Audience and Receptivity in Animal-Style Art
PETYA ANDREEVA2019
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Elite tombs associated with Iron-Age non-sedentary communities are dispersed across an expansive geographic domain stretching from the Mongolian-Manchurian grassland to the Pontic Steppes. The interior décor of one’s final resting place exhibits a shared visual formula rooted in the repeated, strategic placement of portable luxury items: headdresses and jewelry with composite beasts in hierarchical arrangements decorate the human remains, whereas exuberant textiles envelop the walls, coffin covers and other interior surfaces. Animal-style portable art displays an emphasis on the concept of visual transmogrification as one fantastic beast transforms and terminates into another. Animal images are also represented through a visual synecdoche following the "pars-pro-toto" device: full-bodied animals are replaced by a single anatomic part or depicted as zoomorphic junctures of several beasts thus resulting in a composite monster. This study views the emphasis on movement and metamorphosis of fantastic animals as a politically-determined phenomenon. The author addresses the authority of two types of intended audiences, a real-life one in attendance during the funeral and a second (imagined) one present in the afterlife. The burial likely involved the attendance of other members of the highest echelons of society. Thus, the dramatic optical transformation within the surface of portable ornaments coupled with the theatrical setting of the tomb’s interior and the frequent incorporation of “exotic” goods from sedentary empires indicate that shaping the sensorial experience and expectations of an elite audience were at the heart of the construction of elite nomadic burials. Displays of portable luxury in a pastoral nomadic structure were thus driven by cosmological negotiations of political clout and concerns about sustained collective memory and legitimacy beyond a leader’s death.
Related papers
Art, Death and the Interpretation of Mortuary Remains
Art, Ritual Ceremony, Religion: Material Culture and Spiritual Beliefs (藝術‧禮儀‧宗教：物質文化與精神信仰)(Chinese) Ancient Art and Primitive Worship, Artistica: Research Journal of Arts and Humanities, Inaugural Issue, 2010
Whether religious or secular, ritual is intrinsically fascinating. Ritual is an activity which when isolated from its context cannot be studied fully. It is defined by the society that practices it, and as such, needs to be studied in its proper social and material contexts.' But how does one do so when the rituals being studied are known primarily in burial remains of ancient societies? In China, for example, mortuary settings are the primary locus of findings for remains from the late prehistoric and early dynastic periods. The ritualized context of burial can and has been seen as a mechanism for the shaping of beliefs, ideologies, and identities; or as a source of social power for those who participate in, control, or create them, thus revealing of a great deal about the given society and its dynamics. They can also be seen as a focal node of social networks, or as a means of illuminating the hopes and desires of a given society. Ritual and the materialization of belief has more recently been seen as an important and informative class of social action, or even as a social construction of the sacred.' This paper will consider the material contents of tombs, especially in China, and propose ways to understand and explain them within this sort of ritualized context. Others have studied their placement and distribution in tombs as well as their visual countenance, and also have brought to bear non-archaeological evidence such as ethno-historical accounts and historical texts, although they are not straightforward accounts of historical events or beliefs. Moreover, the notion of continuity (of a motif, for instance) which has often been used to such an exaggerated extent that any pattern observed in the Neolithic layers that has even the slightest similarity to a motif from the dynastic periods will be questioned as insufficient to argue for the existence of a certain ritual or meaning in a later period.' With this appeal for the assessment of how we have dealt with the remains of ancient societies, I hope to recognize and propose ways to understand more fully the complexity of the treatment of the dead.
Glittering Bodies: The Politics of Mortuary Self-Fashioning in Eurasian Nomadic Cultures (700 BCE-200 BCE
Fashion Theory, 2021
Non-sedentary cultures have existed on the scholarly fringes and historiographical outskirts of the art-historical canon: there they remain to this day, buried between dated opposites like "east" and "west," "high" and "minor" arts, torn by interdisciplinary tensions in art history, archaeology and ethnography. Nomadic societies are usually considered in cross-cultural studies only insofar as they can act as sufficiently expedient intermediaries linking settled empires in the designated "East" and "West," hence the recent fascination with the Pontic Scythians who bordered, traded and fought with ancient Greece, or the Xiongnu whose nomadic confederation became a geopolitical threat to early imperial China. Yet, early pastoral nomads bordering China and Greece left behind a rich corpus of gold adornment which points to an elaborate system of image-making and highly conceptual designs rooted in zoomorphism. The following article focuses on the strategies of Fashion Theory
Ancient funerary mounds and master spirits of the place: animated landscapes in the Mongolian Altai
The ancient derivation of the word magic is well attested in classical Greek and Iranian sources, where magi could be dream-interpreters, soothsayers, and, more in general, specialists in ritual practices, performing funerary functions, livestock sacrifices, and cultic libations, markedly to rivers and mountains. Although more refined and chronologically-fixed etymological considerations may lead to a speculative ground, it is quite significant that the Proto-Indo-European root, *magh-, apparently expressed the idea of power, or ability; while later attestations could also convey the idea of both gift and sacrifice. And how, one may wonder, can these semantic values combine with the analysis of ancient cosmologies, and ritual and funerary practices in the Bronze and Iron Age Eurasia? To which extent is it possible to trace their long-term persistence in several forms of ritual traditions and beliefs? In this paper, I analyse how in Mongolian Altaic cosmology and folklore, the surrounding world is conceived as an animated whole, inhabited and controlled by master spirits of the place –gazriin ezed-; while the landscape itself, as Caroline Humphrey highlighted, is actually seen as a context of interactions between humans and non-human forces, thus validating the essential idea of powerful figures of intermediation for the performance of ritual and funerary practices that include different forms of gifts and sacrifices. Furthermore, I comparatively explore how these concepts may enrich our understanding of the local archaeological landscape, especially in the sphere of Late Prehistoric funerary mounds: their liminal emplacement, cardinal orientation, architecture, and symbolic references to ancient animated cosmologies and worldviews.
(2010) Agency, Hybridity, and Transmutation: Human-Animal Symbolism and Mastery among Early Eurasian Steppe Societies
The term " Eurasian animal-style art" was rst developed in the early twentieth century by Rostovtzeff when he identi ed the widespread pattern of artistic motifs that included realistic depictions of cervids, often portrayed on the tips of their hooves (as if running or leaping), horses, felines, and the frequent combination of various animal body elements (real and imagined) into new forms that portrayed metamorphosis, hybridism, and predator-prey dynamics. In considering this pattern of animal symbolism, it is important to emphasize the general evolution of human-animal representations produced by pastoralist and agro-pastoralist societies in the steppe zone and to consider how this may differ from such representations and their development within the state-level urban settings of the Near East, the Mediterranean, and temperate Europe. Over the past fteen years, several scholars have emphasized the importance of the socio-economic relationship that existed between the urban states of the south and the pastoralists and agro-pastoralists of the northern steppe zone, de ned as a core-periphery dynamic . Certainly, archaeological evidence does indicate the diffusion of certain forms of material culture and iconography between these two regions, particularly during the Iron Age. Human-animal imagery and the Master or Mistress of Animals also are known from the Greek colonies along the north coast of the Black Sea. Ornaments recovered from the so-called priestess' tomb in the Great Bliznitsa barrow provide an excellent example of this . This barrow was excavated in the second half of the nineteenth century in an area north of Lake Tsukur on the Taman Peninsula between the Black Sea and the Azov Sea (see MINNS 1971 for description). Sites such as these are connected with the Greek colonies established along the northern coast in the mid- fth century BC that contributed to Scythian-Greek contact and colonial processes in the region. Nevertheless, it is important to move beyond the simple mapping of the movement of objects, people, and symbolism between what are envisaged as "core" and "peripheral" areas. Identifying and explaining some of the social processes and cultural boundaries that may have facilitated and/or discouraged the diffusion and appropriation of artistic elements and their related symbolism between regions and the groups inhabiting them are key in considering the relationship of art agency phenomena to social development and change among steppe societies during the Bronze and Iron Ages. While the appearance in the Black Sea region of the Master of Animals iconography can be traced to Greek expansion and colonization, this style of iconography did not spread into the Eurasian steppe zone in any perceptible form. It is important, therefore, to consider not only the speci c historical contexts and social relations that produce such art but also how and why such traditions change through time as well as why they do not. While some scholars may consider it inappropriate to consider such developments an "evolution" of art, art agency exists within a realm of social practice that is multivariable in nature and conditioned by traditional cultural practices through time and the rearticulation of meaning and use that both draws upon and contributes to the art agency itself within speci c historical settings. Such a view moves us beyond a simple focus on the aesthetics and semantics of art and places more emphasis on how art is both produced and consumed in connection with the manipulation of art, the cultural values surrounding material objects, and the construction of iconography for social action and intention. Such an anthropological perspective of art and its agency was strongly argued for by Alfred Gell in several works (GELL , 1998, wherein he highlighted the intentionality of art and its ability to extend the agency of its creator into various social elds and networks of interaction.
Landscapes of death, monuments of power| Mortuary practice, power, and identity in Bronze-Iron Age Mongolia
2012
This dissertation focuses on the material manifestation in mortuary practice of political centralization with the emergence of the first nomadic steppe empire in East Asia, the Xiongnu (209 BCE-200 CE). The formation of the Xiongnu polity entailed sweeping changes in technology, monument construction, and funerary behavior that radically transformed the mortuary landscape of Mongolia. Research on the Xiongnu Empire has typically centered on mortuary monuments and accompanying funerary assemblages. Most interpretive models have either sought to link materials found in graves with socio-economic processes or to historical narratives derived from ancient Chinese texts. This study contributes a new and somewhat challenging facet to these models by questioning the nature of the data itself and the range of behaviors and materials that are employed to create socially meaningful narratives that corroborate dead leaders. Here I assert the necessity to consider that mortuary monuments are mnemonic devices that commemorate both the dead and the living through ideologically and politically oriented symbolism. Using archaeological materials derived from survey and excavation at Baga Gazaryn Chuluu in Mongolia I demonstrate that political centralization is evident in the way social memory was created in mortuary practice. I employ a qualitative and conceptual framework that argues that commemorative narratives can be created at different scales. Using this paradigm, I illustrate how Xiongnu mortuary practice restricted individuals’ and communities’ ability to create social memory in the long durée, as had previously been the norm, by shifting funerary practice towards emphasizing social memory on a micro-scale. I also emphasize the need to consider disruption events as an additional line of evidence and also illustrate how desecration was used as a political strategy before and during the Xiongnu period to alter social memory of local lineages of leadership.
Animal Rows and Ceremonial Processions in Late Predynastic Egypt
4 As a preliminary caveat (cf. par. 4.2), it must be pointed out that diachronic and cross-cultural comparisons of "single units" (of the religious, iconographic and symbolic inheritance conveyed in the Egyptian art), are susceptible to incur in anachronistic, erroneous conclusions. Contrarily to fundamental notions of broader range (as archetypal models, myths, religious beliefs, philosophies, symbolic metaphors) apt to remain relatively unchanged to the effect of time and of external influences (e.g. Huyge 2002: 194f.; Le Quellec 2005), more particular elements (as styles) are instead largely prone to modifications, rielaborations, additions or even elimination from the artistic milieu -owing to ideological needs, rulers' decisions, new rules of decorum, changing representational canons, foreign cultures borrowings, historical events and other agents. Additionally, and more obviously, it should be remarked that difficulties in modern explanation of past traditions are often the unavoidable result of the gap existing in the logic principles, ideological constructions and cultural conventions rooted in human minds so many millennia apart from each others, as ancient Egyptians' and our own ones are; corruptions may even issue for later Egyptians' misinterpretations of their ancient predecessors' traditions. 5 The terms "decoration, decorative" does not necessarily imply a secondary function (and even less one of mere embellishment): in general, the figurative apparatus might have been either an accessory, additional feature, more or less tightly connected to the main purpose of the artefact (i.e., contributing to accomplish its scope), or the very core and key-element of the object effective meaning and value. For sure, carved, incised and painted figures have, not seldom, attracted more scholarly attention than the other attributes of the items on which they appear! 6 The intracultural patterns of decodification are certainly to be preferred to exogenous approaches ethnographical parallels or diachronic comparisons: cf. note 4): the former ones fully rely on characteristics proper to the studied cultural ambit, eventually accepting the latter ones as an eventual theorical research direction, to be pursued only if corroborated by further positive proofs. For indicative methodological avenues: Midant-Reynes 2003: 310ff. (chaîne opératoire); Wengrow 2006: 176ff. (holistic account).
Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings
Material Religions, 2015
On the basis of drawings, diagrams and photos, I will analyse Mongolian funerary techniques from the perspective of material treatment of the deceased's body and soul. The body is putrefying flesh and must be purified. The invisible mobile soul is materialised and mediatised to favour its rebirth. To purify the body and to encourage the deceased soul's rebirth, families make and manipulate objects (coffin, miniature yurt), materials (wood, fabric, iron) and food (purifying food substances, food offerings).
The nature of the beast: curating animals and ancestors at Catalhöyük
2008. In World Archaeology, Vol. 40(3): 373–389 Taking ‘tradition’ as the process of ‘handing down’, which encompasses the ideas of duration, continuity, practice and ritual, this paper examines the Neolithic lifeworld at C¸ atalho¨ yu¨ k with particular attention to the figurine corpus and plastered installations. Specifically, I focus on two material preoccupations that have intense signification across various media, are repeated in different scales and occur over many generations at C¸ atalho¨ yu¨ k. The first is termed headedness or a particular tension surrounding heads, head removal and circulation, and the post-cranial body, that applies both to humans and animals. The second is the desire for embedding and re-fleshing the remains of animals and ancestors. I argue that both themes are connected to desires about permanence, restoration and ultimately improving upon the fragilities of fleshed matter through a focused curation of the skeletal elements. Both of these material concerns had salience across domains from living bodies to aesthetic renderings, traversed both animal and human worlds, connected generations together, occurred at different scales and had resonance beyond the site to wider Neolithic traditions.
“Human-Animal Interactions in Anatolian Mortuary Practices” 2017. Chronika Vol. 7: 11-27. (Author's copy).
2017
From the bull and deer paintings of Çatalhöyü k houses to the lion and vulture carvings of Göbeklitepe pillars, Neolithic Anatolia has given us a glimpse of the variety of roles animals play in human imagination and in daily human life: in imagery, in symbolism, in stories and rituals. In cases where there is a lack of detailed imagery, conventional interpretations have focused on animals exclusively as resources for survival. This approach limits our understanding of the relationships humans had with their natural and material world. Compared to the Neolithic, the Anatolian Bronze Age is poor in terms of representations of animals, however extramural cemeteries in this period have yielded a great variety of animal remains, both disarticulated and complete. By considering the different ways in which animals were interred in mortuary context, this paper aims to analyze the human-animal interaction beyond subsistence and economy.
TABLE OF CONTENTS
Greetings 5
General Information 6
CAA Membership and 7
Registration
Conference Services 8
New York Hilton Midtown Maps 10
Conference at a Glance 14
15
Program Schedule By Day
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CAA Committee Lounges
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Offsite
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Museums and Cultural Listings
CAA Staff Picks
93
97
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Book and Trade Fair
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118
119
128
CAA Board, Committees, and Staff
CAA Presidents
Participant Index
Advertiser List
Exhibitor Sessions
Exhibitor Index
Book and Trade Maps
The Conference Program is published in
conjuction with the 107th Annual Conference
of the College Art Association of America,
Inc. The Program reflects the schedule as
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Greetings to Attendees of the 2019 CAA Annual Conference!
Welcome to the 107th CAA Annual Conference—filled with learning, connections, and new discoveries. Whether
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5
GENERAL INFORMATION
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CAA MEMBERSHIP AND REGISTRATION RATES 2019
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7
DETAILS FOR SPEAKERS
CONFERENCE SERVICES
All conference participants, (e.g. chairs, speakers,
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floor located by the entrance to Rhinelander North, in the
New York Hilton Midtown.
CHILD CARE–NEW IN 2019!
New York Hilton Midtown
Concourse level
CAA is pleased to offer onsite child care for
children 6 months–12 years old, in partnership with
KiddieCorp. KiddieCorp is in its thirty-third year of
providing events with premier children’s program
services, and enjoys a long-time partnership with
the American Academy of Pediatrics. For more
information about KiddieCorp, see kiddiecorp.com/
about-us/.
Rate: $12/hour, 2-hour minimum.
Details/sign up: jotform.com/KiddieCorp/caakids
Hours: Thursday and Friday: 8:00 AM–7:30 PM
Friday: 8:00 AM–7:30 PM
Saturday: 8:00 AM–1:00 PM
Outside of these hours, hotels maintain a list of
other licensed, bonded agencies offering childcare services. Contact your hotel’s concierge for
additional information.
SEE CAA 2019 APP FOR PROGRAM UPDATES
9
NEW YORK HILTON MIDTOWN, CONCOURSE LEVEL
CONCOURSE
A
CONFERENCE
SERVICE CENTER
GRAND STAIRCASE
FROM LOBBY
CONCOURSE
B
CONCOURSE
C
CONCOURSE
H
CONCOURSE
G
CONCOURSE
D
CONCOURSE
E
CENTRAL PARK
5TH AVENUE
6TH AVENUE
7TH AVENUE
BROADWAY
56TH STREET
55TH STREET
54TH STREET
NY HILTON
SHERATON
53TH STREET
52ND STREET
10
CONCOURSE
F
NASSAU
WEST
MURRAY HILL SUITE
B
SUTTON SOUTH
SUTTON CENTER
GRAMERCY
EAST
GRAMERCY
WEST
RHINELANDER
GALLERY
A
BOOK AND
TRADE FAIR
ARTSPACE
MEDIA
LOUNGE
GIBSON
CLINTON MADISON
MORGAN
BRYANT
BUSINESS CENTER
SUTTON NORTH
COAT CHECK
ROOM
COAT CHECK
ROOM
HOUSE
PHONE
HOUSE
PHONE
BEEKMAN
READER BOARDS
REGISTRATION
54TH STREET
ENTRANCE
READER BOARDS
RHINELANDER NORTH
UP TO
AMERICAS
HALLS
inclusive restroom
ROLLUP DOOR
ARTSPACE
NASSAU
EAST
NEW YORK HILTON MIDTOWN, 2ND FLOOR
AVENUE OF THE AMERICAS / 6TH AVENUE
SOUTH CORRIDOR
REGENT
11
PETIT
TRIANON
GRAND BALLROOM
EAST FOYER
ELEVATORS
SERVICE
(7'CEILING)
AVENUE OF THE AMERICAS / 6TH AVENUE
GRAND BALLROOM EAST
GRAND BALLROOM
WEST
GRAND
BALLROOM
WEST FOYER
TELEPHONES
PUBLIC
RENDEZVOUS
TRIANON
ELEVATORS
SERVICE
UP
DOWN
UP
WEST PROMENADE
DOWN
UP
DOWN
ESCALATOR
ESCALATOR
PROMENADE
54TH STREET
ESCALATOR
HALLS 1 & 2
TO AMERICAS
CULTURAL AND
ACADEMIC
NETWORK HALL
NEW YORK HILTON MIDTOWN, 3RD FLOOR
12
TRIANON
BALLROOM
NEW YORK HILTON MIDTOWN, 4TH FLOOR
SERVICE
ELEVATORS
EAST
AVENUE OF THE AMERICAS / 6TH AVENUE
LOBBY
HILTON
BOARD
ROOM
GREEN
HOLLAND
HARLEM
MIDTOWN
HUDSON
NEW
YORK
LINCOLN
13
CONFERENCE AT A GLANCE
CONFERENCE
REGISTRATION
SESSIONS
WEDNESDAY
FEBRUARY 13
THURSDAY
FEBRUARY 14
FRIDAY
FEBRUARY 15
SATURDAY
FEBRUARY 16
8:00 AM-7:00 PM
8:00 AM-7:00 PM
8:00 AM-7:00 PM
8:00 AM-2:30 PM
8:30-10:00 AM
10:30 AM-12:00 PM
2:00-3:30 PM
4:00-5:30 PM
8:30-10:00 AM
10:30 AM-12:00 PM
2:00-3:30 PM
4:00-5:30 PM
6:00-7:30 PM
8:30-10:00 AM
10:30 AM-12:00 PM
2:00-3:30 PM
4:00-5:30 PM
6:00-7:30 PM
8:30-10:00 AM
10:30 AM-12:00 PM
2:00-3:30 PM
4:00-5:30 PM
12:00-1:30 PM
12:00-1:30 PM
10:30 AM-5:30 PM
8:30 AM-5:00 PM
POSTER
SESSIONS
ARTSPACE
MEDIA
LOUNGE
1:30-5:00 PM
SEPC
LOUNGE
8:30 AM-5:30 PM
CAA
ANNUAL BUSINESS
MEETING
BOOK AND
TRADE FAIR
CULTURAL AND
ACADEMIC
NETWORK HALL
14
ARTexchange:
5:30-7:30 PM
8:00 AM-7:30 PM
8:00 AM-7:30 PM
8:00 AM-5:30 PM
CAA
ANNUAL BUSINESS
MEETING PART II:
2:00-3:30 PM
6:00-7:30 PM
9:00 AM-6:00 PM
9:00 AM-6:00 PM
9:00 AM-2:30 PM
9:00 AM-6:00 PM
9:00 AM-6:00 PM
9:00 AM-2:30 PM
PROGRAM SCHEDULE BY DAY
All events are held at the
New York Hilton Midtown
unless otherwise noted.
Schedule is subject to
change. For the most
up-to-date information,
download the CAA 2019
app or visit the conference
website.
SEE CAA 2019 APP FOR PROGRAM UPDATES
15
Caribbean Temporalities in Contemporary Art and
Visual Culture
Madison, 2nd Floor
Chairs: Paul Niell, Florida State University; Lesley Wolff,
Florida State University
Discussant: Edward Sullivan, New York University
Authentic Sweetness: Temporalities of Caribbean
Consumption; Lesley Wolff and Michael D. Carrasco,
Florida State University
Outta’ Line: History as Conceptual Beginning in the Work of
Edouard Duval-Carrié, Erica James, University of Miami
Histories Encased in the Resin of Skin, Jerry Philogene,
Dickinson College
Reframing Haitian Art: Edouard Duval-Carrié and the
Politics of Memory and History, Barrymore Bogues,
Brown University
SCHEDULE
TUESDAY, FEBRUARY 12
9:30 AM–4:00 PM
The Artist as Entrepreneur
New York Foundation for the Arts (NYFA), offsite event,
CAA has partnered with NYFA to deliver NYFA’s
renowned program “The Artist as Entrepreneur.” The
program has been customized to fit the needs of CAA
artist members as well as New York-based artists.
Combining Intercultural and Intermedial Studies
Sutton Center, 2nd Floor
Understanding Visual Works of Art from an Ecological,
Cognitively Embodied Approach, LeGrace Benson,
Journal of Haitian Studies
The Weary Silhouette Blues: Intermediality and
Transculturality in the Visual Rhetoric of the Harlem
Renaissance, Frank Mehring, Radboud University
Museums and the Scurlock Studio: Rediscovering Black
Washington and Black Photographers, David Haberstich
Functional Integration in the Arts: Intercultural Art
Historical Practices by Karl With, Marie Yasunaga,
University of Amsterdam
6:00–8:00 PM
▲
CAA Meet & Greet
Bridges Bar, Lobby Level
Drop in at this informal reception after you
register for the conference. Meet other
conference participants. CAA staff will be on
hand to answer questions. Cash bar.
WEDNESDAY, FEBRUARY 13
8:00–10:00 AM
▲
CAA Committee Meetings
4th Floor, see p. 88 for more details
8:30–10:00 AM
Anaesthesia and Global Crisis: Could the Separation of
Science, Ethics, and Aesthetics Underpin a Damaging
Dislocation and Numbing at the Root of Current
Crises, and How Might We Reimagine a Radical Fusion
in Research, Practice, Curricula, and Enterprise?
Leonardo Education and Art Forum
Morgan, 2nd Floor
Chairs: Alan Boldon, University of Brighton, Dartington Hall
Trust; Ruth West, University of North Texas
Discussant: Gordon Knox, San Francisco Art Institute
Anaesthesia and Global Crisis: Could the Separation of
Science, Ethics, and Aesthetics Underpin a Damaging
Dislocation and Numbing at the Root of Current Crises,
and How Might We Reimagine a Radical Fusion in
Research, Practice, Curricula, and Enterprise?, Alan
Boldon, Dartington Hall Trust,
Anaesthesia and Global Crisis, Elizabeth Demaray,
Rutgers University
XRez Art + Science Lab, Ruth West, University of North
Texas
16
♦
WORKSHOPS
Cross-Purposes or Cross-Pollination: The Art Library in
the 21st Century
Art Libraries Society of North America
Gramercy West, 2nd Floor
Chair: Kathleen Salomon, Getty Research Institute
Discussant: Kathleen Salomon, Getty Research Institute
The Case for On-Site Art and Design Reference
Collections: Browsing as a Research Method and
Pedagogical Tool, Janine Henri, UCLA
Reviving the Art Library, Marcia Reed, Getty Research Institute
The Republic of Research: Placing the Media Spectrum
in the Arts Library, Hannah Bennett, University of
Pennsylvania
Libraries as Relays, Kurt Forster, Yale School of Architecture
Historic Libraries and the Historiography of Art
Sutton South, 2nd Floor
Chair: Jeanne-Marie Musto, Queens College, CUNY
The Library of Leopoldo Cicognara: From Bibliophilic
Collection to Scholarly Instrument, Barbara Steindl
■ EVENTS
▲ MEETINGS
Rodolfo Lanciani’s Revenge, Susan Dixon, La Salle
University
Colonial, Imperial, and National Collecting: Mexican
Manuscripts and Their Historical Positions in the
Biblioteca Nacional de España, Dominique Polanco,
University of Arizona
Borrowing from Books: The Xu Family Library and the Use
of Art History against Empire, Jennifer Purtle, University
of Toronto
Material, Materiality, Materialism
Beekman, 2nd Floor
Chairs: Deborah Krohn, Bard Graduate Center; Catherine
Whalen, Bard Graduate Center
Discussant: Catherine Whalen, Bard Graduate Center
Materialism and Theories of Art in the Greek and Roman
World, Guy Hedreen
Putting the Material Back in Materiality, Sarah Dillon,
Kingsborough Community College
Fiber as Material: Fiber Art Histories in Dialogue with
Textile Conservation, Theresa Downing, University of
Minnesota
Portraits of Power: Legitimacy, Symbolism, and
Ideology in the Public Portrait Gallery
Nassau East, 2nd Floor
Chairs: Craig Reynolds, Capitol Square Preservation Council,
Virginia State Capitol; Emily Gerhold, The College of William
and Mary
The Saint Petersburg Military Gallery and the Production
of Masculinity in Russia, Allison Leigh, University of
Louisiana at Lafayette
Early 20th-Century Curatorial Strategies to Enhance
the Power of Portraiture: Ludwig Justi and the National
Portrait Gallery in Berlin 1913–33, Charlotta Krispinsson,
Uppsala University
Hidden in Plain Sight: A Portrait of Gertrude Vanderbilt
Whitney, Virginia Badgett, University of California, Santa
Barbara
Re-Envisioning State Portraiture at the National Portrait
Gallery: Kehinde Wiley’s and Amy Sherald’s Obama
Portraits, Taina Caragol-Barreto, National Portrait Gallery
Portraiture and the Human Figure in Orissa (Odisha),
8th–13th Centuries
Sutton North, 2nd Floor
Chairs: Rob Linrothe, Northwestern University; Jinah Kim,
Harvard University
Discussant: Padma Kaimal, Colgate University
Monumental Mediations: Bodhisattva Sculpture from
Odisha, Sonali Dhingra, Harvard University
Lost Books in People’s Hands: Human Figures and Their
Books in Medieval Odisha, Jinah Kim, Harvard University
SEE CAA 2019 APP FOR PROGRAM UPDATES
Set in Stone: Sponsor Figures in Orissa, ca. 8th–13th
Centuries, Rob Linrothe, Northwestern University
Scholars’ Papers: Preservation, Collection, Legacy
Catalogue Raisonné Scholars Association
Clinton, 2nd Floor
Chair: Susan Cooke
Scholars Papers: Frick Art Reference Library Acquisition
Policies, Sally Brazil, Frick Art Library
Preparing Scholarly Papers for Public Archives, Sheila
Schwartz, Saul Steinberg Foundation
The Frederick Mason Perkins Archive in Assisi: A New
Source for American Collecting of Early Italian Painting
and Contemporary Connoisseurship, Fausto Nicolai,
New York University
Archival Ingenuity: Placing Scholars’ Papers, Avis
Berman, Independent Scholar
State of the Art (History): Engaging Difficult Topics in
and out of the Classroom
Trianon Ballroom, 3rd Floor
Chair: Parme Giuntini, Otis College of Art and Design
Addressing Difficult Social Issues in Art Appreciation,
Damon McArthur, Western Illinois University
Teaching Art History in the Trump Age: Illustrating Past
and Present, Alexis Culotta
The Academic Museum as a Bridge to Current Events in
the Classroom, Kimberly Datchuk, University of Iowa
The “Huddled Masses” Made Human: Using NineteenthCentury Nativist Imagery to Discuss Immigration Policy,
Whitney Thompson
Information Literacy and Difficult Topics: Aztec Clickbait
as Critical Pedagogy, Mya Dosch, California State
University, Sacramento
“F*ck Picasso!” and Other Conversations with Students,
Emily Everhart, Art Academy of Cincinnati
Cultural Appropriation or Cultural Appreciation?
