The Ethics of Curating and Re-presenting The Puuc Style of Yucatán: An Architectonic Aesthetic as an Expression Beyond the “Shingle Factory”: The Armory Show in the American Mass Gramercy A, 2nd Floor Ephemeral Artworks of Regional Sociopolitical Statuses and Cultural Identities Media after 1913 Chair: Ruth E. Iskin, Ben-Gurion University of the Negev Chrissie Iles, Whitney Museum of American Art Jeff Karl Kowalski, Northern Illinois University Melissa Renn, Fogg Museum, Harvard University Art Museums The Reception of Fiber as a Medium of Art: The Case Study of Negotiating the Ineffable The “Yucatecan Vision” of Fernando Castro Pacheco Sheila Hicks Martha Buskirk, Montserrat College of Art George Scheper, Johns Hopkins University Photography in Doubt, Part I Elissa Auther, University of Colorado, Colorado Springs Rendezvous Trianon, 3rd Floor Changing Understandings of Change Time, Tourism, and Politics of Maya Architecture: Modern Reading Modern Women Artists in Interwar France Chairs: Sabine Tania Kriebel, University College Cork; Corey D’Augustine, independent scholar Development at Chichén Itzá and Its Relationship to Yucatán Paula Birnbaum, University of San Francisco Andres Mario Zervigon, Rutgers, The State University of New Jersey Cultural Identity Kristin Barry, Pennsylvania State University In the Eye of the Beholder: Foujita and His Critics in , France, Daguerreotypes: Fugitive Subjects, Contemporary Objects The Experience of the Studio: Master-Pupil Relationships and the United States Lisa Saltzman, Bryn Mawr College in Europe and China, 1400–1700 Discussant: Linda K. Williams, University of Puget Sound Ikuyo Nakagawa, The Graduate Center, City University of New York The Doubtful User: W. H. F. Talbot’s Early Attempts of the Advancement Morgan Suite, 2nd Floor Chairs: Christina Neilson, Oberlin College; Michele Matteini, John Singer Sargent’s Exile of Photography Beyond the Paragone Reed College Susan Sidlauskas, Rutgers, The State Unversity of New Jersey Mirjam Brusius, Max Planck Institute for the History of Science; Sutton Parlor North, 2nd Floor Chitra Ramalingam, University of Cambridge Augsburg Painters and Their Pupils from the Fifteenth to the Early Chairs: Sarah Betzer, University of Virginia; Laura Weigert, Rutgers, Visualizing Reception: The Shape of the Art Market around 1800 Seventeenth Centuries The State University of New Jersey Christian Huemer, The Authority of the “Never-Seen”: Abstraction as Obfuscation in Surrealist Photograms Danica Brenner, University of Trier The Virtual Holy: Gaudenzio’s Stagings at Varallo Susan Laxton, University of California, Riverside The Master, the Pupil, and the Thief: The Life of Frans Floris and the Roberta Panzanelli, Polimoda: International Institute of Fashion Interventions into Postcolonialism and Beyond: A Call for Issue of Artistic Transmission in Karel van Mander’s Theory of Art Design and Marketing New Sites, Objects, and Times Picturing Doubt: A Cold War Theory of Photography Valentin Nussbaum, National Taiwan Normal University Petit Trianon, 3rd Floor John J. Curley, Wake Forest University Severed Heads: The Aftermath of Violence in Spanish Still-Life Painting Chairs: Kivanc Kilinc, Izmir University of Economics; Saygin Salgirli, The Combined Brush: Shen Zhou and Wen Zhengming as Dual Krystel Chehab, University of British Columbia Frater meus, patria mea: Passionate Attachment and Sabanci University Photographic Doubt Masters in Ming China Lady Sherman’s Attitudes Lihong Liu, Institute of Fine Arts, New York University A Call for a Spatial and Temporal Turn in Postcolonial Studies Eve Meltzer, New York University Cordula Grewe, Columbia University Kivanc Kilinc, Izmir University of Economics; Saygin Salgirli, In Dialogue: Anthony Van Dyck in Peter Paul Rubens’s Workshop Sabanci University A Performative Paragone: The Dusseldorf State Art Academy, ca. 1968 Association for Latin American Art Eva Struhal, Université Laval Colin Lang, Virginia Commonwealth University Migrating Sites of Cultural Reproduction: The Rhetoric of Empire in Questioning Feminisms in Latin America’s Art Histories Secrets under the Pillow: The Practice and Legacy of the Album to Discussant: Jacqueline Lichtenstein, Université Paris Sorbonne Richard Long’s Land Art Beekman Parlor, 2nd Floor See the Large within the Small Eric Matthew Stryker, Southern Methodist University Chairs: Aleca Le Blanc, California State University, Long Beach, Ching-Ling Wang, Kunsthistorisches Institut in Florenz and

and Los Angeles County Museum of Art; Harper Montgomery, Museum für Asiatische Kunst, Staatliche Museen zu Berlin Rethinking Egypt as a Paradigm of Periphery: The Temple of Dendur Hunter College, City University of New York as the Center of Hybrid Culture at the Edge of a Global Roman Empire Erin Peters, University of Iowa Sacred Transformations, Indigenous Influences: Mary Magdalene and Other Case Studies in Colonial Art Charlene Villaseñor Black, University of California, Los Angeles

36 college art association February 13 –16, 2013 37 Thursday Reframing Post-Black Thursday, February 14 Starting from Mexico: Estridentismo as an Avant-Garde Model Consideration as an Alternative to Critique Sutton Parlor South, 2nd Floor Tatiana Flores, Rutgers, The State University of New Jersey Karen Schiff, independent artist 8:00 AM–9:00 AM Chair: Kathleen Reinhardt, Freie Universität Berlin Discussant: Ruth Phillips, Carleton University Hell Yeah Ming Wong, Jean-Ulrick Désert, and the Parallax View of Education/Algorithms: Art.sy Talks about The Art Genome Andreas Fischer, Illinois State University European Otherness Effects Project and Discovering Art Online Writing with Images Tavia Nyong’o, New York University West Ballroom, 3rd Floor Beekman Parlor, 2nd Floor Elisabeth Friedman, Illinois State University Chair: Huey Copeland, Northwestern University Kori Newkirk, independent artist Chairs: Christine Kuan and Matthew Israel, Art.sy

The Smithson Effect Naima J. Keith, The Studio Museum in Harlem Association of Historians of Nineteenth-Century Art James Meyer, National Gallery of Art Art and Product Placement, 1850–1918 Shinique Smith, independent artist Thursday, February 14 Lights Out: Tom Lloyd and the Effect of Disappearance Rendezvous Trianon, 3rd Floor Kalup Donte Linzy, independent artist 9:30 AM–12:00 PM Krista Thompson, Northwestern University Chairs: Gloria Groom and Martha Tedeschi, The Art Institute of Chicago CAA THATCamp: What Happened and What’s Next Entanglement The Changing Complexion of Theory Beekman Parlor, 2nd Floor Jeannine Tang, Courtauld Institute of Art Impressionism and the Industrialization of Time Nassau Suite, 2nd Floor André Dombrowski, University of Pennsylvania No Drones: Louise Lawler and the Transference of War Chair: Ian Verstegen, independent scholar Steven Zucker, Khan Academy Mignon Nixon, Courtauld Institute of Art Tobacco Served in an Artistic Package: Smoking, Still Life, and Gazing at Humanized Terror: Boteromorphs at Abu Ghraib Beth Harris, Khan Academy Consumer Culture in Gilded Age America Side-Effect: Affect Neli Dobreva, University of Paris 1 Panthéon-Sorbonne Ross Barrett, University of Chicago Barbara Rockenbach, Columbia University Johanna Burton, Bard College The Uses of Theory Art vs. Merchandise: The Case of the Société d’Aquarellistes français Carole Ann Fabian, Columbia University Deborah Haynes, University of Colorado Jane Roos, Hunter College, City University of New York International Center of Medieval Art Diane Zorich, independent consultant Re-Viewing Neoliberalism: European Theory, Transnational Feminism, Jerusalem: Medieval Art, History, and Sanctity through the Tattooing as High-Status Commodity Art in the Late and the Visual Ileana Selejan, Institute of Fine Arts, New York University Eyes of Many Faiths Nineteenth-Century Robin James, University of North Carolina at Charlotte Gibson Room, 2nd Floor Matt Lodder, University of Reading

Chair: Cathleen A. Fleck, Saint Louis University The Decorative Arts within Art Historical Discourse: Vallotton and the Art of Attraction Where Is the Dialogue Now, and Where Is It Heading? Dome of the Rock as Image of the Ancient Jewish Temple Bridget A. Alsdorf, Princeton University Thursday, February 14 Nassau Suite, 2nd Floor Pamela Berger, Boston College Chairs: Christina M. Anderson, University of Oxford; 7:30 AM–9:00 AM From Jerusalem to Civate: The Ciborium as Ark and Tomb Mad “Men” and the Visual Culture of the Long Sixties Catherine L. Futter, The Nelson-Atkins Museum of Art Gillian B. Elliott, Corcoran College of Art and Design Trianon Ballroom, 3rd Floor Art Historians of Southern California Not Material Culture but Moveable Culture: A Consideration of the Chair: Mona Hadler, Brooklyn College and The Graduate Center, Between the Temple Mount and the Holy Sepulchre: Architectural State of the Discipline: The Position of Nonwestern Art in Decorative Arts City University of New York Translation of Jerusalem to Twelfth-Century Pisa Art History Megan Aldrich, Sotheby’s Institute of Art, London Neta Bodner, The Hebrew University of Jerusalem The Mad Men, a Bank, and a Gallery: A Midcentury Award-Winning Sutton Parlor Center, 2nd Floor Listening to Objects: An Ecological Approach to the Decorative Arts Advertising Campaign Chairs: Kristen S. Chiem and Cynthia Colburn, Art Historians of Referencing Solomon’s Temple: The Foliate Frieze as Golden Vine in Erin Campbell, University of Victoria Suzanne F. W. Lemakis, Center for Culture: Department of Southern California French Gothic Churches Fine Art, Citibank The Decorative and Warhol’s Flower Factory, 1964 Mailan Doquang, McGill University Globalization and the Art History Survey Liam Considine, Institute of Fine Arts, New York University The Ubiquitous Glass Box: Mad Men and the Rise and Critique of Viral Cynthia Colburn and Kristen Chiem, Art Historians of Representing Pilgrimage in Judaism, Christianity, and Islam Corporate Architecture at Midcentury Southern California Plastering over the Decorative Arts Bianca Kühnel, The Hebrew University of Jerusalem Scott Murray, University of Illinois at Urbana-Champaign Conor Lucey, University College (Non)Western Art Historiography and Eclectic Taste in Nineteenth- Executive Modern: Abstract Art and the Planning of Corporate Space Century Iran and India Beyond Terminology Critiquing Criticality Alex J. Taylor, University of Oxford Talinn Grigor, Brandeis University Deborah Krohn, Bard Graduate Center: Decorative Arts, Design Sutton Parlor North, 2nd Floor History, Material Culture Chairs: Pamela Lynn Fraser, University of Vermont; Mad Men, Bad Men, and Empty Modernism When Is It Western and When Isn’t It? The Role of Lebanese Art in Randall David Szott Kristina Wilson, Clark University (Western) Art History Kirsten Scheid, American University of Beirut Local Modernisms Fluxus and the Constructive Turn Becoming a Bachelor: Don Draper, the Apartment, and the Closet Morgan Suite, 2nd Floor Roger Rothman, Bucknell University Pamela Robertson Wojcik, University of Notre Dame Reading Iranian Photography Chair: Geoffrey Batchen, Victoria University of Wellington Elahe Helbig, Rheinische Friedrich-Wilhelms-Universität Bonn “Criticality Gone”: Jeff Koons’s Critique of Criticality in the Late 1980s Discussant: Paola Antonelli, The Museum of Modern Art Abstraction as Resistance in 1950s India AnnMarie Perl, Institute of Fine Arts, New York University

Association for Latin American Art Atreyee Gupta, University of California, Berkeley Business Meeting Thinking through Criticality Critiquing the Critique: The Reception of El Anatsui Regent Parlor, 2nd Floor Shona MacDonald, University of Massachusetts Sunanda Sanyal, The Art Institute of Boston at Lesley University Mediocrity Doesn’t Happen Overnight … It Takes a Lot of Hard Work Catalogue Raisonné Scholars Association Mahmoud Mukhtar: “The First Sculptor in the Land of Sculpture” Michael Aurbach, Vanderbilt University Business Meeting Alexandra Seggerman, Yale University Sutton Parlor South, 2nd Floor Uncritical Thinking Charles Dobson, Emily Carr University of Art and Design

