Wednesday the Afterlife of Cubism PROGrAM SeSSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism exhibiting the renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: the fine Art print folio and David Raizman, Drexel University Artist’s book as Sites of inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A. Vazquez, Middlebury College ARTspace the Aesthetics of Sonic Spaces Book Art: The Artist as Curator Murray Hill Suite, 2nd Floor, Hilton New York Susan Johanknecht, University of the Arts London, and Katharine Chairs: China Blue, The Engine Institute, Inc.; Jill L. Conner, White Meynell, Middlesex University Hot Magazine and Parsons The New School for Design The Daily “Difference and Repetition” of Post-1968 France in Didier Spectral Temporal Aesthetics and Human Perception Bay’s Mon Quartier Vu de Ma Fenêtre (1969–1973) China Blue, The Engine Institute, Inc. Lily Michelle Woodruff Sound as Sculptural Sensation Michael Brewster, Claremont Graduate University nation building: the politics of Space in the African City Beekman Parlor, 2nd Floor, Hilton New York Witnessing Space Chairs: Karen A. Fiss, California College of the Arts; Mabel O. Wilson, Andrea Polli, University of New Mexico Columbia University Developing an Aesthetic: Soundwalking as a Tool for Understanding Strange Aesthetics: An Alternate Imagining of the Late Colonial and Urban Sonic Spaces Postcolonial City Jonathan Farrow, City College of New York, City University of Ikem Stanley Okoye, University of Delaware New York Rebuilding Revolution Looking at Sound: The Exhibition Iannis Xenakis: Composer, Hannah Feldman, Northwestern University Architect, Visionary Carey Lovelace, International Art Critics Association The Rainbow Style: Architecture as a Social Discourse in South Africa, 1994–2010 discussant: Jill L. Conner, White Hot Magazine and Parsons Nnamdi Elleh, University of Cincinnati The New School for Design China in Africa: Infrastructure as Politics Lindsay Bremner, Temple University discussant: Suzanne Preston Blier, Harvard University 30 college art association 100 February 9 –12, 2011 31 Wednesday What’s Art Got to do with it? design Writing in the Centennial Session Art Historians Interested in Pedagogy and Technology on the Grid: Art and Architecture in Manhattan, 1811–2011 twenty-first Century Against Acknowledgement: Sexuality and the technology and Collaboration in the Art history Classroom Gibson Room, 2nd Floor, Hilton New York Sutton Parlor South, 2nd Floor, Hilton New York instrumentalization of Knowledge Sutton Parlor North, 2nd Floor, Hilton New York Chair: Sarah A. Rosenbaum-Kranson, Harvard University Chairs: Elizabeth Guffey, Purchase College, State University of Rendezvous Trianon, 3rd Floor Chair: Marjorie Och, University of Mary Washington Re-Covering the Cityscape: Impressions of History Underfoot New York; Alice Twemlow, School of Visual Arts Chair: Jonathan Katz, University at Buffalo, State University Team-Based Wiki Building Michele Brody, independent artist of New York Useless: Art History and a Taste for the Useful Kathryn Bunn-Marcuse, University of Washington Circle on the Grid: Edward Keefe’s Columbus Circle in the Snow, Cameron Tonkinwise and Shana Agids, Parsons The New School Step Away from the Podium! Adjusting Our Teaching Style to 1905–06 for Design double exposure: photography as Art and documentation Accommodate Interactive Classroom Learning Diane Tepfer, University of Maryland University College Nassau Suite, 2nd Floor, Hilton New York Expanding Design Criticism Susan Healy, Metropolitan Community College, Omaha Chair: Christine Kuan, ARTstor Navigating the Irrational: The Baroness Elsa von Freytag- Carma Gorman, Southern Illinois University Carbondale The Sound of Art: Audio-Casting and Student Engagement Loringhoven’s Ultimate New York Dada Photography, Performance, and Power: Marina Abramović’s Freeing Design Journalism, Anonymity, and the Critical Audience Frances Altvater, University of Hartford Hillyer