“Decolonize” Asian Art in the Classroom, Mariachiara
Gasparini, University of California Riverside
Systems and War
Regent, 2nd Floor
Raubkunst at the Ringling: Franz Marc’s
Schöpfungsgeschichte, Jean Marie Carey, University of
Otago
Asphere or A Sphere? Roni Horn’s Play on Forms, Andrew
Ward, University of Sydney
WEDNESDAY
17
10:30 AM–12:00 PM
WEDNESDAY, FEBRUARY 13
8:30–10:00 AM
Painting in the Perpetual War: Jaune Quick-to-See Smith’s
Water and War and the Post-9/11 War Culture, Mark
Watson, Clayton State University
Exploring Katya Grokhovsky’s System Failure, Mary
Brown, Independent Scholar
The Art of Failure
Concourse G, Concourse
Chair: Devon Smither, University of Lethbridge, Alberta
Discussant: Jordan Bear, University of Toronto
Photography and Failure: One Medium’s Entanglement
with Mishaps, Missteps, and Fumbles, Kris Belden-Adams,
University of Mississippi
Out of Time: Historical Failure in McDermott and
McGough, Allan Doyle, University of Puget Sound
Failure and Faciality in the Self-Portraits of Pegi Nicol
MacLeod, Devon Smither, University of Lethbridge,
Alberta
The Ghost of Tessa Boffin, Ksenia Soboleva, Institute of
Fine Arts, New York University
The Studio as Market
International Art Market Studies
Grand Ballroom West, 3rd Floor
Chair: Julie Codell, Arizona State University
The Studio as Market: Victorian Artists’ Studios as Public
Spaces, Julie Codell, Arizona State University
Francis Bacon’s London Studios—Before and After 1930,
Andrew Stephenson, Independent Scholar
Designed to Impress: Chaim Gross and the Studio at 526
LaGuardia Place, Sasha Davis, The Renee and Chaim
Gross Foundation
Lunch at the Artist’s Studio, Di Wang, University of Oxford
10:00 AM–11:00 AM
■ Sotheby’s Auction House Tour
Sotheby’s Auction House, offsite event, see p. 92 for more
details
10:00 AM–12:00 PM
▲
CAA Committee Meetings
4th Floor, see p. 88 for more details
18
♦
WORKSHOPS
A more global avant-garde
Sutton Center, 2nd Floor
Globalization after Apartheid: HIV/AIDS, Artist Proof
Studio, and the Paper Prayers Campaign, Jackson
Davidow, Massachusetts Institute of Technology
Between the Avant-Garde and Independence: A
Case from Mozambique, Álvaro Luís Lima, Columbia
University
Early Experiments with Graphic Notation and Abstract
Painting in Latin America: Recovering the Work of Carmen
Barradas, 1888–1963, Gabriela Aceves-Sepúlveda,
Simon Fraser University
Ars Medica Islamica, Alan Weber
Advanced Topics in Digital Art History: 3D Geospatial
Networks
Concourse A, Concourse
Chair: Victoria Szabo, Duke University
Discussant: Paul Jaskot, Duke University
Digital Art History + Media Studies: Scholarly Encounters,
Victoria Szabo, Duke University
Making Visual Discoveries with 3D GIS, Edward Triplett
Advancing Digital Art History through Emerging
Computational Paradigms, Mark Olson
Project Management in Media Res: Strategies for MidStage Digital Art History Projects, Hannah Jacobs
Art and Empathy
Concourse G, Concourse
Chair: Shannon Lieberman, Independent Scholar
Discussant: Veronica White, Princeton University Art Museum
Sanctuary, Carrie Scanga, Bowdoin College; Emily R.
Black
On Discomfort and Empathy as Ethical Relations, Minou
Norouzi, Goldsmith College, University of London
The “Radical Empathy” of Amy Sherald’s Portrait of
Michelle Obama, Dorothy Moss, National Portrait Gallery,
Smithsonian Institution
The Role of the Arts in Historical Imagination and as a
Vehicle to Develop Empathy, Sue A. Schroeder, Core
Dance and Gayle Seymour, University of Central Arkansas
Art and Xerox in a Transnational Context
Nassau West, 2nd Floor
Chairs: Zanna Gilbert; John Tain, Asia Art Archive
Instant Art: The Haloid Xerox Copier, Michelle Donnelly,
Yale University
“Que imagem é esta? Como se vê?” The Misuse of
Xerography in 1970s Brazil, Maria Binnie, Williams College
■ EVENTS
▲ MEETINGS
The Xerography of Everyday Life: Nalini Malani’s
Hieroglyphs of Lohar Chawl, Rattanamol Johal,
Columbia University
The “Aura” of Reproduction: When Photography Met
Photocopiers in 1980s China, Shuxia Chen, College of
Asia and the Pacific
Art, Crime, and History
Grand Ballroom West, 3rd Floor
Chair: Gail Levin, City University Of New York
Art Forensics: Provenance and the Corruption of
Knowledge; Thiago Piwowarczyk, New York Art
Forensics
The Arnolfini Tale—A Story of Theft and Forgery,
Alexandra Fried
Friend and Foe: The Artist and Art Dealer Leo Nardus in
Gilded Age America, Esmée Quodbach, Frick Collection
Forging Yves Tanguy in Occupied Paris, Stephen Mack,
Rutgers University
The Disappearance and Reappearance of De Kooning’s
Woman-Ochre, Olivia Miller, University of Arizona Museum
of Art
Cultural Mediums: Images and Objects in East Asia,
1500s–1920s
Sutton North, 2nd Floor
Chair: Einor Cervone, Los Angeles County Museum of Art
Art | Adrift: Curating Selves aboard Ming Dynasty
Painting-and-Calligraphy Boats, Einor Cervone,
Los Angeles County Museum of Art
A Rags-to-Riches Story: Tracing Zhangzhou Ceramics for
the Japanese Market, Xiaoyi Yang
Imperial Imagery and Personal Tribute: Carved Lacquer
Panels of the “Campaign against Taiwan“ at the Qianlong
Court, Zhenpeng Zhan, Chinese University of Hong Kong
Printed Fabrics: Wu Youru (d. 1894) and Images of
Fashionable Women in Modern China, Fong Fong Chen,
University Museum and Art Gallery, University of Hong
Kong
Geographies and Art Histories: Diaspora,
Decolonizing, and Praxis
Madison, 2nd Floor
Chairs: Andrew Gayed, York University; Chanda Carey,
New York University
New Geographies of the Biennial, John Zarobell,
University of San Francisco
Interactionism and Circulations of Arab “Futurist”
Aesthetics, Joan Grandjean,Université de Genève
Peripatetic Exhibition as Diaspora Builder: Contemporary
Art of Senegal, 1974–82, Joseph Underwood, Kent State
University
VISIT COLLEGEART.ORG/CONFERENCE
“Et maintenant par la grâce de l’imaginaire, bon
voyage!”—(Re)mapping Poland through Queer Desire
in Karol Radziszewski’s Chapel (2017) and Ryszard
Kisiel’s Kruzing (2018), Aleksandra Gajowy, Newcastle
University
Hot and Bothered: Tackling Sexual Harassment and
Assault in Higher Education
The Feminist Art Project
Trianon Ballroom, 3rd Floor
Chairs: Anonda Bell; Connie Tell, Feminist Art Project
A Guide to Upsetting Rape Culture; Hannah Brancato,
FORCE: Upsetting Rape Culture
Against My Will: A Multigenerational Collaboration with
Sexual Assault Survivors, Traci Molloy, Independent
Artist and Education Activist
Fourth Wave Czech Made: Resisting Harassment in
Academia in Central and Eastern European Context,
Zuzana Tefková, Charles University
30 Years of “I Never Called It Rape”: A Retrospective on
the Landmark Study on College Rape, Salamishah Tillet,
Rutgers University
Humanism and 20th-Century Architecture
Society of Architectural Historians
Regent, 2nd Floor
Chair: Dale Gyure, Lawrence Technological University
Geoffrey Scott’s American Audience, Marie Frank
Monistic Modernism: Soviet Architectural Theory between
Humanism and Antihumanism, Alla Vronskaya, Swiss
Federal Institute of Technology (ETH), Zurich
Siegfried Giedion and Bruno Zevi: Two Architectural
Visions, One Humanism, Karine Daufenbach and Anat
Falbel
Mendelsohn’s Humanism and the Hadassah Hospital,
Kathryn O’Rourke
New Takes on Modernism
Sutton South, 2nd Floor
Brancusi and American Art, William Agee, Hunter
College, City University of New York
American Abstraction 1960: Organizing the US Pavilion
at the 30th Venice Biennale, Morgan Dowty, Baltimore
Museum of Art
Subversive Spaces: Mary Heilmann’s Early Paintings,
Benjamin Clifford, Institute of Fine Arts, New York
University
Dissecting Vision: Cubism, Medical Image Making,
and the Modernist Surface, Kathleen Pierce, Rutgers
University
WEDNESDAY
19
WEDNESDAY, FEBRUARY 13
10:30 AM–12:00 PM
Outside the Mold: Casts of Non-Western Art
Beekman, 2nd Floor
Chair: Jennifer Reynolds-Kaye, Yale Center for British Art
Discussant: Rex Koontz, University of Houston
Casts of Southeast Asian Art in France: Contested
Meanings, Cultural Politics, and the Multiple Lives of Art
Objects, Marco Deyasi, Macalester College
British Technology, Imperial Spectacle: Casts of South
Asian Monuments at the South Kensington Museum,
Krista Gulbransen, Whitman College
The Biography of a Cast Maker: Eufemio Abadiano and
His Precolumbian Casts, Jennifer Reynolds-Kaye, Yale
Center for British Art
More than Just Casts: Reproducing, Displaying, and
Diffusing the Alhambra in 19th-Century Spain and Italy,
Francine Giese, University of Zurich; Ariane Varela Braga
Reframing Innovation: Art, the Maker Movement, and
Critique
New Media Caucus
Rendezvous Trianon, 3rd Floor
Chair: Byron Rich, Allegheny College
Discussant: Victoria Bradbury, University of North Carolina,
Ashville
Reframing Innovation, Victoria Bradbury, University of
North Carolina, Ashville
Subjugated Bodies and the Other in Art of the Ancient
World
Gramercy East, 2nd Floor
Chairs: Caitlin Earley, University of Nevada, Reno; Tara
Prakash, Metropolitan Museum of Art
The Others’ Other: Captives and Victors in Italic
Iconography, Bice Peruzzi, Rutgers University
“Barbarian” Bodies as Contested Spaces: Between
Antonine Monuments and Self-Representation in the
Roman East, Sean Burrus, Bowdoin College Museum of Art
Visualizing Resistance: From Conflict to Concord in a
Synagogue Mosaic, Ra’anan Boustan, Princeton University
and Karen C. Britt, Western Carolina University
Captives and Elite Power in Moche Art, 200–850 CE,
Joanne Pillsbury, Metropolitan Museum of Art
The Artist and the Allegory: Locating “the Feminine”
in Modern Arab Art
Association of Modern and Contemporary Art of the Arab
World, Iran and Turkey
Bryant, 2nd Floor
20
♦
WORKSHOPS
Chairs: Nisa Ari, Massachusetts Institute of Technology;
Alessandra Amin, University of California, Los Angeles
Discussant: Jessica Gerschultz, University of Kansas
Two Arab Female Photographers in Conversation:
Karimeh Abbud in Palestine and Marie el-Khazen in
Lebanon, Yasmine Nachabe, Lebanese American
University, Beirut, Lebanon
On the Fringe: Female Artists in Newly Independent
Egypt, Farah Aksoy, SALT Research and Programming,
Istanbul, Turkey
Love in the Time of Arafat: Sexuality and Political
Engagement in Prewar Beirut, Alessandra Amin,
University of California, Los Angeles
The Role and Impacts of the Arts in Research
Universities: Learning from Interdisciplinary Teams
Alliance for the Arts in Research Universities
Gramercy West, 2nd Floor
Chair: Gabriel Harp, The Alliance for the Arts in Research
Universities
Discussant: Natalie Loveless, University of Alberta
Video in Times of Global Crisis
Morgan, 2nd Floor
Chairs: Carla Macchiavello, Borough of Manhattan
Community College; Nicholas Croggon, Columbia University
Japanese Video and the Problem of Public Space: Video
as a Discourse Formed in Translation, Nina HorisakiChristens, Columbia University
The Ends of Video Utopianism: Crisis and Shock in T.
R. Uthco and Ant Farm’s The Eternal Frame (1975–76),
Nicholas Croggon, Columbia University
German Video Art in the Age of Algorithms, Ying Sze Pek,
Princeton University
Toward Remembering: The Role of Memory in Video Art
from Latin America, Elena Shtromberg, University of Utah
Wish You Were Here: The Souvenir as Emblem of
Regional Identity
Nassau East, 2nd Floor
Chairs: Christopher Moore, Concordia University; Isabel
Prochner, Syracuse University
Airport Artworks and the Souvenir: Shopping, Luxury,
and Regional Identity, Menno Hubregtse, University of
Victoria
The Album as Archive: Margaret Corry’s Souvenir
Photographs through the Lens of Canadian Citizenship
(1946–63), Gabrielle Moser, OCAD University;
Maya Wilson-Sanchez, University of Toronto
Self-Gazing Tourist, Contemporary Sublime and Timeless
Memories, Maja Godlewska, University of North Carolina
at Charlotte
■ EVENTS
▲ MEETINGS
You Are (the) Here: Jewelry at the Intersection of Cultural
Geography, Personal Identity, and the Souvenir, Ana
Lopez, University of North Texas
12:00–2:00 PM
■ CAA Professional Committees Luncheon
Check app for location.
12:00–2:30 PM
▲
Art Journal Editorial Board Meeting
Lincoln, 4th Floor
■ Chelsea Gallery Walking Tour
New York Hilton Midtown, main lobby, offsite event
12:30–1:30 PM
▲
Affiliated Society Business Meetings see p. 88 for
more details
How Can we Know the Dancer from the Dance?
The Challenges of #MeToo and the Morally
Compromised Artist.
Gramercy West, 2nd Floor
Organized by NCAC and PEN America, panelists will
debate challenges raised by #MeToo to exhibiting,
publishing and performing works by morally compromised
artists and writers. Free and open to the Public.
2:00–3:00 PM
♦
Decolonial Strategies for the Art History Classroom
Americas Hall II, Workshop Room 1, 3rd Floor
Leaders: Amber Hickey, University of California, Santa Cruz;
Anastasia Tuazon, Stony Brook University
♦
How to draw a Cup: Step one: draw a cup—Inside
Out and Back—Learning Personal Creativity Through
Visual Literacy
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: David Loncle
▲
Professional Committee “All Chairs” Meeting
Hilton Boardroom, 4th Floor
2:00–3:30 PM
A Global History of Early Modern Bronze
Beekman, 2nd Floor
Chair: Sofia Gans, The Pierrepont School
Fire and Light: The Early Modern Lamps of South India
Arathi Menon, Columbia University
Casting the Buddha Across Asia, Donna Strahan, Freer/
Sackler Galleries, Smithsonian Institution
CAST:ING Guidelines: A Tool for Technology Sleuths,
Francesca Bewer, Harvard Art Museums
SEE CAA 2019 APP FOR PROGRAM UPDATES
Ancient Sculpture in Context 2: Reception
Gramercy East, 2nd Floor
Chairs: Anne Hrychuk Kontokosta, New York University;
Peter De Staebler, Pratt Institute
“Lions at the Door”: The San Gemini Portal and
Implications of Reuse in Romanesque Façades, Steven
Burges, Boston University
The Sleeping Hermaphrodite: Reception and
Interpretation in Three Eras, Elizabeth McGowan,
Williams College
Contemporary Receptions of the Farnese Hercules: Color,
Culture, and Bodies, Marice Rose, Fairfield University
The Complex Cultural Biography of the Raleigh
“Bacchus”, Mark Abbe
Anonymity in the Eighteenth Century
American Society for 18th Century Studies
Nassau East, 2nd Floor
Chairs: Kee IL Choi, Leiden University; Sonia Coman,
Columbia University
Discussant: Anne Higonnet, Barnard College, Columbia
University
Carmontelle and the Art of Furnishing Identity, Margot
Bernstein, Columbia University
Sine Nomine: Nameless Partners, Anonymous Writers,
and Unknown Artists in 18th-Century Japanese Book
Production, Alessandro Bianchi, Haverford College
Sèvres Porcelain on Paper, Nicholas Stagliano, Cooper
Hewitt/ Parsons School of Design, New School
Bridging Visual Histories: Sculpture and Photography
in the Arts of Africa
Madison, 2nd Floor
Chairs: Yaëlle Biro; Sandrine Colard, Rutgers University;
Giulia Paoletti, University of Virginia
The Kjersmeier Collection of African Art between
Sculptural Object and Photographic Image, Wendy
Grossman, The Phillips Collection
“Creating” Ethnographic Records: Museu do Dundo
Collection, Local Chiefs and Photography, Juliana
Ribeiro, University of Campinas
J. A. Green’s Portraiture and the Blurring of Boundaries
between Photography and Sculpture, Lisa Aronson,
Skidmore College
Ritual and Photography, Nanina Guyer, Rietberg Museum
Reinventing Gou: A Photograph’s Appropriation in Benin,
Romuald Tchibozo, University of Abomey–Calavi
WEDNESDAY
21
WEDNESDAY, FEBRUARY 13
2:00–3:30 PM
Contemporary Chinese Presence in Southern Africa:
Agency, Process, and Petits Récits
Regent, 2nd Floor
Chair: Ruth Simbao, Rhodes University
“The Step Begins on the Ground Where One Stands”:
Womxn Artists Trouble the “China-Africa” Discourse,
Ruth Simbao, Rhodes University
Representations of China’s Presence in Zimbabwe: An
Analysis of Contemporary Visual Art in Zimbabwe, Lifang
Zhang, Rhodes University
Michael MacGarry and the Photography of Chinese-African
Encounters, Kevin Mulhearn, University of New Mexico
Petits Récits: Creative Perspectives of Chinese Encounters
in Zambia, Stary Mwaba, Rhodes University, South Africa
Data Détournement
SAC Media Lounge
Gibson, 2nd Floor
Panelists: Hasan Elahi, University of Maryland; Benjamin
Grosser, University of Illinois at Urbana-Champaign
Digital Mythologies: Abstractions and Automations
Concourse A, Concourse
Chair: Joel Ong, York University
Aeolian Traces: Wind and the Myth of Mobility, Joel Ong,
York University
Mother: Language and Form, Inmi Lee
Two Women, Ha Na Lee, University of Utah
Ganymedes: Art in Collaboration with A.I., Eunsu Kang,
Carnegie Mellon University
Machines for Living: Le Corbusier, Smart Home
Utopianism, and the Myth of Utility, Robert Twomey
Ecology as Intersectionality: Aesthetic Approaches to
Social-Justice Environmentalism
Gramercy West, 2nd Floor
Chairs: T. Demos, University of California, Santa Cruz,
Director, Center for Creative Ecologies; Emily Scott, University
of Oregon
View from the Terracene, Sara Mameni, University of
California, Santa Cruz
In a Slavery-Polluted Land: Torkwase Dyson’s Black
Ecologies, Heather Vermeulen
After Life (What Remains): Asian/American and
Indigenous Arts of Survivance, Thea Tagle
The Breathing Land: On Questions of Settler Colonialism,
Heather Davis
22
♦
WORKSHOPS
Foucault and Art History
Rendezvous Trianon, 3rd Floor
Chair: Catherine Soussloff, University of British Columbia
Subjection by Illumination: The Legacy of Foucault in
Postcolonial Studies, Niharika Dinkar, Boise State University
Foucault: Monet and the Object of Painting,
Andre Dombrowski, University of Pennsylvania
The Archaeology of Archaeology and Art History,
Peter Kalb, Brandeis and Carolyn White
Modernism and the Museum after Foucault,
Alexander Kauffman, Philadelphia Museum of Art
Ambiguities: Foucault, Translation, and Art History,
Dana Arnold
Paintings/Pictures/Spaces in the 1950s and 1960s
Sutton Center, 2nd Floor
Resistance and the Practices of Painting: The Case of
Supports/Surfaces and Tel Quel, Rosemary O’Neill,
Parsons School of Design, New School
Outcanvassed: Museums and the Expansion of Painting in
the 1960s, Lisa Ashe, Independent Scholar
Giving Life to Film: Photography and the Influence of
Picture Magazines in Charles and Ray Eames’s Glimpses
of the USA, Jonathan Macagba
Blight and Surveillance: Defensible Space, Crime, and
Public Housing Design, 1960–76, Patricia Morton,
University of California, Riverside
Queer Artists of Color in New York during the AIDS
Epidemic
Grand Ballroom West, 3rd Floor
Chairs: John Paul Ricco, University of Toronto; Robert
Summers, Queer Art Network
Perfect Lovers, Mon Amour: Artistic Influences of Carl
George, Felix Gonzalez-Torres, and Ross Laycock, Shawn
Diamond, University of Arizona
For Colored Boys Who Have Considered Suicide When
All You Ever Needed Is the Blues, Frederick Weston,
Independent Artist
The Funeral Diva, Pamela Sneed, School of the Art
Institute of Chicago
Religious Objects and Modern / Contemporary
Audiences
Sutton South, 2nd Floor
Chairs: Kathryn Barush, Jesuit School of Theology of
Santa Clara University and the Graduate Theological Union,
Berkeley; Stephanie Nadalo, Parsons Paris, New School
Discussant: Cynthia Hahn
Exhibiting the Past in the Present: Medieval Devotionalia
in the Modern Museum, Laura Veneskey, Wake Forest
University
■ EVENTS
▲ MEETINGS
The Afterlife of Religious Relics and Souvenirs in
Contemporary Art, Kathryn Barush, Jesuit School of
Theology of Santa Clara University and the Graduate
Theological Union, Berkeley
Judaica Past and Present: Mediating Art and Ethnology,
Stephanie Nadalo, Parsons Paris, New School
Considering Context: Approaches to Sacred Objects in the
Museum Space, Elizabeth Peña, Graduate Theological
Union
Respond and Adapt: A Fuse of Art and the Other Mid
America College Art Association
Concourse G, Concourse
Chairs: Chung-Fan Chang, Mid-America College Art
Association; Julie Abijanac, Columbus College of Art & Design
Collaborative Practices to Activate Social Engagement:
An Art History Case Study; Jeannine Kraft, Columbus
College of Art & Design
Tactile Translations: Teaching in Three-Dimensionality
and Object Making in a Flattening Virtual World, Andrea
Myers, Kent State University at Stark
Alternative Education, Danielle Norton, Columbus
College of Art & Design
Art+Music {Notations}, Valerie Powell
Collaboration for Growth: How Interdisciplinary Practices
Make Art Departments Better, Scott Thorp, Augusta
University
Speculative Feminist Futures
Bryant, 2nd Floor
Chairs: Margaret Hart, University of Massachusetts Boston;
Rachel Buller, Bethel College
Birthed from the Minds of Women: The Mechanized
Female Body in Italian Futurism, Sophia Farmer,
University of Toronto
Our New System, Christa Donner, School of the Art
Institute of Chicago
Palimpsests and Prophecies: Feminist World Building
in Contemporary Works on Paper, Paula Burleigh,
Allegheny College
Sensing the Anthropocene: Aesthetic Attunement in an
Age of Urgency, Natalie Loveless, University of Alberta
Teaching Art History in the Wake of #MeToo
Trianon Ballroom, 3rd Floor
Chairs: Cynthia Colburn, Pepperdine University; Ella
Gonzalez, Pepperdine University
On Frida Kahlo, Salma Hayek, and Linda Nochlin: A
Classroom Case Study of Art, Gender, and Pain in the
Wake of #MeToo, Ellen Caldwell, Mt. San Antonio College
Teaching Greek Art in the #MeToo Age, Cynthia Colburn,
Pepperdine University
SEE
VISITCAA
COLLEGEART.ORG/CONFERENCE
2019 APP FOR PROGRAM UPDATES
The Aesthetics of Violence: “I want to feel the place
where your teeth meets the word, where the sense
suffers the word, the mark, the shape, the sound.”
Morgan, 2nd Floor
Chair: Natasha Marie Llorens, Independent Curator
“So, on behalf of my country and from the bottom of my
heart: I love this place.”, Anna Dasovic
Ordinary Violence: Disappearing the Body, Sable Smith
Farouk Beloufa’s Nahla: Sing Me a Song of War, Natasha
Marie Llorens, Independent Curator
What a Body (with Words) Can Do, Hong-An Truong,
University of North Carolina, Chapel Hill
The Artist’s Vision—The Lasting Legacy
Clinton, 2nd Floor
Chair: Jan Wurm, Richmond Art Center
Whose Narrative Tells the Story? Suggestions for
Preservation, Squeak Carnwath
Last Artist Standing, Sharon Louden, New York Academy
of Art
Creating a Living Legacy (CALL) Initiative Developed by
the Joan Mitchell Foundation, Shervone Neckles-Ortiz,
Joan Mitchell Foundation
Thou Shalt Not Copy—or Should You? Copyright and Its
Enemies in Contemporary Visual Arts
American Society for Aesthetics
Nassau West, 2nd Floor
Chair: Tiziana Andina, University of Turin,
Trespassing the Law: From Vandalism to Art, Gianmaria
Ajani, University of Turin and Andrea Baldini
Performative Law. The Function of Legal Rules in the
Creation of the Artistic Object, Angela Condello and
Maurizio Ferraris
Risk and Mission, Darren Hick
Aesthetic Judgment in Copyright Law, Brian Soucek
2:00–4:30 PM
■
The Price of Everything
Grand Ballroom East, 3rd Floor
Film screening sponsored by the Emily Hall Tremaine
Foundation. Free and open to the pubic.
WEDNESDAY
23
Panelists: Jacob Rhodes, Field Projects; Rachel
Gorchov, Tiger Strikes Asteroid; Rhianna Hurt, Brooklyn
Art Space & Trestle Gallery; Evonne Davis, Gallery Aferro;
Andrew Prayzner, Tiger Strikes Asteroid
WEDNESDAY, FEBRUARY 13
2:00–3:30 PM
University Galleries: Strategies for Active Engagement
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chairs: Patricia Briggs, Jamestown Community College;
Steven Rossi, Parsons School of Design/State University of
New York at New Paltz
Panelists: Beau Kenyon, Northeastern University College
of Arts, Media, and Design; Jeanne Brasile, Walsh Gallery,
Seton Hall University; Hollis Hammonds, St. Edward’s
University; Natalia Zubko, Parsons School of Design
Visionary Impulses in Utopian Art and Design
Sutton North, 2nd Floor
Chairs: Rory O’Dea, Parsons School of Design; Sarah
Montross, Bowdoin College Museum of Art
“If Others Have Seen It as I Have Seen I”: Visuality,
Memory, and the Domestic in News from Nowhere,
Emily Cox, Yale University
Whole Earth Systems, Sarah Sharp, University of
Maryland, Fordham University
Therapeutic Painting, Elizabeth Buhe
ECOTOPIA: Digital Utopians in the Woods,
Ruth Dusseault, Agnes Scott College
Context and Rhetoric in Greek and Roman Art
Gramercy East, 2nd Floor
The Pederastic Gaze in Attic Vase Painting, Ross Brendle,
Johns Hopkins University
Embedded Revels: The Ritual Context of Black-Figure
Scenes on Athenian Red-Figure Vases, Carolyn
Laferrière, Yale University
The Rhetoric of Polychrome Marbles on the Arch of
Constantine in Rome, Gretel Rodríguez, University of
Texas at Austin
♦
Is there a Place for Color Theory in Today’s Art
Classroom? Color Theory–Color Mixing
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Dee Solin
♦
The Future is Latinx: Advantages of Hiring
Specialists of U.S. Latinx Art & Art History
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Rose Salseda, Stanford University
3:30–5:30 PM
Mock Interviews
SEPC Lounge
Petit Trianon, 3rd Floor
4:00–5:30 PM
Alternative Models: Artist-run Galleries and Curatorial
Collectives
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chairs: Steven Rossi, Parsons School of Design/State
University of New York at New Paltz; Sarah Comfort,
Independent Artist, Critical Distance Centre for Curators,
Toronto
24
♦
WORKSHOPS
Contemporary Art and Petrocultures of the Middle
East
Regent, 2nd Floor
Chair: Samine Tabatabaei, McGill University
Discussant: David Joselit, Graduate Center, CUNY
Oil Aesthetics and National Imago, Samine Tabatabaei,
McGill University
Made by Qatar: Casting for Sustainability, Diane Derr,
Virginia Commonwealth University-Qatar, Richard
Blackwell and Rachel Leah Cohn
The Architecture of War: The US Invasion of Iraq and It’s
Cultural Engineering Project, Dena Al-Adeeb, New York
University
Critiquing the Rhetoric of Newness in Contemporary
Art
Sutton North, 2nd Floor
Chairs: Amanda Figueroa, Harvard University; Anni
Pullagura, Brown University
Discussant: Ariana Curtis, Smithsonian Institution
At Face Value: First Impressions, Ellen Tani, Institute of
Contemporary Art, Boston
The Inactivist Image: On the Untimely Politics of Protest
Photography, Lakshmi Padmanabhan, Brown University
The Art of Black Dissent: A Culture Jam, LaTanya Autry,
Mississippi Museum of Art and Tougaloo College
Trending: Contemporary Art in the Temporary Now,
Amanda Figueroa, Harvard University
Do Studio Art Classes Require Trigger Warnings?