38 college art association February 13 –16, 2013 39 Thursday The Particulars of Postidentity Facing Forward, Looking Backward: John Rewald’s Border Crossings: Rethinking Identity Questions in Art The Folding Screen in Colonial Mexico: The Reinterpretation of a Gramercy B, 2nd Floor Transatlantic Scholarship and Architecture Japanese Art Form Chairs: Jessica L. Horton, Center for Advanced Study in the Visual Jorgelina Orfila, Texas Tech University Sutton Parlor Center, 2nd Floor Sofia Sanabrais, Los Angeles County Museum of Art Arts; Cherise Smith, University of Texas at Austin Chair: Carol Herselle Krinsky, New York University Concerning the Profane in Indian Art: Expatriate Art Historians The Translations of Nebrija: Ancient , Early Modern Vernaculars Post-Black: Afro-Kitsch and the Queering of Blackness and the Writing of Indian Art History Between Shores: Henry O. Tanner, Transatlanticism, and the from the Philippines to Tuscany, and the Interpretation of Derek Conrad Murray, University of California, Santa Cruz Devika Singh, University of Cambridge Margins of Space Mesoamerican History Jeffrey G. Richmond-Moll, University of Delaware Byron Hamann, The Ohio State University A Latino New Wave: Minimalism, Race, and Postidentity Politics in the Art of Juan Capistran Association for Textual Scholarship in Art History Edward S. Morse’s Writings on Nineteenth-Century Japanese Historians of Islamic Art Association Rose G. Salseda, University of Texas at Austin For and Against Homoeroticism: Artists, Authors, and the Culture as Ethnographic Allegory Between Maker, Agent, Collector, Curator, and Conservator: Love that Dare Not Speak Its Name Jonathan M. Reynolds, Barnard College-Columbia University Post-Jewish/Post-Holocaust: Contemporary Jewish American Art and Interdisciplinary Approaches to the Study of Islamic Tilework Petit Trianon, 3rd Floor the Visual Language of Memory The Transformation of Hungarian Koloszvar into Romanian Regent Parlor, 2nd Floor Chairs: Jongwoo Jeremy Kim, University of Louisville; Stacy R. Schwartz, San Jose State University Cluj-Napolca Chairs: Keelan Overton; Jonathan Bloom, Boston College Christopher Reed, Pennsylvania State University Samuel D. Albert, independent scholar A Particular Commonality: Jimmie Durham’s Building a Nation Remonumentalizing Islamic Tilework: A New Biography of Window Cold-War Martyrdom: St. Sebastian and the Sexual Politics of a and the Globalization of Dissent Medicina y Marginales: Middle-Eastern Diaspora and Immigrant Grilles from Islamic Iran Queer Icon at Midcentury Mark James Watson, Clayton State University Interventions in Modern Argentina Yuka Kadoi, University of Edinburgh Richard Kaye, Hunter College and The Graduate Center, City Caroline M. Wolf, Rice University Spiral: Outside of Black and White University of New York From Damascus to Cambridge: William Morris and the Iznik Tile Andrianna Campbell, The Graduate Center, City University of The Crossroads of Palmyra: Historic Preservation, Vernacular Panels at the Fitzwilliam Museum Dandy, Decadent, Dissident: D’Annunzio, Ontani, and Saint Sebastian New York Architecture, and Civilizing Missions Rebecca Bridgman, The Fitzwilliam Museum Anna Mecugni, Vassar College Heghnar Watenpaugh, University of California, Davis Shining Bright: Luster Mihrabs from Medieval Iran Masculinity in Repose: Homoerotic Referencing in the Work of The Latin American Presence at International Exhibitions, Sheila Blair, Boston College Christopher Wood and David Hockney 1855–Present Mapping Spaces: Cartographic Practices in Art and Andrew Stephenson, University of East London “In the Absence of Originals”: Replicating the Tilework of Safavid Sutton Parlor South, 2nd Floor Architecture, Part I Isfahan for the Victoria and Albert Museum Chairs: Maya Jiménez, Kingsborough Community College, City Outing Franz Xaver Messerschmidt, or Ernst Kris’s Bryant Suite, 2nd Floor Moya Carey, Victoria and Albert Museum University of New York; Michele Greet, George Mason University Creative Homophobia Chair: Min Kyung Lee, Swarthmore College Michael Yonan, University of Missouri-Columbia Paintbrush Politics: Cultural Presence of Mexico and Brazil at the US TRUE, the Polar Section of the World’s Edge—The Atlantic Basin CAA Committee on Women in the Arts Centennial, 1876 Photography, Homosexuality, and Desire to Express: Novelist Yukio Project—An Atlas of Emptiness and Extremity Take Two: Early Feminist Performance Art in Katherine Manthorne, The Graduate Center, City University of Mishima and Photographer Tamotsu Yatō Thomas Joshua Cooper, The Glasgow School of Art Contemporary Practice New York Yasufumi Nakamori, The Museum of Fine Arts, Houston Cartography as Simulacrum: The Construction of Place in Flemish Gramercy A, 2nd Floor Cuban Art and Culture in and around the 1939 New York World’s Fair The Habitual Decryptors of Desire: Duane Michals, Hervé Guibert, City Views of the Mid-Sixteenth Century Chair: Kathleen Wentrack, Queensborough Community College, Susanna Temkin, Institute of Fine Arts, New York University and Michel Foucault Ryan E. Gregg, Webster University City University of New York Nicholas de Villiers, University of North Florida Positioning the Americas: The Guggenheim and Carnegie Mapping Philosophy in Early Modern Europe Changes in Feminist Artistic Practice: Mónica Mayer, the Feminist Internationals of the Sixties Susanna Berger, Center for Advanced Study in the Visual Arts Studio Workshop, and Mexican Art, 1978–1993 Delia Solomons, Institute of Fine Arts, New York University ARTspace Alberto McKelligan, The Graduate Center, City University of Anna Bella Geiger’s Mapas Elementares: Space and Place in Brazil The Imaginary City in the Twenty-First Century New York Locating Latinidad at the Biennale di Venezia during the 1970s Murray Hill Suite, 2nd Floor María del Mar González-González, University of Illinois at Elena Shtromberg, University of Utah Being Ana: Tania Bruguera’s Tribute to Ana Mendieta Chairs: Ayse Hazar Koksal, Mimar Sinan Fine Arts University; Urbana-Champaign Drew Elizabeth Bucilla, The Graduate Center, City University of Ayse Nur Erek, Yeditepe University In the Map: Maya Lin’s Blue Lake Pass New York Decolonizing Documenta: Latin American Artists in Miriam Ashkin Stanton, Williams College Museum of Art High Speed Urbanization: Exploring the Rise of Urban Culture in Julia Roth, Freie Universität Berlin A Chip Off the Old Block: Carolee Schneemann and Kate Gilmore Contemporary São Paulo Get Messy Alexander Lamazares, Bronx Community College, City University Crossing Oceans: Visual Culture and the History of Harry Weil, Stony Brook University, State University of New York CAA International Committee of New York Exchange in Colonial Latin America Crossing Continents: Expatriate Histories of Art in the Madison Suite, 2nd Floor New Maternalisms: Pedagogy and Performance in Contemporary Flânerie’s Art and Measure of the Globalizing City Twentieth Century Chairs: Dana Leibsohn, Smith College; Meha Priyadarshini, “Mama-Art” Kathryn Kramer, State University of New York College at Cortland East Ballroom, 3rd Floor Columbia University Natalie S. Loveless, University of Alberta Chair: Geraldine A. Johnson, University of Oxford The Negotiation of Interstitial Space in the Glocal City at the Turn of Transatlantic Booty: Thevet and Hakluyt Abduct the Codex Mendoza Performing Dissent: The Rhetoric of Opposition in the Twenty-First Century Inside/Outside: Germany/London Todd Olson, University of California, Berkeley Reenactment Performance Gabriel Gee, Franklin College David Cast, Bryn Mawr College Natalie Musteata, The Graduate Center, City University of Urban Images and Mental Maps: Representations of Havana and The City as Contact Zone New York Otto Brendel and Erwin Panofsky: On the Problems of Describing and Veracruz in the Seventeenth Century Bettina Lockemann, Braunschweig University of Art Interpreting Art in the New World Joseph Clark, Johns Hopkins University Katharina G. Lorenz, University of Nottingham The Annual Permission Ship and Furniture Production in Eighteenth- Drawn From Memory: Reconstructing “The Hall of the Great Council of Century New Spain ” in Exile Teresa Calero Martínez de Irujo, Universidad Anahuac Norte Bruce L. Edelstein, New York University Florence

40 college art association February 13 –16, 2013 41 Thursday Thursday, February 14 ARTspace Northern California Art Historians CAA Services to Artists Committee The Cult of Beauty: Aestheticism in Late 12:30 PM–2:00 PM Thursday, February 14 Meta-Mentors: Hybrid Practices Nineteenth-Century Britain 12:30 PM–2:00 PM Murray Hill Suite, 2nd Floor Gramercy B, 2nd Floor National Endowment for the Arts South Corridor, 2nd Floor Chairs: Vesna Pavlovic, Vanderbilt University; Niku Kashef, Chair: Jan Newstrom Thompson, San Jose State University Grants Workshop California State University, Northridge Nassau Suite, 2nd Floor The Cult of Beauty Exhibition POSTER SESSIONS Chairs: Wendy Clark and Meg Brennan, National Endowment Yvette Brackman, independent artist Lynn Federle Orr and Melissa E. Buron, Fine Arts Museums of Poster sessions are informal presentations for small groups for the Arts San Francisco Samantha Fields, California State University, Northridge displayed on poster boards by an individual. The poster The Cult of Beauty: Aestheticism in Late Nineteenth-Century Britain display is usually a mixture of a brief narrative paper Association for Latin American Art Hope Ginsburg, Virginia Commonwealth University Melody Barnett Deusner, Indiana University intermixed with illustrations, tables or graphs, and other Emerging Scholars Max Schumann, Printed Matter, Inc presentation materials. With a few concisely written areas Regent Parlor, 2nd Floor Edward Burne-Jones’s Love Among the Ruins of focus, the poster display communicates the essence of Chair: Constance Cortez, Texas Tech University Jenna Spevack, College of Technology, Liana DeGirolami Cheney, University of Massachusetts Lowell the presenter’s research, synthesizing its main ideas and City University of New York Portraits, Potatoes, and Perception: Toward a Sense of Moche research directions. Poster displays will be on view for the CAA Professional Practices Committee Artistic Vision duration of the conference, beginning on Thursday morning. Senior Exhibition Requirements for BFA and BA Programs Lisa Senchyshyn Trever, Dumbarton Oaks and Harvard University Exhibitor’s Session On Thursday and Friday, from 12:30 to 2:00 PM, presenters Sutton Parlor Center, 2nd Floor Art in America will be available at the Poster area. Remaking the Sacred: The Señor de Santa Teresa and the Miraculous Chair: Robert Tynes, University of North Carolina at Asheville Trianon Ballroom, 3rd Floor “Renovation” of Statues in Viceregal Mexico janbrueghel.org: Collaborative Catalogue Raisonne and Chair: Lindsay Pollock, Brant Publishing Advantages of Requiring Solo Senior Exhibitions for Undergraduates Derek Burdette, Tulane University Research Website Robert Tynes, University of North Carolina at Asheville Elizabeth Honig and Jennifer Sakai, University of Transnationalism and Abstraction in Colombian Art of the 1950s: ArtTable BFA Exhibition Requirements and Program Assessment: A Case Study California, Berkeley A New Historiographic Model Afterlives of Performance in Visual Art from San Francisco Art Institute Ana M. Franco, Universidad de los Andes Teaching the Visualization of Ecological and Madison Suite, 2nd Floor Jennifer Rissler, San Francisco Art Institute Conservation Issues Chair: Susan Rosenberg, St. John’s University Team Teaching in a Small Studio Art Program Laura Huaracha, Carthage College Exhibitor’s Session Christine Frohnert, Bek and Frohnert LLC Nancy Campbell, Mount Holyoke College How to Get Published and How to Get Read Art History Teaching Resources Gibson Room, 2nd Floor Julie Martin, Experiments in Art and Technology Artwalk: An Assessment of Maryland Institute College of Art’s BFA Michelle Jubin, The Graduate Center, City University of Chairs: Loren Diclaudio and Natalie Foster, Routledge Senior Exhibit New York; Karen Shelby, Baruch College, City University Jenny Schlenzka, MoMA PS1 Paul Jeanes, Maryland Institute College of Art of New York Barbara Clausen, University of Quebec in Montreal Foundations in Art: Theory and Education Senior Exhibition Requirements under Review: Does Everyone San Diego Mesa College Museum Studies Program: Gaining Issues Surrounding the Online Foundations Experience Have to Show in the Museum? Practical Knowledge and Connecting with Communities Bryant Suite, 2nd Floor CAA Museum Committee Anne Galperin, State University of New York at New Paltz Alessandra Moctezuma and Georgia Laris, San Diego Chair: Sara Dismukes, Troy University The Position of Academic Programs in Campus Art Museums: BFA Exhibit: Rite of Passage and Real World Experience Mesa College What, Why, Who, and Where To? Jeff Davis, The Art Institute of Pittsburgh Julie Ganser, University of Wisconsin-Madison Design to Renourish Petit Trianon, 3rd Floor Yvette Perullo, Purdue University Martha Horvay, University of Nebraska-Lincoln Chairs: N. Elizabeth Schlatter, University of Richmond Museums; Celka Straughn, Spencer Museum of Art, University of Kansas Association of Historians of American Art Valerie Powell, Sam Houston State University Siena: Art, Tradition, and Identity in a Contemporary Business Meeting Medieval City Katherine Hart, Hood Museum of Art, Dartmouth College Marcela Iannini, International University of Art and Design Sutton Parlor South, 2nd Floor Anna Piperato, High Point University Mariët Westermann, The Andrew W. Mellon Foundation

Design Studies Forum Antoine Claudet’s The Geography Lesson: French Southeastern College Art Conference Rebecca Martin Nagy, Samuel P. Harn Museum of Art, University Business Meeting Daguerreotypes and Victorian Education The Place of the Viewer, 1950s–1960s of Florida Rendezvous Trianon, 3rd Floor Rachelle Street, BMCC, City University of New York Sutton Parlor North, 2nd Floor

Chair: Kerr Houston, Maryland Institute College of Art Visual Poetry: Text as Textile in Contemporary Design National Endowment for the Humanities Funding Diasporic Asian Art Network Diana Shaffer, Art Institute of Dallas Who Cares if You Look? Opportunities Business Meeting Todd Cronan, Emory University Beekman Parlor, 2nd Floor Morgan Suite, 2nd Floor Chair: Danielle Shapiro, National Endowment for the Humanities “…models for a kind of visual experience”: Claes Oldenburg’s Leonardo Education and Art Forum Sculptural Strategies in the 1960s Mary Downs, National Endowment for the Humanities Business Meeting Katherine Smith, Agnes Scott College Stefanie Walker, National Endowment for the Humanities Gramercy A, 2nd Floor The Southern Civil Rights Movement and Let Us Now Praise Famous Men Keri Watson, Auburn University at Montgomery