College Gillian Sneed, The Graduate Center, City University of New York the Horizon (1973) Gerry Beegan, Rutgers University Mechtild Widrich, University of Vienna Look, Listen, Speak, Text, Draw: VoiceThread™ Changes the Dissolving the Grid: Bernard Tschumi’s Manhattan Transcripts, The Emerging Aesthetic of Ugly: Fabbing, Modding, Hacking, and the Paul Thek and Photography: A Research on His Use of the Reproduced Balance of Power 1977–1981 Power of DIY Interventions, an Assessment Susanne Neubauer, University of Zurich Janice Lynn Robertson, Fashion Institute of Technology Timothy Andrus, Virginia Commonwealth University Kevin Henry, Columbia College Chicago Between Art and Document: Photography and Architecture in Collaboration in the Virtual Classroom: A Few Strategies that Work The New York City Grid: Some Urban Effects Implosure Postwar Italy Eva J. Allen, independent art historian Carol Herselle Krinsky, New York University Kenneth FitzGerald, Old Dominion University Lindsay R. Harris, Institute of Fine Arts, New York University Hamaya Hiroshi, Yanagita Kunio, and the Challenges of Making Museums Matter: integrating Collection and Wednesday, February 9 (re)Contextualizing precolumbian Art in the Ethnographic Photography exhibition programs with College Curriculum 12:30 PM–2:00 PM twenty-first Century Jonathan Reynolds, Barnard College Trianon Ballroom, 3rd Floor, Hilton New York Gramercy A, 2nd Floor, Hilton New York Chairs: Neysa Page-Lieberman, Columbia College Chicago; Chairs: Ellen Marie Hoobler, University of Puget Sound; Esther Documenting the Gulf: Digital Photography and Media Now Leonie Bradbury, Montserrat College of Art Galleries open forum discussion on professional development Pasztory, Columbia University Pat Cassidy Mollach Curriculum in fine Art programs Dispatches: On Engaging Art and Engineers Rendezvous Trianon, 3rd Floor, Hilton New York The Role of Materials Science in Recontextualizing an Iconic Work Ronald R. Bernier, Wentworth Institute of Technology Chair: Jackie Battenfield, Columbia University of Art dissemination: printing, publishing, and the early Modern McKissick Museum at the Core of the University of South Virginia M. Fields, Los Angeles County Museum of Art Arts in europe How do we help to prepare our students to face the rapidly Sutton Parlor Center, 2nd Floor, Hilton New York Carolina’s Curriculum changing dynamics of the art world? As more fine art programs Temporal Context: Depictions of Warfare from Epiclassic Period Chair: Sheila McTighe, Courtauld Institute of Art and University Lana A. Burgess, McKissick Museum, University of South Carolina have incorporated professional practices/career development Mesoamerica of London Reframing the “Art” in Liberal Arts: Curricular Integration at the information in their curriculums, this session is an invitation Andrew Finegold, Columbia University to those of you teaching these subjects to share information, Francesco Rosselli’s Lost Panorama of Rome: An Urban Icon Allen Memorial Art Museum, Oberlin College resources, and to discuss diverse approaches. This session Exhibiting Culture or the Culture of Exhibits: Ancient Maya Objects on and Its Progeny Colette Crossman, Blanton Museum of Art, University of Texas continues the dialogue begun last year at CAA in Chicago in order Exhibit at the Field Museum and Art Institute of Chicago Jessica Maier, University of Oregon at Austin Khristin Landry, Northern Illinois University to develop a network of instructors with shared interests. It is open The Open Letter: Dürer’s Four Apostles Points of Departure: Strategies for Faculty Engagement in Campus to faculty already teaching professional development classes, or Changing Places: Olmec Monuments and the Production of Social Shira Brisman, Yale University Museums and Galleries those interested in adding them to their curriculum. Space in the Preclassic Gulf Lowlands Carin Jacobs, Graduate Theological Union Jillian Mollenhauer, Metropolitan State College of Denver