Trianon Ballroom, 3rd Floor
Chair: Daniel Grant,
Will a New Agitprop Take Hold of the Art World?, Elliott
Barowitz, Drexel University
On Being a Trigger, Aliza Shvarts, New York University
■ EVENTS
▲ MEETINGS
Triggered by Truth, Deanna Bowen, University of Toronto
Scarborough
Do Studio Art Classes Need Trigger Warnings?, Michael
Aurbach, Vanderbilt University
Chair: Anne Collins Goodyear, Bowdoin College Museum of Art
Fair Dealing, Artist Unions, and the Visual Arts in Canada,
Riva Symko, University of Alaska
Case Study: The Art and Architectural ePortal, Patricia
Fidler, Yale University Press
Found Objects, Sculpture, and the (Post)Industrial City
Morgan, 2nd Floor
Chair: Natasha Adamou, Central Saint Martins, University of
the Arts London
Discussant: Joshua Shannon, University of Maryland
Toxic Junkies, Industrial Fossils: John Fekner, Craig
Owens, and the East Village, Colby Chamberlain,
Columbia University
Excavating Rome, Katharine Larson, Maryland Institute
College of Art
Transitional Objects: Garth Evans’s Placement with the
British Steel Corporation 1969–71, Katherine Jackson,
University of British Columbia
Awning Blanks: Cady Noland and the Urban Fabric,
Taylor Walsh, Harvard University, MoMA
“In the Shadow of Forward Motion”: The Legacy of
David Wojnarowicz
Sutton Center, 2nd Floor
Chairs: Mysoon Rizk, University of Toledo; Scott Sherer,
University of Texas at San Antonio
The Grotesque in the Work of David Wojnarowicz, Scott
Sherer, University of Texas at San Antonio
The Representation of Hegemonic Masculinity in the Work
of David Wojnarowicz, Eli Zadeh, State University of
New York, Stony Brook
“Forget Burial”: The Myth and Afterlife of David
Wojnarowicz, Adel Kormanik, University of York
TV Eye: The Media Savvy of David Wojnarowicz,
Lauren DeLand, Indiana University Northwest
History of the Future: Curious Cases of Reconstructing
History in Contemporary Korean Visual Culture
Madison, 2nd Floor
Chairs: Boyoung Chang, Rutgers, State University of New
Jersey; Gyung Eun Oh, Sangmyung University
What’s Tangun Got to Do with Alexander the Great? Nam
June Paik’s Erroneous View of History, Gyung Eun Oh,
Sangmyung University
Nostalgia in Sagŭk Films, a Universal Melodramatic Quest
for Innocence, Saena Dozier, University of Minnesota
Empathic Audition, Jaewook Lee, School of Visual Arts
When the Photographs Refuse to Speak: Oh Heinkuhn’s Gwangju Story, Boyoung Chang, Rutgers, State
University of New Jersey
Minimal Art: An Urban History
Rendezvous Trianon, 3rd Floor
Chairs: Kirsten Swenson, University of Massachusetts,
Lowell; Christopher Ketcham, MIT
Taking a Line for a Walk: Rosemarie Castoro’s Street
Works, Anna Lovatt, Southern Methodist University
Mary Miss’s Battery Park Landfill (1973) and the Feminist
Politics of Site, Sarah Hamill, Sarah Lawrence College
Minimalized Zones: DC’s Metro, the Vietnam Veterans
Memorial, and the Urban Underground, Eric Rosenberg,
Tufts University
Flat Fixes: Minimalism in the Age of Austerity, Soyoung
Yoon, New School
Information Ocean: Marine Art in the Digital Age
Concourse G, Concourse
Chair: Meredith Tromble, San Francisco Art Institue
Discussant: Charissa Terranova, University of Texas at Dallas
Information Ocean and the Five Gyres, Meredith
Tromble, San Francisco Art Institue
Scenic Overlook, Gail Wight, Stanford University,
Experimental Media Arts
Painting the Deep, Lily Simonson, Independent Artist
Water Logged, Ed Osborn, Brown University
International Copyright Flexibilities and Creative
Practice
Committee on Intellectual Property
Nassau West, 2nd Floor
SEE CAA 2019 APP FOR PROGRAM UPDATES
Modernist Prodigals: Aesthetic Aftermaths of
Religious Conversion
Sutton South, 2nd Floor
Chair: Anne Greeley, Indiana Wesleyan University
Discussant: Linda Stratford, Asbury University
Hugo Ball and the Cabaret Voltaire as a Paradigm of
Conversion, Emily Wing, Yale University
From Futurism to Spiritual Classicism: Gino Severini and
the Neo-Catholic Avant-Garde, Zoë Jones, University of
Alaska, Fairbanks
Reaction, Revolution, Renaissance: Reinterpreting
Surrealism in Dalí’s Religious Paintings, Elliott King,
Washington and Lee University
Cézanne as Prodigal: A Painter’s Progress from Darkness
to Light, Douglas Giebel, Roberts Wesleyan College
WEDNESDAY
25
The Sartorial-Chorographic Impulse: Charting CrossCultural Exchange in French Travel Accounts of the
Ottoman Empire, Justina Spencer, Carleton University
WEDNESDAY, FEBRUARY 13
4:00–5:30 PM
Motion: Transformation and the Life of Artworks
National Committee for History of Art
Clinton, 2nd Floor
Chair: Nicola Courtright, Amherst College
Discussant: Jesús Escobar, Northwestern University
Participant: Paul Jaskot, Duke University
Panelists: Marzia Faietti, Gallerie degli Uffizi,
Claudia Mattos Avolese, Marco Musillo,
Kunsthistorisches Institut in Florenz, Christina Strunck,
Friedrich-Alexander-University of Erlangen-Nürnberg
On Second Thought: Performing Gender, Politics, and
Belief
Concourse A, Concourse
Just Posing? Performing Gender in James Ensor’s SelfPortraits, Susan Canning, Independent Scholar
Walking on Thin Ice: Bruno Munari’s Relationship with
Politics under the Fascist Regime, Alessandro Colizzi,
Université du Québec á Montréal
The Avant-Garde Fiber Sculpture of Dorian Zachai,
Samantha De Tillio, Museum of Arts and Design
Failure as Foundation: The Salton Sea and Leonard
Knight’s Salvation Mountain, Annalise Flynn
Performance and Protest: Directions in Contemporary
Spaces
Grand Ballroom West, 3rd Floor
Chair: Kathleen Wentrack, Queensborough Community
College, City University of New York
Citizen Performer: Participatory Performance Art in
Postrevolution Tunisia, Anne Marie Butler, State
University of New York at Buffalo
Making the Invisible Visible: Performing the (Dis)abled
Bodymind, MaryGrace Bernard, University of Denver
Ladies’ Auxiliary of the Lower East Side: Post-Punk
Feminisms, Maria Elena Buszek, University of Colorado
Denver
Sit In/Walk Out: Using the Academic Institution as a Site
to Practice Nonviolent Resistance Strategies, Allyson
Packer, Independent Scholar
Renaissance Exchanges
Beekman, 2nd Floor
Chairs: Joseph Monteyne, University of British Columbia;
Ivana Vranic, University of British Columbia
Where Do “Polish Carpets” Come From?, Tomasz
Grusiecki, Boise State University
26
♦
WORKSHOPS
Artistic Encounters between Florence and Mughal India:
A Case Study of Mughal Parchin Kari, Matteo Bellucci,
Graduate Center, City University of New York
Paolo Veneziano and Early Venetian Painting between
Northern Europe, the Eastern Mediterranean, and Central
Italy, Christopher Platts, University of Connecticut
The Impact and Dimensions of Artists’ Estates:
Practical, Economic, Emotional, Creative
Clinton, 2nd Floor
Chairs: Mira Friedlaender, Art Worker, Bilge Friedlaender
Estate; Rachel Middleman, California State University, Chico
What Is the Work?, Sergio Muñoz Sarmiento, Law Office
of Sergio Muñoz Sarmiento and the Art and Law Program
Social Practice Archivism, Ted Riederer, Howl
Happening, an Arturo Vega Project
Using Your History to Inform Your Future—Establishing
the Archives of the Calder Foundation, Alexis Marotta,
Calder Foundation
Guerrilla Outreach: Thoughts on Repositioning Your
Artistic Legacy, Renee Vara, Vara Art
The Intersectionality of Art, Feminism,
Postcolonialism, and Sovereignty
Bryant, 2nd Floor
Chairs: Judith Brodsky, Rutgers University; Ferris Olin,
Rutgers University
Arnait Amma Takujagaqarvik: Inuit Women and Museums,
Heather Iglioliorte, Concordia University; Julie Nagam,
University of Winnipeg
Global Visions: The Story of Iniva (Institute of International
Visual Arts) and How It Reshaped the Discourse of
Contemporary Art and Art History, Gilane Tawadros, The
Design and Artitsts Copyright Society
Women’s Cross-Cultural Art Practices in Remote
Indigenous Australia, Una Rey, The University of
Newcastle
Posing Modernity: The Black Model from Manet and
Matisse to Today, Denise Murrell, Columbia University
Collaborative Curating and Allyship: Organizing
Survivance and Sovereignty on Turtle Island at the
Kupferberg Holocaust Center, Danyelle Means, Katherine
Griefen
■ EVENTS
▲ MEETINGS
The Politics of Independence: European Neoclassicism
and Latin American Identity
Nassau East, 2nd Floor
Chairs: Martina Meyer, University of Guelph, Stanford
University; Susan Douglas, University of Guelph
Beyond the “Belle”: Engineering, City Planning, and
Photography in “Belle Epoque” Rio de Janeiro, Denise
Williams
The Neoclassical Taste and the Construction of Rio
de Janeiro as a Capital: Pragmatic Knowledge versus
Aesthetic Awareness, Karolyna Koppke, Fundação Casa
de Rui Barbosa
A Monumental Heritage: Nationalism and Topophilia in
the Landscapes of José Maria Velasco, Martina Meyer,
University of Guelph, Stanford University
Mexicanidad Exposed: Expositions, Globalism, and
Mexican Identity, Susan Douglas, University of Guelph
The Versatile Artist
Historians of Eighteenth-Century Art and Architecture
Gramercy West, 2nd Floor
Chairs: Daniella Berman, New York University Institute of
Fine Arts; Jessica Fripp, Texas Christian University
A Chronicler of Royal Likenesses: Benoist and Portraits
of Louis XIV, Changduk (Charles) Kang, Columbia
University
Drawing within and without Rules, Tracy Ehrlich,
New School
Managing the Market: Greuze, Artist and Art Dealer,
Yuriko Jackall, Wallace Collection
Changing Patrons: The Post-Napoleonic Politics of
Canova’s “Three Graces”, Elyse Nelson, Institute of Fine
Arts, New York University
4:00–6:00 PM
■ The Studio as Muse: How Artists’ Homes and
Workplaces Stimulate Scholarship and Creativity
Dedalus Foundation, offsite event, see page 93 for details
5:30–7:00 PM
■ Reunions and Receptions
See p. 92 for details
6:30–8:00 PM
■ The Burke Prize: Craft as Resistance; Craft as
Protest (Critical Craft Forum and the Museum of Arts
and Design)
Museum of Arts and Design, offsite event, see p. 92 for details
6:00–7:30 PM
■ CAA Convocation, Presentation of Annual
Awards for Distinction, and Annual Business
Meeting, Part I
Grand Ballroom East, 3rd Floor
The CAA Convocation, includes a welcome from
Jim Hopfensperger, CAA president, and Hunter
O’Hanian, CAA executive director, and the
Presentation of Annual Awards for Distinction.
This year, Baltimore-based visual artist and
MacArthur “Genius” Fellow, Joyce J. Scott, will
give the keynote address. Convocation is free
and open to the public.
Immediately followed by the CAA Opening
Reception, in the Ballroom Foyers. No tickets
required. Cash Bar.
THURSDAY, FEBRUARY 14
7:30–9:30 AM
▲
The Art Bulletin Editorial Board Meeting
Holland, 4th Floor
8:00–9:30 AM
■ Welcome Breakfast
SEPC Lounge
Petit Trianon, 3rd Floor
8:30–10:00 AM
Africa, Technology, and Visual Cultures
Arts Council of the African Studies Association
Sutton North, 2nd Floor
Chair: Amanda Gilvin, Wellesley College
On Art, Technology, and Being: Thoughts on How Africa
Reshaped the World; Suzanne Preston Blier, Harvard
University
Yorùbá Folklore: A Synergy between Art and Technology,
Stephen Adéyemí Folárànmí, Obafemi Awolowo
University
Industrial Art and Design in Jet Age Ethiopia, Kate
Cowcher, Stanford University
Old Technologies for New Challenges: Barkcloth as a Jackof-All-Trades, Fiona Siegenthaler, University of Basel
8:00–10:00
■ Hauser & Wirth Publishers Party
Hauser & Wirth, offsite event, see p. 92 for details
VISIT
SEE CAA
COLLEGEART.ORG/CONFERENCE
2019 APP FOR PROGRAM UPDATES
THURSDAY
27
THURSDAY, FEBRUARY 14
8:30–10:00 AM
American Nationalisms Inside and Outside of the
Academy from 1800 to the Present
Clinton, 2nd Floor
Chair: Ray Hernandez-Duran, University of New Mexico
Discussant: Anna Marley, Pennsylvania Academy of the
Fine Arts, Philadelphia
Nation Building Outside of the Academy: Reconsidering
Mexican Costumbrismo, Mey-Yen Moriuchi, La Salle
University
Immediacy before Immortalization: US Nationalism
during the Print Explosion of the Mexican-American War
(1846–48), Erika Nelson Pazian, City University of New
York Graduate Center
Revisiting the Academic Nude at the Escuela de Bellas
Artes in Bogotá, Colombia, Maya Jimenez, Pace
University, New York
“Harmonious Disagreement”: Painters Eleven, Art Societies,
and the Battle for Canadian Nationalism in the 1950s,
Jessica Poon, University of British Columbia, Vancouver
Art and Artificial Intelligence
Sutton South, 2nd Floor
Chair: Johnny Alam, Independent Artist and Scholar
Art and AI: Here and Now, Johnny Alam, Independent
Artist and Scholar
Digital Media Art Projects using Neural Networks,
Machine Learning and Deep Learning, George Legrady,
University of California, Santa Barbara
Social Media Mining for the Analysis of the Art World,
Amalia Foka, University of Ioannina
Artificially Intelligent Artists: Who Owns the Copyright?,
Emily Lanza
Art and Politics: Just a Gesture and No Future?
Debating the Political Force of Public Art in the US and
Germany from the 1960s until Today
Trianon Ballroom, 3rd Floor
Chairs: Michael Diers, Humboldt University; Sarah
Hegenbart, Technical University Munich
Lessons from Joseph Beuys: Social Sculpture as a Model
for Today’s Social Practice, Cara Jordan, Graduate
Center, City University of New York
“Dispensability and Inclusiveness”: Political Ideologies
and Public Spheres in and around the Fluxus (non-)
Movement, Martin Patrick, Massey University
Political Art in the US and Germany in the Age of Populist
Uprisings, Lisa Bloom, University of California, Berkeley
28
♦
WORKSHOPS
Artistic Encounters, Past and Present
Rendezvous Trianon, 3rd Floor
Identity, Place, and Culturally Relevant Pedagogy: A
Case Study of the Recology Artist-in-Residence Program,
Carianna Arredondo, Teachers College, Columbia
University
Exercises in Ambiguity, Ted Hiebert, University of
Washington Bothell
The Drawing Board, Performing the Institution, JJ Lee,
Amy Swartz, and Natalie Majaba Waldburger
The Darby School of Art: A Forgotten Chapter in the
History of American Impressionist and Modernist Painting,
Mark Sullivan, Villanova University
Bitcoins, Artcoins, Blockchains, Art, and Art History
Art Historians of Southern California
Gramercy East, 2nd Floor
Chair: Walter Meyer, Santa Monica College
Bitcoin, Bitchcoin, and the New Patron, Danielle Bronson
Fractional Equity, Digital Scarcity, and Blockchain Use
Cases in the Arts, Amy Whitaker, New York University
“A Perfect Waffle Every Time!”: The Artist’s Reserved
Rights Transfer and Sale Agreement as Smart Contract,
Lauren van Haaften-Schick, Cornell University
New Paradigms for Exchange of Art, Linda Dzhema,
Claremont Graduate University
Bon Anniversaire, Monsieur Courbet!
Sutton Center, 2nd Floor
Chairs: Petra T. D. Chu, Seton Hall University; Mary Morton,
National Gallery of Art
Discussant: Paul Galvez, University of Texas, Dallas
Overturning a Fiction: A Poeian Reading of Courbet’s
“Real Allegory” Andrei O. Pop, University of Chicago
The Human Gaze in Gustave Courbet’s Deer Paintings,
Stephanie Triplett, University of Michigan
Profiling Celebrity: Courbet’s Portrait Icons, Heather
McPherson, University of Alabama at Birmingham
Form and Emotion: The Chameleonic History of Courbet’s
Reception in Germany, Stephanie Marchal
Borders and Beyond: Contemporary Conflicts and
Artistic Responses along the US-Mexico Border
Grand Ballroom West, 3rd Floor
Creative Place Keeping on the South Texas-Mexican
Border , Celeste De Luna, University of Texas Rio Grande
Valley
Call to Action: US-MX Transnational Seminar // Llamado
a la Acción: Seminario Transnacional EEUU-MX, Tae
Hwang, and MR Barnabas, Collective Magpie
■ EVENTS
▲ MEETINGS
Un Camino Nuevo | A New Path: The Transformative
Power of Muralism in Low-Income Communities, Raquel
Rojas
How to Make Site-Specific Art When Sites Themselves
Have Histories: Whittier Boulevard as Asco’s “El Camino
Surreal” Brandon Sward, University of Chicago
Global Conversations 2019—Creative Pedagogy:
Mapping the In Between across Cultures
International Committee
Nassau West, 2nd Floor
Chair: Nazar Kozak, National Academy of Sciences of Ukraine
An Italian in China: The Curious Case of Giuseppe
Castiglione, Chen Liu, Tsinghua University
Pedagogy of the Transborders: Reviewing East European
Art from the Perspective of Transatlantic Cultural
Exchanges with Latin American and African Cultures,
Katarzyna Cytlak, Centro de Estudios de los Mundos
Eslavos y Chinos, Universidad Nacional de San Martín
Images of Guru Nanak: Locating Patterns of Words in
Images, Nadhra Khan, Lahore University of Management
Sciences
Cross-Cultural Encounters through Creative Pedagogy in
Teaching Art History, Sarena Abdullah, Universiti Sains
Malaysia
Image Reiterated
Morgan, 2nd Floor
The Recursive Crucifix: Giunta Pisano and the Byzantine
Icon, Alexander Coyle, Yale University
Humility as a Virtue: Saintly Teachings and the
Iconographic Humanization of the Madonna to Purify the
Female Gender in Italy during the Early Quattrocento,
Davide Stefanacci
God’s Lowliest Creatures: The Insect Paintings of Maria
Sibylla Merian and Giovanna Garzoni in the Context of
17th-Century Female Advocacy and Exchange, Emma
Steinkraus, Hampden-Sydney College
After Angelica Kauffman: Early Mechanical Reproduction
and the “Angelicamad” World, Rachel Harmeyer, Rice
University
Old Wine, New Wine, and What Bottle Should We Use?
National Council of Art Administrators
Nassau East, 2nd Floor
Chairs: David LaPalombara, Ohio University; Charles
Kanwischer, Bowling Green State University
The Interdisciplinary Dinner Party: Pull Up a Chair and
Raise Your Glass!, Robin Cass, Rochester Institute of
Technology
SEE CAA 2019 APP FOR PROGRAM UPDATES
New Media = New Foundations, Arne Flaten, Ball State
University
The Kids Are Alright—And They Will Determine the Future
of Art, Troy Richards, Fashion Institute of Technology,
State University of New York
Paradigms of Tradition and Innovation in Arts Pedagogy
for the Global 21st Century, Joanna Grabski, Arizona
State University
■ Reunions and Receptions
see p. 92 for details
Queen: Centering the Black Woman as the Subject of
Beauty
Beekman, 2nd Floor
Chair: Sarah Clunis
Discussant: Deborah Willis, Tisch School of the Arts,
New York University
Unspoken, But Seen: Gesture and Beauty in the Work of
Michéle Pearson Clarke, Christina Knight, Haverford
College
On Black Female Beauty and Becoming, Tiffany Barber,
University of Delaware
“A Feeling of Eternity”: Eldzier Cortor’s Representations
of Black Women, Jennie Goldstein, Whitney Museum of
American Art
Divine Divas, Indomitable Deities—Defining Images of
the Eternal Feminine, Leslie King Hammond, Maryland
Institute College of Art
Teaching Design Studies: Practice, Methods, and
Resources
Regent, 2nd Floor
Chairs: Carla Cesare, University of Cincinnati, Blue Ash
College; Gretchen Von Koenig, Parsons School of Design,
New School
Discussant: David Raizman, Drexel University
Teaching the Unpredictable: Co-Teaching in Museum
Practicum Courses, Keren Ben-Horin, Fashion Institute of
Technology, SUNY and Sarah C. Byrd, Fashion Institute of
Technology, SUNY
Panelist: Ellen Lupton, Cooper-Hewitt National Design
Museum
Designing Cultural Objects: Cultural Design Anthropology
as Innovation in the Classroom, Kenneth Segal,
Hadassah Academic College and Jonathan Ventura,
Hadassah Academic College
Making Design History Matter, Kjetil Fallan, University of
Oslo
Ephemeral Materiality: Problematizing Design, Claudia
Marina
THURSDAY
29
Art for Schools in Victorian England, Andrea Korda,
University of Alberta
THURSDAY, FEBRUARY 14
8:30–10:00 AM
Art or Artifacts? Recreating the Collection of the Byrdcliffe
Library, Erica Obey, Independent Scholar
Tenochtitlan/Mexico City: New Directions in
Iconographic Study
Bryant, 2nd Floor
Chair: George Scheper, Johns Hopkins University
The Florentine Codex: A New World Product of Syncretism,
Thomas Germano, Farmingdale State College
Nepantla: Metamorphic Transformations, Sallie Saiz,
Fresno City College, State Center Community College
A Common Cycle: The Similarities of Aztec and Daoist
Expression, Carolyn Click, University of Colorado Boulder
“The Problem of Woman” in Surrealism
Concourse A, Concourse
Chairs: Alyce Mahon, University of Cambridge; Katharine
Conley, College of William and Mary
Surrealism and the Woman Problem, Mary Ann Caws,
Graduate Center, City University of New York
“Talk about complications!”: Surrealism’s Trouble
with Women, Raymond Spiteri, Victoria University of
Wellington
Leonor Fini from an Italian Perspective: Letters, Articles
and Archival Documents (1929–96), Giulia Ingarao,
l’Accademia di Belle Arti di Palermo
Rita Kernn-Larsen: The Case of the Danish Surrealist,
Grazina Subelyte, Peggy Guggenheim Collection, Venice
The Technology Divide: Tensions between the Hand,
New Media, and Studio Art Pedagogy
Gramercy West, 2nd Floor
Chair: Jason Swift, University of West Georgia
Hand vs. Machine, Raymond Yeager, University of
Charleston
Does the Digital Medium Discourage Student Ideation
and Refinement of Projects?, David Smith, Auburn
University
Eliminating Command Z: Analog Techniques in a Digital
Discipline, Nina Bellisio, St. Thomas Aquinas College
Fusion Foundations: Design, Technology, Time, and
Space, Christopher Olszewski, Savannah College of Art
and Design
The Visual Culture of Art History Education
Concourse G, Concourse
Chair: Jean Robertson, Herron School of Art and Design,
Indiana University
Crumbling Plaster: The Failure of Art History as a Social
Science, Rachel Hooper, Savannah College of Art and
Design
30
♦
WORKSHOPS
Making a Meaningful Online Field Trip, Veronica Davies
Women’s Identity, Liturgy, and Sacred Space in
Medieval and Renaissance Italy
Madison, 2nd Floor
Chair: Joanne Allen, American University
Women and Sacred Space in Renaissance Florence,
Joanne Allen, American University
Image or Performance? Benvenuta Boiani’s Altar Frontal
and the Perception of the Liturgical Ritual, Zuleika
Murat, University of Padua
Two Women and One Psalter (Padua, Seminary Library,
MS 353), Sabina Zonno, University of Southern
California, Dornsife
9:30–10:30 AM
♦
Admin Presents: Institutions
Americas Hall II, Workshop Room 3rd Floor
Leader: David Borgonjon
Conference Crash Course
SEPC Lounge
Petit Trianon, 3rd Floor
♦ Starting Your Career: How to Use Networking to
Build and Sustain a Life in the Arts
Americas Hall II, Workshop Room 1, 3rd Floor
Leaders: Angie Wojak, School of Visual Arts; Stacy Miller,
Parsons the New School for Design
10:00–11:00 AM
■ Tour of Epic Abstraction: Pollock to Herrera
Metropolitan Museum of Art, offsite event, see p. 92 for details
10:00 AM–12:00 PM
■ Tour of The Extended Moment: Photography from
the National Gallery of Canada
Morgan Library and Museum, offsite event, see p. 92 for
details
10:30 AM–12:00 PM
2nd Annual CAA Panel on Artists’ Space-Making
Initiatives
Rendezvous Trianon, 3rd Floor
Chair: Michele Gambetta, ArtCondo
Building a Live Work Art Space in the Hudson River Valley:
The Process, Challenges, and Successes, Deirdre Solin
Gallery House: Reimagining an Art School Fraternity
Experience, Josh Yavelberg, University of Maryland
University College
■ EVENTS
▲ MEETINGS
Desperate Remedies: Ten Years as Artist Developer of a
Five-Story 1904 Cast-Iron Column Condo, Just to Own My
Studio, Linda Cunningham, Bronx Bricks
Housing Artists in an Autocratic Society, Scott Pfaffman
A World in Light: Impressionism in a Global Context,
1860–1920
Sutton Center, 2nd Floor
Chairs: Katerina Atanassova; Tracey Lock, Art Gallery of
South Australia
The Making of an Art Historical Empire: French Histories
of Impressionism in Translation, Alexis Clark, Duke
University
Catalan Artists Ramon Casas i Carbó and Santiago
Rusiñol i Prats in 1890s Barcelona, Carmen Lord, Pacific
Northwest College of Art
Australian Impressionism Goes Transnational, Catherine
Speck, University of Adelaide
An Illuminating Influence: Impressionism in Asia,
Margaret Richardson, Christopher Newport University
Antiquarianism in Art. Ideology of Representation
during the Renaissance: The Grotesques
Association for Textual Scholarship in Art History
Gramercy East, 2nd Floor
Chair: David Cast
New Investigations on the Renaissance Etymology of
“Grotesque”, Damiano Acciarino, Univerisità Ca’ Foscari
Venezia and University of Toronto
Horace’s Pitchfork and the Mason’s Trowel: Grotesques in
Architecture and the Nature of Nature, Charles Burroughs
The Grotesque as the Afterlife of Suppressed Worldviews,
Andrzej Piotrowski, University of Minnesota
CAA Publications Committee Open Forum:
Peer Review, Reviewed
Publications Committee
Concourse E, Concourse
Chair: Roberto Tejada, University of Houston
Participants: Lalitha Gopalan, University of Texas, Austin;
Rebecca Uchill, University of Massachusetts Dartmouth;
Ken Wissoker, Duke University Press
Clay, Stories, and Identities
National Council on Education for the Ceramic Arts
Nassau East, 2nd Floor
Chair: Joshua Green, National Council on Education for the
Ceramic Arts
Discussant: Patsy Cox, California State University–Northridge
Ghetto Garniture, Roberto Lugo, Tyler School of Art of
Temple University
Material Dialogues, Sharif Bey
VISIT COLLEGEART.ORG/CONFERENCE
POSTER SESSIONS
Poster sessions are informal displays that
communicate the essence of presenters’ research,
synthesizing main ideas and research directions.