42 college art association February 13 –16, 2013 43 Thursday Thursday, February 14 Art and “The War on Terror”: Ten Years On Medieval Art and Response, ca. 1300–ca. 1500 Material and Narrative Histories: Rethinking the Approach to Petit Trianon, 3rd Floor Gramercy B, 2nd Floor Inventories and Catalogues 2:30 PM–5:00 PM Chair: August Jordan Davis, Winchester School of Art, Chairs: Theresa Flanigan, The College of Saint Rose; Holly Flora, Nassau Suite, 2nd Floor University of Southampton Tulane University Chairs: Anne Helmreich, Getty Foundation; Francesco Freddolini, Open Session Luther College, University of Regina French Art, 1715–1789 Martha Rosler, independent artist Re-formed and Reborn in the Holy Font: Images, Materials, and West Ballroom, 3rd Floor Viewer Reception in the Orthodox Baptistery of Ravenna Why Cauldrons Come First: Exogenous and Endogenous Taxonomies Jonathan Harris, Winchester School of Art, University Chair: Colin B. Bailey, The Frick Collection Carly Jane Steinborn, Rutgers, The State University of New Jersey in the Earliest Chinese Antiquarian Catalogs of Southampton Jeffrey Moser, McGill University The Chinese Elephant: Unpacking an Improbable Pachyderm The Power of Picture Books: Le Somme Le Roi and the Moral Nicholas Mirzoeff, New York University Judy Sund, Queens College and The Graduate Center, City Imperative of Visual Literacy The Inventory as Negative Description University of New York Rijin Sahakian, Sada (Echo) for Contemporary Iraqi Art Alexa Sand, Utah State University Allison Stielau, Yale University Dogsbodies: Animal Combat Paintings and Human Hierarchies in Kathy Battista, Sotheby’s Institute of Art The Role of Touch in Medieval Devotion. Really? Between Notary and Maestro di Casa: Florentine Inventories during Eighteenth-Century France Martina Bagnoli, The Walters Art Museum the Principato The Enemy Within: Political Fear and Censorship Amy Freund, Texas Christian University Cinzia Maria Sicca, Università di Pisa Pierre Saurisse, Sotheby’s Institute of Art, London Experiencing the Magdalene: Seeing, Smelling, and Hearing Donning the Friar’s Habit: Mademoiselle de Charolais “en Cordelier” Salvation in Northern Devotional Art The Salon Livret and the Origins of the Modern Picture Title Creative Time in the Age of Bush: The Public Art Institution as Melissa Percival, University of Exeter Penny Howell Jolly, Skidmore College Ruth Bernard Yeazell, Yale University Agent of Political Response Gabriel Huquier (1695–1772), an Archival Portrait Jennifer K. Favorite, The Graduate Center, City University Seeing Magic, Feeling Magic: A Sixteenth-Century Embodied Between List and Legacy: Enumerating the Hugh Lane Collection David Pullins, Harvard University of New York Response to Engraved Images on Precious Gems Morna O’Neill, Wake Forest University Liliana Leopardi, Hobart and William Smith Colleges Below the Radar: Etching and Camaraderie at the Académie Controlling the Frame de France in Rome Dora Apel, Wayne State University Sexing Sculpture: New Approaches to Theorizing the Object Perrin Stein, The Metropolitan Museum of Art Art History Open Session Regent Parlor, 2nd Floor

New Approaches to the Study of Historical Arts in Africa Chairs: Jillian Hernandez, Rutgers, The State University of New ARTspace Sutton Parlor North, 2nd Floor Jersey; Susan Richmond, Georgia State University Historians of British Art The Artist as Ethicist: Who Is Responsible? Chair: Susan Elizabeth Gagliardi, The City College, City University Parallel Lines Converging: Art, Design, and Fashion Histories Murray Hill Suite, 2nd Floor Material Specificity and the Index of the Feminine of New York Beekman Parlor, 2nd Floor Chair: Blane de St. Croix, Indiana University Bloomington Rachel M. Lachowicz, Claremont Graduate University Chair: Julie Codell, Arizona State University Unraveling the Foundation of African Arts in New York during the Jeffrey Gibson, independent artist Object Lessons: Thinking Gender Variance through Modernist Era Minimalist Sculpture Gothic Architecture, Ornament, and Sexuality in the Circle of Sergio Muñoz Sarmiento, Clancco Yaëlle Biro, The Metropolitan Museum of Art R. E. H. Gordon, Parsons The New School for Design Horace Walpole Martha Schwendener, independent critic When a Statue of a Colonial Agent Turns Out To Be a Pende Power Matthew M. Reeve, Queen’s University Broadway Flesh: Dan Flavin’s Early Dedications Object: Joining Science, Field, and Archive Dread Scott, independent artist David J. Getsy, School of the Art Institute of Chicago Richard B. Woodward, Virginia Museum of Fine Arts St. Martin’s Lane: Artists and Artisans in Mid-Eighteenth-Century The Stand: Possessing Powers London A Muslim Masquerade in Southwestern Burkina Faso? Arts of Transition: Visual Culture, Democracy, and Lily Cox-Richard, University of Michigan Stacey Sloboda, Southern Illinois University Lisa Homann, Wayne State University Disillusionment in Latin America Rethinking Vaginal Iconography in Hannah Wilke’s Sculpture Sutton Parlor South, 2nd Floor Textiles as the Material of African Art History “A Wild Kind of Imagination”: Fashionable Eclecticism and Excess Rachel Middleman, Utah State University Sarah C. Brett-Smith, Rutgers, The State University of New Jersey in Thomas Johnson’s “English Rococo” Designs Chairs: George F. Flaherty, University of Texas at Austin; Luis M. Castañeda, Syracuse University Brigid von Preussen, Columbia University Discussant: Steven Nelson, University of California, Los Angeles Model Images CAYC al aire libre: Democratic Conceptualism in 1970s Argentina Rendezvous Trianon, 3rd Floor Roses and Castles Art: The Floating Population’s Claim to Citizenship Daniel Quiles, School of the Art Institute of Chicago Chair: Juliet Koss, Scripps College Susanna D. L. Cole, Columbia University CAA Distinguished Scholar Session Honoring Wen C. Fong Dystopia Embodied: Homenaje a la necrofilia and the Trianon Ballroom, 3rd Floor Rivals, Catalysts, Accomplices Corporealized Object Chair: Robert E. Harrist, Jr., Columbia University “A bon-vivant in a buttoned-down city”: F. C. B. Cadell’s Paintings Reinhard Wendler, University of the Arts, Sean Nesselrode, New York University of Edinburgh Interiors in the 1920s The Five Hundred Luohans Revisited Drawing Michelangelo’s Models Ysanne Holt, University of Northumbria The Nonmagical Realism of Claudio Perna: Counterimagining Yukio Lippit, Harvard University Carolyn Y. Yerkes, Columbia University Venezuela under the Sign of Disillusionment Searching for a New “Great Synthesis”: The Art Historical Art as Fashion in the Name of Social Revolution: Eileen Agar’s Angel Juan Ledezma, independent scholar Thomas Demand, independent artist of Anarchy and Ceremonial Hat for Eating Bouillabaisse Writing of Wen C. Fong from a Chinese Perspective Susan King Obarski, University of California, Irvine Brick by Brick: Responses to Notions of Progress and Development Shih Shou-chien, Academia Sinica Didactic Dismemberment in Seventeenth-Century England in Colombian Contemporary Art Kimberley Skelton, independent scholar Brushwork and Beyond: The Study of Chinese Calligraphy Gina Tarver, Texas State University, San Marcos Open Session in America and Europe Model Use Art Criticism: Taking a Pulse The Arts of Transitional Justice: Narrative Emplotment and Amy McNair, University of Kansas Maria Gough, Harvard University Memory Techniques in Peru East Ballroom, 3rd Floor Brushes East and West Cynthia Milton, Université de Montréal Chair: Holland Cotter, The New York Times David Rosand, Columbia University

Suzanne Preston Blier, Harvard University Remarks Chris Kraus, independent critic Wen C. Fong, Princeton University Closing Remarks Robert E. Harrist, Jr., Columbia University 44 college art association February 13 –16, 2013 45 Thursday American Council for Southern Asian Art Queer Fragments: Sodoma, the Belvedere Torso, and Saint Thursday, February 14 American Society for Hispanic Art Historical Studies Art in Indonesia: Continuities and Change Catherine’s Head The Role of Spanish and Hispanic Art in the Collections 5:30 PM–7:00 PM Gibson Room, 2nd Floor Timothy B. Smith, Birmingham-Southern College and Exhibitions of New York Museums Chair: Cecelia Levin, Harvard University Sutton Parlor North, 2nd Floor Male and Female, Antiquity, Nudity, and Sexuality in American Institute of Graphic Arts Chair: Marcus Bruce Burke, Hispanic Society of America Balinese Hinduism and Its Art Sixteenth-Century Personifications of Florence Collaboration, Interaction, Participation: What Does the Bokyung Kim, Whitman College Claudia Lazzaro, Cornell University Rise of Participatory Culture Mean for Art and Design Spanish Art Exhibits at the Frick Collection Education and Practice? Susan Galassi, The Frick Collection Continuity of Pre-Islamic Heritages in Javanese Muslim Minds: Beekman Parlor, 2nd Floor Parallelism, Adaptation, and Creation Face the Scientists Hispanic Arts in the Collections and Exhibitions of the Chairs: Helen Armstrong, Miami University; Lee Vander Kooi, Hee Sook Lee-Niinioja, Oxford Brookes University Gramercy A, 2nd Floor Metropolitan Museum Indiana University-Purdue University Indianapolis Chairs: Francesca Gould Samsel, independent artist; Walter Liedtke, Metropolitan Museum of Art Framing Shadows: Nationalism, Mysticism, and Wayang Kulit in Daniel Keefe, University of Minnesota Design as Conversation Claire Holt’s Art in Indonesia: Continuities and Change Hispanic Arts Acquisitions in the Brooklyn Museum Helen Armstrong, Miami University Elizabeth Emrich, Cornell University and Herbert F. Johnson Richard Aste, Brooklyn Museum Museum of Art Photography and Race Competencies for Collaboration: Teaching, Learning, and Doing Discussant: Marcus Bruce Burke, Hispanic Society of America Sutton Parlor Center, 2nd Floor Collaborative and Community-Based Work The Japan Factor: Great Asianism and the Birth of Indonesian Chair: Tanya Sheehan, Rutgers, The State University of New Jersey Lee Vander Kooi, Indiana University-Purdue University Indianapolis Modern Art (1942–5) Association for Textual Scholarship in Art History Farah Wardani, Indonesian Visual Art Archive Black Ops: Photography, Race, and Modernist Subjectivity Cocreation vs. Collaboration: Similarities and Differences in Stained Glass Windows: Radiance and Symbolism Camara Dia Holloway, University of Delaware Ways of Working Together Trianon Ballroom, 3rd Floor

Zvezdana Stojmirovic, Maryland Institute College of Art Chair: Liana De Girolami Cheney, University of Massachusetts American Society for Hispanic Art Historical Studies Flash Photography and African American Visibility, 1938–1956 Lowell Representations of “Race” in Iberia and the Kate Flint, University of Southern California Designer as Editor: Creating a Garden from the Jungle of User Ibero-American World Generated Content. Between Art and Literature: The Role of Stained Glass in Symbolism The “Panographed” Soldiers’ Stand: Recording/Recoding Race Morgan Suite, 2nd Floor Nathan Davis, Montana State University Anna Mazzanti, Politecnico di Milano in the Great War Chair: Pamela A. Patton, Southern Methodist University Vera Grant, Harvard University Mass Customization and Product Individualization After the Nabis: Louis C. Tiffany’s Stained Glass Windows for La Maison The Black Madonna of Montserrat: An Exception to Concepts of Dark Richard Elaver, Appalachian State University Bing in Paris Picturing Imperial Citizens: Race and Sovereignty in the Colonial Skin in Medieval and Early Modern Iberia? Davide Lacagnina, Università degli Studi di Siena Office Visual Instruction Committee’s Photographs, 1902–1945 Elisa A. Foster, Brown University Gabrielle Moser, York University National Coalition Against Censorship Symbolist Stained Glass Windows in Early Twentieth-Century Italian The Color of Salvation: The Materiality of Blackness in Sandoval’s Art Institutions Facing Controversy: Fear, Self-Censorship, International Exhibitions The Photograph as Contact Zone: Negotiating Racial Identities in De Instauranda Aethiopum Salute and the Commitment to Curatorial and Artistic Freedom Lucia Mannini, independent scholar Inuit Photography Grace T. Harpster, University of California, Berkeley Murray Hill Suite, 2nd Floor Carol Payne, Carleton University Chair: Carol Becker, Columbia University From Incas to Indios: Race in Colonial Andean Visual Culture Association of Historians of American Art

Ananda Cohen Suarez, Cornell University Carin Kuoni, Vera List Center for Art and Politics The Art History of American Periodical Illustration Midwest Art History Society Sutton Parlor South, 2nd Floor From Casta to Costumbrista: Racialized Social Spaces in Civilizing the Midwest Gordon Knox, Arizona State University Art Museum Chairs: Jaleen Grove, State University of New York at Stony Brook; Eighteenth- and Nineteenth-Century Mexican Painting Madison Suite, 2nd Floor Kathy High, Rensselaer Polytechnic Institute Douglas B. Dowd, Washington University in St. Louis Mey-Yen Moriuchi, Saint Joseph’s University Chairs: Paula Wisotzki, Loyola University Chicago; Joseph Antenucci Becherer, Aquinas College and Frederik Meijer Svetlana Mintcheva, National Coalition Against Censorship Reading Late-Nineteenth Century Periodical Illustrations: The Form of Race: Architecture and “Casta” in Modern Spain Gardens and Sculpture Park Scribner’s Monthly as Model Matilde María Mateo-Sevilla, Syracuse University Page Knox, Marymount Manhattan College The Nerman Museum of Contemporary Art: A Nationally Mid America College Art Association

Significant Collection at a Community College in Kansas Designing Foundations Illustration, Cartooning, and Problems of Nomenclature: Receptions of Antiquity, Receptions of Gender? Ancient David Cateforis, University of Kansas Petit Trianon, 3rd Floor Visual Matter in Collier’s Weekly, 1935–1940 Mythology, Sculpture, and Identity in Art of the Fourteenth Chair: Steven Bleicher, Coastal Carolina University Douglas B. Dowd, Washington University in St. Louis to Sixteenth Centuries “Pictures of the Best Kind”: Charles Hackley and the Making of Bryant Suite, 2nd Floor Michigan’s Muskegon Museum of Art What Is the Value of an Art and Design Education? Beyond the Auteur: The Illustration as a Word/Image Object Chairs: Marice Rose, Fairfield University; Alison Poe, E. Jane Connell, Muskegon Museum of Art Chris Kienke, Savannah College of Art and Design Jarrod Waetjen, Northern Virginia Community College Fairfield University Businessmen-Patrons and the St. Louis Museum Movement Expulsion from the Garden of Eden: New Directions in Fine Affective Illustration The Liminal Feminine: Multidimensional Reception in the Julie Dunn-Morton, University of Missouri-St. Louis Craft Foundations Jennifer A. Greenhill, University of Illinois at Urbana-Champaign Illuminations of the Ovide Moralisé Jeffrey Adams, Kentucky School of Craft John White Alexander, Andrew Carnegie, and Refinement in Discussant: Michele H. Bogart, State University of New York Ashley Simone, Columbia University; K. Sarah-Jane Murray, Pittsburgh at the Turn of the Century A Systems Approach to Color and Drawing at Stony Brook Baylor University Don Meyer, Yale University Rosanne Gibel, The Art Institute of Fort Lauderdale Gendering Violation, Response, and Revenge in the Myth of Philomela Joseph Randall Shapiro’s Framing of Chicago Collections and Latin The Problem with Digital Foundations Hetty Joyce, The College of New Jersey American Art during the Third Pan American Games and 1959 Festival Lauren Kalman, Wayne State University Gender Issues in the Arena Chapel: Giotto’s Virtue, of the Americas Fortitude, Reexamined Mary Caroline Simpson, Eastern Illinois University Mary D. Edwards, Pratt Institute

46 college art association February 13 –16, 2013 47 Thursday, F Thursday, Midwest Art History Society Diasporic Asian Art Network Friday, February 15 The Case of the “Fake” Pot: Negotiating the Transcultural Readymade Utrecht Caravaggism in the Midwest: Hendrick ter Brugghen’s Reconceptualizing the “Invisible” Hyphen in the Work of Ai Weiwei 9:30 AM–12:00 PM St. Sebastian Tended by Irene Morgan Suite, 2nd Floor Ros Holmes, University of Oxford Gibson Room, 2nd Floor Chair: ShiPu Wang, University of California, Merced Italian Art Society Discussant: Sarat Maharaj, Goldsmiths, Chair: Henry Luttikhuizen, Calvin College Alexandra Chang, New York University Bad Boys, Hussies, and Villains and Malmö Art Academy Hendrick ter Brugghen, Dirck van Baburen, and the Representation Gramercy B, 2nd Floor Laura Kina, DePaul University

of St. Sebastian in Utrecht Painting Chair: George R. Bent, Washington and Lee University R Việt Lê, California College of the Arts From Lesser to Tanya Ury: German-Jewish Artists, 1890–2010, Wayne Franits, Syracuse University I Repatriating the “Anghiari Faction”, or Brooding over a Villainous Part I DAY Susette Min, University of California, Davis Toward Beauty: St. Sebastian in Ter Brugghen’s Religious Paintings History of Florentine Renaissance Art West Ballroom, 3rd Floor Natasha Seaman, Rhode Island College Roger Crum, University of Dayton Chair: Peter Chametzky, University of South Carolina ArtTable Spiritual Comfort and Charitable Healing in Ter Brugghen’s Aut Cesar, Aut Nihil: The Visual Staging of Cesare Borgia Jewish Art Circles: The Studio of Hermann Struck Business Meeting St. Sebastian Tended by Irene Elizabeth Bemis, University of Florida Celka Straughn, University of Kansas Madison Suite, 2nd Floor Valerie Hedquist, University of Montana Girls Just Want to Have Fun—And Still Go to Heaven: Reading German Romanticism and the “Jewish Prince”: Reconciling Zionism Association of Historians of Nineteenth-Century Art Courtesans in Renaissance Portraits and Life and Orientalism in the Drawings and Performance Art of Else Towards a New Apprenticeship Model: The Case for Business Meeting Cynthia Stollhans, Saint Louis University Lasker-Schüler Experiential Learning Nassau Suite, 2nd Floor Catherine Wilkins, Edison State College Damnatio memoriae: Images and Relics of Carlo Borromeo in Gramercy B, 2nd Floor Former Humiliati Churches Pictures that Satisfy: Irma Stern and German-Jewish Identity in Chair: Stephanie Moore, The Center for Craft, Creativity, Foundations in Art: Theory and Education Julia Miller, California State University, Long Beach South African Modern Art and Design Business Meeting LaNitra Berger, George Mason University Bryant Suite, 2nd Floor The Composite Villain: Manzoni’s L’Innominato in Ottocento Painting Mark Shapiro, independent artist Laura Sommer, Daemen College A Turbulent Relationship: The Prussian Academy of Art and

Queer Caucus for Art Jewish Artists, 1900–1933 Leonardo Education and Art Forum Divos, Diavolos, and La Dolce Vita: Contemporary Italian Art Business Meeting Helga Aurisch, Museum of Fine Arts, Houston Art and Medicine: Reciprocal Influence Sutton Parlor Center, 2nd Floor between Past and Present Gramercy A, 2nd Floor Laura Petican, University of Western Ontario and Miriam Novitch: Art, Remembrance, and Politics Chairs: Patricia Olynyk, Washington University in St. Louis; in the Cold War Radical Art Caucus Adrienne G. Klein, The Graduate Center, City University Oliver Sukrow, University of Heidelberg Business Meeting Reframing Painting: A Call for a New Critical Dialogue of New York Rendezvous Trianon, 3rd Floor Trianon Ballroom, 3rd Floor Reconceived Bodies Chairs: Brian Bishop, Framingham State University; Lance Winn, The Modern Interior as Space and Image, Part I Patricia Olynyk, Washington University in St. Louis University of Delaware East Ballroom, 3rd Floor Friday, February 15 Chairs: Hollis Clayson, Northwestern University; Anca I. Lasc, Art and Medicine: Reciprocal Influence There Is No Such Thing as Painting Shippensburg University Adrienne G. Klein, The Graduate Center, City University 7:30 AM–9:00 AM Saul Ostrow, independent critic and Critical Voices/21STPROJECTS of New York “Partly a Chapel, Partly a Boudoir”: Interiors, Interiority, and The “Irrelevance” of Robert Rauschenberg’s White Paintings Community College Professors of Art and Art History Canova’s Penitent Magdalene Christina Chang, Minnesota Museum of American Art Business Meeting Christina Ferando, Columbia University Visual Resources Association Gibson Room, 2nd Floor Not Ready for Bed: Abstraction’s Permanent, Irreversible Condition Archaeology Archives: Excavating the Record Théophile Gautier and “Marilhat”: Romanticism’s Decorated Interior Vittorio Colaizzi, Old Dominion University Regent Parlor, 2nd Floor Historians of British Art Marika Knowles, Yale University Chairs: Jenni Rodda, Institute of Fine Arts, New York University; Discussants: Clayton Merrell, Carnegie Mellon University; Business Meeting Model Cottages: Imagining Working Class Interiors at the Trudy Buxton Jacoby, Princeton University Carrie Moyer, Hunter College, City University of New York Beekman Parlor, 2nd Floor Great Exhibition of 1851 Digital Projects at Abydos Edward Hollis, University of Edinburgh Ileana Selejan, Institute of Fine Arts, New York University Italian Art Society Cultural Negotiations of the “Readymade” The Domestic Interior as a Tactile Space: Aimé-Jules Dalou and Business Meeting Petit Trianon, 3rd Floor From Dusk till Shelf: The Aphrodisias Archive at the Institute of Pierre-Auguste Renoir Gramercy B, 2nd Floor Chairs: Orianna Cacchione, University of California, San Diego; Fine Arts, New York University Kathryn Brown, Tilburg University Birgit Hopfener, Freie Universität Berlin Alexander Sokolicek, Institute of Fine Arts, New York University National Committee for the History of Art The Automobile Domesticated: Subjects, Objects, and the The Readymade as Transcultural “Inter-esse” Hidden Collections Become Digital Treasures Business Meeting Afterlife of Ornament Stefan Römer, Leuphana University Trudy Buxton Jacoby, Princeton University Sutton Parlor Center, 2nd Floor Daniel Marcus, University of California, Berkeley Ready to Make Things that Resonate Transculturally: Nam June Paik’s The Digital Dig: ArchaeoCore and the Discovery of Hidden Collections Northern California Art Historians objet sonores in 1962–3 Lucie Stylianopoulos, University of Virginia Business Meeting Franziska Koch, Sutton Parlor North, 2nd Floor From the Periphery: New Forms of Readymade Women’s Caucus for Art Marcus Moore, Massey University Business Meeting Akasegawa’s Uchuu no Kansume (Kani-kan) (Canned Universe) East Ballroom, 3rd Floor Jaimey Hamilton, University of Hawai’i, Manoa

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Entering the Spielraum: The Global Grotesque Design and Business: Strange Bedfellows or Two Sides Bridging Bits and Bricks: Integrating Digital Artworks into Happy Fathers and Other New Ideas in French Art: Genre, Masculinity, R I

Gramercy A, 2nd Floor of the Same Coin Gallery Contexts and Philosophy in the Final Decades of the Old Regime DAY Chair: Frances S. Connelly, University of Missouri-Kansas City Gibson Room, 2nd Floor Robert Hult, Klaus Von Nichtssagend Gallery Ryan White, Ontario College of Art and Design University Chair: Chris Garvin, The University of the Arts The Comic Grotesque, or Grotesque Comics Virtual Performance: Implication and Potentialization Online Aesthetic Discourse in Science: The Rococo and the Natural World Patricia Mainardi, New York University Learning to Do What I Say: Incorporating Entrepreneurial and Nathaniel Stern, University of Wisconsin, Milwaukee Lauren Cannady, Institute of Fine Arts, New York University Design Thinking in Building Curriculum Fracture and Productivity: The Grotesque in Otto Dix’s Radical Thought: Connecting Guardi, Newton, Vico, and Damasio Neil Kleinman, The University of the Arts Weimar Portraits Technical Art History and the University Curriculum Johanna Fassl, Franklin College Switzerland Elizabeth Berkowitz, The Graduate Center, City University of What Is Art Thinking in the Context of Design Thinking Bryant Suite, 2nd Floor

New York Amy Whitaker, Sotheby’s Institute of Art Chairs: Michele Marincola, Institute of Fine Arts, New York Feminism Meets the Big Exhibition: 2005 Onwards University; Charlotte Nichols, Seton Hall University Damnation and Desire: The Spielraum of Roée Rosen’s Justine Frank The Path to Combining Design and Business at a University Sutton Parlor South, 2nd Floor Carol Zemel, York University Andrea Marks, Oregon State University The Creation of Historically Accurate Reconstructions of Old Master Chair: Hilary Robinson, Middlesex University Paintings in University Education Perverting Minimalism: Santiago Sierra New Approaches to Theory and Research in Art- and-Design-Led From “Art” and “Feminism” to Konstfeminism: Sweden, 2006 Brian Baade, University of Delaware Andrés Montenegro, University of Essex Educational Programs Whitney Chadwick, San Francisco State University Borja and Peinado, École Parsons à Paris Teaching Technical Art History at the Graduate Level: The Summer The Glance of Grotesque in the Contemporary Urban Landscape Feminist Art History and the Feminist Revolution: Revision, Recovery, Institute in Technical Art History at the Institute of Fine Arts of Street Art and Inclusivity in WACK! (2007) Michele Marincola, Institute of Fine Arts, New York University Maria Antonietta Malleo, Academy of Fine Arts of Palermo A General Theory of Last Night: A Constructed Elizabeth Adan, California Polytechnic State University, Panel Discussion The Summer Teachers Institute in Technical Art History (STITAH): A San Luis Obispo

Rendezvous Trianon, 3rd Floor Case Study in Teaching the Technical The Photographic Record: Images of and as Objects Gestures of Inclusion and Colonial Hauntings in Global Feminisms Chair: Pablo Helguera, The Museum of Modern Art Sarah Barack, Yale University Art Gallery Beekman Parlor, 2nd Floor (2007) Chairs: Catherine Craft, Nasher Sculpture Center; Janine Mileaf, Discussants: Robin Clark, independent curator; Scott Gerson, Kimberly Lamm, Duke University The Arts Club of Chicago Historians of Netherlandish Art The Museum of Modern Art “A history about which there is nothing feminine at all”: elles@ Wood, Glass, Wax, Stone: Beyond Panel Painting in the Documents, Artworks, and/or “Critical Propaganda”: Alfred Stieglitz’s centrepompidou as a Nonfeminine Exhibition of Art by Women Northern Renaissance and Baroque 291 Gallery Installation Photographs Engagements between Indigenous and Contemporary Art (2009–2011) Madison Suite, 2nd Floor Katherine Hoffman, St. Anselm College Sutton Parlor Center, 2nd Floor Amelia Jones, McGill University Chair: Ellen Konowitz, State University of New York at New Paltz Chair: Ian McLean, University of Wollongong The Curious Case of Compass in the Photography of Man Ray The Exhibition that Did Not Happen: Feminism and British Art Politics The Aesthetics of Spectacle: The Bruges Mantlepiece to Charles V Caitlin Condell, Cooper-Hewitt, National Design Museum “Gallery, Alcove, or Riverbank”: Threads of Postminimalism, Land Art, Griselda Pollock, University of Leeds Ethan Matt Kavaler, University of Toronto and (Native) America “Quaker Oz” and Dada’s Missing Objects Material as Medium and Meaning: Margaret of Austria’s Church at Larry M. Taylor, Graduate Theological Union Michael White, University of York The Art of the Gift: Theorizing Objects in Early Modern Brou as Gesamtkunstwerk Postmodern Allegorists: Twenty-First-Century Native American/ Cross-Cultural Exchange Sculpture as Multiple: Joseph Beuys’s Arena Laura D. Gelfand, Utah State University American Painting Regent Parlor, 2nd Floor Marin R. Sullivan, University of Leeds In Their Place: The Spaces of the Peasants in the Très Riches Heures Lisa Roberts Seppi, State University of New York at Oswego Chairs: Nancy Um, Binghamton University; Leah R. Clark, Saint Discussant: Blake Stimson, University of California, Davis Lynn F. Jacobs, University of Arkansas Michael’s College Interrogating Media in Contemporary African Art: A Preference for Nature vs. History: The Imagery of the Ruin in Sixteenth- and Early the Indigenous? Artists as Ambassadors in the Early Modern Mediterranean Design Studies Forum Seventeenth-Century German Intarsia Victoria L. Rovine, University of Florida Sean Roberts, University of Southern California Research Informing Design Andrew Morrall, Bard Graduate Center: Decorative Arts, Design Historicizing Indigenous Contemporary Art: The Rise of the Solicitous Gifts: Kunstkammer Memory, Iberian Diplomacy, and Sutton Parlor North, 2nd Floor History, Material Culture Indigenous Curator the Translation of Antwerp Art Overseas Chair: Brian Donnelly, Sheridan College Time Travel: Automata and Waxworks in the Labyrinth Gardens of Mario A. Caro, New York University Jessica Stevenson-Stewart, University of California, Berkeley Bauhaus Pedagogy: Hannes Meyer’s Holistic Design Research Early Modern Amsterdam and Zentralinstitut für Kunstgeschichte, München Articulating Coauthorship in Contemporary Indigenous Art Dara Kiese, The Graduate Center, City University of New York Angela Vanhaelen, McGill University Quentin Sprague, University of Wollongong The Moor’s Last Gift: Portraits and Patronage in Les marques Site of Research: Fermilab and Architecture d’honneur de la maison de Tassis (Antwerp, 1645) Nana Last, University of Virginia ARTspace Cristelle Baskins, Tufts University Historians of Eighteenth-Century Art and Architecture Pieces and Bits: Hybrid Art that Combines Physical Forms Teaching Design Research: A Case Study Art in the Age of Philosophy? Gifting and “Regifting” the Old Indies: The Mobility of the Gift with Internet Components Maia Wright, Texas State University-San Marcos Nassau Suite, 2nd Floor in Early Modern Europe Murray Hill Suite, 2nd Floor Chair: Hector Reyes, University of California, Los Angeles Carrie Anderson, Boston University The Context Problem: Writing and Research in Art and Design Chair: Robert Lawrence, University of South Florida Sarah Butler, Parsons The New School for Design The Allegorical Tomb of Locke, Boyle, and Sydenham: A Celebration Chinoiseries for the Qing Possible Taxonomies of Hyperbridity and an Introduction to of Empiricism Kristel Smentek, Massachusetts Institute of Technology Towards an Open Source Model for Design Research Contradiction Aesthetics, Now that Friend Is a Verb Anne Betty Weinshenker, Montclair State University Christopher Moore, Concordia University Robert Lawrence, University of South Florida Faithful Impressions: Fuseli, Lavater, and the Physiognomic Digital Anonymity as Physical Autonomy Pursuit of Knowledge Brad Troemel, independent artist Stephanie O’Rourke, Columbia University The Aesthetic Internet as Source, Matrix, Tool Abigail Susik, Willamette University