Join an extended discussion focused on topics of
scholarly or pedagogical research. Poster displays
are on view beginning Thursday at 9:00 AM through
Saturday at 2:00 PM. On Thursday and Friday from
12:00 to 1:30 PM presenters will discuss their work,
3rd Floor Promenade.
#IMPACT: Education for Design Innovators
Chin-Juz Yeh, Fashion Institute of Technology;
Christie Shin, Fashion Institute of Technology
Art, Research and the World of Reborn Babies
Emilie St.Hilaire, Interdisciplinary Artist
Ar[t]chaeology: Intersections of Contemporary Art
and Archaeology
Elena Stylianou, European University Campus
Artemis Eleftheriadou, Frederick University,
Nicosia, Cyprus and Yiannis Toumazis, Pierides
Foundation
Building a Scholarly Platform for Latin American
and Latinx Visual Culture Research
Emily Engel, University of California, Santa Barbara
Decoding Dress: The Fashion History Timeline a hub
for fashion research
Justine De Young, State University of New York
Digital Afterlife: A Practice-Based Research
Initiative in the Post-Internet Arts and Humanities
Laura Kim, University of Colorado, Boulder; Mark
Amerika, University of Colorado
OpenArt: The Open-Access Platform for Cataloging Art
Elizabeth Honig, University of California Berkeley
Preparing MFA Students to Teach College Art
Dahye Kim, Colulmbia University
Printmaking, Pedagogy, and Public Service
Beauvais Lyons, University of Tennessee
The Power of Perception: Art, Climate Change, and
the History of US Environmental Policy
Melissa Fleming, Artist
User Experience along the St. James Way.
Intervisibility testing with agent based modeling at
the monastery of San Julián de Samos
Estefania Lopez-Salas, Augustus Wendell,
New Jersey Institute of Technology
“Opening” Art History: Re-designing the Survey
Course With Open Educational Resources
Natascha Chtena, University of California,
Los Angeles
THURSDAY
31
Caribbean Linguistic and Sonic Inventions as Models for
DIY Resistance, Mark Harris
THURSDAY, FEBRUARY 14
10:30–12:00 PM
Defining the Intrasubjective: An Artist’s Talk by Kelsey
Brod, Kelsey Brod
On Art’s Power, Nicoletta Rousseva
Immigration and Identity, Natalia Arbelaez, Harvard
University
Contemporary Latinx Art
Grand Ballroom West, 3rd Floor
Chair: Nadiah Fellah
Margarita Cabrera: Art and Agency at the US-Mexico
Border, Angelique Szymanek, Hobart and William Smith
Colleges
La Chica Boom: Performing a Spictacle, Ana Briz, USC
Regarding Family Photography in Contemporary Latinx
Art, Deanna Ledezma, University of Illinois at Chicago
Activista: Latinx Artists in the Age of Protest, Rocio
Aranda-Alvarado, Independent Scholar/Curator
Discussions of Marketplace: Socially engaged and
political art practice in commercial galleries
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chairs: TeaYoun Kim-Kassor, Georgia College; Steven Rossi,
Parsons School of Design, State University of New York at
New Paltz
Panelists: Meleko Mokgosi, New York University;
William Powhida, School of Visual Arts; Kristen Becker,
Marianne Boesky Gallery; Rachel Moore, Helen Day Art
Center
Edges of Media
Gramercy West, 2nd Floor
Chair: Jared Stanley, Texas Tech University
Restructured Balance: Approaching Theoretical Shifts
through Printmaking-Based Installation Art, Jared
Stanley, Texas Tech University
Fusing Both Arts to an Inseparable Unity: Frank O’Hara as
a Visual Artist, Daniella Snyder
Art at the Edge of Poetry: The Work of Vlado Martek,
Adair Rounthwaite
Laughing at You, Not with You: Camp, Performance Art,
and the Influence of Cantinflas, Sara Solaimani
Design Incubation Colloquium 5.2: CAA Conference
2019 New York City, Design Incubation
Regent, 2nd Floor
Chairs: Robin Landa Wiley; Elizabeth DeLuna
Exploring Narrative Inquiry as a Design Research Method,
Anne Berry, Cleveland State University
Downtown State of Flux, Natacha Poggio, University of
Houston, Downtown
Pitch & Roll: Exploring Low-Risk Entrepreneurship for
Student Designers, Jennifer Kowalski, Temple University
Cultural Competence for Designers, Colette Gaiter,
University of Delaware
Design Activism and Impact: How Can Principles of
Social Impact Assessment Improve Outcomes of Socially
Conscious Design Efforts in Graphic Design Curriculum?,
Cat Normoyle
Art, Interaction, and Narrative in Virtual Reality, Slavica
Ceperkovic, Seneca College
Ten Case Studies in Eco-Activist Design, Kelly MacArthur,
Michigan State University
Questioning the Canon: Discussing Diversity and Inclusion
in the Classroom, Sherry Freyermuth, Lamar University
Form, Focus, and Impact: Pedagogy of a 21st-Century
Design Portfolio, Peter Lusch, Lehigh University and
Liese Zahabi, University of Maryland, College Park
Feminist Matters, 1968 and Beyond
Committee on Women in the Arts
Concourse A, Concourse
Chair: Sampada Aranke, San Francisco Art Institute
Discussant: Lydia Brawner, Performa/Mellon Foundation
The Performance of Our Lives, Kim Nguyen, Wattis
Institute for Contemporary Arts
The Performance of Our Lives, Eunsong Kim
Image Matters: Materializing Reproductive and Affective
Labor in Feminist Art from the 1970s to the 1990s,
Kimberly Lamm, Duke University
La Rivolta Continua: Carla Lonzi’s Separatism and Claire
Fontaine’s Weaponization of Theory, Vanessa Parent
What We Want Is Not Free, Jen Delos Reyes, University
of Illinois at Chicago
Deskilling in the Age of Donald Trump
Trianon Ballroom, 3rd Floor
Chair: Christopher Reeves, University of Illinois at Chicago
Resisting Objecthood: On Art in Public, Maria SedaReeder, University of Cincinnati
Go Public, Young Scholar
Nassau West, 2nd Floor
Chair: Amy Werbel, Fashion Institute of Technology, State
University of New York
32
♦
WORKSHOPS
■ EVENTS
▲ MEETINGS
Public Engagement with Images of Ethnicity, Gender,
Place, Race, and War in Illustrated Sheet Music, Theresa
Leininger-Miller, University of Cincinnati
Public Space, Public Outreach: Redefining the Memorial
Landscape, Sarah Beetham, University of Delaware
Navigating the Paradox of Public Scholarship, Laura
Holzman, Indiana University, Purdue University Indianapolis
Indigenous Languages of the Americas and the
Language of Art History
Bryant, 2nd Floor
Chairs: Kristopher Driggers, University of Texas Rio Grande
Valley, University of Chicago; Allison Caplan, Tulane
University
Discussant: Dana Leibsohn, Smith College
Reevaluating Scent and Sound in the Borgia Group
Manuscripts, Alanna Simone Radlo-Dzur, Ohio State
University
Of Teeth like Corn: Color Terminology and Representation
in Nahua Turquoise Mosaics, Allison Caplan, Tulane
University
Blue. Green. Yax. Naming, Valence, and the Sacrality
of Maya Blue, Amara Solari, Penn State University and
Linda K. Williams, University of Puget Sound
No Body, This Body: Marking Flesh, Figuration,
Abstraction in Trans Art History
Beekman, 2nd Floor
Chair: Eliza Steinbock, Leiden University for the Arts in Society
Discussant: David Getsy, School of the Art Institute of Chicago
Other Genders: Forrest Bess and Postwar Abstraction,
Cyle Metzger, Stanford University
Flaming Color: The Genderqueer Capacities of Color-asMatter, Lex Lancaster, University of South Carolina
Serial Shooters: Portraits of Contrast and Conflict in
Muholi Muholi’s Hail the Dark Lioness (2012–16) and
Pyuupiru’s Self Portrait (2005–7) Series, Eliza Steinbock,
Leiden University
Occasional Art: Intimacy, Transience, and Community
in the 20th and 21st Centuries
Sutton North, 2nd Floor
Chair: Christa Robbins, University of Virgina
Jay DeFeo’s The Rose and the Occasional in Postwar San
Francisco, Elizabeth Ferrell, Arcadia University
Performance and Community over Commodity in 1980s
West Berlin, Briana Smith, Harvard University
Viewer as Witness: On Sealing the Intimate, Naomi Vogt,
University College London
Exile Modernism: The Photographic Work of Maya
Deren and Alexander Hammid, Andrew Witt, Humboldt
Universität, Berlin
SEE CAA 2019 APP FOR PROGRAM UPDATES
Other Phenomenologies in American Art
Association of Historians of American Art
Clinton, 2nd Floor
Chairs: Catherine Holochwost, La Salle University;
Louise Siddons, Oklahoma State University
Strong, Living Bodies: Thomas Eakins and the American
Delsarte System, Erin Pauwels
Surgical Operations, Modernist Painting, Ashley
Lazevnick, Princeton University
Empathy in American Sculpture Since the 1960s, Lynn
Somers
Intentional Religious Communities and the Disciplining
of American Performance Art, Karen Gonzalez Rice,
Connecticut College
Public Art and Political Change: All Things That Rise
Must Converge
Professional Practices Committee
Gramercy East, 2nd Floor
Chairs: Greg Shelnutt, University of Delaware; Brian Bishop,
Framingham State University
Talking Back: Public Constructions and Discussions in Art,
A. D. Carson, University of Virginia
this I too remember: Reflections on a Year of Public Art,
Steve Locke, Massachusetts College of Art & Design
Strengthening Partnerships: Public Art and Public Domain,
M. Rowe, Greater Des Moines Public Art Foundation
Recent Memorial Controversies: New York Policies and
Their Implications, Harriet Senie, City College, City
University of New York
Radical Female Artists: Wielding Media as Critique
Madison, 2nd Floor
The Secret History of Frida Kahlo’s “Pitahayas”, Mel
Becker Solomon, Madison Museum of Contemporary Art
Eva Hesse in 1968: Plastics, Absurdity, Process, Jessica
Ziegenfuss
From Taboo to Iconic: Revisiting Judy Chicago’s Red Flag
(1971), Camilla Rostvik, University of St. Andrews
Smile and Other Dildos, Maggie Goddard, Brown University
Technologies of Counter-Publicity
Sutton South, 2nd Floor
Chairs: Philip Glahn, Tyler School of Art, Temple University;
Cary Levine, University of North Carolina
Telediscretion: Serge Boutourline’s Media Environments,
ca. 1970, Larry Busbea, University of Arizona
Self-Design, Counter-Information, and Contra-Plans: Enzo
Mari in the 1970s, Lindsay Caplan, Brown University
THURSDAY
33
11:00 AM–12:00 PM
THURSDAY, FEBRUARY 14
■ Sotheby’s Auction House Tour
Sotheby’s Auction House, offsite event, see p. 92 for more
details
10:30 AM–12:00 PM
A New Platform for Publicity: ®™ark and Net Art’s Battle
for the Digital Public Sphere, Megan Driscoll, Center for
Advanced Study in the Visual Arts
♦
Artists As Publishers
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: James McElhinney, Needlewatcher LLC
Intimate Strangers and Affective Economies: Ann Hirsch,
Amalia Ulman, and Marisa Olson, Monica Steinberg,
University of Hong Kong
♦
Transitional Performances and Ephemeral Works
SAC ARTspace
Gibson, 2nd Floor
Chairs: Carissa Carman, Indiana University Bloomington;
Niku Kashef, California State University, Northridge, and
Woodbury University; Melissa Hilliard Potter, Columbia
College Chicago
Panelists: Harley Spiller, Franklin Furnace; Chin Chih Yang,
Independent Artist
♦
Using OERs for Teaching and Research
Concourse G, Concourse
Chairs: Rebecca Easby, Trinity Washington University; Ian
McDermott, LaGuardia Community College, City University of
New York
Terms of Production: Collaborative Frameworks for Open
Creative Cultures, Suzanne Rackover, Cissie Fu, Emily
Carr University of Art + Design
When a Textbook Is Not an Option: Developing and
Managing OERs for Online Art History Courses, Josh
Yavelberg, University of Maryland University College
Teaching Asian Art with OERs: From Survey to Seminar,
Kristina Kleutghen, Washington University in St. Louis
Women’s Devotion and Visual Culture in Early Modern
Spain: The Convent of the Descalzas Reales
Society for the Study of Early Modern Women
Morgan, 2nd Floor
Chairs: Maria Cruz De Carlos, Universidad Autónoma Madrid;
Tanya Tiffany, University of Wisconsin–Milwaukee
Discussant: Magdalena Sanchez
Processions at the Celestial Palace: A Ritual and Spatial
Approximation of Las Descalzas Reales, Katherine Mills,
Harvard University
Pedro Perete’s Engravings of the Life of Margaret of
the Cross (1636), Maria Cruz De Carlos, Universidad
Autónoma Madrid
Conventual and Courtly Devotion in the Descalzas Reales:
Polychrome Sculptures of the Child Christ, Tanya Tiffany,
University of Wisconsin–Milwaukee
34
♦
WORKSHOPS
Whiteness and Art Education: Developing a
Reflective Practice
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Hannah Heller
Workshop: Writing Your Dissertation
SEPC Lounge
Petit Trianon, 3rd Floor
12:00–1:30 PM
Poster Session Presentations
3rd Floor Promenade
■ Reunions and Receptions
See p. 92 for details
12:00–2:30 PM
■ Chelsea Gallery Walking Tour
New York Hilton Midtown, main lobby, offsite event
see p. 92 for more details
12:30–1:30 PM
▲
Affiliated Society Business Meetings
See p. 88 for more details
▲
CAA Affiliated Society Meeting
Sutton Center, 2nd floor
♦
Demystifying Museum Internships and Fellowships
Americas Hall II, Workshop Room 1, 3rd Floor
Discussants: William Gassaway, The Metropolitan Museum
of Art; Elizabeth Perkins, The Metropolitan Museum of Art
♦
Drawing Into Painting Via Projection
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Charles Browning
■ Learning to Look: A Conversation about Late 15thCentury Woodblock Printed Books
American Institute for Conservation of Historic and Artistic
Works
The Morgan Library & Museum, offsite event, see p. 92 for
details
Chair: Rebecca Rushfield
Wood, Ink, Paper: Material Seminar on 15th-Century
European Blockprints, John McQuillen, Pierpont Morgan
Library & Museum
■ EVENTS
▲ MEETINGS
Roundtable: Job Search Horror Stories & Pointers
SEPC Lounge
Petit Trianon, 3rd Floor
12:30–2:30 PM
■ Banned: Challenges to International Engagement
in the Visual Arts in the Age of Trump
The Museum of Modern Art, offsite event, see page 92 for details
Moderators: Mariët Westermann, The Andrew W. Mellon
Foundation; Frederick Asher, University of Minnesota
2:00–3:00 PM
■ Behind the Locked Doors: Tour of Leslie-Lohman
Museum of Gay and Lesbian Art
Leslie-Lohman Museum of Gay and Lesbian Art, offsite event,
see p. 92 for details
♦ Cultivating an Equitable Classroom Environment
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Carrie Neal, Parsons
♦
Professional Strategies for Meeting the Demands
of Tenure-Track and Term Appoinments in Studio
Americas Hall II, Workshop Room 2, 4th Floor
Leader: Michael Aurbach, Vanderbuilt University
2:00–3:30 PM
10th Critical Craft Forum: Craft Scholarship in the Next
Ten Years
Nassau East, 2nd Floor
Chairs: Namita Wiggers, Warren Wilson College and Critical
Craft Forum; Jenni Sorkin, University of California, Santa
Barbara
Expanded Crafts: Text and Textile-Based Practices in
South American Conceptualism, Jacqueline Witkowski
Women’s Work: Transforming Contemporary
Woodworking, Phoebe Kuo, 3D Design
Late 20th-Century Jewelry Rags: Design/Content/
Meaning, Renee Roll
Where Did the “Users” Go? Understanding the Israeli
“Craft as Design” Discourse in the Field of Israeli
Ceramics, Orly Nezer, Vilensky Academy for Education
Information Technology and Craft in Rural America:
How Information Technology Infrastructure, Innovation,
and Behavior Influence the Aesthetic Progress of
Contemporary American Quilting, Renée Reizman,
University of California at Irvine
Shared Memory: Cloth, Coping, and Art in the Armenian
Diaspora, Emma Welty, Purchase College, State
University of New York
■ Art Students League Tours & Reception
The Art Students League of New York, offsite event, see p. 92
for details
VISIT COLLEGEART.ORG/CONFERENCE
Balancing Actions: Revisiting the myth of balance in
Artmaking for the parent-artist
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chair: Niku Kashef, California State University, Northridge,
and Woodbury University
Coexistence in Contemporary Art
Sutton North, 2nd Floor
Chairs: Amanda Boetzkes, University of Guelph; Christine
Ross, McGill University
Placeholder, Andrea Haenggi, Environmental
Performance Agency
Harmony and Antagonism: Art at the Conjuncture of
Social De/Recomposition, Jaleh Mansoor, University of
British Columbia
Hospitality and Cosmopolitanism in Lee Mingwei’s Art,
Chu-Chiun Wei
Capitalocene Coexistence, T. Demos, University of
California, Santa Cruz
Ilusip Akiuunnera: Art’s Performance of Social Space in
Post-Home-Rule Greenland, David Norman, University of
Copenhagen
Contested Site: The Female Body in Contemporary Art
Concourse A, Concourse
Chair: Katya Grokhovsky, The Immigrant Artist Biennial
Discussant: Farrah Karapetian, Independent Artist
The Mouths of Women: Performance, Cindy Rehm,
Chapman University
Pussy Artistically Grabs Back: The Female Body as
Political Force in the United States, Emily Newman,
Texas A&M University-Commerce
Re-storying the Female Body: A Presentation by Susan
Silas and Nadja Verena Marcin, Susan Silas, Nadja
Marcin
Unruly Images: Female Bodies and Feminist Polemics in
the Contemporary Avant-Garde, Charlene Lau, Parsons
School of Design
Curating Araki Nobuyoshi in the 21st Century, Maggie
Mustard
Decolonizing the Web: Challenging the Limitations of
Internet and Art Portal Discoverability
Sutton South, 2nd Floor
Chair: Constance Cortez, University of Texas Rio Grande
Valley
Boosting Discoverability, Working against Privilege: The
Asian American Arts Centre, Karen Hwang, Metropolitan
New York Library Council
On Public Online Access to Visual Databases: Focusing on
Chicana/o Murals of California, Gabriela Gomez
THURSDAY
35
Informal Dwelling and Formations of State: Reflections on
Methodology, Huma Gupta, Massachusetts Institute of
Technology
THURSDAY, FEBRUARY 14
2:00–3:30 PM
Designing “Free Labor”: Prefabricated Steel Housing
and Settler Colonialism in Palm Springs, CA, Manuel
Shvartzberg Carrió, Columbia University
Rhizomes of Mexican American Art since 1848: A New
Platform to Improve Discoverability, Karen Mary
Davalos, University of Minnesota
Infrastructures of “Legitimate Violence”: Notes on the
Prussian Settlement Commission’s Border Villages,
Hollyamber Kennedy, Columbia University
Digital Art and Activism
SAC Media Lounge
Gibson, 2nd Floor
Ideals, Desires, Fabrications, and Compromises:
Aspects of Gender in Art
Madison, 2nd Floor
In Bed with Monet, Andrew Shelton, Ohio State
University
Money, Monsters, Masculinity, and Japan in Claude
Monet’s La Japonaise (1876), Hyoungee Kong, Penn
State University
The Art of Misogyny, Francesca Bacci, University of
Tampa
Discarding of the Veil: An Image of Female
Empowerment, Katherine Raymer, University of Arizona
Japanese Material Culture in Ukiyo-e Art: Learning the
Language of Objects
Sutton Center, 2nd Floor
Chair: Elena Varshavskaya, Rhode Island School of Design
Traditions and Artifacts of Sumo as Found in Ukiyo-e
Prints, Andrew Svedlow
Representation of Gardens in Japanese Woodblock Prints
during the Edo Period, Anna Guseva, Higher School of
Economics
Mundanity of a Tokaido Town as Advertising Tour de
Force, Elena Varshavskaya, Rhode Island School of
Design
After Ukiyo-e: The American Reception of Postwar
Japanese Prints, Christopher Reed, Penn State
University
Migration and Colonial Modernities
Grand Ballroom West, 3rd Floor
Chairs: Anooradha Siddiqi, Barnard College, Columbia
University; Hollyamber Kennedy, Columbia University
Discussant: Kishwar Rizvi, Yale University
The Humanitarian and the Colonial: Histories of
Architecture and Territory in East Africa, Anooradha
Siddiqi, Barnard College, Columbia University
Forced Migration, Displacement, and Repatriation: France
and Colonized Algeria, Samia Henni, Cornell University
36
♦
WORKSHOPS
Not Your Typical Residency: Artists and the Research
Institute
Association of Research Institutes in Art History
Rendezvous Trianon, 3rd Floor
Chairs: Marie-Stephanie Delamaire, Winterthur Museum;
Amelia Goerlitz, Smithsonian American Art Museum
Art as Historic Practice, Ken Gonzales-Day, Scripps
College
Reflections on Creating Disruption and Decay within
a Museum Collection, Valerie Hegarty, The Elizabeth
Foundation for the Arts
Integrating Art and Research in Hybrid Collaborative
Inquiries, Joey Orr, University of Kansas
The Terra Summer Residency in Giverny and After:
Inventing Collaborative Practices from Scratch, Veerle
Thielemans, Terra Foundation for American Art Europe
Artists in the Archives: 25 Years at the American
Antiquarian Society, Nan Wolverton, American
Antiquarian Society
Object Biographies: Downstream Histories and
Unanticipated Artwork Conversations
Northern California Art Historians
Gramercy East, 2nd Floor
Chair: Margaretta Lovell, University of California, Berkeley
Discussant: Derrick Cartwright, University of San Diego
The Performance of Standing: Squamish Chief Mathias
Joe Capitano’s Totem Pole in San Francisco’s Playland
Amusement Park, 1949–Present, Caroline Riley, San
Jose State University
Nampeyo’s 1903 Clay Jar: Eanger Irving Couse and the
Pottery of Body and Earth, Jason Vartikar
“Portraitstudie” from Berlin to Philadelphia: Photography
Periodicals and Transatlantic Photographic Exchanges in
the 19th Century, Katherine Mintie
“A real look at ourselves for what we are”: Wayne
Thiebaud’s Electric Chair Paintings, Mary Okin, University
of California, Santa Barbara
■ EVENTS
▲ MEETINGS
Painted Books of Pre-Hispanic Mexico: New
Discoveries
Bryant, 2nd Floor
Chair: Anne Cassidy, Carthage College
The Opossum and the Uayeb in the New Year Pages of
the Madrid Codex, Merideth Paxton, Latin American and
Iberian Institute, University of New Mexico
Yearbearer Imagery in Postclassic Codices: Thresholds of
Time and Space, Susan Milbrath, University of Florida
The Chromatic Palettes of the Codex Vaticanus B:
Characterization and Analysis in the Framework of the
Mesoamerican Manuscripts’ Color Technologies, Elodie
Dupey Garcia, Instituto de Investigaciones Históricas,
Universidad Nacional Autónoma de México
Cultural Interactions in Late Postclassic Mesoamerica:
Exploring the Repainted Pages of the Codex Vaticanus
B and Cognate Almanacs of the Maya Madrid Codex,
Gabrielle Vail, University of North Carolina
Indigenous Artistic Process and Collaboration in the Mapa
Uppsala (ca. 1540), Jennifer Saracino
Public Art and Political Elections
Public Art Dialogue
Trianon Ballroom, 3rd Floor
Chairs: Marisa Lerer, Manhattan College; Jennifer Favorite,
Graduate Center, City University of New York
“Graphic Statues”: Monuments of the American Woman
Suffrage Movement, Newspaper Notoriety, and the Limits
of Female Fame, Nicole Williams
Artivism on the American Streets: Imagery, Gender, and
Urban Space, Elizabeth Dastin
Towards a Surreal Politik, Ligorano Reese
Queer and Feminist Art Censorship in the Age of Social
Media
Beekman, 2nd Floor
Chair: Clarity Haynes, Brooklyn College
Censorship in the Age of Mechanical Reproduction, Leah
DeVun, Rutgers University
Let’s Be Counted, Paul Sepuya
Sex Work: The Silencing of Feminist Art and Radical
Politics from a Historical Perspective, Alison GingerasUklanska, Dallas Contemporary
Queer Feminist Invisibilities, William Simmons,
University of Southern California
Social Practice and Service Learning
Concourse G, Concourse
Chairs: Ellen Mueller, Minneapolis College of Art and Design;
Karen Gergely, Graceland University
Improving Social Practice through Service Learning
Pedagogy, Kimberly Callas, Monmouth University
SEE CAA 2019 APP FOR PROGRAM UPDATES
Art in Public: Audiencing and Engagement, Jennifer
Ustick, University of Cincinnati
Empathy and Politics: Negotiating Student Approaches
and Community Impact, Leslie Robison, Flagler College
Metropolis—Studying in the City, Karni Barzilay, Curator
of Kav 16—Community Gallery for Contemporary Art, Tel
Aviv
Step into the Arena: Aesthetics and Athletics in the
American Context
Clinton, 2nd Floor
Chair: Jordana Moore Saggese, University of Maryland,
College Park
Discussant: Jennifer Doyle, University of California, Riverside
Black Apollos: African American Athletes in Eadweard
Muybridge’s Photographs and Gilded Age America, John
Ott, James Madison University
TV Play: Athletic Imagery in Howardena Pindell’s Video
Drawings, Sarah Cowan, University of California,
Berkeley
Becoming (of) Female Sporting Bodies in a Digital Reality:
The WNBA in the NBA Live 18 Video Game, Chia-Ying
Liao, University of Alberta
Teaching Art as Social Action: Pros, Cons,
Observations, Experiences
Radical Art Caucus
Gramercy West, 2nd Floor
Chairs: Jeffrey Kasper; Chloë Bass, Queens College Art
Department
Discussant: Gregory Sholette, Queens College, City
University of New York
Spaces of Learning, Susan Jahoda, University of
Massachusetts Amherst
Why Socially Engaged Art Can’t Be Taught, Jen Delos
Reyes, University of Illinois at Chicago
Walking the Talk: Despite the Institution, Beverly Naidus,
University of Washington, Tacoma
We Live in Activist Times: Social Praxis Art, Art Activism,
and the Political, Todd Ayoung, Pratt Institute
Audacious Acts: A Means of Empowering Students
and Future Activists, Sheryl Oring, University of North
Carolina Greensboro
The Female Impact: Women and the Art Market in the
Early Modern Era
Historians of Netherlandish Art
Morgan, 2nd Floor
Chairs: Judith Noorman, New York University; Frans
Grijzenhout, University of Amsterdam
“You will think I haue too warring a minde for my sexe”:
Elizabeth Stuart and the Necessity of Patronage in Exile,
Michele Frederick, University of Delaware
THURSDAY
37
THURSDAY, FEBRUARY 14
♦
How to Work with an Editor
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Seph Rodney, Hyperallergic
2:00–3:30 PM
Titia Brongersma: An Artist and Patron of the 17th-Century
Netherlands, Nicole Cook, Philadelphia Museum of Art
Trading Zones: Agnes Block, or the Art of Female
Patronage and Influence in 17th-Century Amsterdam,
Catherine Powell, University of Texas
19th Century Art Revolution; through the eyes of the
Sennelier store in Paris
Concourse B, Concourse
Chair: Pierre Guidetti, Savoir-Faire
Where are all the Students? Boosting Engagement and
Enrollment in Art Courses
Concourse E, Concourse
Chair: Fred Kleiner, Boston University
Participant: Jennifer Pride, Liberty University
Why Art Matters: Art History’s Response to the
Changing Art World
Nassau West, 2nd Floor
Chairs: Gwen Robertson, Colburn School; Aandrea Stang
From Advocacy to Reconciliation; Theater in Post-conflict
Colombia, J. Wren Supak, University of Minnesota
Why Art Matters for Religious Feminism?, David Sperber,
Yale University
Will Your Paintings Flake, Fade, or Fail? From Research
to Reality.