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Public Art Dialogue Nicholas of Cusa and the Theological Foundations of Disegno Family, Students, and Legacy: Benjamin West’s Workshop and R I Reconsidering Mural Painting: New Methodologies Il Kim, Pratt Institute Friday, February 15 the Shaping of an American School of Art DAY Morgan Suite, 2nd Floor Abram Fox, University of Maryland The Practice of Design in Baroque 12:30 PM–2:00 PM Chair: Sally Webster, Lehman College and The Graduate Center, Paola d’Agostino, The Metropolitan Museum of Art South Corridor, 2nd floor City University New York CAA Publications Committee

In the Making: Mural Painting and the Look of Reform in Theodore POSTER SESSIONS Book Reviews and Beyond: caa.reviews at Fifteen ARTspace Roosevelt’s America Poster sessions are informal presentations for small groups Sutton Parlor Center, 2nd Floor CAA Services to Artists Committee Annelise K. Madsen, The Art Institute of Chicago displayed on poster boards by an individual. The poster Chair: Sheryl E. Reiss, University of Southern California Meta-Mentors: Double Duty display is usually a mixture of a brief narrative paper Picturing Jewish History in 1920s Hollywood: The Murals in the Murray Hill Suite, 2nd Floor Robert S. Nelson, Yale University intermixed with illustrations, tables or graphs, and other Wilshire Boulevard Temple Chairs: Niku Kashef, California State University, Northridge; presentation materials. With a few concisely written areas Larry Silver, University of Pennsylvania MacKenzie Stevens, University of Southern California Timothy Nolan, independent artist of focus, the poster display communicates the essence of Frederick M. Asher, University of Minnesota “No Vain Glory”: Cartography and Murals in the American War Phong Bui, The Brooklyn Rail the presenter’s research, synthesizing its main ideas and Cemeteries in France research directions. Poster displays will be on view for the Lucy Oakley, Grey Art Gallery, New York University David Humphrey, independent artist and Yale University Kate C. Lemay, Brigham Young University duration of the conference, beginning on Thursday morning. Steven F. Ostrow, University of Minnesota Christopher Joy, Gorky’s Granddaughter On Thursday and Friday, from 12:30 to 2:00 PM, presenters Looking Beyond “The Wall”: Reconstructing City Walls’ Gateway will be available at the Poster area. Laura Auricchio, The New School to Soho Austin Thomas, Pocket Utopia Andrew Wasserman, State University of New York at Stony Brook janbrueghel.org: Collaborative Catalogue Raisonne and Amelia Winger-Bearksin, Art Art Zine and Vanderbilt University Research Website Radical Art Caucus The Renewed “Spirit of Hyde Park”: A Case Study in Mural Restoration Elizabeth Honig and Jennifer Sakai, University of Reconsidering Mural Painting, Part II: Working Walls, Emily Scibilia, School of the Art Institute of Chicago Queer Caucus for Art: The Lesbian, Gay, Bisexual, and California, Berkeley Mural Painting, and Labor in the 1930s Transgender Caucus for Art, Artists, and Historians Discussant: Sarah Schrank, California State University, Long Beach Morgan Suite, 2nd Floor Not I: The Desire of the Nonsubject Queer Teaching the Visualization of Ecological and Chairs: Sylvia Rhor, Carlow University; Heidi A. Cook, University Petit Trianon, 3rd Floor Conservation Issues of Pittsburgh Friday, February 15 Chairs: Dan Taulapapa McMullin, independent artist; Laura Huaracha, Carthage College Clifford Eberly, independent artist 12:30 PM–2:00 PM Art History Teaching Resources David Alfaro Siqueiros’s Como se pinta un mural: Workers Labor against Fascism Phranc, independent artist Michelle Jubin, The Graduate Center, City University of Andrea Lepage, Washington and Lee University Association of Art Museum Curators New York; Karen Shelby, Baruch College, City University Hunter Reynolds, independent artist The Curatorial Career: Perspectives on the Profession of New York Art, History, Labor, and Politics in Ernest Fiene’s History of the Beekman Parlor, 2nd Floor San Diego Mesa College Museum Studies Program: Gaining Needlecraft Industry Chair: Judith F. Dolkart, The Barnes Foundation Association of Historians of Nineteenth-Century Art Practical Knowledge and Connecting with Communities Ellen Wiley Todd, George Mason University Future Directions in Nineteenth-Century Art History Dan Byers, Alessandra Moctezuma and Georgia Laris, San Diego The Apotheosis of Power: Corporate Mural Commissions in Regent Parlor, 2nd Floor Mesa College Los Angeles during the 1930s Judith F. Dolkart, The Barnes Foundation Chair: Morna O’Neill, Wake Forest University Design to Renourish Monica Jovanovich-Kelley, University of California, San Diego Ann Temkin, The Museum of Modern Art Frederick Henry Evans and the Gothic Inheritance Yvette Perullo, Purdue University Andrea Wolk Rager, Case Western Reserve University

Siena: Art, Tradition, and Identity in a Contemporary Art Historians Interested in Pedagogy and Technology American Council of Learned Societies American Genre Painting, the Transnational Print Trade, and the Medieval City Rock the Pedagogical Boat: Open Mic + Tweet #caa2013rock Twenty Years of Scholarship: The Luce/ACLS Dissertation Global Nineteenth Century: The Case of Richard C. Woodville Anna Piperato, High Point University Gramercy A, 2nd Floor Fellowships in American Art Marie-Stéphanie Delamaire, Columbia University Chairs: Janice Robertson and Gale Justin, Pratt Institute Bryant Suite, 2nd Floor Antoine Claudet’s The Geography Lesson: French Painting Spectacles: The Military Paintings of the Salle de Chair: Steven C. Wheatley, American Council of Learned Societies Daguerreotypes and Victorian Education Crimée in Versailles Rachelle Street, BMCC, City University of New York Public Art Dialogue Alan C. Braddock, College of William and Mary Julia Bischoff, Courtauld Insitute of Art Time, Transience, Duration Visual Poetry: Text as Textile in Contemporary Design Sutton Parlor North, 2nd Floor Claire de Dobay Rifelj, Institute of Fine Arts, New York University Diana Shaffer, Art Institute of Dallas Chair: Norie Sato, independent artist Women’s Caucus for Art Hayes P. Mauro, Queensborough Community College, City Women’s Caucus for Art’s Blockbuster Exhibitions: Penny Balkin Bach, Association for Public Art University of New York Renewal, Activism, and Innovation Renee Piechocki, independent artist and consultant Judith Rodenbeck, Sarah Lawrence College East Ballroom, 3rd Floor Historians of Eighteenth-Century Art and Architecture Chair: Priscilla Otani, Women’s Caucus for Art New Scholars Session: International Artists Working in Marisa Lerer, University of Denver Italian Art Society Priscilla Otani, Women’s Caucus for Art Eighteenth-Century Great Britain Disegno Rendezvous Trianon, 3rd Floor Exhibitor’s Session Brenda Oelbaum, independent artist Gramercy B, 2nd Floor Chair: Amelia Rauser, Franklin and Marshall College Artists and the Manufacturing of Art Materials Chair: Diana Gisolfi, Pratt Institute-Pratt in Venice Marcia Annenberg, Teachers College, Columbia University Quacks, Peddlers, and Pastellists: Jean-Etienne Liotard (1702–1789) Gibson Room, 2nd Floor Participants: Ladd Forsline, Colorfin; Art Guerra, Art Guerra Paint Pliny and the Birth of Disegno Karen Gutfreund, Women’s Caucus for Art and Jean-Baptiste Perronneau (1715–1783) in London and Pigment; Rolf Harem, RGH Artists’ Oil Paints; Simon Liu, Simon Sarah Blake McHam, Rutgers, The State University of New Jersey Francesca Whitlum-Cooper, Courtauld Institute of Art Tanya Augsburg, San Francisco State University Liu Inc.; and Sarah Sands, Golden Paints The Bel Composto: The Role of Inset Paintings in Robert Jill O’Bryan, independent scholar Adam’s Interiors Katherine McHale, Hunter College, City University of New York

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American Society for Hispanic Art Historical Studies The Formalists’ Revenge: Tags, Buildings, and Doing Architectural Civic Architecture, Public Patronage, and the Modern Self in Late Rhetoric and Cross-Cultural Exchange in Gandharan Sculpture R I

Business Meeting History Online Colonial Havana, Kristen Seaman, Kennesaw State University DAY Nassau Suite, 2nd Floor Gabrielle Esperdy, New Jersey Institute of Technology Paul B. Niell, Florida State University

Design Artifacts as Primary Sources: Using Faceted Classification and Discussant: Susan Deans-Smith, University of Texas at Austin Arts Council of the African Studies Association Historians of German and Central European Art and Architecture Discursive Method Bodies of Knowledge: Interviews, Interlocutors, and Business Meeting Katherine Hepworth, Swinburne University of Technology Indigeneity on the Global Stage Art Historical Narratives Sutton Parlor South, 2nd Floor Madison Suite, 2nd Floor Sutton Parlor Center, 2nd Floor Fleeing the Boxes: The Systematic Description of the Fused Languages Chair: Elizabeth Hutchinson, Barnard College, Columbia University Chairs: Carol Magee, University of North Carolina at Chapel Hill; Historians of Islamic Art Association of Form in the Context of Typeface Design Joanna Grabski, Denison University Business Meeting Catherine Dixon, Central Saint Martins, University of the Stop (the) Gap: International Indigenous Art in Motion, Adelaide Madison Suite, 2nd Floor Arts London International Film Festival, 2011 Beyond Words: Some Reflections on Visual Experience and the Brenda Croft, National Institute for Experimental Arts, College of Promises and Failures of Interviews Discussant: David Shields, Virginia Commonwealth University New Media Caucus Fine Arts, University of New South Wales Till Förster, Unversity of Basel Business Meeting It’s about Time: Indigenous Art in the 2010 and 2012 Sydney Biennales Whose Voice Is the Loudest? Negotiating Rival Histories of New Trianon Ballroom, 3rd Floor The New Connoisseurship: A Conversation among Susan Kennedy Zeller, Brooklyn Museum Orleans Black Indian Masking Scholars, Curators, and Conservators Cynthia Becker, Boston University West Ballroom, 3rd Floor “Can You Include Edward Curtis Photographs?” Taking 200 Pieces Chairs: Gail Feigenbaum, Getty Research Institute; Picturing War: Interviews, Images, and the Writing of History Friday, February 15 of Contemporary Native American Art to Russia H. Perry Chapman, University of Delaware Drew A. Thompson, Williams College 2:30 PM–5:00 PM Suzanne Newman Fricke, University of New Mexico Maryan W. Ainsworth, The Metropolitan Museum of Art Beyond Interviews, beyond Art Criticism: Sharing Time, Learning More Anticipating Sakahàn: The First International Quinquennial of Fiona Siegnethaler, University of Basel ARTspace Carmen C. Bambach, The Metropolitan Museum of Art New Indigenous Art Annual Distinguished Artists’ Interviews Jolene Rickard, Cornell University Conversations with Oshitola David Bomford, Museum of Fine Arts, Houston Murray Hill Suite, 2nd Floor David Doris, University of Michigan

E. Melanie Gifford, National Gallery of Art Mira Schor will be interviewed by Stuart Horodner, Atlanta The Visual Culture of Global Trade: Early American Contemporary Art Center, and Janine Antoni will be Elizabeth Honig, University of California, Berkeley Interactions with Asia and the Pacific Historians of German and Central European Art and Architecture interviewed by Klaus Ottmann, The Phillips Collection. Rendezvous Trianon, 3rd Floor Central Europe’s Others in Art and Visual Culture, Part I Michele Marincola, Institute of Fine Arts, New York University Chair: Patricia Johnston, College of the Holy Cross Nassau Suite, 2nd Floor Chairs: Elizabeth Otto, University at Buffalo, State University of Beyond Hemp: The Manila-Salem Trade Precolumbian Ceramics: Form, Meaning, and Function Performativity, the Performative, and Performance in New York; Brett Van Hoesen, University of Nevada, Reno Florina H. Capistrano-Baker, Ayala Museum, Philippines Petit Trianon, 3rd Floor Contemporary Art Central Europe’s Others, Now and a Thousand Years Ago: The Chairs: Michael D. Carrasco, Florida State University; Gramercy A, 2nd Floor Captains to Cabin Boys: Porcelain Ownership in Federal America Exhibition Europe’s Center around AD 1000 Maline Werness, Humboldt State University Chair: Robert Gero, State University of New York at Old Westbury Jessica Lanier, Bard Graduate Center: Decorative Arts, Design William J. Diebold, Reed College History, Material Culture and Salem State University Are Colima Gadrooned Vessels Pumpkins or Barrel Cacti? Emic Performance Nominalism and Its Discontents Site/Sight of Alterity: Albrecht Dürer’s The Men’s Bathhouse of Classification, Representation, and Embodiment in Precolumbian Bruce Barber, Nova Scotia College of Art and Design Cultivating the Chinese Manner into Early American Garden Design ca. 1496 Mexican Ceramics Judy Bullington, Belmont University Khristaan D. Villela, Santa Fe University of Art and Design Toward a Theory of the “Enacted Turn” Bradley J. Cavallo, Temple University Jessica Wyman, Ontario College of Art and Design University Embedded Exchange: Tattoos as Markers of American/Pacific Islander Savages on Display: The European Peasant and the Native North The Women’s Terracotta Army: Large Scale Sculpture from El Zapotal, Interaction in the Late Eighteenth and Early Nineteenth Centuries Artist, My Barbarian American at Central European Fairs in the Nineteenth Century Veracruz, Mexico Anna Felicity Friedman, University of Chicago Cherra Wyllie, University of Hartford Malik Gaines, Hunter College, City University of New York Rebecca Houze, Northern Illinois University Discussant: Caroline Frank, Brown University Discussants: Micol Hebron, Chapman University; Mike Smith, Otto Dix’s Jankel Adler and the Materiality of the Eastern Jew in Exploring the Effigy Funerary Urn Genre: A Highland Maya University of Texas at Austin Weimar Culture Interpretation of Mortuary Space Art History Open Session Kathleen McCampbell, Florida State University James A. van Dyke, University of Missouri-Columbia Ancient Greek and Roman Art Zoomorphs, Religion, and Nationhood in Precolumbian Building for the “Common Good”: Public Works, Trianon Ballroom, 3rd Floor The Roma Pavilion: Contemporary Art and Transnational Activism Caribbean Ceramics Civic Architecture, and Their Representation in Bourbon Chair: Christine Kondoleon, Museum of Fine Arts, Boston Brianne Cohen, Université catholique de Louvain Latin America Lawrence Waldron, independent scholar Cults in Common? Greek-Italic Religious Connections in South Discussant: Maria Makela, California Collge of the Arts Morgan Suite, 2nd Floor Italian Vase Painting Netted within Bounds: Cupisnique Ceramics in Northern Peru Chairs: Luis J. Gordo-Peláez, University of Texas at Austin; Keely Elizabeth Heuer, independent scholar Kimberly L. Jones, University of Texas at Austin Paul B. Niell, Florida State University Society for the Study of Early Modern Women The Recycling and Restoration of Funerary Monuments in Late Gender and Artistic Practice in Early Modern Europe: The Real Casa de Moneda of Mexico City. Vitruvian Architecture Classical Athens Media, Genres, and Formats Putting Design in Boxes: The Problems of Taxonomy in the Bourbon Regime Rachel Kousser, Brooklyn College, City University of New York Sutton Parlor South, 2nd Floor Bryant Suite, 2nd Floor Oscar Flores Flores, Instituto de Investigaciones Esteticas, Chairs: Andrea Pearson, American University; Melissa Hyde, Chair: Craig Eliason, University of St. Thomas Universidad Nacional Autónoma de México What Demeter Wore to the Eleusinian Mysteries: Cult and the Art of University of Florida Dress on Makron’s Skyphos in the British Museum Catachresis and Contronymity: The Paradoxical Taxonomy of Beaux Commemorating Community in the Viceroy Portraits of Late Anthony Mangieri, Salve Regina University Masculine Voices and Feminine Bodies: Gendering Margaret of York’s Arts Architecture as Exemplified in the Work of Henry Hornbostel Colonial Lima Le Dyalogue de la duchesse (Add. Ms. 7970) Charles L. Rosenblum, Carnegie Mellon University Emily A. Engel, Indiana University The Arch of Septimius Severus in the Roman Forum: Memory Erica O’Brien, University of Bristol Distortion in Imperial Rome and Modern Scholarship Maggie Popkin, Institute of Fine Arts, New York University

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The Trouble with Pasiphae: Gender and Mythological Painting at Late Eighteenth-Century Eruptions of Vesuvius: From Natural Disaster Combat and Collaboration: The Clash of Propaganda Prints Femme Disturbance: Wearable Electronics and Fashion Hacking R I

the Gonzaga Court to Sublime Science between the Chinese Guomindang and the Japanese Empire in the Micha Maya Cárdenas, University of Southern California DAY Maria F. Maurer, University of Alabama at Birmingham Thomas Beachdel, The City College of New York, City University of 1930s–1940s Additive Race and Gestural Gender: Erasing the Human in New York Shaoqian Zhang, Oklahoma State University Juan Sánchez Cotán’s San Diego Still Life Painting as Vehicle for Performance Capture Technologies Gender Transformation Imaging Technological Disasters in Nineteenth-Century American Shrink to Fit, Fit to Survive: The Printed Image and the National Alison Reed, University of California, Santa Barbara Martina Pfleger Hesser, San Diego Mesa College Photography and Art Engagement of Regional Ink Painting Julie Wosk, State University of New York, Maritime College Yang Wang, The Ohio State University Women, Men, and the Needle’s Art in Early Modern England Historians of German and Central European Art and Architecture Jennifer L. Hallam, New York University 1945 and 2011: The Postwar Japanese Photobook as a Record Red Nostalgia and Amateur Artists: Peasant Prints in Qijiang, Emerging Scholars of Trauma China in the Late Twentieth Century Sutton Parlor South, 2nd Floor Crafting Identities and Creating Place: Empress Marie-Louise’s Russet Eve Lederman, School of Visual Arts Sonja Kelley, Maryland Institute College of Art Chair: Keith Holz, Western Illinois University Watercolor Album at the Museo Glauco-Lombardi, Parma

Lindsay Dunn, University of North Carolina at Chapel Hill Fashion and Creativity in Response to Disaster The Eye and the Hand: Caspar David Friedrich and the Organic Making a Case for Woodblock Prints: Chen Qi, Printmaking, Valerie Rangel, Dominican University and The Illinois Institute of Art Instruments of Artistic Creation and a Print Market for Contemporary China Nina Amstutz, University of Toronto Open Session in Indian Art Between Awe and Anger: Young Japanese Artists Respond to Claire Cuccio, independent scholar Landscapes of Fear and Desire Tohoku and Fukushima Impressions of Inflation: Prints, Paper, and Prices in Germany, Regent Parlor, 2nd Floor Julia Friedman, Arizona State University Discussant: Julia Andrews, The Ohio State University 1918–1923 Chairs: Tamara Sears, Yale University; Molly Emma Aitken, Erin Sullivan, University of Southern California

The City College of New York, City University of New York Historical Overhangs: Problematizing Cold War Era Temporal Tapestry and Reproduction Friday, February 15 Montane Metonyms: Ibex in/as Landscape Sutton Parlor North, 2nd Floor Frameworks in Polish Architectural History Robert Linrothe, Northwestern University Chairs: K. L. H. Wells, University of Southern California; 5:30 PM–7:00 PM Anna Jozefacka, Institute of Fine Arts, New York University Barbara Caen, Universität Zürich Where Death Is Conquered Nachiket Chanchani, University of Michigan and Border Zones: Reproduction and Change in Raphael’s Designs CAA Annual Business Meeting and Reception Historians of British Art Smithsonian Institution for Tapestries Rendezvous Trianon, 3rd Floor British Visual Culture and the Levant, 1600–1830 Sutton Parlor Center, 2nd Floor Lorraine Karafel, Parsons The New School for Design Announcement of New Members of the CAA Board Moving Mountain(s): An Epic Encounter between Divine and Chair: Eleanor Hughes, Yale Center for British Art Demonic Realms Raphael/Not Raphael: The Curious Case of Loreto’s Acts of the of Directors. Reception to follow. Please join us to toast the Parul Pandya Dhar, University of Delhi Apostles Tapestries, and the Similar Sets in Zaragoza and Bryn Athyn anniversaries of the Art Bulletin and caa.reviews. Jonathan Kline, Temple University International Association of Word and Image Studies Fortified Memories: Picturing Chitor in Eighteenth-Century Poems From the Wall, to the Press, to the Streets and Paintings “Painting, with Silk and Gold”: Boucher’s Intermediality Community College Professors of Art and Art History Madison Suite, 2nd Floor Dipti Khera, Yale University Susan Wager, Columbia University Teaching All of Our Students: Few Majors, Fewer Transfers, Chairs: Eve Kalyva, University of Buenos Aires; Ignaz Cassar, Many Others Discussant: Pika Ghosh, University of North Carolina at Chapel Hill Critical Reception of the Marie Cuttoli Tapestries, 1930s–1960s independent artist Gibson Room, 2nd Floor Virginia Gardner Troy, Berry College Chair: Susan Altman, Middlesex County College Pasted and Posted: Ray Johnson’s Networked Art, 1955–1965 Craft after Deskilling? Reproduction/Interpretation/Transformation: Postwar Tapestry Miriam Elizabeth Kienle, University of Illinois at Urbana-Champaign Teaching Watercolor: Something for Everyone Gramercy B, 2nd Floor Making at Dovecot Studios, Edinburgh Bertha Steinhardt Gutman, Delaware County Community College Across North and South: Conceptual Art Practices in a Chair: T’ai Smith, University of British Columbia Francesca Baseby, University of Edinburgh Variety of Contexts Other speakers to be announced. Handcrafted Readymades: Manual Work at the Turn of the Eve Kalyva, University of Buenos Aires Twentieth Century Women’s Caucus for Art “I Can’t Imagine Ever Wanting to Be White”: The Resonant Afterlife Ileana Parvu, Geneva University of Art and Design Building a Legacy for Women Artists National Council on Education for the Ceramic Arts of Those Notorious Museum Tags East Ballroom, 3rd Floor An Overwhelming Trust in Progress: The Artwork of Studio Craft Extends an Invitation Jody B. Cutler, St. John’s University Chair: Barbara A. Wolanin, United States Capitol Historical Society Dylan J. Beck Bibiana Obler, George Washington University Petit Trianon, 3rd Floor Anne Swartz, Savannah College of Art and Design From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Chair: Dylan Beck, Kansas State University Association for Critical Race Art History Native America Ferris Olin, Institute for Women and Art, Rutgers, The State Subaltern Rising: Racialization and Visual Culture in the

Elizabeth Kalbfleisch, McGill University University of New Jersey Wake of Independence New Media Caucus Regent Parlor, 2nd Floor Crafting the Social: Craft and Collaboration in Recent Art Susan Fisher Sterling, National Museum of Women in the Arts Computation and the Nonhuman: New Directions in Chairs: José Esteban Muñoz, New York University; Erica Agyeman, Lisa Vinebaum, School of the Art Institute of Chicago Queer Theory and Art Setting Up a Foundation independent curator Trianon Ballroom, 3rd Floor The Work Is the Thing: The State of the ILSSA Union Joan Marter, Woman’s Art Journal Chair: Micha Maya Cárdenas, University of Southern California Strategic Ricanness: The Colonial Man of Tomorrow Emily Larned, University of Bridgeport The Sylvia Sleigh Legacy Campaign and the Power of Bequests Sandra Ruiz, University of Illinois Fag Faces and the Facial Weaponization Suite Janice Nesser-Chu, St. Louis Community College, Florissant Valley Zach Blas, Duke University Nigeria’s Independence House: Anxiety and Promise Disaster and Creativity Erica Agyeman, independent curator Beekman Parlor, 2nd Floor Sexuality, Biotechnology, Excess Revolutions in China’s Printed Image: Print in Modern China Chairs: Gennifer Weisenfeld, Duke University; Yoshiaki Shimizu, Pinar Yoldas, Duke University Recharting Art Import/Export Routes in India: Gibson Room, 2nd Floor Princeton University The Kochi-Muziris Biennale Chairs: Shaoqian Zhang, Oklahoma State University; Sonja Kelley, On Uncomputable Numbers: Turing, Wittgenstein, and the Origins Annie Paul, Small Axe: A Caribbean Journal of Criticism Maryland Institute College of Art of Queer Computing Jacob Gaboury, New York University and Rhizome Discussant: José Esteban Muñoz, New York University Beyond the Mustard Seed Garden: Researching Multiplicity in Early Modern Chinese Painting Manuals J. P. Park, University of Colorado Boulder 56 college art association February 13 –16, 2013 57 Fr Association for Modern and Contemporary Art of the Arab World, Public Art Dialogue On the Ropes From Lesser to Tanya Ury: German-Jewish Artists, 1890–2010, i

Iran, and Turkey Business Meeting and Awards Ceremony Jordana Moore Saggese, California College of the Arts Part II day, A Revolution in Art? The Arab Uprisings and Sutton Parlor North, 2nd Floor Trianon Ballroom, 3rd Floor Look At Me: The Black Woman’s Body in the Art of Renée Cox Artistic Production Chair: Peter Chametzky, University of South Carolina The 2013 PAD Award for Achievement in the Field of Public Art Tracy M. Zuniga, University of California, Riverside Bryant Suite, 2nd Floor S

will be given to Penny Balkin Bach. The Reluctant “Other”: E. M. Lilien’s Female Imagery and the a Chairs: Dina A. Ramadan, Bard College; Jennifer Pruitt, Identity Predicated on Absence: Diasporic Narratives and Felix Ambivalent Desire for Home t