Concourse B, Concourse
Chair: Brian Baade, University of Delaware
Participants: Rustin Levenson, ArtCareConservation NYC,
Miami, LA; Sarah Sands, Golden Artist Colors; Michael
Skalka, National Gallery of Art; Matthew Skopek, Whitney
Museum of American Art
3:00–5:30 PM
■ Reunions and Receptions
See p. 92 for details
3:30–4:30 PM
♦
Art as a Social Vehicle for Cultural Diffusion
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Tim Roda
38
♦
WORKSHOPS
Mock Interviews
SEPC Lounge
Petit Trianon, 3rd Floor
4:00–5:30 PM
What Can CAA Do for Designers?
Regent, 2nd Floor
Chair: Carma Gorman, University of Texas at Austin
What Can CAA Do for Designers?, Carma Gorman,
University of Texas at Austin
Workshop: Cover Letter Bootcamp
♦ SEPC Lounge
Petit Trianon, 3rd Floor
3:30–5:30 PM
Affective Representations in the ancient Near East and
Mediterranean
Nassau East, 2nd Floor
Discussant: Amy Gansell, St. John’s University
Experiencing Royal Power: Mari’s Investiture Scene as an
Affective Image of Kingship, Elizabeth Knott
Golden Skin and Wooden Flesh: The Materiality of
the Divine Body in Early 1st Millennium BCE Assyria
and Babylonia, Anastasia Amrhein, University of
Pennsylvania
Painting Imperial Memories in the Hellenistic World (ca.
4th–1st BCE), Patricia Kim, University of Pennsylvania
Art and Justice: New Pedagogical Approaches
Gramercy West, 2nd Floor
Chairs: Courtney Long; Risa Puleo
In Vinculis Invictus: Portraits in Prison, Olivier Meslay,
Clark Art Institute
“The Criminal” in the Classroom: An Interdisciplinary
Approach, Lauren Boasso, University of New Haven
Will It Grow or Strengthen the System? Thinking Abolition
in Art Practice, Ashley Hunt
A Mirror, a Hammer, or Neither? Art and the Fact of
the Prison, Mary Patten, School of the Art Institute of
Chicago
Artists and Rebellion
SAC Media Lounge
Gibson, 2nd Floor
Chairs: Donald Russell, Provisions Library; Edgar Endress,
George Mason University
Artists Everywhere: Alternative Avenues for Success
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chairs: Amelia Winger-Bearskin, Decoded (Americas),
IDEA New Rochelle; Niku Kashef, California State University,
Northridge, and Woodbury University; Alice Mizrachi,
Independent Artist, educator
■ EVENTS
▲ MEETINGS
Being With: Thoughts on the Collective, Living
Collections Catalogue, Walker Art Center
Rendezvous Trianon, 3rd Floor
Chair: Gwyneth Shanks, Walker Art Center
Mabou Mines and Collective Theater, Hillary Miller,
Queens College, City University of New York
Haus-Rucker-Co: Performing Collective Architecture, Ross
Elfline, Carleton College
The Collective Practices of Raphael Montañez Ortiz, Chon
Noriega, University of California Los Angeles
Senga Nengudi and Studio Z, Adrienne Edwards, New
York University
Blackness, Care, Love
Sutton North, 2nd Floor
Chairs: Rael Salley, Maryland Institute College of Art;
LeRonn Brooks, Lehman College
Lay Down Body: Love, Loss, and Quilt, Lisa Gail Collins,
Vassar College
Family Unity and Black Activism in the Favela: Januario
Garcia’s Photographs of the Morro do Salgueiro, Rio de
Janeiro, 1983–84, Abigail Lapin Dardashti, Graduate
Center, City University of New York
I’ve Got You: Embodying Blackness, Family Care, and
Love, Lyneise Williams, University of North Carolina at
Chapel
Photography, Appropriation, and Love in the Early Work
of Romare Bearden, Phoebe Wolfskill, Indiana University
Building the Box of Useful Things: Contemporary Art
and Design History
Design History Society
Regent, 2nd Floor
Chairs: Timothy Stott, Dublin Institute of Technology; Lisa
Godson, National College of Art and Design, Dublin
Modular Design in Stephen Willats’ Multiple Clothing,
Gráinne Coughlan, 59 Leinster Road
A Return to Craft: Mythology and Reality Television
through Weaving, Sasha Baskin, Arrowmont School
A Frightening Beauty: Jennifer Angus’s Insect Designs,
Jennifer Parsons, University of Virginia
VISIT COLLEGEART.ORG/CONFERENCE
Cultivating and Leveraging Diversity through
University—Community Partnerships
Nassau West, 2nd Floor
Chairs: Anne T. Englot; Victor Davson, Express Newark
Stable Ground: Art, Trauma, and the Law, Jules
Rochielle, Social Practices Art Network
100 Years of Footage: Digital Filmmaking with the
National Museum of the American Indian, Melanie La Rosa
Decolonizing Hinterlands
Grand Ballroom West, 3rd Floor
Framing South African Art History as a Particular
Aesthetic Language: Decolonization as a Process of
Recovery, Danielle Becker, Stellenbosch University
What’s the 18th-Century Got to Do with It? Street Art,
Public Spaces, and Contemporary French Identity, Heidi
Kraus, Hope College
The South African and Brazilian Hinterlands As
Represented in the Research, Art and Texts of
W. J. Burchell (1781–1863), Maria Wolff de Carvalho,
Fundação Armando Alvares Penteado
Distinguished Scholar Session Honoring
Elizabeth Hill Boone
Grand Ballroom East, 3rd Floor
Elizabeth Hill Boone, Martha and Donald
Robertson Chair in Latin American Studies, Roger
Thayer Stone Center for Latin American Studies,
Tulane University will be recognized as the
Distinguished Scholar in this special session.
Discussant: Joanne Pillsbury, The Metropolitan
Museum of Art
Panelists: Lori Diel, Texas Christian University;
Barbara Mundy, Art History, Fordham
University; Dana Leibsohn, Smith College
Filming Art, Filming Thinking
Madison, 2nd Floor
Chairs: Simon Palfrey, University of Oxford; Andrea
Bubenik, University of Queensland; Mieke Bal, University of
Oxford
Textures of Paint and Time in Melancholia and Solaris,
Andrea Bubenik, University of Queensland
Demons Land: A Poem Come True, Simon Palfrey,
University of Oxford
Thinking as Art, Art as Thinking: Filming Reasonable
Doubt, Mieke Bal, University of Oxford
THURSDAY
39
Learning to . . . : Relational Aesthetics Pedagogical
Imperative, Kristopher Holland, University of Cincinnati
THURSDAY, FEBRUARY 14
4:00–5:30 PM
The Politics of Taste, Sabine Flach, School of Visual Art
Playing with the Past: Reflections and Discourses on the
Holocaust, Eva Klein, University of Graz
Fulbright Arts Awards: Funding for expanding your
practice in a global setting
Concourse E, Concourse
Chair: Grant Stream-Gonzalez, Institute of International
Education
Slipping into the Performative Darkness: The Black
Radical Tradition Is the Avant-Garde, Noel Anderson,
New York University
“Hands Up, Don’t Shoot!”: Bodies as Sites of Trauma
in Contemporary Art
Concourse A, Concourse
Chair: Monique Kerman, Western Washington University
Vulnerable Young Men: Emerging African American Artists
in Oakland, 1968, a Pivotal Year of the Black Panther
Party, Jo-Ann Morgan, Western Illinois University
On the Run: Body Politics, Historical Trauma, and (Re)
Presentations of the “Runaway” Slave, Meg Jackson,
University of Denver
Durational Performance: The Art of Sustaining Discomfort,
Raegan Truax, Stanford University
From Advocacy to Reconciliation; Theater in Post-conflict
Colombia, J. Wren Supak, University of Minnesota
Latinx Sounds: Auditory Technologies of Resistance
and Aural Practices of Social Transformation
US Latinx Art Forum
Sutton South, 2nd Floor
Chair: Joshua Rios, School of the Art Institute of Chicago
Latin@ Sonic Dissonance, Transcending Spatial Barriers,
Susana Sepulveda, University of Arizona
Schizophonic Realism: The Sounds of Mexican HyperMachismo as Heard through Drug War Era Narcocorridos,
Esther Diaz Martin, University of Texas at Austin
No Noise Disturbed the Quiet of the Morning (Vocal Mix),
Anthony Romero, School of the Museum of Fine Arts at
Tufts University
El Disco es Cultura, Alex Chavez, University of Notre Dame
“Her Public Voice”: Teen Girls and Young Women in
Ancient Contexts
Morgan, 2nd Floor
Chair: Barbara Mendoza, Santa Monica College
Girls Aloud! Representations of Adolescent Girls and
Young Women in Egyptian Art, Barbara Mendoza, Santa
Monica College
Arrhephorai in the Parthenon Frieze: Young Women
Dignified in Sacred Roles, Patrick Hunt, Stanford
University
The (In)visible Daughters: Recovering the Young Female
Experience in Etruscan and Praenestine Art, Bridget
Sandhoff, University of Nebraska Omaha
Belles of the Ball: Young Women, Marriage, and Chthonic
Cult in South Italian Vase Painting, Keely Heuer, State
University of New York at New Paltz
Age before Beauty? The Case of the Missing Roman Girls,
Eve D’Ambra, Vassar College
Making/Writing Artists’ Lives
Gramercy East, 2nd Floor
Chairs: Monica Bravo, California College of the Arts,
California College of the Arts; Sarah Kanouse, Northeastern
University
The Perilous Journey of María Rosa Palacios, Karina
Skvirsky, Lafayette College
Scoring Time: John Cage’s Diary, Sandra Skurvida,
Fashion Institute of Technology, State University of New
York
T. J. Dedeaux-Norris: A Memoir from Jail to Yale, Tameka
Norris, University of Iowa
Luther Price, Autobiogriffure, James Hansen, Oberlin
College
“Inhabit the World in a Better Way”: Art between
Political Practice and Relational Aesthetics
Trianon Ballroom, 3rd Floor
Chairs: Kristopher Holland, University of Cincinnati;
Sabine Flach, School of Visual Art
Mildred’s Lane, an Art Institute of Social Engagement,
Hovey Brock
40
♦
WORKSHOPS
Maternal Subjectivity in Contemporary Art
Beekman, 2nd Floor
Chairs: Robert Shane, College of Saint Rose; Susan Van
Scoy, St. Joseph’s College
Decolonizing Third World Feminism: The Representation
of Pregnancy in Latina and Latin American Women Artists
(1970s–1980s), Lara Demori, Independent scholar
Birth Stories of a Mutation Scenario: Chernobyl and the
East German Body in Gundula Schulze Eldowy’s Birth
Portraits, Sara Blaylock, University of Minnesota–Duluth
How We Are Fed: Artist Mothers and the Online
Community, Lauren Evans, Samford University
■ EVENTS
▲ MEETINGS
“Milk and Tears” Shame and Maternal Subjectivity in
Contemporary Art about Breastfeeding, Robert Shane,
College of Saint Rose
Multiple Cosmologies: Celestial Imagery in the
Medieval and Early Modern World
American Academy in Rome
Bryant, 2nd Floor
Chair: Anna Majeski, American Academy in Rome
Discussant: Benjamin Anderson, Cornell University
A Bohemian Vision of al-Sufi’s Astronomical Tradition:
Clusters of Islamic Influence North and South of the Alps,
Eric Ramírez-Weaver, University of Virginia
Astronomy and Jesuit Place Making in Early Qing Beijing,
Mari Hara, University of Virginia
From Cethyn to Sicily. The Worlds of Georgius Fendulus’s
“Liber astrologicae”, Anna Majeski, American Academy
in Rome
Symbolism, the East, and Africa
Art, Literature, and Music in Symbolism and
Decadence
Sutton Center, 2nd Floor
Chair: Deborah Cibelli, Art Literature Music in Symbolism and
Decadence
Raoul Dal Molin Ferenzona and the Reception of
Eastern Philosophical Principles by Tuscan Artistic and
Theosophic Circles, Anna Mazzanti, Politecnico di Milano
Paul Sérusier: His Spiritual Search through Papus,
Theosophy, Schuré, Plato, and Others to Finally Find
Refuge in the Landscape of an Isolated Corner in Brittany,
Caroline Boyle-Turner
Colonialism: The Use and Abuse of Ivory in Belgian
Symbolist Sculpture, Albert Alhadeff, University of
Colorado Boulder
Vrubel and the Theme of the Orient, Rosina Neginsky,
University of Illinois
The Critical Voice in Art of the United States 1776–1917
Clinton, 2nd Floor
Chair: Janice Simon, University of Georgia
The American Art-Union Bulletin: Provoking Critical
Conversations, Kimberly Orcutt
Critically Assessing Feminine Artistic Power: Elizabeth
Ellet’s Women Artists (1859), Katherine Manthorne,
Graduate Center, City University of New York
Chronicler and Critic: Anne Hampton Brewster in Gilded
Age Rome, Adrienne Bell, Marymount Manhattan College
US Art in Paris and Critical Constructions of Cultural
Innocence, Emily Burns, Auburn University
The Poetry of Criticism: Modern Art and the Spectra Hoax,
Emily Gephart, School of the Museum of Fine Arts
SEE CAA 2019 APP FOR PROGRAM UPDATES
“Wicked Problems” in Visual Arts Education
Education Committee
Concourse G, Concourse
Chair: Virginia Spivey, Independent Scholar
How Do We Create an Educational Pipeline that Will
Introduce and Encourage More Diverse Populations to
Pursue Arts-Based Careers?, Dahlia Elsayed
How Do We Prepare Graduates for the Lack of
Sustainable Job Opportunities and Professional
Placement in Arts-Related Careers?, Michelle Corvette,
Belmont University
How Do Those of Us Entrenched in Academia Best
Prepare Our Students for Careers Outside of the
Relatively Narrow Professorial World that We Know?,
Amanda Wangwright, University of South Carolina
4:30–6:00
■ Bruce Nauman: Spatial Encounters Book Release
Sperone Westwater, offsite event, see p. 92 for details
5:30–7:00 PM
■ Reunions and Receptions
See p. 92 for details
6:00–7:30 PM
Art, Architecture, and the Environment in the Ancient
Mediterranean and Near East
Morgan, 2nd Floor
Chairs: Kristen Seaman, University of Oregon; Isabelle
Pafford, San José State University
Introduction, Kristen Seaman, University of Oregon
Assyrian Entropy: City Sieges and Cosmic Dissolution
in the Palace Relief Programs, Breton Langendorfer,
University of Pennsylvania
The Imaginary of Trees: Strategies for Conjuring
Landscape in Classical and Hellenistic Art, Isabelle
Pafford, San José State University
Ephemeral Constructions: Materiality, Control, and
Mediated Environments in the House of Loreius
Tiburtinus, Neville McFerrin, Ohio University
Villam fruitur dives speculatio: Late Roman Villas in the
Environment, John Stephenson, Appalachian State
University
Beyond “Thoughts and Prayers“: Gun Violence,
Activism, and Controversy in Contemporary Art
Trianon Ballroom, 3rd Floor
Chair: Annie Dell’Aria, Miami University
“The Most Fascinating and Well-Designed Artifacts of
Our Time“: Collecting and Exhibiting Contemporary Guns
in the Art Museum, Michelle Millar Fisher, Philadelphia
Museum of Art
THURSDAY
41
THURSDAY, FEBRUARY 14
6:00–7:30 PM
Disarming Arms, Susanne Slavick, Carnegie Mellon
University
Feeds and Triggers: On Martin Roth’s In November 2017
I collected a plant from the garden of a mass shooter
(2017), Arnaud Gerspacher, Graduate Center, City
University of New York
“Why don’t they buy their own billboard . . . ?” Guerrilla
Strategies, Media Infiltration, and the Role of Art in the
Wake of School Shootings, Nicole Scalissi, University of
Pittsburgh
Report US: Humanizing the Statistics, Eileen Boxer
On Repealing the Second Amendment with Art, Joshua
Smith, Artist
Constructing Criticality in Digital Art History
Sutton South, 2nd Floor
Chairs: Anne Collins Goodyear, Bowdoin College Museum of
Art; Pamela Fletcher, Bowdoin College
Florence as It Was: A Digital Reconstruction of the
Renaissance City, George Bent, Washington and Lee
University
Chronicling Critically: Researching, Writing, and Publishing
250 Years of the Royal Academy’s Summer Exhibition,
Baillie Card and Tom Scutt, Paul Mellon Centre for Studies
in British Art
Queer Vernaculars and the Digital Ethics of Display,
Horace Ballard, Williams College Museum of Art
Promises and Precautions about AI and Automated
Image Matching, Jorge Sebastian Lozano, Universitat de
València
Creating a Community of Scholars for a Community of
Learners: Smarthistory as a Platform for the Discipline
of Art History
Concourse G, Concourse
Chairs: Beth Harris, Smarthistory; Steven Zucker, Smarthistory
Discussant: Naraelle Hohensee, Smarthistory
New World Orders: Mobilizing and Re-Mapping Art History
Online, Elizabeth Rodini, Johns Hopkins University
Smarthistory, Advocating for World Art History, Lauren
Kilroy-Ewbank, Pepperdine University
Sharing Islamic Art with the World: Smarthistory.org as
Public Scholarship, Elizabeth Macaulay-Lewis, Graduate
Center, City University of New York
(Sm)Art(history) through the Ages: Using Smarthistory as
a Survey Textbook, Erin Thompson, John Jay College,
City University of New York
42
♦
WORKSHOPS
Creativity: (Re)Defining the Possible
Rendezvous Trianon, 3rd Floor
Chairs: Louisa McDonald, University of Nevada at Las Vegas;
Takeshi Okada, University of Tokyo
Artistic Creation through Encounters Outside One’s Own
Repertoire, Takeshi Okada, University of Tokyo
Art and the Way Things Really Are, Jonathan Fineberg,
University of the Arts, Philadelphia
From Tiananmen to Times Square, Hongtu Zhang
Early Modern Craftsmanship and Contemporary
Techniques
Nassau East, 2nd Floor
Chair: Estelle C. Lingo, University of Washington, Seattle
Matters of Form: Mathurin Jousse’s Material Theory of
Metalworking, Jason Nguyen, University of Southern
California
The Transmission of Craftsmanship: Making Pastel
Sticks in 18th-Century Lausanne, Isabelle Masse, McGill
University, Montreal
A Contemporary Solution to Making Renaissance Blue
Pigments, Michael Price
Egg Tempera, Modern Surfactants, and Painting the
Mixed Technique with Water-Soluable Oils , Bryan
Robertson, Jefferson College
FIT and CAA co-host: The University Gallery in the 21st
Century
■ Fashion Institute of Technology, offsite event, see p. 92
for details
From Beyond the Margin—Neglected History of
Eastern European Fine Art: 1800–Present
Sutton Center, 2nd Floor
Chair: Frank Boyer
Some Fame for FAMA? Recuperating Neglected Aspects
of Polish Avant-Garde Art and Performance of the 1960’s,
Frank Boyer
Letters to Lucy
Grand Ballroom West, 3rd Floor
Chairs: Mary Savig, Archives of American Art, Smithsonian
Institution; Josh Franco, Archives of American Art,
Smithsonian Institution
Surrealism between Women, Ann Reynolds, University of
Texas at Austin
Writing toward Women’s Liberation in the Arts:
Lucy Lippard’s Mailbox as Feminist Art Nexus, Xuxa
Rodríguez, University of Illinois at Urbana-Champaign
Yours in Struggle: Searching for El Salvador in Lucy
Lippard’s Archive, Erina Duganne, Muriel Hasbun,
Corcoran School of Art + Design
■ EVENTS
▲ MEETINGS
“Whatever you do, do not give up the art battlefield”:
Legal Activism, Contracts, and Collaboration between
Seth Siegelaub and Lucy Lippard, Lauren van HaaftenSchick, Cornell University
Perimeter, Periphery, Partition: Exploring Boundaries
in Gardens and Landscapes
(30th–8th Centuries BCE)
Bryant, 2nd Floor
Chairs: Victoria Austen-Perry, King’s College London;
Kaja Tally-Schumacher, Cornell University
Discussant: Bettina Bergmann, Mount Holyoke College
Hortus conclusus: Ancient gardens in Their Sociopolitical
context, Samuli Simelius
Blurred Lines: Framing Garden Spaces at Villa A at
Oplontis, Victoria Austen-Perry, King’s College London
Gardens, Families, and Boundaries: The Ara Pacis
Augustae and the Tomb of Patron in Rome, Rachel Foulk
A Spectrum of Life: Exploring Blurred Boundaries in
Human and Plant Bodies in Roman Gardens, Kaja TallySchumacher
Plasticene: Material and Conceptual “Plastics” in the
Practice, History, and Conservation of Art
Madison, 2nd Floor
Chairs: Emily Verla Bovino, Savannah College of Art and
Design–Hong Kong; Roksana Filipowska
Discussant: Spyros Papapetros, Princeton University
“Plastic Values” in Hanne Darboven’s Kulturgeschichte
1880–1983 (Cultural History 1880–1983, 1980–83), Emily
Verla Bovino, Savannah College of Art and Design–Hong
Kong
Indifferent Plasticities: Michel Houellebecq, Jeff Koons,
and the Sculpting of Disaffection, Benjamin Dalton,
King’s College London
A Plastic Presence in Eva Hesse’s 1968 Chain Polymers,
Danielle O’Steen, University of Maryland, College Park
Rotting Similitude: Dieter Roth’s Use of Food and
Polyvinyl Chloride (PVC), Roksana Filipowska, University
of Pennsylvania
Redefining the University Art Gallery
Nassau West, 2nd Floor
Chair: Alyssa Bralower, University of Illinois Urbana-Champaign
Land Grant: Mining the University, Allison Rowe
A Performance Place for One Person: Maria Nordman and
the California University Art Gallery, Elizabeth Gollnick,
Columbia University
White Feelings: An Affective Indulgence, Albert Stabler,
Appalachian State University
VISIT COLLEGEART.ORG/CONFERENCE
Hammering the Wedge: Toward a Permeable, Engaged
New University Art Gallery, Carolyn Jervis, MacEwan
University
SEWW: Women’s Wrestling and the University Art Gallery,
Katie Geha, University of Georgia and Kaleena Stasiak,
Southern Alabama University
Spatial Dialogues in Feminism
Beekman, 2nd Floor
Drawing a Groundless Ground: Notes on the Transatlantic
Dialogues between ruby onyinyechi amanze and WuraNatasha Ogunji, Fernanda Villarroel, University of
Wisconsin–Madison
You Stand Corrected: Antirationality and Self-Definition in
the Work of Adrian Piper, Melinda Guillen, University of
California, San Diego
Intraplaces: Ecofeminism, Care, and Spatialized Art,
Elena Cologni, Independent Artist and Scholar
Reclaimed Histories: Environmental Art and Feminist
Intervention, Lisa Strickland, State University of New
York at Stony Brook
The Production of Public Space: Women Artists in
Performance across the Globe
Concourse A, Concourse
Chair: Joanna Matuszak, Indiana University Bloomington
Feminist Performance Art in Postwar Naples, Italy: Lina
Mangiacapre and Le Nemesiache, Ginny Sykes
Feminist Strategies in Public Space, Carron Little
Subtle Performative Implementations, Ieke Trinks,
Independent
Art in Odd Places: Body 2018—Agency. Self. Status.
Other., Katya Grokhovsky
Troubling Inheritances: Reworking Cultural
Mythologies
Gramercy West, 2nd Floor
Chairs: Letha Ch’ien, Sonoma State University; Jennifer
Shaw, Sonoma State University
The Question of Karbala: Heroic Imagery and Shi’i Muslim
Mythologies in Post-1963 Baghdad, Elizabeth Rauh,
University of Michigan
The Militant “Elsewhere”, Faye Gleisser, Indiana University
Cultivated Failure: Martin Kersels and the Performative
Politics of Falling, Joseph Salyer, University of WisconsinMadison
Mythicized Bodies: Interrogating Antiblack Racism
through Critical Design, Lauren Williams, Art Center
College of Design
THURSDAY
43
Kinetic Art, BioArt, and Artbotics: Navigating the Sciences
in Academia as an Artist, Ellen Wetmore, University of
Massachusetts Lowell
THURSDAY, FEBRUARY 14
6:00–7:30 PM
Walking Out of Class: Putting the “Ped” in Pedagogy
Sutton North, 2nd Floor
Chair: Carol Padberg, University of Hartford
Discussant: Amanda Carlson, University of Hartford
Comportment, Commons, and Coproduction: Pedagogical
Strategies for World Making, Matthew Friday; Iain Kerr,
State University of New York at New Paltz, Montclair State
University
A Gateway for Growing a Multiplicity of Identity, Andrew
Oesch, Ghost and Robot
Walking the Talk, Beverly Naidus, University of
Washington, Tacoma
Site-Specific Learning: A New Pedagogical Approach to
MFA Textile/Fashion Tutelage, Umana Nnochiri, Cross
River University of Technology
Eco Materialism and the Reconfiguration of Creativity ,
Linda Weintraub, Artnow Publications
Where Industry Meets Academia: Who Is Leading the
Pack in Design Research and Why?
Committee on Design
Regent, 2nd Floor
Chair: Daniel Wong, Design Incubation
An Investigative Inquiry into Graphic Design Industry
Research Practices, Rebecca Tegtmeyer, Michigan State
University
Feedback Loop: From the Classroom to Industry to
the Classroom, Lilian Crum, Lawrence Technological
University
A Multi-Modal Approach to Design Research, Heather Quinn
Cultivating Empathetic Engagement through Participatory
Design, Heidi Boisvert, New York City College of
Technology
Our “Zone of Occlusion” and the Role of Design History in
Design Research: New Discoveries about Bell Telephone
Laboratories, Russell Flinchum, North Carolina State
University
Working Together on the Frontier: Art Collaborations
with STEAM across Campus
Gramercy East, 2nd Floor
Chair: Barbara Westman, Slippery Rock University
Interdisciplinary Projects in Art Curriculum: An Important
Part of Higher Education, Barbara Westman, Slippery
Rock University
Print Media in the Ecosystem of Fermentation Sciences
and Sustainability, Johnny Plastini, Colorado State
University
44
♦
WORKSHOPS
Rewards and Reworkings of STEAM Collaboration,
Martha Carothers, University of Delaware
ICAN—Center for Arts in Nursing, Rich Gere, Texas A&M
University–Corpus Christi
The Skilled Observer in Art and Science, Paul Solomon,
Western Michigan University
6:00–9:00 PM
■ Reunions and Receptions
See p. 92 for details
FRIDAY, FEBRUARY 15
8:30–9:30 AM
Roundtable: What Next? Navigating the Best Path to a
Rewarding Career
SEPC Lounge
Petit Trianon, 3rd Floor
8:30–10:00 AM
17th-Century French Painting—New Thoughts
Madison, 2nd Floor
Chair: Anne Bertrand-Dewsnap, Marist College
Discussant: Anne Bertrand-Dewsnap, Marist College
Poussin’s Poetry, Modes of Style, and Legacy,
Lois Walsh-Gallina, Marist College
Alexandre Ubeleski’s Work against a Background of
French Painting in the Second Half of the 17th Century,
Barbara Hryszko, Jesuit University Ignatianum
Toward a Definition of 17th-Century French Painting,
Anne Bertrand-Dewsnap, Marist College
Artistic Practice and Economic Sustainability
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chair: Alice Mizrachi, Independent Artist, educator
▲
caa.reviews Editorial Board Meetings
Midtown, 4th Floor
Ceramics and the Global Turn
Concourse G, Concourse
Chair: Meghen Jones, Alfred University
Discussant: Edward Cooke, Yale University
Ceramics and the Portland Vase: Global Networks,
Rachel Gotlieb, Gardiner Museum and Sheridan College
The Dragoon Vases and Monumentality at the Global Turn
of Ceramic Studies, Feng He, Heidelberg University
■ EVENTS
▲ MEETINGS
Contact, Diversion, and Merger: Lucio Fontana’s
Ceramics Displayed in Tokyo, 1964, Yasuko Tsuchikane,
The Cooper Union and Waseda University
Zulu Ceramics: a Label, a Tool, a Tradition, Elizabeth
Perrill, University of North Carolina, Greensboro
Climate Change and British Art
Historians of British Art
Gramercy East, 2nd Floor
Chair: Jongwoo Kim, Historians of British Art, Carnegie
Mellon University
Discussant: Nadja Marcin
Luke Howard and the Normal Landscape, Nicholas
Robbins, Yale University
Abnatural Climates of the Kelmscott Chaucer, Alison
Syme, University of Toronto
Lichen, Climate Change, and Ecological Aesthetics,
Kate Flint, University of Southern California
After the Flood: John Akomfrah’s Images of the
Anthropocene, William Bourland, Georgetown University
“Like a Hurricane”: John Everett Millais’ Ophelia (1852),
Nadja Verena Marcin’s OPHELIA (2017-present), and the
Hysteria of Nature, Kimberly Rhodes, Drew University
Collaborations in and out of the Classroom:
New Ideas and Interdisciplinary Approaches
Community College Professors of Art and Art History
Concourse A, Concourse
Chair: Susan Altman, Middlesex County College
Curating an Audience, Dianne Pappas, Northern Essex
Community College
Look Here! Artists Transforming the Archives, Marc
Tasman, University Of Wisconsin-Milwaukee
Art in Spatial Context: Integrating GIS Projects into Art
History, Polly Hoover, Wright College, City College of
Chicago
Publishing Culture: Lessons from a Collaborative
Practicum, Paul Jaskunas, Maryland Institute College of
Art
Progressive Pedagogy: An Interdisciplinary Approach to
Collaborative Design, Darren McManus, Raritan Valley
Community College and Peter Stupak, Raritan Valley
Community College
From Classroom to Museums in FLUX: A Teacher-Student
Collaborative Work for Venice and Istanbul, Jeffrey
Baykal Rollins, Independent Artist
SEE CAA 2019 APP FOR PROGRAM UPDATES
Decolonizing Design Education: A ContextualPragmatic Approach.