Smith College Gonzalez-Torres’s Queer Candy Spills urday Lynne Swarts, University of Sydney Elissa Yukiko Weichbrodt, Washington University in St. Louis Can There Be an Art of a Revolution? The Counter-Example of the Saturday, February 16 The Art and Artists of Das jüdische Prag Politics of Painting in 1950s Baghdad Painting Pleasures: Queer Voices in Glenn Ligon’s Earliest Text Nicholas Sawicki, Lehigh University Saleem Al-Bahloly, University of California, Berkeley 7:30 AM–9:00 AM Paintings and Beyond Alex Fialho, independent scholar The “Significant Other”: Lucia, Laszlo, or Both? When Artists Become Martyrs: Understanding the Place of Art in the Art Historians of Southern California Rose-Carol Washton Long, The Graduate Center, City University “Revolution” Business Meeting Making Art, Making Time of New York Dina Ramadan, Bard College Sutton Parlor Center, 2nd Floor Sutton Parlor South, 2nd Floor Becoming Wolf Vostell “King of Kings of Africa”: Racializing Gaddafi in the Visual Output of Chairs: Ignaz Cassar, independent artist; Eve Kalyva, University of Erin Hanas, Duke University the 2011 Libyan Revolution 9:00 AM–11:00 AM Buenos Aires Christiane Gruber, University of Michigan Self-Portrait of a Self-Hating Jew Contemporaneity and the “Unframability” of Time(s) Tanya Ury, Leiden University Painted Discontent: The Role of Street Art in the Egyptian Revolution ARTspace Christine Ross, McGill University Jennifer Pruitt, Smith College The Artist as Activist: Art as a Catalyst for Social Change, The Tensed Object of Performance a Critical Assessment The Modern Interior as Space and Image, Part II Mechtild Widrich, Eidgenössische Technische Hochschule Zürich Murray Hill Suite, 2nd Floor Concourse A, Concourse Level Art Libraries Society of North America Chair: Blane de St. Croix, Indiana University, Bloomington Cotemporality Chairs: Hollis Clayson, Northwestern University; Anca I. Lasc, Artist’s Publications: Beyond Artist’s Books and Zines Mel Chin, independent artist Terry Smith, University of Pittsburgh Shippensburg University Beekman Parlor, 2nd Floor Chair: Tony White, Maryland Institute College of Art Maureen Connor, independent artist Twenty-Second Delay: Time, Memory, and the State of Here and There Frederic Edwin Church, Landscape as Design Elizabeth M. Grady, smARTpower Patricia Kelly, Emily Carr University of Art and Design Katie Pfohl, Harvard University Recent Museum Experiments with Print on Demand Jennifer Tobias, The Museum of Modern Art Martha Schwendener, independent critic Acts of Time/Endurance: 9 Encounters in Twenty-Seven Hours in Berlin, Fashioning the (Masculine) Interior: Tissot, Portraiture, and the , Mumbai Fashion Plate Collecting the Twenty-First-Century Art Publication Sacha Yanow, Art Matters Foundation Katherine Mezur, independent scholar Justine De Young, Harvard University Rebecca K. Friedman, Princeton University The “Uncozy” Interior: Gustave Caillebotte’s “Intérieurs Démeublés” A Half-Century of Print on Demand: One Artist’s Experience Roman Art History: The Shock of the New Elizabeth Benjamin, Northwestern University Richard Minsky, independent artist Saturday, February 16 Morgan Suite, 2nd Floor Imperial Anxiety and Aggressive Décor: Imaging the Domestic Interior 9:30 AM–12:00 PM Chairs: Kimberly Cassibry, Wellesley College; James Frakes, of the German Kaiserreich Craft in the Skill/Deskill/Reskill Debates University of North Carolina at Charlotte Creative Kitchens: Art, Food, and the Domestic Landscape Marianne Eggler, Fashion Institute of Technology Gramercy B, 2nd Floor after World War II New to Look Old: The Archaizing Terracottas from the Temple of Chairs: Namita Gupta Wiggers, Museum of Contemporary Craft in “Faire Tapisserie”: Édouard Vuillard’s Decoration for Dr. Vaquez Beekman Parlor, 2nd Floor Apollo on the Palatine partnership with Pacific Northwest College of Art; Elisabeth Agro, Cindy Kang, Institute of Fine Arts, New York University Chairs: Silvia Bottinelli, Tufts University; Margherita D’Ayala Valva, Barbara Kellum, Smith College Philadelphia Museum of Art Scuola Normale Superiore, Pisa Imperial Politics Was Local at Sessa Aurunca: The Sculptural Program Doug Bucci, The University of the Arts and Tyler School of Art, Online Education in Fine Arts: Helpful Way In or Easy Way Out? Kitchen Culture and Postwar Feminist Art of the Antonine Theater Temple University Sutton Parlor Center, 2nd Floor Jody B. Cutler, St. John’s University Susan Wood, Oakland University Chair: Jessica Doyle, Institute for Doctoral Studies in the Visual Arts Cat Rossi, Edinburgh College of Art Kitchen Interventions: Elżbieta Jabłońska’s Art Actions The Reuse of Sculpture in Late Antique Shrines in Rome and across Synchronously Significant: The Effectiveness of Online vs. Traditional Josh Faught, California College of the Arts Barbara Kutis, University of Delaware the Empire Studio Instruction Blair Fowlkes-Childs, Birkbeck College, University of London Food Decay and Disgust: Paul McCarthy’s Bossy Burger as Amy Sands, Minneapolis College of Art and Design Art Historians Interested in Pedagogy and Technology Contemporary Still Life The Palace of Diocletian at Split: Using New Comparanda to Expand There Go My Students Business Meeting Anja Foerschner, Getty Research Institute Old Views of Late Roman Palaces Annette Cyr, National University Gramercy A, 2nd Floor Anne Hunnell Chen, Columbia University Free Lunch? The Presumption of Generosity in Virtual Reality: Creating New Online Venues for Fine Art Michael Peterson, University of Wisconsin-Madison New Evidence Generates New Narratives: Maxentius, Constantine, Studio Education Art, Literature and Music in Symbolism and Decadence and the Basilica Nova Joy Rosenthal, Virginia Polytechnic Institute and State University Business Meeting Elisha Ann Dumser, University of Akron Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Nassau Suite, 2nd Floor Automating Qualitative Assessment (Computer-Based Critique) Caucus for Art, Artists, and Historians Brian Evans, University of Alabama Color Adjustment: Revisiting Identity Politics of the 1990s Japan Art History Forum Sutton Parlor North, 2nd Floor Technology Serving Pedagogy: Teaching the Fine Arts Online Business Meeting Chair: Tara Burk, The Graduate Center, City University of New York Lucinda Bliss, Montpelier Academic Center, Union Institute Morgan Suite, 2nd Floor and University “Listen Up to the Grand Diva Rap”: Marlon Riggs’s Inclusive Didactic Address Carolyn J. Trench, University of Pennsylvania

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Military and the Landscape: Revealing and Reflecting Imagining Creative Teaching Strategies in Art History Interpreting Animals and Animality August Strindberg’s Self-Portraits of the Soul: The Photographer as a Madison Suite, 2nd Floor Gibson Room, 2nd Floor Bryant Suite, 2nd Floor Medium, the Medium of Photography t urday Chair: Ruth A. Dusseault, independent artist Chairs: Lise Kjaer and Marit Dewhurst, The City College of New Chair: Susan Michelle Merriam, Bard College Jennifer Raab, Institute of Fine Arts, New York University York, City University of New York Play War: Homemade Recreational Battlefields Human and Animal Conversions: Caricature and the Delineation of Suspect Plasticities and Fraudulent Exposures: Artifice and Ruth A. Dusseault, independent artist Acting Out: Reenactment in the Art History Classroom Human Faciality, ca. 1600 Authenticity in Fin-de-siècle Ectoplasm Photography Jessica Santone, independent scholar Bronwen Wilson, University of East Anglia Lucy Traverse, University of Wisconsin-Madison Nuclear Weapons and Shrines: Public Weapons in America Paul Shambroom, University of Minnesota Modeling What the Professionals Do: Holding a Miniconference Charles Le Brun’s Animal Passions, the Ménagerie, and the Galerie Sketch Reporting after Press Photography in an Art History Survey Course des Glaces at Versailles Jason E. Hill, Terra Foundation for American Art and Institut Omniscience and Contingency: Landscapes of Military Intelligence Marie Gasper-Hulvat, East Stroudsburg University Sheila McTighe, Courtauld Institute of Art National d’Histoire de l’Art and Terror Simulation Steve Rowell, independent artist Archive Paradigm Learning in Art History Hunting Birds: François Boucher’s Diana’s Return from Simulated Photomontage in the Posters of the Khrushchev Thaw Robert Petersen, Eastern Illinois University the Hunt (1745) (1956–1964) Technologies of Vision: The Radical Cartographies of Harun Farocki Catherine Girard, Harvard University Masha Kowell, University of Pennsylvania and Trevor Paglen Guided Discovery for Research: Exploring, Evaluating, and Selecting Kristin M. Brockman, The Ohio State University Miriam Wattles, University of California, Santa Barbara “That Sort of Love Is Unseemly”: Bestiality and the Passion for Horses Precarious Marks: Thomas Ruff’s Jpegs in Hans Baldung Grien’s Bewitched Groom (ca. 1544) Vered Maimon, Tel-Aviv University Miniature War in Iraq and Now in Afghanistan Guided Discovery for Research: Exploring, Evaluating, and Selecting Pia F. Cuneo, Univeristy of Arizona Brian Conley, California College of the Arts Chizu Morihara, University of California, Santa Barbara Rewilding the Museum of Rudolf II The Military Industrial Marketing Machine: Leveraging the Saturday, February 16 Sarah R. Cohen, University at Albany, State University of New York Media Landscape Leonardo Education and Art Forum 11:00 AM–1:00 PM Owen Mundy, Florida State University Re/Search: Art, Science, and Information Technology/ASIT: What Would Leonardo da Vinci Have Thought? CAA Student and Emerging Professionals Committee ARTspace Gramercy A, 2nd Floor The Impact of Contingent Faculty: Changing Trends in Art/History and the Small Liberal Arts College The Artist and the Law: Testing Boundaries, Challenging Limits Chair: Joseph S. Lewis, University of California, Irvine Teaching and Tenure Gramercy B, 2nd Floor Murray Hill Suite, 2nd Floor Nassau Suite, 2nd Floor Chair: Christine Y. Hahn, Kalamazoo College Entrepreneurship and Experimentation: Nineteenth-Century Art Chair: Blane de St. Croix, Indiana University, Bloomington Chairs: Jennifer Laurel Stoneking-Stewart, University of Tennessee; Worldwide as a Case Study of Funding an Online, Open Access Journal The Historian in the Studio Amanda Hellman, Emory University Aissa Deebi, American University of Cairo Petra ten-Doesschate Chu, Seton Hall University; Emily Pugh, Rachel Epp Buller, Bethel College Center for Advanced Study of the Visual Arts Adjunct Advocacy: An Activist’s Account Amy J. Goldrich, Art Law Committee of the New York City Using Collaboration to Model Professional Studio and Research Jeanne K. Brody, Villanova University and Saint Joseph’s University Bar Association New Resourcing Models for Hybrid Arts and Sciences Research Praxis Practices within the Senior Seminar Shawn Brixey, University of Washington The Art History Society of the Americas (AHSA) Alix Lambert, The Brooklyn International Theater Company Sarah Archino, Millsaps College Victoria H. F. Scott, Emory University Walking through Time: iPhone App and the Comob Net App Jenny Marketou, independent artist Teaching Nonwestern Art in a Hybrid Studio/Art History Format Chris Speed, University of Edinburgh The Deprofessionalization of the Profession Anne-Marie Bouché, Florida Gulf Coast University Dread Scott, independent artist Michael F. Bérubé, Pennsylvania State University Artists as Connectors: In Education, Research, and Technology Art in the Walls: History, Practice, and Engagement with Architectural Richard Jochum, Teachers College, Columbia University Contingent, Adjunct, Part-Time, Temporary: Making It Work Tile in Turkey Joe A. Thomas, Kennesaw State University Felicity Ratte, Marlboro College Discussant: Juli Carson, University of California, Irvine Saturday, February 16 Cause and Effect: Trends in Higher Education 12:30 PM–2:00 PM John W. Curtis, American Association of University Professors Art Worlds in Asia Harems Imagined and Real Regent Parlor, 2nd Floor Petit Trianon, 3rd Floor Art, Literature, and Music in Symbolism and Decadence Chair: Sonal Khullar, University of Washington Chair: Heather Madar, Humboldt State University A Renaissance Remnant: The Political Iconography of Justice Symbolist Dualities Rendezvous Trianon, 3rd Floor Bryant Suite, 2nd Floor A Kalamkari World: Seventeenth-Century Painted Cottons and a Refracted Reflections: Self and Other in European and South Asian Chairs: Ruth Weisberg, University of Southern California; Chair: Deborah H. Cibelli, Nicholls State University Theory of Asian Networks Representations of the Harem Judith Resnik, Yale University Sylvia Houghteling, Yale University Saleema Waraich, Skidmore College The Ideal and Matter: Gustave Moreau’s Ambiguous Dualities Seeing Like a Lawyer: Legal Emblems and the Art of Justice Peter Cooke, The The Art World of the Thirteen Factories Seeing through “The Veil Trick”: Visuality and Eroticism in Monti’s Peter Goodrich, Yeshiva University Winnie Wong, Harvard University Sculpture Circassian Slave in 1851 George Minne and Maurice Maeterlinck Joan DelPlato, Bard College at Simon’s Rock Giustizia Fascista: The Representation of Justice in Marcello Albert Alhadeff, University of Colorado Boulder Omissions and Revisions: The Vexed Role of Mass-Produced Media in Piacentini’s Palace of Justice, , 1932–1940 Tibetan Buddhist Art Worlds The Harem Comes Home: Imperial Décor and the Politics of Chintz The Vicious Wallpaper: Destabilizing Structures in Edouard Vuillard Lucy Maulsby, Northeastern University Melissa R. Kerin, Washington and Lee University Samantha Burton, McGill University and Charlotte Gilman Perkins The Multiple Perspectives of Justice at Siena’s Palazzo Pubblico Martin Sundberg, Universität Basel Mekong as Metaphor: Charting the Rise of Regionalism in Southeast Shifting the Imagined Erotic Object to a Heterogenous Modernist Alick M. McClean, Syracuse University in Florence Asian Art Subject: Maghrebi Female Interiors as Painted by French Women Leonardo da Vinci and Odilon Redon: Ambivalent Beauty of the Pamela N. Corey, Cornell University Orientalists, 1890–1930 Discussant: Dennis Curtis, Yale University fin-de-siècle Mary Healy, University of Limerick Rosina Neginsky, University of Illinois at Springfield “A Simultaneous Validity of Coexisting Cultures:” J. Swaminathan, the Bharat Bhavan, and Contemporaneity The Constructed Harem: Matisse’s Odalisques and Contemporary Photography in Doubt, Part II Katherine F. Hacker, University of British Columbia French Women in Orientalist Dress Concourse G, Concourse Level Nikoo Paydar, independent scholar Chairs: Andres Mario Zervigon, Rutgers, The State University of

New Jersey; Sabine Tania Kriebel, University College Cork

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CAA Committee on Diversity Practices Southern Graphics Council International Saturday, February 16 Visual Culture Caucus a Diversity and Retention in the Academy Reproducing Authenticity Life’s Edge: A Thinking-Feeling Lab in the Risks, Powers, t 1:00 PM–2:00 PM urday Petit Trianon, 3rd Floor Sutton Parlor Center, 2nd Floor and Possibilities of Forms-of-Life Chair: Kevin C. Concannon, Virginia Polytechnic Institute and Chair: Jason Urban, Printeresting.org Gramercy B, 2nd Floor ARTspace State University Chair: Jill H. Casid, University of Wisconsin-Madison Truth and Reproducibility Attention and Experience: Public Dialogue M. Renee Baker, Rochester Institute of Technology Beauvais Lyons, University of Tennessee, Knoxville Murray Hill Suite, 2nd Floor Rebecca Schneider, Brown University Peggy Blood, Savannah State University Studio, Museum, Print: Problems of Virtual Authenticity Mel Chin, independent artist José Muñoz, New York University Julia V. Hendrickson, Courtauld Institute of Art Lee A. Gill, The University of Akron Maureen Connor, independent artist Nao Bustamante, Rensselaer Polytechnic Institute “... originality doesn’t exist anyway, only authenticity” Karen A. Clinton Jones, Virginia Polytechnic Institute and Blane de St. Croix, Indiana University, Bloomington Kandice Chuh, The Graduate Center, City University of New York Lauren van Haaften-Schick, independent curator State University Amy J. Goldrich, Art Law Committee of the New York City Steve Kurtz, University at Buffalo, State University of New York Craving the Mark Susan D. Zurbrigg, James Madison University Bar Association Lisa Bulawsky, Washington University in St. Louis Elizabeth M. Grady, smARTpower South Asian Encounters: Anthropologies of Travel and