Regent, 2nd Floor
Chair: Pouya Jahanshahi, Oklahoma State University
American Design Pedagogy: A Critical Look Within,
Lorraine Wild
Major/Minor Graphic Design History, Silas Munro,
Vermont College of Fine Arts
Decolonizing : A European Perspective, Alice Twemlow,
School of Visual Arts
Shifting Design Pedagogy: Beyond a Connoisseurial
Approach, Dori Griffin, Ohio University
The Assignment Problem: Making a Case for Critical
Analysis of Design Assignments, Aaris Sherin, St. John’s
University
Does Art History Need Aesthetics?
Nassau West, 2nd Floor
Chair: Thierry de Duve, Hunter College
An Answer to the Question: “Does Art History Need
Aesthetics?” Notes for a General Theory of the Artwork,
Hammam Aldouri, Moore College of Art and Design
“‘The Ideal’ is Nothing But the Material”: André Breton on
Hegel’s Aesthetics, Joyce Cheng, University of Oregon
Kant After All, Blake Stimson, University of Illinois,
Chicago
What Kind of Question Is That?, Stephen Melville,
Independent
Has anyone ever seen an image of war? Reassessing
the visual culture of war and related disasters,
violence, and torture in the modern and contemporary
moment
Sutton Center, 2nd Floor
Chairs: Alexis Boylan, University of Connecticut; Matthew
Baigell, Rutgers University
Challenging the Erasure of War: The New York AvantGarde and Media Censorship of World War II, Gregory
Gilbert, Knox College
Appropriating, Reporting, and Re-Contexualizing of
Wartime Sex Crimes by Female Artists, Jungsil Lee,
George Washington University
David Birkin’s ‘Profiles’ (2012): Invisible atrocity
images and the 21st-century ‘anxious spectator’,
Kyveli Lignou-Tsamantani, University of York
The Incommensurable, Incommensurably, Lisa Lee,
Emory University
FRIDAY
45
FRIDAY, FEBRUARY 15
8:30–10:00 AM
Haunted History
Rendezvous Trianon, 3rd Floor
Chair: Paul Farber, Monument Lab, University of Pennsylvania
On Protections and Proclamations: Monument Lab and
Artist Responses to the “Sanctuary City”, Paul Farber,
University of Pennsylvania, Monument Lab
Commemorating Absence: Reflections on A Sculptural
Proposal for the Zocalo, Black Mirror/Espejo Negro, and
FIRE & ICE, Pedro Lasch, Duke University
Remembering Rekia Boyd: Black Girls, Public Art, and
Feminist Futures, Salamishah Tillet, Rutgers University
The Long Journey to Freedom through Time: Communion
with Ghosts, Resurrection of Discourse, and Radical
Reenactment, Marisa Williamson, Hartford Art School,
University of Hartford
Impartial Integration: Decolonizing artistic and
creative practices in Asia
Bryant, 2nd Floor
Chair: Minna Valjakka, National University of Singapore
Discussant: Iftikhar Dadi, Cornell University
Full Fathom Five: Excavating South Asia at the Lahore
Biennale (2018), Sonal Khullar, University of Washington
Deceiving Dragons: Proposing New Narratives of
Tradition in Asian Contemporary Art, Jieun Rhee, Myongji
University
Sustainable Ziran: De/colonizing the Practice of Art/
Education, Ruobing Wang, Lasalle College of the Arts
Spectacles and social engagement of The Street Art
World Ltd., Minna Valjakka, National University of
Singapore
Liberal Democracy and Social Practice
Women’s Caucus for Art
Nassau East, 2nd Floor
Chair: Susan King, Independent Scholar
The Vienna Project and its Sequel in the Midst of a
Major Political Upset: Adaptations and Surprises, Karen
Frostig, Lesley University
Bombing Liberally to Destroy Possibilities, Elin O’Hara
Slavick, University of North Carolina
We Are All Americans: Countering Xenophobia and
Fostering Empathy through Documentary and Social
Practice, Michele Jaquis, Otis College of Art & Design
46
♦
WORKSHOPS
Linking Museum to Place
Sutton North, 2nd Floor
Chair: Alick McLean, Syracuse University In Italy
Crowds and the Contextual Display of Ancient Art,
Joanna Smith
Modern Archaeology: Considering the Cité de l’Architecture
et du Patrimoine’s Reconstruction of a Corbusian Flat,
Rachel Hunnicutt, Parsons School of Design
Diasporic Contents & Archival Connections: A Road
Map to Localizing Latinx Collections, Patricia OrtegaMiranda, University of Maryland, College Park
From Classification to Anecdote: Daniel Spoerri’s “Musée
Sentimental”, Leda Cempellin, South Dakota State
University
Connecting Art to Site through Popwalk, David Lindsay
Race and Modern and Contemporary Japanese Visual
Culture
Japan Art History Forum
Beekman, 2nd Floor
Chair: Namiko Kunimoto, The Ohio State University
Erasing Race and Gender: Children’s Visual Culture
during the Age of Empire, Sabine Fruhstuck, University
of California, Santa Barbara
Images of Taiwanese Aboriginals in Modern Japanese
Art, Chinghsin Wu, Rutgers University-Camden
The Camel Breeder, the Veiled Bride, and the Belly
Dancer: Arab Images in Contemporary Japanese
Photography, Ayelet Zohar, Tel Aviv University
Facing Robots: The “Japanese” Face(s) of Embodied AI,
Jennifer Robertson, University of Michigan
■ Reunions and Receptions
See p. 92 for details
■ Special Viewing Hours, Andy Warhol—From A to B
and Back Again
Whitney Museum of American Art, offsite event, see p. 92 for
details
The Art of Power: Himalayan Art in and as the Political
Realm
Sutton South, 2nd Floor
Chair: Ariana Maki, University of Virginia
Discussant: Karl Debreczeny, Rubin Museum of Art
Paths of Reincarnation: Previous Birth as Visual System of
Authentication, Sarah Richardson, University of Toronto
Illustrating Authority and Legitimacy in Early Modern
Bhutanese Art, Ariana Maki, University of Virginia
Wisdom Doubles: Imaging Lamas and Emperors in Qing
China, Wen-shing Chou, Hunter College, City University
of New York
■ EVENTS
▲ MEETINGS
Tenzing Rigdol’s My World Is in Your Blindspot, Sarah
Magnatta, Denver Museum of Art, University of Denver
Transnationalism and Sculpture in the Long
Nineteenth Century (ca. 1785–1915)
Association of Historians of 19th-Century Art
Morgan, 2nd Floor
Chairs: Roberto Ferrari, Columbia University; Tomas
Macsotay, Universitat Pompeu Fabra
Figuring Union: Horatio Greenough, Luigi Persico, and
Monumental Sculpture for the East Front of the United
States Capitol, Julia Sienkewicz, Roanoke College
Transnational Exchange from Münster to Austin: Elisabet
Ney, Sculptor, Caterina Pierre, City University of New
York Kingsborough
Hébert’s Monument to Queen Victoria on Parliamentary
Hill, Ottawa: Transnationalism and the Ideology of
Empire-Building in Canadian Sculpture, Joan DelPlato,
Bard College at Simons Rock
Sculpting beyond Borders: Andrew O’Connor’s
Cosmopolitanism in the Age of Rodin, Clarisse Fava-Piz,
University of Pittsburgh
Visualizing Scientific Thinking and Religion in the Early
Modern Iberian World
Clinton, 2nd Floor
Chairs: Brendan McMahon; Emily Floyd, University College
London
The Miracle and the Sanctuary: Transformations of Matter
and Light in the Spanish Retablo and Camarín (c. 1700–
1785), Tomas Macsotay, Universitat Pompeu Fabra
The Monster and the Saint: Religion, science, and the
printed image in colonial Peru, Emily Floyd, University
College London
The First Phoenix of New Spain: Natural Theology and
Seventeenth-Century Mexican Feathered Microcarvings,
Brendan McMahon
Antonio de Herrera y Tordesillas and the Picturing and
Displaying of New World Sacrality in the Early Modern
World, Kristi Peterson, Skidmore College
What Is Contemporary Art History Now? Ten Years of
the Society of Contemporary Art Historians (SCAH)
Society of Contemporary Art Historians
Gramercy West, 2nd Floor
Chair: Jacob Stewart-Halevy, Tufts University
Discussant: Katherine Anania, Georgia College
Panelists: Alexander Dumbadze, George Washington
University; Suzanne Hudson, University of Southern
California; Pamela Lee, Yale University; Daniel Quiles,
School of the Art Institute of Chicago; Tobias Wofford,
Virginia Commonwealth University
VISIT COLLEGEART.ORG/CONFERENCE
What is Photography?
Trianon Ballroom, 3rd Floor
Chair: Andres Zervigon, Rutgers University
The Reality of Photography, Douglas Nickel, Brown
University
Out of Bounds: Tracing the Political Potential of
Nineteenth-Century Photography Within Indian
Discourses of Vision, Sushma Griffin, University of
Queensland
Photography as Experience, or, The Conditions of
Possibility, Sarah Miller, Mills College
The Idea of Photography, Jae Emerling, University of
North Carolina
9:30–10:30 AM
■ Curator-Led Tour: Nancy Holt and Blinky Palermo:
To the People of New York City
Dia Art Foundation, offsite event, see page 92 for details
♦
Parametric Modeling with Rhino and Grasshopper
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Aaron Nelson
♦
Self-Promotion Leave-Behinds and Mailers—Don’t
get left behind
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Elaine Cardella-Tedesco
9:30–11:30 AM
Mock Interviews
SEPC Lounge
Petit Trianon, 3rd Floor
10:00 AM–12:00 PM
■ Tour of Lucio Fontana: On the Threshold
The Met Breuer, offsite event, see p. 92 for details
■ Visit to the Study Room of the Print Collection,
New York Public Library
The New York Public Library, Schwarzman Building, offsite
event, see p. 92 for details
10:15–11:00 AM
■ Arts Council of the African Studies Association
(ACASA)—Behind-the-Scenes at the Brooklyn Museum
Brooklyn Museum, offsite event, see p. 92 for details
10:30–11:30 AM
▲
Nominating Committee Meeting
Holland, 4th Floor
FRIDAY
47
FRIDAY, FEBRUARY 15
10:30 AM–12:00 PM
After the Golden Age: Apogee or Decline? Resituating
Regional Buddhist Visual Cultures in Medieval South
Asia (8th–13th Centuries CE)
Sutton South, 2nd Floor
Chair: Nicolas Morrissey, University of Georgia
Discussant: Jinah Kim, Harvard University
An Unnoticed mahābhayatārā Relief from Andhradeśa,
Akira Shimada
Ritual Efficacy, Astral Deities, and Regional Patronage at
Nandhadīrghika-vihāra, West Bengal, Nicolas Morrissey,
University of Georgia
Questioning the Decline of the Late Medieval Buddhist
Monasteries of Eastern India, Abhishek Amar
Monastic Funerary Iconography in South Asia from
the 9th to the Early 13th Centuries, Kurt Behrendt,
Metropolitan Museum of Art
Art and Design Pedagogy: Topics in Grading
Concourse A, Concourse
Chair: Natasha Haugnes, Academy of Art Univeristy,
California College of the Arts
Exploring the Tensions between the Interpretive and the
Generative, Hoag Holmgren
Critiquing in the Online Environment, Martin Springborg
Rubrics for Artists and Designers, Natasha Haugnes,
Academy of Art Univeristy, California College of the Arts
Art Happens: Longevity to Legacy
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chairs: Reni Gower, Virginia Commonwealth University;
Melissa Hilliard Potter, Columbia College Chicago
Artistic Biography in Early Modern Europe
Renaissance Society of America
Madison, 2nd Floor
Chairs: Babette Bohn; Jeffrey Chipps Smith, University of
Texas-Austin
Surface Tensions: Dominicus Lampsonius’s Lamberti
Lombardi… Vita, Edward Wouk, University of Manchester
Rereading Vasari’s Lives: Towards a New History of
Northern Italian Terracotta Sculpture, Ivana Vranic,
University of British Columbia
Early Modern Biographies and Artists’ Workshop
Practices, Aoife Brady, The National Gallery
Rembrandt’s Death: Biography, Mortality, and the Nature
of Fame, Stephanie Dickey, Queen's University
48
♦
WORKSHOPS
Balancing Actions: Video and new genres revisiting
the myth of balance in Artmaking for the parent-artist
SAC MediaLounge
Gibson, 2nd Floor
Chair: Myrel Chernick, Independent Artist and Writer; Niku
Kashef, California State University, Northridge, and Woodbury
University
Contesting Space: Land, Nationality, Race, and
Identity in Contemporary Art
Beekman, 2nd Floor
Performing Hyphenation, Performing Absurdity: MehdiGeorges Lahlou’s Dis-Orienting Aesthetics, Conor
Moynihan, University at Buffalo
The Teepee Teacher: How a Student Art Controversy
Revolutionized My Pedagogy, Elizabeth Folk
Whose Country Is It Anyway? Art and National Identity after
Globalism, Nicholas Smith, University of Queensland
Negative Space(s), Lisa Blas, College of New Jersey
Design and/as Cultural History
Regent, 2nd Floor
Chairs: Peter Fox, Tulane University; Eric Anderson,
Rhode Island School of Design
Changing Environments: Design and the Stakes of
“Environment”, Robin Lynch, McGill University
Industrial Design Writing and Anthropological Turns:
Practices of Cultural History during the 1950s and
beyond, Jennifer Way, University of North Texas
A Cultural History of Modernity? Mapping Exhibition
Practices at the V&A Museum 2000–2011, Jane Pavitt,
Kingston University and Ghislaine Wood, University of
East Anglia
Footholds of Figural Art: Cross-Cultural Approaches to
Stance and Standing
Morgan, 2nd Floor
Chairs: Emmelyn Butterfield-Rosen, Williams Graduate
Program in the History of Art; Tamar Mayer, Tel-Aviv University
The Groundline, Whitney Davis, University of California
Berkeley
The Knight with the Wounded Foot: Giovanni Battista
Moroni and Figures of Ruination, David Kim, University of
Pennsylvania
Supernatural Kinesis: Cherubim in an Andean Tapestry,
Maya Stanfield-Mazzi, University of Florida
A Question of Ground(s): the Frontal Representation of
the Body in Watteau’s Gilles, Etienne Jollet, PanthéonSorbonne University Paris
■ EVENTS
▲ MEETINGS
Intervening Archives/Methodologies/Theories of
Oceania
Pacific Art Association
Gramercy West, 2nd Floor
Chair: Maggie Wander
In Pursuit of the Pacific: Past and Present Visions of Tahiti,
Brittany Myburgh, University of Toronto
The Known Unknown: Mapping Ignorance in the Age of
Discovery, Mariah Briel, University of California, Davis
When Communities Curate: Mađayin: A Practice Based
Approach to Yolŋu Art History, Henry Skerritt, KlugeRuhe Aboriginal Art Collection of the University of Virginia
Land Art Reconsidered: land use, water rights and
indigenous sovereignty
Gramercy East, 2nd Floor
Chairs: Leticia Bajuyo, Texas A&M University—Corpus Christi;
Jason Brown
From the Center of the Earth: The Land Art of the Pueblo
Artist Nora Naranjo-Morse, Anya Montiel
Expressions of the Land, Alexis Elton
(De)Centralized Public Space, Audrey Molloy
Pedagogy of Weather: Learning with Earthworks,
Duration and Difference, Chris Taylor
Memory, Monuments, and the Body
Rendezvous Trianon, 3rd Floor
Discussant: Lauren DiGiulio, University of Rochester
Residual Memories: Material Investigations of Shared/
Sharing Traumatic Media between the US/UAE/
Kazakhstan, Patrick Lichty, Zayed University
Using Memorials to Reframe the Debates around
Confederate Monuments, Manda Remmen, Sarah Fisher,
Kayce Mobley, Emory & Henry College, Bethany College
Between the Body and Language: Narratives of Temporal
Entanglement in Okwui Okpokwasili’s Bronx Gothic,
Lauren DiGiulio, University of Rochester
North American Landscapes and Counter-histories
Sutton Center, 2nd Floor
Chairs: Jocelyn Anderson, University of Toronto; Julia Lum,
University of Toronto
Point Zero: The Emergence of America as Empire and
the Intended Erasure of the Haudenosaunee (Iroquois),
Jolene Rickard, Cornell University
Coffee House Slip: Global Trade and Environmental History
in Francis Guy’s Tontine Coffee House, N.Y.C., Caroline
Gillaspie, The Graduate Center, City University of New York
Sewn in Place: Embroidered Maps of the Early Republic,
Elizabeth Eager, Southern Methodist University
SEE CAA 2019 APP FOR PROGRAM UPDATES
The Alternative Geographic Formulations of Robert S.
Duncanson’s Landscapes, Samantha Noel, Wayne State
University
From Poetry into Paint: Narrative, Natives, and Freedom
in Robert S. Duncanson’s Landscapes, Anna ArabindanKesson, Princeton University
Photography, Myth, and Architecture
Trianon Ballroom, 3rd Floor
Chair: Federica Soletta
Discussant: Peter Sealy, University of Toronto
Timbuktu: Photographing the Myth and its Architecture,
Giulia Paoletti, University of Virginia
Photographs of Portable Bridges, Sean Weiss, The City
College of New York
Mirrors of Our Time: Photography and the Late Myths
of Modernism in Arthur Drexler’s “Transformations in
Modern Architecture,” 1979, Michael Kubo, University of
Houston
A City of Forests, Webs, and Veins: Infrastructure and
the Mythical Biology of Kowloon Walled City, Carrie
Cushman, The Davis Museum at Wellesley College
Shifting Perceptions through and on Aesthetic
Practices: Maps, Dots, Books, and Social Movements
Nassau West, 2nd Floor
Commonplace Books, Scrapbooks, Albums, and More as
Precursors to the Digital Age, Laura Dufresne
Mapping Crime, Jenny Hanson, Augsburg University
Dot: A Small History of a Big Point, Kathy O’Dell,
University of Maryland–Baltimore County
Another Aesthetics Is Possible, Jennifer Ponce de León,
University of Pennsylvania
The Decolonial and the Querying & Queerying “Self”
in Latinx Art
Nassau East, 2nd Floor
Chair: Angelique Szymanek, Hobart and William Smith
Colleges
Crafting a Queer Body of Resistance: The Knitted Artivism
of Ben Cuevas, Guisela Latorre, University of California,
Santa Barbara
The Engaging Spirit of Viva Paredes: Toward a
Decolonization of the Self, Ann Marie Leimer,
Midwestern State University
To(o) Queer the Artist: An Aesthesis of Self-Making,
Mariana Ortega
Decolonizing Self-Portratis in the Work of Kahlo,
Mendieta, and Yreina D. Cervántez, Laura Perez,
University of California, Berkeley
FRIDAY
49
FRIDAY, FEBRUARY 15
10:30 AM–12:00 PM
The Duty of Care in Institutions
Sutton North, 2nd Floor
Chair: Melissa Lee, Tai Kwun Centre for Heritage and Art
A Good Neighbor: Building Communities in New
Institutions, Melissa Lee, Tai Kwun Centre for Heritage
and Art
LACMA Unframed: Creating Art through Shared Stories,
Marvella Muro
Utterly Precarious: Communities and Action in
Philadelphia, Aaron Levy
The Practice and the Other Practice: The Relationship
Between Making Art and Teaching
Bryant, 2nd Floor
Chairs: Courtney McClellan; Coe Lapossy, University of
Massachusetts Amherst
Constellations of Objects: Material Reuse as a Bridge
Between the Classroom and the Studio, Susannah
Strang, Arrupe College of Loyola University Chicago
Activating the Art Object through Conversation and
Re-contextualization, Priyanka Dasgupta, New York
University
Sites for Inclusive & Critical Pedagogy, Deepanjan
Mukhopadhyay, University of North Carolina at
Chapel Hill
A case study: radical reThink, S. Barnet, University of Suffolk
The Spectacle in Art from the Panorama to the Infinity
Room
Concourse G, Concourse
Chairs: Jason Rosenfeld, Marymount Manhattan College;
Timothy Barringer, Yale University
Sculptural Kinematics and Spectacular Sight in
Antebellum America, Caitlin Beach, Columbia University
Monumental Art Against Concentrated Spectacle: Soviet
Murals as Catalysts for Collectivist Politics, 1928–1968,
Angelina Lucento, Central European University Institute
of Advanced Study
The Populist Logic of Marta Minujín’s Spectacular
Environments: “La Menesunda” and “El Batacazo”,
Michaela Mohrmann, Columbia University
The Musical Century: Hanne Darboven’s Sonorous Writing
and Orchestral Installations, Kate Doyle, Case Western
Reserve University
“Silent Companions”: Staging Lubaina Himid’s
“Fashionable Marriage” (1986) and “Naming the Money”
(2004), Mora Beauchamp-Byrd, Oklahoma State
University
50
♦
WORKSHOPS
Visions of Mexico and the Iberian Peninsula
American Society for Hispanic Art Historical Studies
Clinton, 2nd Floor
Chair: Jeffrey Schrader, University of Colorado Denver
‘If he is converted’: A Mexican Feather Work ‘Ecce Homo’
in Southeastern Africa, Kate Holohan, Cantor Arts Center,
Stanford University
Earthly and Heavenly Hierarchies—The Seven Archangels
of Palermo in the Cathedral of Mexico City, Orlando
Hernandez-Ying, Independent Scholar
Marian Devotions and Patronage in Eighteenth-Century
Mexico City: Between Italy, Spain and America,
Luis Cuesta, Universidad Iberoamericana
Approach and Reaction in Artistic Relations between
Spain and Viceregal Mexico, Marcus Burke, Hispanic
Society of America
♦
Condition Reporting for Artists
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Ingrid Neuman, Rhode Island School of Design Museum
♦
Pedagogy Workshop: Five Activities in
Collaboration and Contemplation to Add to Your
Classroom
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: BFAMFAPhD, collective
11:30 AM–12:30 PM
Roundtable: Neoliberal Ecosystems in the Arts
SEPC Lounge
Petit Trianon, 3rd Floor
12:00–1:30 PM
Poster Session Presentation
3rd Floor Promenade
■ Reunions and Receptions
See p. 92 for details
12:30–1:30 PM
▲
Affiliated Society Business Meetings
See p. 92 for more details
♦
Exploring Opacity and Transparency in Color
Theory
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Patricia Chow, Claremont Graduate University
Graduate Student Screenings
SAC Media Lounge
Gibson, 2nd Floor
♦
Grant writing + Project Funding for Artists and Arts
Organizations
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Jenn Dierdorf, A.I.R. Gallery
■ EVENTS
▲ MEETINGS
Objects of African Descent: Tracing
the lineage and influence of everyday
African objects and culture throughout the
diaspora and beyond
Sutton North, 2nd Floor
Panelist: Stephen Burks, Stephen Burks Man Made
The Forgotten Federal Artists: CETA and the Cultural
Council Foundation’s Artist Project 1977-1980
Grand Ballroom East, 3rd Floor
Chair: Blaise Tobia, Drexel University
♦
Workshop: Digital Tools for Arts Professionals
SEPC Lounge
Petit Trianon, 3rd Floor
Where You Come From is Gone: Reinhabiting the Ruins of
the Native South, Catherine Wilkins, University of South
Florida and Jared Ragland, University of Alabama
Louisiana Trail Riders, Jeremiah Ariaz, Louisiana State
University
Menace and Glory: An Artist Comes to Grips with the
South’s Checkered Past, Kristin Casaletto
Nostos Algos: A Collaboration about Return, Nell Gottlieb
CAA Annual Business Meeting Part II
Midtown, 4th Floor
Jim Hopfensperger, CAA President and Hunter
O’Hanian, CAA executive director invites all CAA
members to attend the Annual Business Meeting.
New CAA board members will be announced at this
meeting.
12:00–2:30 PM
■ Chelsea Gallery Walking Tour
New York Hilton Midtown, main lobby, offsite event
See p. 92 for more details
■ Lower East Side Galleries: Walking Tour
New York Hilton Midtown, main lobby, offsite event
See p. 92 for more details
1:30–5:30 PM
■ Symposium—Field/Fair/Museum: Franz Boas,
George Hunt, and the Making of Anthropology
Bard Graduate Center, offsite event, see p. 92 for details
2:00–3:00 PM
♦
Content Advisories: Productive Discomfort in the
Contemporary Classroom
Americas Hall II, Workshop Room 1, 3rd Floor
Leaders: Hope Childers, Alfred University; Bethany
Johnson, Alfred University
♦
Women into University Work: prep for the job
interview.