AP Art History and AP Studio Art the Visual Japan Art History Forum Alix Lambert, The Brooklyn International Theater Company Working with the Sketchbook Page Gibson Room, 2nd Floor The Role of Japan in Modern Chinese Art Gramercy B, 2nd Floor Jenny Marketou, independent artist Chairs: Renate Dohmen, University of Louisiana at Lafayette; Gibson Room, 2nd Floor Chairs: Yu Bong Ko, Tappan Zee High School and Dominican Natasha Eaton, University College London Chair: Toshio Watanabe, University of the Arts London Martha Schwendener, independent critic College; Dale Clifford, Savannah College of Art and Design “Life Injected with Life”: Locating Tolerance in Nasreen The Guangzhou-Tokyo Print Exchanges of 1935 and 1936 Dread Scott, independent artist Mohamedi’s Abstraction Julia Andrews, The Ohio State University Independent Curators International Sacha Yanow, Art Matters Foundation Robin Simpson, University of British Columbia Thinking Contemporary Curating: Terry Smith in Conversation The Role of China in Modern Japanese Art: From the Wu Liang Shrine Bombay to Goa: Travel, Escape, and Desire in Bombay Cinema with Julian Myers to Hirafuku Hyakusui Ayesha Matthan, Jawaharlal Nehru University Sutton Parlor North, 2nd Floor Tamaki Maeda, independent scholar Chair: Kate Fowle, Independent Curators International Saturday, February 16 Touristic Agencies: Aditi and the Living Exhibit at the Festival of India, The Japanese Impact on the Construction of Art History as a Modern 2:00 PM–4:00 PM 1985–6 Discipline in Republican China Rebecca Brown, Johns Hopkins University Design Studies Forum Kuiyi Shen, University of California, San Diego ARTspace Deterritorializing Design: Rethinking the Relationship Filipiniana: Visual, Temporal, and Virtual Voyages across the Pacific Discussant: Joshua Fogel, York University Film and Video as a Social Art: Contemporary Moving between Theory and Practice (and between the Philippine and South China Seas) Images and Social Practice Rendezvous Trianon, 3rd Floor Nadine Wasserman, independent curator and critic Murray Hill Suite, 2nd Floor Chair: Betti Marenko, Central Saint Martins, University CAA Student and Emerging Professionals Committee Chairs: Caryn Coleman, independent curator and writer; Refugee to Celebrity: Changing Subjects (and Narratives) in of the Arts London Gender Politics in the Workplace, Part II: The Next Generation Jenny Krasner, independent artist Photographs of Travel by Water Nassau Suite, 2nd Floor Redesigning the Objectile: Deleuze and the Science of Jennifer Way, University of North Texas Chairs: Megan Koza Young, University of Kansas; Anitra Haendel, Imaginary Solutions California Institute of the Arts Derek Hales, University of Huddersfield Saturday, February 16 Studio Art Open Session Brittany Lockard, Nelson-Atkins Museum To the Edge of Chaos: A Deleuzian Approach to an 2:30 PM–5:00 PM Performative Acts in Video and Film: Contrasting the Emergent Innovation Lisi Raskin, independent artist Forty-Year History with Current Themes that Are Prevalent Jamie Brassett, Central Saint Martins, University of the Arts London Funktioning with Nothing but the Funk: Black Art and Design, in Emerging Artists American Council for Southern Asian Art Morgan Suite, 2nd Floor Deleuzian Design: How to Catalyze an Encounter between the Final Frontier in Reconstruction Business Meeting Chair: Jefferson Godard, Columbia College Chicago Philosophy and Design Sutton Parlor South, 2nd Floor Madison Suite, 2nd Floor Betti Marenko, Central Saint Martins, University of the Arts London Chair: Xenobia Bailey, independent artist Rachelle Beaudoin, independent artist Association for Critical Race Art History The Funk of Black Contradictions Kate Gilmore, independent artist CAA Committee on Intellectual Property Business Meeting Rickey Vincent, University of California, Berkeley and City College Chelsea Knight, independent artist Developing a Fair Use Code for the Visual Arts Morgan Suite, 2nd Floor of San Francisco Beekman Parlor, 2nd Floor Spit Do Make Babies: The Long Black Inseminating Tongue of the Mary Lucier, independent artist Chair: Christine Leszczynski Sundt, Visual Resources: Association for Modern and Contemporary Art of the Dogon, George Clinton, and the God Rakim: A Study of Linguistic Play, Bryan Zanisnik, independent artist An International Journal of Documentation Arab World, Iran, and Turkey Paganism, and Alchemy in Post-African Griot “Kulcha” Business Meeting Greg , independant scholar Regent Parlor, 2nd Floor Making Inroads, Paving the Way: Postwar Architecture, Society of Contemporary Art Historians The Art of Bessie Harvey: African Juju in the Forest of North American Design, and the Formation of Jewish-American Identity The Social, the Relational, and the Participatory: A Reevaluation Brooke Davis Anderson, independent scholar Sutton Parlor Center, 2nd Floor Gramercy A, 2nd Floor Chairs: Kai K. Gutschow, Carnegie Mellon University; Chairs: John Tain, Getty Research Institute; Kirsten Swenson, The Art, Design, and the Mojo of the Groove in the Key of Life: Black Lynnette Widder, Columbia University University of Massachusetts Lowell Music as a Model for Progressive Design in North America Xenobia Bailey, independant artist Anton Vidokle, e-flux

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Newish and Jewish from Europe: Refugees, Survivors, and the Olfactory Art The Work of Art Criticism in the Age of Blogs and Ezines Czech, Slovak, and Rusyn: Nationbuilding in First a Spread of Modernism in Postwar America Concourse A, Concourse Level Beekman Parlor, 2nd Floor Republic Czechoslovakia t urday Samuel D. Gruber, Syracuse University Chairs: Adrian Kohn, Massachusetts College of Art and Design; Chairs: Diana Spitzer McClintock, Kennesaw State University; Karla Huebner, Wright State University Chandler Burr, Museum of Arts and Design Susan Todd-Raque, independent curator Non-Jewish Architecture for Jews: The Jersey Homesteads The Outsider’s Vision: Bohumil Kubišta as Social Critic after Auschwitz Perfume Is the Next Photography Make to Know: Towards Art Critical Transmedia Literacies Eleanor Moseman, Colorado State University Daniel S. Palmer, The Graduate Center, City University of New York Chandler Burr, Museum of Arts and Design Charlotte Frost, University of Wisconsin-Milwaukee To Hell and Back: “Helhesten” and Cultural Resistance in A Symbolic Landscape for Suburbia: Baltimore Chizuk Amuno’s What Sound Does a Scent Make? 140 Characters or Less World War II Denmark Hebrew Culture Garden Clara Ursitti, Glasgow School of Art Renee McGarry, Sotheby’s Institute of Art Kerry Greaves, The Graduate Center, City University of New York Jeremy Kargon, Morgan State University The Use of Smell in Art, an “Olfactology” Art Research The Field of Content Production: Art Writing in the From Fiction to Fact: The Need to Document in Post-Yugoslav Art The Faith of Albert Kahn Peter De Cupere, MAD-Faculty, Hasselt Twenty-First Century Nadia Perucic, The Graduate Center, City University of New York Claire Zimmerman, University of Michigan Jeanne Willette, Otis College of Art and Design Olfactory Landscapes Discussant: Steven A. Mansbach, University of Maryland Christian Stayner, University of Michigan, Ann Arbor

Reconsidering the Nineteenth Century through Asian Art Artists, Architects, Libraries, and Books, 1400–1800 Inhaling the History of Art: On the Role of Olfaction during the “Assembly Instructions Included”: Balancing Structure Madison Suite, 2nd Floor Bryant Suite, 2nd Floor Avant-Garde and Freedom in Studio Art Courses Chairs: Ellen Chang Huang, University of San Francisco; Chairs: Sarah McPhee, Emory University; Heather Hyde Minor, Caro Verbeek, Rijksmuseum Amsterdam and Royal Academy Petit Trianon, 3rd Floor Sunglim Kim, Dartmouth College University of Illinois at Urbana-Champaign of Arts, The Hague Chairs: Casey Ruble, Fordham University; Lynn Sullivan, Reclaiming Past Glory: Antiquarian Trends in Late Nineteenth-Century Leon Battista Alberti as Author and Architect in De re aedificatoria Hunter College, City University of New York The Olfactory Imaginary in Modern and Contemporary Art Chinese Court Art Heather Horton, Purchase College, State University of New York Jim Drobnick, Ontario College of Art and Design University Robert DiMatteo, Drexel University and Raritan Valley Ying-chen Peng, University of California, Los Angeles All in a Day’s Work: The Publications of Juan Gomez de Mora, Community College

Mirroring Korean Art in the Nineteenth Century: Foreign Accounts of Royal Architect to the Spanish Habsburgs Studio Art Open Session Glenn Goldberg, Queens College, City University of New York Korean “Art” Jesús Escobar, Northwestern University Painting: The Elastic Frontier Virginia Moon, University of Southern California Alex Phillips, Emily Carr University of Art and Design Trianon Ballroom, 3rd Floor George Clarke’s Library-Laboratory of Architecture Representing the Cerebral Mind: Translation and Visuality in Chair: Anna Kunz, Columbia College Chicago Eleonora Pistis, Oxford University Peter Rostovsky, New York University Modern Japan Dan Levenson, Little Switzerland An Italian Art Library under the Polar Star Gregory Sholette, Queens College, City University of New York Stephanie Su, University of Chicago Martin Olin, Nationalmuseum, Stockholm Gelah Penn, independent artist Roger White, Rhode Island School of Design Ambivalent Exchange: The Gift of Photographic Albums between Architecture and Erudition: Carlo Fontana (1638–1714) Korea and Japan in 1876 Stephen Maine, Harry N. Abrams, Inc. John Pinto, Princeton University Hye-ri Oh, State University of New York at Binghamton Dystopia: Space, Architecture, and the Filmic Imaginary Jose Lerma, School of the Art Institute of Chicago Sutton Parlor North, 2nd Floor Global Textiles and the Dress Culture of Nineteenth-Century Nicole Awai, Yale University Abstraction and Totality Chair: Sadia Shirazi, independent curator and architect Jiangnan Women Regent Parlor, 2nd Floor Rachel Silberstein, University of Oxford Dannielle Tegeder, Lehman College, City University of New York Nora Alter, Temple University Chairs: Ara Hagop Merjian, New York University; Sabina Ott, Columbia College Chicago Anthony George White, University of Melbourne Sara Eliassen, independent artist Art and Artists in the Field of Cultural Production: Jonathan Miller, Illinois Institute of Technology The Radicality of Abstract Expressionism Ivor Shearer, independent artist Reception Studies, Part II Valerie Hellstein, The Phillips Collection and George Gramercy A, 2nd Floor Washington University Chair: Ruth E. Iskin, Ben-Gurion University of the Negev Mapping Spaces: Cartographic Practices in Art and Association of Historians of American Art Architecture, Part II Abstraction and Communism in China: The Works of Qiu Deshu The Body of the Artist and the Artist as Body in American “All the World’s a Kaleidoscope”: A Media Archaeology of Concourse G, Concourse Level Hayoon Jung, University of California, San Diego Artistic Practice Abstract Imagery Chair: Min Kyung Lee, Swarthmore College Rendezvous Trianon, 3rd Floor Erkki Huhtamo, University of California, Los Angeles Lines of Dissolution: Arab Nationalism and Abstraction in Syria, Chairs: Robin Veder, Pennsylvania State University; Elizabeth Lee, Icons of Space: Grids, Maps, and Pictures ca. 1300 1936–1952 Can You See Me Now? The Reception of the First Modern Woman Artist Dickinson College Karl Whittington, The Ohio State University Anneka Lenssen, The American University in Cairo Diane J. Radycki, Moravian College Benjamin West’s Legs: Urban Exercise and Manly Health in Pictorial Maps and Maplike Paintings in Mid-Imperial China The Ideology of the Square: Cultural Critiques of Geometric Bianca Eshel-Gershuni: Innovator and Outsider A Drayman Drinking Julia Orell, University of Zurich Abstraction in Soviet Russia Ayelet Carmi, Ben-Gurion University of the Negev Lauren Lessing, Colby College Museum of Art Maia Toteva, University of Cincinnati Blue Ash College Mapping Heterotopian Spaces: Affective Cartography as Suzy Lake, National Treasure: Consecration in the Canadian Context Augustus Saint-Gaudens’s Cancerous Body and the Phillips Artistic Practice Abstraction as Ornament: Visualizing Volksgemeinschaft Michelle Meagher, University of Alberta Brooks Monument Simonetta Moro, Institute for Doctoral Studies in the Visual Arts Michael Tymkiw, University of Chicago Elizabeth Lee, Dickinson College “Free German Art”: The Reinterpretation of German Expressionism Barry Le Va: The Map and the Void at the Museum of Modern Art during World War II Visualizing the Irradiated Body of László Moholy-Nagy Michael Maizels, University of Virginia Historians of German and Central European Art and Architecture Jennifer McComas, Indiana University Art Museum Keely Orgeman, Boston University Central Europe’s Others in Art and Visual Culture, Part II Nancy Graves: Mapping from Space Nassau Suite, 2nd Floor Fluxus Medicine: George Maciunas’s Prescribed Performances Christina Hunter, Columbia University and Nancy Graves Chairs: Elizabeth Otto, University at Buffalo, State University of New Colby Chamberlain, Columbia University Foundation York; Brett Van Hoesen, University of Nevada, Reno Discussant: Robin Veder, Pennsylvania State University A Black Jewish Astrologer in a German Renaissance Manuscript Paul H. D. Kaplan, Purchase College, State University of New York

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