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Hilary Robinson, Loughborough University
2:00–3:30 PM
Below the Mason-Dixon Line: Artists and Historians
Considering the South
Southeastern College Art Conference
Rendezvous Trianon, 3rd Floor
Chair: Rachel Stephens, University of Alabama
Between Two Worlds: Portrait of William McIntosh,
Southern Slave Owner and Lower Creek Chief, Naomi
Slipp, Auburn University at Montgomery
VISIT COLLEGEART.ORG/CONFERENCE
Blue Black: Color and Abstraction in the Contemporary
Moment
Nassau West, 2nd Floor
Chairs: Alessandra Raengo, Georgia State University; Lauren
Cramer
To the Black Square, Stephen Best, University of
California, Berkeley
“Afro-American Abstraction”: Black Artists and Medium
Hybridity at the Turn of the 80s, Abbe Schriber, Columbia
University
Yellow and Blues: Delaney, Baldwin, and Synestheic
Expressionism, Amy Elias, University of Tennessee
Blackouts, Sampada Aranke, University of Illinois, Chicago
Design as Social Justice
Regent, 2nd Floor
Design That Matters: Design Thinking for Disability,
Hyuna Park, University of Kansas
Growing Up Modern, Julia Jamrozik, State University of
New York, at Buffalo
Creative Tactics of Disobedient Voices in the Case of
Graphic Design under Chinese Authoritarianism, Wendy
Wong, York University
Taste, Consumption, and Respectability in Early 20thCentury Visual Culture in China, Sandy Ng, Hong Kong
Polytechnic University
FRIDAY
51
“From Fashioned Isolation to Organized Labor: Social
Protest and the Victorian Seamstress”, Alice Walkewicz,
The Graduate Center, City University of New York
FRIDAY, FEBRUARY 15
2:00–3:30 PM
Dirt, Mud, Sand, Sludge
Gramercy East, 2nd Floor
Chairs: Niko Vicario, Amherst College; Bert WintherTamaki, University of California, Irvine
Backfill: Agencies of Sand in Syrian “Postwar” Painting,
Anneka Lenssen, University of California, Berkeley
Matta’s Mud: Decolonizing Art in Havana, circa 1964,
Niko Vicario, Amherst College
Sandú Darié on Petroleum and the Sea, Rachel Price,
Princeton University
Endō Toshikatsu: Killing Earth, Bert Winther-Tamaki,
University of California, Irvine
Ecology of the Studio: Art in the Waste Stream
SAC ARTspace
Murray Hill Suite, 2nd Floor
Chairs: Joan Giroux, Columbia College Chicago;
Cara Tomlinson, Lewis & Clark College
Panelists: Mary Mattingly, Pratt Institute and Nomad/9
(University of Hartford); Billy Dufala, RAIR (Recycled
Artist in Residency); Marion Wilson, Independent Artist;
John Sabraw, Ohio University
Empowering Career Pathways in Museums with
Design Thinking: An Interactive Workshop
Museum Committee
Sutton North, 2nd Floor
Chair: Antoniette Guglielmo, Getty Leadership Institute
Discussants: Jennifer Reynolds-Kaye, Yale Center for British
Art; LaTanya Autry, Mississippi Museum of Art and Tougaloo
College
Design Thinking as a Method for Museums, Laura
Flusche, Museum of Design Atlanta
Diversity in Mid-Career: Aligning Expectations,
Anuradha Vikram, Otis College of Art and Design
Walking the Talk: The Design Thinking Process,
Antoniette Guglielmo, Getty Leadership Institute
Exclusion/Isolation: Solitude in the Nineteenth Century
Sutton Center, 2nd Floor
Chairs: Alexandra Courtois de Viçose; Catharine Telfair,
University of California, Berkeley
“Sororal Solitude in Fernand Khnopff’s Portrait of Mlle
Khnopff and I Lock the Door Upon Myself”, Catharine
Telfair, University of California, Berkeley
Isolated Views: Manufactured Vistas in the Bois de
Boulogne, Theresa Cunningham, The Pennsylvania State
University
52
♦
WORKSHOPS
“Culs-de-jatte in the cul-de-sac: Graphic and Cultural
Isolation of Disabled Bodies in French Press Cartoons”,
Alexandra Courtois de Viçose
Good Artists Torrent, Great Artists Fork
SAC Media Lounge
Gibson, 2nd Floor
How to Get Published and How to Get Read
Concourse B, Concourse
Chair: Geraldine Richards, Routledge, Taylor & Francis
Icons of the Midwest: Elizabeth Hawes at the
Cincinnati Art Museum and Feminism in American
Fashion
Midwest Art History Society
Concourse A, Concourse
Chairs: Heidi Hornik, Baylor University; Paula Wisotzki,
Loyola University Chicago
Elizabeth Hawes and the Feminine Mystique, Cynthia
Amnéus, Cincinnati Art Museum
Fashioning Feminism: Flapper Styles and the Politics of
Women’s Freedom in the 1920s, Einav Rabinovitch-Fox,
Case Western Reserve University
The Stout Woman’s Body During the Emergence of the
Ready-to-Wear Industry, Carmen Keist, Bradley University
Making Space
Gramercy West, 2nd Floor
Real Beauty Is in the Eyes of the Beholder: An Exploration
of Tattoo Art and the Aesthetics of Pain, Sarah Haq, Shiv
Nadar University
Filipino Progress: The Role of the “Native” in Botong
Francisco’s Histories of the Philippines, Nicola John,
University of St. Andrews
The Radical Art of Trespassing, Anna Khimasia,
Independent
The Private Revealed: Iranian Youth’s Underground
Search for a New Modernity through the Lens of
Contemporary Photographers, Fazilat Soukhakian,
Utah State University
Mock Interviews
SEPC Lounge
Petit Trianon, 3rd Floor
Nomadic Art as a Cultural Model
Sutton South, 2nd Floor
Chairs: Petya Andreeva, Oakland University; Yong Cho,
Yale University
■ EVENTS
▲ MEETINGS
Discussant: Nancy Steinhardt, University of Pennslyvania
Audience and Receptivity in Animal-Style Art: Rewriting
the Prehistory of the Silk Road, Petya Andreeva, Oakland
University
Northern Wei Silverware: Identity, Nobility, and Hybridity,
Fan Zhang, New York University
Early Liao Dynasty Metalwork and Its Turkic Cognates,
Francois Louis, Bard Graduate Center
Art or Craft? Rethinking Silk Tapestry in Mongol China,
13th–14th Centuries, Yong Cho, Yale University
Patronage and Piety in Fifteenth-Century French and
Flemish Altarpieces
Madison, 2nd Floor
Chair: Barbara Lane, Queens College and The Graduate
Center, City University of New York
Carthusian Patronage and Visionary Experience in
Enguerrand Quarton’s Coronation of the Virgin, Emma
Capron, The Frick Collecton
Simulating Experience in the Triptych of Dreux Budé
and Jeanne Peschard, Jennifer Courts, University of
Southern Mississippi
A Prayer for an Heir: The Role of the Patron in the
Portinari Altarpiece, Barbara Lane, Queens College and
The Graduate Center, City University of New York
Queer Work / Queer Archives
Queer Caucus for Art
Nassau East, 2nd Floor
Chairs: Miriam Kienle; Jennifer Sichel, University of Chicago
Shattered Worlds: Making AIDS Matter, Robb Hernandez,
University of California, Riverside
Marie and Me: Making Friends in the Archive, Francesca
Balboni, University of Texas, Austin
Between Think, Ink and Thing: Researching “Chicago’s
National Black Queer Arts Magazine,” 1987–1993,
Solveig Nelson, University of Chicago
The Papi Project, Oliverio Rodriguez, California State
University
Reconsidering the Status of the Artist in Early Modern
Spain and Latin America (1600–1715)
Clinton, 2nd Floor
Chair: Lisandra Estevez, Winston-Salem State University
Vicencio Carducho’s Last Wills and Testaments: Affective
Ties and Professional Success, Laura Bass, Brown
University
Race, Rhetoric, and Reality in Art Historical Discourse:
Reconsidering Painters of African Descent in the 17thCentury Spanish World, Sabena Kull, University of
Delaware, Denver Art Museum
SEE CAA 2019 APP FOR PROGRAM UPDATES
Gregorio Vázquez de Arce y Ceballos, Painter of Nueva
Granada (1638–1711), Alessia Frassani, Independent
Scholar
Beyond Bread and Roses: Indigenous Innovation in
Andean Paintings of San Diego de Alcalá, ca. 1715,
Catherine Burdick, Centro de Investigación en Artes
y Humanidades (CIAH) y Facultad de Arte, Universidad
Mayor, Santiago, Chile
Scrolling: Image, Narrative, and Performance
Morgan, 2nd Floor
Chairs: Neeraja Poddar, Philadelphia Museum of Art; Pika
Ghosh, University of North Carolina
Discussant: Pika Ghosh, University of North Carolina
The Bundle and the Text: The Materiality of Rolled Mughal
Farmans, Sylvia Houghteling, Bryn Mawr College
The Philadelphia Museum of Art’s Gosainkund Scroll:
A Phenomenological Approach, Neeraja Poddar,
Philadelphia Museum of Art
Moving through Story, Anna Seastrand, University of
Minnesota–Twin Cities
Teaching Art Theory and Criticism in Undergraduate
Studio Art Programs
Bryant, 2nd Floor
Chair: Ann Kim
Teaching the Theory and Practice of Erasure in the
Undergrad Classroom, Thomas Stubblefield, Thomas
Ladd, University of Massachusetts, Dartmouth
Theory Embodied: Life Drawing Re-Imagined,
Christopher Lonegan, Loyola University
Learning (Art Criticism) by Example: The Exhibition Proposal
Assignment, Mary Slavkin, Young Harris University
Gained in Translation, Matt Drissell, Dordt College
The Mellon Foundation at Fifty: Reflecting on
Five Decades of Philanthropy in the Academy
Trianon Ballroom, 3rd Floor
Chair: Dianne Harris, The Andrew W. Mellon Foundation
Creative Collaborations, Michael Ann Holly, Clark Art
Institute
From Analog to Digital: 50 Years of Redefining
Collaboration in Art History, Paul Jaskot, Duke University
Diversity Matters: On Access, Knowledge, and Histories of
Art, Steven Nelson, University of California, Los Angeles
Art History and Archaeology in New York City: The Past
and the Future, Zainab Bahrani, Columbia University
FRIDAY
53
3:30–4:30 PM
FRIDAY, FEBRUARY 15
♦
Getting Unstuck and Getting Published: The
Minimum VIable Product Approach to Writing
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Amy Whitaker, New York University
2:00–3:30 PM
Advancing Knowledge—Making a Difference, M.
Elizabeth Cropper, Center for Advance Study in the
Visual Arts
♦
“When Home Won’t Let You Stay”: Art and Migration
in the 21st Century
Beekman, 2nd Floor
Chairs: Ruth Erickson, Institute of Contemporary Art;
Ellen Tani, Bowdoin College Museum of Art, Institute of
Contemporary Art, Boston, Stanford University
Discussant: Anooradha Siddiqi, Barnard College, Columbia
University
Learning from Tania El Khoury’s ear-whispered at Bryn
Mawr College, Carrie Robbins and Laurel McLaughlin,
Bryn Mawr College
The Migrant Sound: Albanian Iso-Polyphony,
Contemporary Auditory Culture, and the Mediation of
Transit, James Thomas
Richard Mosse’s Thermal Imaging and the Precarious
Spectator of Migration, Sarah Bassnett, The University of
Western Ontario
Making Migration Visible: Traces, Tracks & Pathways,
Julie Poitras Santos, Maine College of Art
Writing about Art: Women Authors and Art Critics in
the Late Nineteenth-Century
Concourse G, Concourse
Chair: Leanne Zalewski, Central Connecticut State University
“Debating the American Woman Artist’s Presence in
Paris”, Julia Dabbs, University of Minnesota, Morris
“Women Critics and Impressionism in the Midwest: A
Case Study of Lucy Monroe”, Claire Hendren, Université
Paris Nanterre
“Degas’ Ballet Dancers between Marc de Montifaud’s
‘Goddesses of the Opera’ and Paul Mantz’s Naked Vice”,
Vasile-Ovidiu Prejmerean, The Institute for Archaeology
and Art History of the Romanian Academy Cluj-Napoca
and University of Fribourg, Switzerland
“‘That many-sided and elevated spirit in criticism’:
Women Art Writers and the Promotion of the ‘New Art
Criticism’ in late-nineteenth century Britain”, Maria
Alambritis, Birkbeck and National Gallery London
2:00–4:00 PM
■ Special Tour of The Frick Collection
The Frick Collection, offsite event, see p. 92 for details
54
♦
WORKSHOPS
Teaching to Audience: Adapting Lesson Plans to
Diverse Communities
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Suzy Kopf, John Hopkins University
3:30–5:30 PM
■ Distinguished Artist Interviews
SAC ARTspace
Murray Hill Suite, 2nd Floor
Organized by CAA’s Services to Artists
Committee, the Distinguished Artist Interviews
feature esteemed artists who discuss their work
with a colleague. This event is free and open to
the public.
Julie Mehretu interviewed by Julia BryanWilson, University of California, Berkeley.
Guadalupe Maravilla interviewed by author
Sheila Maldonado.
4:00–5:30 PM
Art and the Ecologies of Data
Gramercy East, 2nd Floor
Chair: Patricia Kim, University of Pennsylvania
Discussant: Amanda Boetzkes, University of Guelph
The Altering Shores, Roderick Coover
Embodied Science, Small Data, and Weedy Resistance with
the EPA (Environmental Performance Agency), Ellie Irons
Endangered Data, Zachary Norman
Coloring Print: Reproducing Race Through Material,
Process, and Language
Association of Print Scholars
Morgan, 2nd Floor
Chair: Christina Michelon, University of Minnesota—Twin Cities
Red Ink: Ethnographic Prints and the Colonization of
Dakota Homelands, Annika Johnson, University of
Pittsburgh
Sites of Contest and Commemoration: The Printed Life
of Richard Allen, America’s Early Race Leader, Melanee
Harvey, Howard University
A Franco-Indian Album: Firmin Didot’s Indian Paintings
and Le Costume Historique’s Chromolithography (1888),
Holly Shaffer, Brown University
■ EVENTS
▲ MEETINGS
The White Native Body in Asia: Woodcut Engraving and
the Creation of Ainu Stereotypes, Christina Spiker,
St. Olaf College, St. Catherine University
Controversial Historical Murals on Campus:
Placement, Dialogue, and the Freedom of Expression
Rendezvous Trianon, 3rd Floor
Chairs: Cynthia Bland, University of Wisconsin Stout;
Heather Stecklein
An Old Solution for an Old Problem? Kenneth Adams,
Jesús Guerrero Galván, and the Prospect of Intramural
Interpretation, Breanne Robertson, Marine Corps History
Division
Murals all around us: Bridging Campus and Community
at the Colorado Springs Fine Arts Center at Colorado
College, Rebecca Tucker, Colorado College
After the Party Ends: Judy Chicago and the University of
Houston Clear Lake, Beth Merfish, University of Houston
Clear Lake
▲
Council of Field Editors Meeting
Holland, 4th Floor
Craft, Mascot, Mask: Contemporary Indigenous
American Art
Gramercy West, 2nd Floor
Rebellions: Bear Allison’s Cherokee Booger Mask
Photographs and Meatyard’s Family Album, Claire
Raymond, University of Virginia
Making Connections across the Divide: Indigenous
Aesthetics, Craft Traditions, and the Legacy of Western
Modernism, Lisa Roberts-Seppi, State University of New
York at Oswego
Racist Human Mascots: A Guide for Artists and
Designers to Determine the Qualifications of Racism in
Commercialized Art, Thomas Elder
Ethics in Design: Critical Perspectives
Regent, 2nd Floor
Chairs: Andrew DeRosa; Laura Scherling, Teachers College,
Columbia University
Swiping Left on Empathy: Gamification and
Commodification of the (Inter)Face, Sarah Martin,
Indiana University, Bloomington
Designing Ethics in Large Scale Sociotechnical Systems,
Jeffrey Chan, Singapore University of Technology and
Design
Who Owns the Smart City? Towards an Ethical Framework
for Civic AI, Michael Madaio, Carnegie Mellon Universit
SEE
VISITCAA
COLLEGEART.ORG/CONFERENCE
2019 APP FOR PROGRAM UPDATES
Global Missions and Artistic Exchange in the Early
Modern World
Madison, 2nd Floor
Chairs: Katherine McAllen, UTRGV; Cristina González,
Oklahoma State University
Discussant: Clara Bargellini, National University of Mexico
“With His Holy Arm He Will Defend Them:” Visual
Representations of St. Francis Xavier’s Relics throughout
the Global Jesuit Missionary Network, Rachel Miller
“Llegó en malissimo estado la estatua de San Luis
Gonzaga:” The difficult organization of art shipments
in the 17th and 18th Century from Europe to Jesuit
Institutions in the Americas, Corinna Gramatke,
The Global Itineraries of the Martyrs of Japan: Early
Modern Religious Networks and the Circulation of
Images Across Asia, Europe and the Americas, Raphaèle
Preisinger, University of Bern, Switzerland
Saint Thomas, the Jesuits, and the Reinvention of
Christian Art in India, Erin Benay, Case Western Reserve
University
Open Session for Emerging Scholars of Latin American
Art
Association for Latin American Art
Clinton, 2nd Floor
Chairs: Theresa Avila, CSU Channel Islands; Arden Decker,
Spectacle of Stone: The Art of Passage in the Ancient
Maya Landscape, Catherine Popovici, The University of
Texas at Austin
Global Import: Implications of Transnational Conflicts in
the Art of Juan Manuel Echavarría and Doris Salcedo,
Jamie DiSarno, University at Buffalo
Art in an Age of Crisis: Women Artists and the Mexican
War on Drugs, Alberto McKelligan Hernández, Portland
State University
Paragone Open Session: Topics on the Past and
Present of Rivalry in the Arts
Society for Paragone Studies
Concourse G, Concourse
Chair: Sarah Lippert, University of Michigan-Flint
Discussant: Vasile-Ovidiu Prejmerean, The Institute for
Archaeology and Art History of the Romanian Academy ClujNapoca and University of Fribourg
Face Off: The Artistic Rivalry between Guercino and Guido
Reni, Kimberly Schrimsher, Emory University
John W. Alexander’s Challenge to William Merritt Chase
and Personal Journalism in Gilded Age America, Nicole
Williams, Yale University
Interart Traffic: Parody and the Politics of Identity, Jessi
DiTillio, University of Texas at Austin
Pop Goes Film Criticism, Matt Von Vogt, Indiana
University
FRIDAY
55
FRIDAY, FEBRUARY 15
4:00–5:30 PM
Putting Teaching into Practice: Professors as Curators
in College and University Teaching Museums
Sutton North, 2nd Floor
Chair: Horace Ballard, Williams College Museum of Art,
Brown University
Cooperation, Collaboration, and Coalition: What the
Pedagogy of a Gallery is Uniquely Equipped to Teach,
Meredith Lynn, Florida State University
Fashion Collaboration: Art Historians and the Archive,
Annette Becker
Curating Curiosities and Wonders: Student and
Community Collaborations in a University Teaching
Gallery in Newport, RI, Anthony Mangieri, Ernest
Jolicoeur, Salve Regina University
Teaching into Practice in ‘Marking Time’: A Class, an
Exhibition, a Catalogue, a Collaboration, and a Foundation,
Reva Wolf, State University of New York at New Paltz
Reuse, Hybridity, and Otherness: Premodern East
Asian Examples
Sutton South, 2nd Floor
Chair: Cynthea Bogel, Kyushu University
Cartographic and Cosmological Hybridity in Japanese
Folding Screens, D. Moerman, Barnard College,
Columbia University
Othering the Samurai: Exotic Materials on Japanese
Campaign Coats, Anton Schweizer, Kyushu University
Transmission and Talisman in Ancient Buddhist Visual
Culture , Cynthea Bogel, Kyushu University
From Dirty Clothes to Substitute Body: Reuse of Used
Clothing in the Image-Making Tradition of Korea, Youn-mi
Kim, Ewha Womans University
Teaching art entrepreneurship as a new paradigm for
the 21st century art schools.
Bryant, 2nd Floor
Chair: Jacek Kolasinski, Florida International University
Stronger Together: The Resurgence of Hyper-localism,
Michelle Carollo, NEW INC, New Museum
Shifting Culture through Co-Curricular Pathways,
Stephanie Chin, Maryland Institute College of Art
The Art-to-Work Incubator, Ellen Wetmore, University of
Massachusetts Lowell
Art Entrepreneurship: Art School as a Foundation to a
Sustainable Career, Michael Azgour, Stanford University
Entrepreneurship in Art, Robert Hacker, FIU—Florida
International University
56
♦
WORKSHOPS
The Anti-Black Interior? Enslavement and Refinement
in Domestic Spaces
Sutton Center, 2nd Floor
Chairs: Jennifer Van Horn, University of Delaware; Maurie
McInnis, University of Texas Austin
Silver, Slavery, and the Laboring Black Body, Adrienne
Childs
The Racial Politics of Early Photography: Daguerreotypes,
Domestic Space, and White Supremacy, Matthew FoxAmato
Warp against Weft: Making Homespun in Confederate
Interiors, R. Dibble
Somewhat Out of Order: The Redemption of the Sea
Island Planters, Dana Byrd
The Gastronomic Turn: Art and Food Since 1960
Nassau West, 2nd Floor
Chairs: Andrea Gyorody, Allen Memorial Art Museum;
Laura Fried, Active Cultures
Milk and Materiality: Joe Goode and Figuration in the
Early 1960s, Katia Zavistovski, Los Angeles County
Museum of Art
The Disappearing Score: Alison Knowles’ Identical Lunch
and Changing Tastes, Lucia Fabio, Independent Curator
Working as a Hive to Cook, Grow and Create Change,
Juan Chavez, Artist
The Proof is in the Pudding: Conflict Kitchen in Transition,
Dawn Weleski, Conflict Kitchen
The Mellon Foundation at Fifty: Reflecting on
Five Decades of Philanthropy in the Museum
Trianon Ballroom, 3rd Floor
Chair: Alison Gilchrest, The Andrew W. Mellon Foundation
Scholarship and Practice: Strengthening and Connecting
Science, Conservation, and the Humanities in Museums
and Higher Education, Angelica Rudenstine, Debra
Hess Norris, Independent Art Historian and Consultant,
University of Delaware
■ EVENTS
Pathways and Pipelines: The Object, the Museum, and
the Emerging Professional, Martha Tedeschi, Harvard Art
Museums
Being Curious, Uncomfortable, and Uncertain: Adventures
in Interdisciplinary Teaching and Learning, Sanchita
Balachandran
Response, Responsibility, and Risk: Museums in
Collaboration, Saralyn Reece Hardy, Spencer Museum of
Art, University of Kansas
▲ MEETINGS
The Practice of Fashion: Designing the American Body
Concourse A, Concourse
Chairs: Emma McClendon, The Museum at the Fashion
Institute of Technology; Lauren Peters, Columbia College
Chicago
A Stain on an All-American Brand: How Brooks Brothers
Once Clothed Slaves, Jonathan Square, Harvard
University
The Tie-Waist Skirt and the Makings of Maternity:
Fashioning the Pregnant Body in the Twentieth Century,
Amber Winick, Bard Graduate Center
Rearticulating the “Imagined Mexican Landscape” of
Olvera Street, Michelle McVicker, Parsons School of
Design
Preserving the American Body in the First Ladies Hall of
the NMAH, Emily Mazzola, University of Pittsburgh
Governing American and Canadian Masculinity: The
Gendered Messages and Meanings Conveyed through
Trump and Trudeau’s Dressed Bodies, Ben Barry,
Ryerson University
4:30–5:30 PM
Trans Representations: Intersectional Gender
Identities in Contemporary Art and Visual Culture
Nassau East, 2nd Floor
Chair: Ace Lehner, University of California, Santa Cruz
Trans Representations: Non-Binary Visual Theory in
Contemporary Art, Ace Lehner, University of California,
Santa Cruz
Intersectional Liminality in Raafat Hattab’s Ho(u)ria
(2010), Sascha Crasnow, University of Michigan
T4T: Adoration and Resistance in Photographs by and
for the Trans Community, Jordan Reznick, University of
California, Santa Cruz
■ The Andrew W. Mellon Foundation: Celebrating
Five Decades of Philanthropy
Twentieth-Century Design and the Immigrant
Professional in the Americas
Beekman, 2nd Floor
Chair: Laura McGuire, University of Hawaii at Manoa
Ladislav Sutnar: A Master in Two Worlds, R. Remington,
Rochester Institute of Technology
American by Design: Immigrant Cabinetmakers in the
Colonial Revival, 1900–1940, Erica Lome, University of
Delaware
Immigration and American Design Education: Walther
Sobotka’s Design Pedagogy and Philosophy in 1940s
Pittsburgh, Michelle Jackson-Beckett, Parsons School of
Design, Bard Graduate Center
Furniture Designs by Cornelis Zitman: A Forgotten Legacy
of Venezuelan Mid-Century Modern Design, Jorge Rivas
Perez, Denver Art Museum
SEE CAA 2019 APP FOR PROGRAM UPDATES
Roundtable: Alternative Careers in the Visual Arts
SEPC Lounge
Petit Trianon, 3rd Floor
5:00–7:00 PM
■ Cocktail Hour and Exhibition Tour
Bard Graduate Center, offsite event, see p. 92 for details
5:30–7:00 PM
■ Reunions and Receptions
See p. 92 for details
5:30–7:30 PM
■ ARTexchange
Services to Artists Committee
Grand Ballroom East Foyer, 3rd Floor
The Services to Artists Committee creates CAA’s popup exhibition from artist members submissions. The
annual social event provides an opportunity for artists
to share their work and build affinities with other artists,
historians, curators, and cultural producers. Cash bar.
Herb’N Kitchen, Lobby Level
RSVP to: www.Regonline.com/mellon_reception_caa
6:00–7:30 PM
A Carolingian Legacy in the Arts of Normandy and
Anglo-Norman England
Madison, 2nd Floor
Chair: Terence Dewsnap
The Invention of Norman Visual Culture & the Carolingian
Past, Lisa Reilly, University of Virginia
Inventory and Legacy at Bayeux Cathedral, Elizabeth
Pastan, Emory University
Saint-Pierre at Jumièges: A Fragment in Time, Jenny
Shaffer
A Reckoning with the Recent Future of Art Historical
Knowledge Production
Gramercy West, 2nd Floor
Chairs: Alpesh Patel, Florida International University;
Yasmeen Siddiqui, Minerva Projects
Trans-Canon: On the Transversal Politics of Transnational
Feminist Art’s Knowledge Projects, Marsha Meskimmon
Exhibitions as Knowledge Production: Indigenous Art at
documenta 14 and Crystal Bridges Museum of American
Art, Candice Hopkins
FRIDAY
57
Grand Old Endicott Days when Lithography was an Art,
Georgia Barnhill, American Antiquarian Society
FRIDAY, FEBRUARY 15
6:00–7:30 PM
Rodolphe Bresdin’s Le Bon Samaritain and the Politics of
Lithography, Laurel Garber, Northwestern University
Towards the Dark, Allan deSouza, University of
California, Berkeley
Rebels with a Cause: Nineteenth-Century American
Lithographers, Modernity, and Visual Culture, Erika Piola,
Library Company of Philadelphia
Art History Enters the Smithsonian: From Aby Warburg to
the Archives of American Art, Josh Franco, Binghamton
University, State University of New York
Exhibition History IS Contemporary Craft History, Namita
Wiggers, Warren Wilson College and Critical Craft Forum
Art And Materiality In The Age of Global Encounters,
1492–1898
Clinton, 2nd Floor
Chairs: Maite Alvarez, J Paul Getty Museum; Charlene
Villaseñor Black, University of California, Los Angeles
Metonymic Earth: Handsteine as Landscapes of
Generation and Transformation, Jessica Stevenson
Stewart, Cantor Arts Center at Stanford University
Between Redemption and Damnation: Philip II’s Pearls,
Monica Dominguez, University of Delaware
Made for Export: 17th-Century Southeast Asian Ivories
and Creation of a New Aesthetic, Jessie Park, Harvard
Art Museums
Between Old World and New: Art, Paper, Travel, and the
Global Cotton Trade in the Nineteenth Century, Michelle
Foa, Center for Advanced Study in the Visual Arts,
National Gallery of Art
Beyond the Mirror: Specularity and Its Uses
International Association of Word and Image Studies
Nassau West, 2nd Floor
Chair: Véronique Plesch, Colby College
Discussant: Véronique Plesch, Colby College
Speculation on Mermaids and Myths, Danijela Zutic,
McGill University
Levina Teerlinc and Sofonisba Anguissola’s Mirror of
Friendship, Louis Alexander Waldman, University of
Texas at Austin
Specular Space: Scenes from the Dressing Room,
Louisa Iarocci, University of Washington
Mirrors, Divination, and Transcendence: Robert
Smithson’s Reflections on Photography, Alexander
Bigman, Institute of Fine Arts at New York University
Chemical Printing and Drawing on Stone: Changing
Perspectives on Lithography
Morgan, 2nd Floor
Chairs: Christine Giviskos; Elizabeth Rudy, Harvard Art
Museums
Discussant: Christina Taylor
58
♦
WORKSHOPS
Boundaries Set in Stone: Lithography and the Production
of the Pyrenees in Nineteenth-Century France, Kelly
Presutti, Massachusetts Institute of Technology
Facing Death in Global Modernity, 1600–1900
Sutton Center, 2nd Floor
Chairs: Camille Mathieu, University of Exeter; Kristopher
Kersey, University of Richmond
Discussant: David Lubin, Wake Forest University
The Evidentiary Construction of Death in Henry Wallis’s
Chatterton (1856), Lela Graybill, University of Utah
Walter Pater and the Work of Death, Jeremy Melius,
Tufts University
Prison Martyrs: Representing Death in Colonial India,
Mira Waits, Appalachian State University
Fashioning Resistance
Concourse A, Concourse
Chair: Johanna Amos, Queen’s University
Occupational Hazards, or What Happens When Parisian
Women Embrace Military Wear, c. 1815, Heather Belnap,
Brigham Young University
The Queen’s Veil: Visibility Politics in the French Colonial
Archive, Axelle Boyer
As “a hedge, as a convenience, a good thing”: Elizabeth
Petipher Cash’s Continued Fashioning of a Plain
Appearance, Hannah Rumball, University of Brighton
Fashion of Resistance among Widows in Eastern Nigeria,
Louisa Onuoha, National Commission for Museums and
Monuments, Nigeria
Get Up, Stand Up: Contingent Faculty and the Future
of Higher Education in the Visual Arts
Foundations in Art: Theory and Education
Bryant, 2nd Floor
Chairs: Naomi Falk, University of South Carolina; Richard
Moninski, University of Wisconsin-Platteville
Happy Faculty + Happy Students = Happy Administration:
Balancing Stakeholder Needs in Higher Education,
Christopher Williams
This Isn’t Working, Mark Stemwedel
Strengthening Adjunct Support by Mobilizing a
Customized Mentorship Program, Laura Huaracha,
Carthage College, Erin Freeman, Chercy Lott, Savannah
College of Art and Design
■ EVENTS
▲ MEETINGS
Life, Agency & Ecology: Aesthetics of HumanNonhuman Encounters in Environmental and
Biological Art
Gramercy East, 2nd Floor
Chairs: Ellen Levy, Rutgers University; Elizabeth Demaray,
Rutgers University
Discussant: Ellen Levy, Rutgers University
Trans-Species Collaboration and the New New Media,
Elizabeth Demaray, Rutgers University
Human-Nonhuman Relations in New Media Art,
Carlos Castellanos, Kansas State University
New Mediums of Life, Orkan Telhan, University of
Pennsylvania
Nineteenth-Century Ecologies: Home, Landscape, and
Natural History
Trianon Ballroom, 3rd Floor
Caspar David Friedrich’s Transparent Paintings: From
Optics to Natural History, Nina Amstutz, University of
Oregon
John Ruskin’s Botanical Drawings: Challenging Victorian
and Art Historical Plant Blindness, Lindsay Wells
Before Heart of the Andes: Frederic Edwin Church and
the (Eco)Tourist Gaze in the Natural Bridge, Virginia, J.
Barrington Matthews, College of William and Mary
Reconstructing the Postwar Family: Presence, Absence,
and Loss in Thomas Eakins’s Home Scene, Debra
Hanson, Virginia Commonwealth University
Picturing and Performing Martial Masculinities
Concourse G, Concourse
Chairs: Chassica Kirchhoff, The Metropolitan Museum of Art;
Sean Kramer, University of Michigan
(In)visible Bodies and Battles: Masculinity and Military
Patterns of the Upper Missouri, Kimberly Minor,
University of Oklahoma
Two-Timing Masculinity: Performing Martial Ideals in the
Double Portrait of Yokoyama Matsusaburō, Chun Wa
Chan, University of Hong Kong
Epauletted Irreverence: Bolívar, Washington, and Cold
War Culture, Delia Solomons, Institute of Fine Arts,
New York University
Power, Resistance, and Gender Issues in the Arts of
Women
Coalition of Women in the Arts Organization (CWAO)
Nassau East, 2nd Floor
Chair: Kyra Belan, Broward College
Disarming Misogyny as a Dude, Rebekah Modrak,
University of Michigan
Unclean Animals: Navigating Personal Guiding
Mythologies, Alison Stinely, Old Dominion University
VISIT COLLEGEART.ORG/CONFERENCE
Desire, Resistance, and Power: Agnes Varda’s L’Opéra
Mouffe, Rebecca DeRoo
A Temporary Placement to A Permanent Interest, Carrie
Edinger
Race in the History of Design: Objects, Identity,
Methodologies
Design Studies Forum
Regent, 2nd Floor
Chair: Kristina Wilson, Clark University
Refined Violence: Silverware and Slavery, Macushla
Robinson, Art Gallery of NSW
Race and the British Arts and Crafts Movement, Imogen
Hart, University of California, Berkeley
Afrochic: Race and the Emergence of American Fashion,
Camara Holloway, Association for Critical Race Art
History
Tuareg Trousers and Saris: Fashioning White Femininity
through Ethnic Masquerade, Victoria Pass, Maryland
Institute College of Art
■ Still Striking: Creativity and Aging
Grand Ballroom East, 3rd Floor
Chairs: Douglas Dreishpoon, Helen Frankenthaler
Foundation; Randy Kennedy, Hauser & Wirth
Panelists: Mary Helimann, Artist;
John Giorno, Poet; Bob Stewart, Musician
Free and open to public.
Strategic Partnerships and the Future of the Academic
Museum
Sutton North, 2nd Floor
Chairs: Liliana Milkova, Allen Memorial Art Museum, (Oberlin
College); Shalini Le Gall, Colby College Museum of Art
Discussant: Stephanie Wiles, Yale University Art Gallery
Creating a Culture of Inquiry through Museum-Based
Faculty Development, Jessica Hunter Larsen, IDEA at
Colorado College
Developing Metaphoric Thinking through Art and Science,
Jodi Kovach, Gund Gallery, Kenyon College
Reaching Out and Looking In: Academic Collaboration
at the Colby Museum, Shalini Le Gall, Colby College
Museum of Art
Site-Specific Teaching and Learning at Harvard Art
Museums, Jessica Martinez, Harvard Art Museums
Academic Partnerships and the Museum’s Broader Role in
the College Experience, Liliana Milkova, Allen Memorial
Art Museum, Oberlin College
FRIDAY
59
Ex-Situ. Evoking Ancient Near Eastern Architecture at the
Louvre in Paris, Thomas Ariane, Musée du Louvre
FRIDAY, FEBRUARY 15
6:00–7:30 PM
An Exhibition on Achaemenid Persian Art in Karlsruhe,
Eckart Koehne, Baden State Museum, Karlsruhe
Supporting Immigrant Artists and Communities
Beekman, 2nd Floor
Chair: Michael Royce, New York Foundation for the Arts
Discussants: Katya Grokhovsky; Raquel de Anda, No
Longer Empty
Current in Motion, Jodie Lyn-Kee-Chow, School of Visual Arts
The Mistress of Loneliness, Yali Romagoza, The Mistress
of Loneliness
Textile Ecologies: Environmental Aesthetics and
Transmaterial Dynamics of Cloth
Sutton South, 2nd Floor
Chairs: Sylvia Houghteling, Bryn Mawr College; VeraSimone Schulz, Kunsthistorisches Institut in Florenz—MaxPlanck-Institut
Wharf and Weft: Epinetra, Linen, and Marine Ecology,
Einav Zamir, University of Texas at Austin
“Multiply the Harvests of the Earth”: The River Nile
in Early Byzantine Textile Design, Manufacture, and
Meaning, Katherine Taronas, Harvard University
Bed of Leaves: The Ecology of a Canadian Quilt, Vanessa
Nicholas, York University, Toronto
Ethel Mairet’s “Textile Biotechnics” and the Aesthetics of
Materials, Antonia Behan, Bard Graduate Center
6:00–8:00 PM
■ Reunions and Receptions
See p. 92 for details
6:30–8:30 PM
■ Tour of Faith and Empire: Art And Politics In Tibetan
Buddhism
The Rubin Museum of Art, offsite event, see p. 92 for details
8:00–10:00 AM
▲
CAA Publications Committee Meeting
Holland, 4th Floor
Achaemenid Persian Art and Architecture in the
Museum
Concourse G, Concourse
Chairs: Alexander Nagel, Fashion Institute of Technology,
State University of New York; Martina Rugiadi, The
Metropolitan Museum of Art
60
♦
WORKSHOPS
Displaying and Learning about Achaemenid Persian Art in
Washington D.C. in the 20th century, Alexander Nagel,
Fashion Institute of Technology, State University of New
York
What is Achaemenid Persian Glyptic Art? Beyond the
London Darius Cylinder, Mark Garrison, Trinity University
All Together Now: Artists’ Collectives Push and Pull
Association for Critical Race Art History
Nassau East, 2nd Floor
Chair: Camara Holloway
Panelists: Ambika Trasi, South Asian Women’s Creative
Collective; Anjali Goyal, South Asian Women’s Creative
Collective, Robyn Hillman-Harrigan, Canaries Collective,
Cheryl Derricotte, The 3.9 Art Collective of San Francisco
Analogy + Interaction .. creating a context for curiosity
through Games + Play
AIGA
Morgan, 2nd Floor
Chair: Cary Staples, University of Tennessee
Educational Platforms for Immersive Student-Driven
Learning, Zach Duer, Virginia Tech
Art and technology: historical approaches to video game
pedagogy, Kelli Wood, University of Michigan
Understanding the Student Perspective of Art History
Survey Course Outcomes Through Game Development,
Josh Yavelberg, Kelly Donahue-Wallace, University of
North Texas
Artist-Run as Inheritance of Artist Salon
Gramercy East, 2nd Floor
Chair: Anthony Bowers, University of Pennsylvania
Discussants: Elizabeth Milroy, Drexel University; Toisha
Tucker; Lydia Rosenberg, Art Academy of Cincinnati
Artist Run in Context, Natessa Amin, Moravian University,
Fjord Gallery
SATURDAY, FEBRUARY 16
8:30–10:00 AM
“Columns with Cows on Them”: Creating Narratives of
Achaemenid and Islamic Art in the Museum, Martina
Rugiadi, The Metropolitan Museum of Art
Between Object & Viewer: Spectatorship, Theatricality,
Mediation
Sutton Center, 2nd Floor
Framing Collections, Painting the Frame: On the StillLife Paintings of Frans II Francken (1581–1642), Jamie
Richardson
■ EVENTS
▲ MEETINGS
In Defense of Theatricality: The Politics of Affect in Early
18th-Century France, Aaron Wile, University of Southern
California
From Aa to Africa and Back Again: A Case Study of Tristan
Tzara and the Museum of Modern Art circa 1935–36,
Hilary Whitham, University of Pennsylvania
Tales from the Table: The Politics of Dessert in Franz
Anton Bustelli’s Harlequin, Monica Zandi
From Document to Monument: Dada Manifestos as arthistorical material?, Gunther Reisinger, University of
Technology Graz
Paintings of Prints and Photographs: The Temporality
of Trompe l’Oeil and the Enduring Value of Painting,
Katherine Harnish, Washington University
Changing pedagogies: a history and evaluation of new
curricular demands and delivery
Regent, 2nd Floor
Flipping the Art Classroom: Adapting Teaching Research
to Art Pedagogy, Amy Babinec
What’s Going On? An International Comparative Study of
PhD Methods in Art and Design, Jane Prophet, University
of Michigan
The Populism of Allan Kaprow’s Experimental Pedagogy,
Emily Capper, University of Minnesota
Collecting Culture from WWII to the 1960s
Clinton, 2nd Floor
Peggy Guggenheim during World War II: Preserving a
Generation of Art, Meghan Ruyle, Illinois College
Diorama Nation: Glass, Vision, and Patriotism in the
Hall of North American Mammals, Kimiko Matsumura,
Rutgers University
MoMA and the Modern Brand, Sandra Zalman, University
of Houston
Communist Kitsch
Bryant, 2nd Floor
Chairs: Adair Rounthwaite; Milena Tomic, OCAD University
Revolutionary Porcelain and Lenin Rugs: The Status of
Decorative Art in the Soviet Union, Nikolas Drosos, Getty
Research Institute
‘Bizarre Comparison’: A Prehistory of Kitsch in 20th Century
China, Jennifer Lee, School of the Art Institute of Chicago
Can Kitsch Be Exorcised?, Mechtild Widrich, School of
the Art Institute of Chicago
Dada Studies as Countercultural Practice: Intervening
in the Art Historical Institution
Beekman, 2nd Floor
Chairs: Brett Van Hoesen, University of Nevada, Reno;
Kathryn Floyd, Auburn University
Wayward Student Bodies: Countercultural Praxis, Dance
Notation, and Critical Pedagogy at the University of Iowa,
circa 1970, Kristen Carter, University of British Columbia
Xiamen Dada / Dada in China: The Revolution of Culture,
Thomas Haakenson, California College of the Arts
SEE CAA 2019 APP FOR PROGRAM UPDATES
Design History/Design Heritage
Gramercy West, 2nd Floor
Chairs: Rebecca Houze, Northern Illinois University; Grace
Lees-Maffei, University of Hertfordshire
Poets of Wood: Dürer, Goethe, and Modern German
Design, Freyja Hartzell, Bard Graduate Center
Designing Identities at the Franco-Moroccan Exposition,
Ashley Miller, University of California Berkeley
Spectacular Enchantment: The Design and Heritage
of the Public Wintergardens at the Auckland Domain,
Jacqueline Naismith, Massey University, New Zealand
Mining Southeastern Ohio: The Production of Regional
Identities, Samuel Dodd, Ohio University
Ecocritical Approaches to Colonial Art History
Concourse A, Concourse
Chairs: C.C. McKee, Northwestern University; Claudia Swan,
Northwestern University
A Mass of Materials: Expanding the Boundaries of a High
Chest, Laura Igoe
Coral, Sand, Sea Shells, Data: Testing the Building
Materials and the Indigenous Knowledge of EighteenthCentury Mauritius, Dwight Carey, University of California,
Los Angeles
The Last Fish: an Ecomaterialist Visual Culture of Ocean
Commons, Maura Coughlin, Bryant University
Through the Yellow Haze: Land Rehabilitation and the
Art of the Chang’an School, Yang Wang, University of
Colorado Denver
Public Monuments and Sculpture in Postwar Europe
European Postwar and Contemporary Art Forum
Nassau West, 2nd Floor
Chair: Martina Tanga, deCordova Sculpture Park and
Museum
Dancing on Graves: The Contested Ground of the
Treptower Ehrenmal in a United Germany, David
Ehrenpreis, James Madison University
Not Pop: Frano Angeli’s Oppressive—Visual
Remembering, Interior Monument, Public Space,
Christopher Bennett, The University of Louisiana at
Lafayette
Berlin’s Counter-Monument Challenge, Rebecca Pollack,
City University of New York Graduate Center
SATURDAY
61
The grammar of socialist ornament in the Great Hall
of the People, 1959, Christine Ho, University of
Massachusetts Amherst
SATURDAY, FEBRUARY 16
8:30–10:00 AM
From Kōgei to Kurafuto: the politics of everyday in the
evolution of ‘design’ in Japan, Yuko Kikuchi, University
of the Arts London
■ Reunions and Receptions
See p. 92 for details
Sally Dixon’s Media Circuits: Reimagining
Institutional Dynamics and Global Exchanges in 1970s
Experimental Media Arts
Madison, 2nd Floor
Chairs: Benjamin Ogrodnik, University of Pittsburgh;
Melissa Ragona, Carnegie Mellon University
Expanded Acts of Perception: Sally Dixon’s Generative
Letters, Melissa Ragona, Carnegie Mellon University
Reimagining Sally Dixon’s Travel Sheet: A Data-Driven
Approach to Studying Experimental Media, Lindsay
Mattock, University of Iowa
Models of Curating Experimental Media Art in the 1970s:
Sally Dixon’s Independent Film Maker Series, Benjamin
Ogrodnik, University of Pittsburgh
Stewarding Time-Based Media Collections into the
Future: Challenges and Opportunities, Emily Davis,
Carnegie Mellon University
The Artist as Public Intellectual: 1968 to Today
Sutton South, 2nd Floor
Chair: Cara Jordan, Graduate Center, City University of
New York
The possibilities of crossbench artistic practice in the
post-Soviet transition: The case of George Steinmann,
Ingrid Ruudi, Estonian Academy of Arts
Television as counterpublic?—Alexander Kluge and his
vision of montage as a theory of relationships, Sarah
Hegenbart, Technical University Munich
Theorizing Politics—General Idea’s Production of
Meaning, Virginia Solomon, University of Memphis
Speaking truth to power in the globalized art world: Be
Dammed and the limits of denounce, Paloma ChecaGismero, University of California, San Diego
The Politics of Ornament: National Ideology, the
Everyday, and Modern Design in East Asia
Rendezvous Trianon, 3rd Floor
Chair: Ren Wei, Dickinson College
Discussant: Yukio Lippit, Harvard University
Design As Life and Art: Imaging Japan’s Modern Lifestyle
through Mitsukoshi Department Store Publications,
Nozomi Naoi, Yale University, NUS College
Reconciling the Local, the National, and the Global: Lu
Xun’s book design project in 1920s China, Ren Wei,
Dickinson College
62
♦
WORKSHOPS
9:00–10:00 AM
♦
Workshop: What No One Tells You About Publishing
SEPC Lounge
Petit Trianon, 3rd Floor
9:30–10:30 AM
♦
First Impressions on the Job Market: The CV and
Cover Letter as Application Documents for Faculty
Positions in Art History and Studio Art
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Anthony Mangieri, Salve Regina University
♦
Incorporating Non-Native English Speakers in Art
Classes
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Nichole Van Beek
10:30 AM–12:00 PM
Asian Diasporic Art and the Narrative of Modernism
Diasporic Asian Art Network
Rendezvous Trianon, 3rd Floor
Chairs: SooJin Lee, Hongik University, South Korea; Midori
Yamamura, Kingsborough Community College, City University
of New York
Discussant: Heather Lenz, Director of the Film Kusami—Infinity
Recently Discovered Letters by Yasuo Kuniyoshi, Tom
Wolf, Bard College
Asian American Artists from Hawai‘i in New York City:
1920–80, Margo Machida, University of Connecticut
Archives as Method: When the Artist Becomes the Art,
SooJin Lee, Hongik University, South Korea
Beyond Copyright: Pushing at the Art/Law Collision
Madison, 2nd Floor
Chairs: Winnie Wong, University of California; Peter Karol,
New England Law | Boston
Discussants: Joan Kee, University of Michigan at Ann Arbor;
Amy Adler, New York University School of Law; Martha
Buskirk, Montserrat College Of Art
Permissive Certificates as Artist Control, Peter Karol,
New England Law | Boston
Adjudicating Authenticity, Amy Adler, New York
University School of Law
Virtual Public Space: Rights and Responsibilities in an
Augmented World, Martha Buskirk, Montserrat College
of Art
Contract Aesthetics, Virginia Rutledge
■ EVENTS
▲ MEETINGS
SATURDAY, FEBRUARY 16
8:30AM–5:30PM
THE FEMINIST ART PROJECT,
RUTGERS UNIVERSITY
TFAP@CAA 2019 Day of Panels: Rape, Representation,
and Radicality
Trianon Ballroom, 3rd Floor
Free and open to the public.
Rape, Representation, and Radicality
Symposium Chairs: Christen Clifford, The New School;
Jasmine Wahi, School of Visual Arts; Project for Empty
Space
Intersectional feminist art has long dealt with the
oppressions and violations stemming from colonialism,
slavery, and couverture. Rape, Representation, and
Radicality is a full-day symposium that will explore
sex, power, and justice through intersectional art and
activism, academics, and healing. The forum brings
academic study, intellectual discourse, and visceral
candor together to create a shared space and to
demand bodily autonomy.
Rape, Representation, and Radicality will address how
sexual assault has affected feminist art practices, and
who has power and why. Presenters will discuss what
institutional changes are needed to work towards
sexual justice, and how race and gender impact the
experiences and responses within the context of
contemporary feminist discourse. The hidden legacy of
Women of Color, within the conversation about sexual
violence, sexual empowerment, artistic praxis, and
art history, must be re-contextualized and revised to
be included accurately. The current cultural narrative
around sexual violence necessitates re-orientation to
include those who are left out of the conversation. This
forum will present strategies to understand, rectify,
reclaim and move forward towards healing.
8:30–10:00 AM
Welcome and Introductory Remarks: Connie Tell, The
Feminist Art Project, Center for Women in the Arts and
Humanities, Rutgers University; Christen Clifford, The
New School; Jasmine Wahi, School of Visual Arts, and
Project for Empty Space
VISIT COLLEGEART.ORG/CONFERENCE
The Un-Heroic Act: Representations of
Rape in Contemporary Women’s Art in the
U.S.
Presenter: Monika Fabijanska, Independent
Curator
Sexing the Canvas: The Rape of the Black Female
Body in Art
Presenter: Indira Bailey, Penn State
10:30AM–12:00PM
Gender, Sexuality, and Power: Social Activist Art
Practices
Panelists: Suzanne Lacy, University of Southern
California Roski School of Art and Design, Emma
Sulkowicz, Independent Artist; Resident Artist, Museum
of Arts and Design; Maria Magdalena Campos-Pons
School of the Museum of Fine Arts
Moderator: Vivien G. Fryd, Vanderbilt University
12:00–12:30PM: LUNCH BREAK
12:30–2:00PM
Taking Back the Narrative
Conversation between Jaishri Abichandani,
Independent Artist, and Christen Clifford, Independent
Artist, The New School
Performances
Bad Woman Katya Grokhovsky
Operation Catsuit Ayana Evans
Action IV Castellanos
2:00–3:30PM
Rewriting Narratives in the #MeToo Moment
Panelists: Natalie Frank, Independent Artist, Pricilla
Frank, Journalist, The Huffington Post
4:00–5:30PM
Looking for Sexual Justice—Representing Sexual
Violence across Film and Video Art
Conversation between Kalliopi Minioudaki,
Independent Scholar and Talia Lugacy, The New School
Visible Invisibility: WoC in the context of the
MeToo Movement
Presenters: Maria Hupfield, Independent Artist;
Viva Ruiz, Independent Artist
Healing Exercise and Finale
Christen Clifford and Jasmine Wahi
SATURDAY
63
Artificial Intelligence! Artificial Art?, Philip Galanter,
Texas A&M University
SATURDAY, FEBRUARY 16
10:30–12:00 PM
Digital Art: Toward A New Abstraction and Narrative, Roz
Dimon
Business of Contemporary Art in the Demise of Small
or Mid-Size Galleries
Gramercy East, 2nd Floor
Chair: Kyunghee Pyun, Fashion Institute of Technology,
State University of New York
Discussant: Lane Relyea, Northwestern University
Participant: Natasha Degen, Fashion Institute of Technology,
State University of New York
The Evolution of the Small to Mid-Level/Mid-Sized Gallery
Business Model in New York City, Jinkyoung Choi, Kang
Collection Korean Art
The Crisis-Driven Gallery Model: Development of Chelseatype, Regional, and Hybrid Types, Jeff Taylor, Western
State Colorado University
The Collective / Collection: Contemporary African Art and
Its Commercialization, Dana Liljegren
The Role of Artist Empowerment in a Changing Gallery
System, Heather Bhandari, Brown University
CAA Open Forum on Diversity and Inclusion
Committee on Diversity Practices
Concourse B, Concourse
Panelists: Jim Hopfensperger, Western Michigan
University; Julie L. McGee, University of Delaware; Hunter
O’Hanian, CAA, Roberto J. Tejada, University of Houston
Design Exhibitions & Exhibition Design: Curating
Process, Object and Experience in the Design Museum
Clinton, 2nd Floor
Chairs: Leda Cempellin, South Dakota State University;
Sarah Lawrence, Parsons School of Design, New School
Discussant: Yelena McLane, Florida State University
Exhibiting Change: Design in the 21st Century Museum,
Laura Flusche, Susan Sanders, Museum of Design
Atlanta
Curating Design as Experiential: Evolutions in Exhibition
Making, Andrea Lipps, Cooper-Hewitt, Smithsonian
Design Museum
Effective or Not? The Design of Exhibitions of Design,
Judith Fox and Ginger Duggan, c2-curatorsquared
New Potentials between Object, Space, and People,
Lyn Rice and Astrid Lipka, Rice+Lipka
DIGITAL ART: New Dimensions
Morgan, 2nd Floor
Strange Mothers: Toward a Digital Aesthetics of
Interruption, EL Putnam, Dublin Institute of Technology
64
♦
WORKSHOPS
Film Digitalia vs. Film Failure: This Intimate Hard Drive,
Matt Whitman, Parsons School of Design, New School
Empires of Pleasure across Eighteenth-Century Cultures
Concourse G, Concourse
Chairs: Dipti Khera, New York University; Meredith Martin,
New York University
Disguised as Paradise: Representations of Courtesans
and their Beholders in Safavid Isfahan, 1590–1722,
Farshid Emami, Oberlin College
Delight in Otherness: Western Figures in Qing Palace
Interiors, Mei Rado, Parsons School of Design
“Let him esteem the English as his best and only friends”:
Cross-Cultural Friendship as a Pictorial Problem in
Eighteenth-Century British Painting, Zirwat Chowdhury,
Independent Scholar
Fascisms Past in Contemporary Artistic and Curatorial
Practice
Bryant, 2nd Floor
Chair: Miriam Paeslack, European Architectural History
Network
Discussant: Vanessa Rocco, Southern New Hampshire
University
Oil and Fascism: Isa Genzken at the Venice Biennale,
Dan Adler, York University
Model Fragments: Exhibiting NS Architectural Sovereignty
in Berlin, Naomi Vaughan, University of Michigan, Ann
Arbor
Fascism Lite: Comparing the Presentation of Fascist Art In
1949 & 2018, Antje Gamble, Murray State University
Curating Fascism, Raffaele Bedarida, The Cooper Union;
Sharon Hecker, Independent
Frenemies: Unlikely Cultural Exchange in the Pre- and
Early Modern World
International Committee
Sutton Center, 2nd Floor
Chairs: Noa Turel, University of Alabama at Birmingham
Discussant: Brigit Ferguson, Hamilton College
Sweden and Rome in the 17th Century: Christina, Queen
of Sweden, the Goths and the Vandals. Collector, Patron,
Barbarian Cultural Ambassador, Theresa Kutasz
Christensen, Penn State
Subsuming the Saracens: The Rhetoric of Luxury Exotica
in Early Renaissance France and the Netherlands,
Noa Turel, University of Alabama at Birmingham
■ EVENTS
▲ MEETINGS
Citizen Franklin: Picturing a Revolutionary Ambassador
in Louis XVI’s France, Ashley Bruckbauer, University of
North Carolina Chapel Hill
From Monuments to Anti-Monuments of
Contemporary Art in the Age of Globalization
Nassau West, 2nd Floor
Chair: Jung-Ah Woo, POSTECH
Discussant: Andrew Weinstein, Fashion Institute of
Technology, State University of New York
International Soil: Hans Haacke’s Der Bevölkerung
Reconsidered, Jack McGrath, Barnard College
Horizontal Markers, Margrethe Troensegaard, The
University of Oxford
The Art of the Anti-Monument: Ed Kienholz’s NonMemorials for a Non-War, Nicole Sully, University of
Queensland
Bahc Yiso’s Artistic Activities and the Establishment of
“Minor Injury,” in Brooklyn, New York, Yeon Shim Chung,
Hongik University
Haunted: Cross-Historical and Cross-Cultural Specters
in Print Practice
Sutton North, 2nd Floor
Chairs: Katherine Anania; Villa I Tatti, Harvard University
Center for Italian Renaissance Studies; Alexis Salas
A Printed Palimpsest of Indigenous Identities: Oscar
Howe’s Illustrations for North American Indian Costumes
(1564–1950), Sarah Sik, The Kentucky College of Art and
Design at Spalding University
Radical Revivals: Printmaking in Lahore, c. 1983, Gemma
Sharpe
The image is not a likeness: the concealed image and
the contest of global art history, Elisabeth Stoney, Zayed
University
Spectral Ships: Hercules Segers and Traces of Early
Capital, Caroline Fowler, Princeton University
Kinesthetics: Gesture beyond Opticality
Nassau East, 2nd Floor
Chairs: Rebekah Rutkoff; Judith Rodenbeck, University of
California, Riverside
Mistake as Medium: The Kinesthetics of Printing Errors,
Mal Ahern, Yale University
The Museum of Walking and Radical Listening, Angela
Ellsworth, Arizona State University
Dissonant Kinesthetics: Writing—the Work of Yvonne
Rainer, Thyrza Goodeve, School of Visual Arts
Walking on the Moon/Kinematic Glitching, Judith
Rodenbeck, University of California, Riverside
SEE CAA 2019 APP FOR PROGRAM UPDATES
Body Doubles: Robert Beavers’ Gestural Cinema,
Rebekah Rutkoff
Negotiating Change in Arts Professions: Emerging and
Established Voices
Student and Emerging Professionals Committee
Sutton South, 2nd Floor
Chairs: Rachel Kreiter; Nathan Manuel, Dutchess & the
Queen
Manifestation in Public Space
Regent, 2nd Floor
Disrupting Display: Gene Moore’s Shop Windows, Leah
Werier
Making Public Art: Transitional Reflections, Sandy
Litchfield, University of Massachusetts Amherst
Activating Public Space as a Flâneur: Surveillance of the
Black Dandy, Christopher Kojzar
Witnessing and the White Cube: Regina José Galindo’s
(279) Golpes and El Objetivo, Laura Stowell
Rethinking Ethnographic Surrealism
Beekman, 2nd Floor
Chair: Rachel Silveri, University of Florida
Artaud in Mexico: Cultural Otherness and Indigenous
Identity, Pierre Taminiaux, Georgetown University
The “Magical Climate of Totemism”: Wolfgang Paalen’s
Theory of Emotion, Becky Bivens, University of Illinois,
Chicago
Asger Jorn’s Sociology of Art, Niels Henriksen, Princeton
University
What is American? Exploring Iberian Contact Zones in
the “New World”
Concourse A, Concourse
Chairs: Naomi Slipp, Auburn University at Montgomery;
Mark Castro, Independent Art Historian
The Caribbean as Nexus: Crafting an Art History of the
Americas, Mark Castro, Independent Art Historian
Creole Houses and Spaces in Colonial Puerto Rico,
Paul Niell, Florida State University
The Performance of Racial Identity in a Spanish Colonial
Portrait from Louisiana, Wendy Castenell, Alabama State
University
Furniture—A Touchstone for Understanding Cultural
Exchange and Transmission of Style in Colonial North
America, Alexandra Kirtley, Philadelphia Museum of Art
SATURDAY
65
SATURDAY, FEBRUARY 16
♦
Writing Successful Grant Applications
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Jacquelyn Gleisner, University of New Haven
10:30–12:00 PM
Women Artists in Germany, Scandinavia, and Central
Europe, 1880–1960
Historians of German, Scandinavian, and Central European
Art and Architecture
Gramercy West, 2nd Floor
Chair: Kerry Greaves
Organismic Womanhood: Rita Kernn-Larsen and the
Gender Politics of Surrealist Biology, Emil Meilvang,
University of Oslo
The Women Members of the Young Yiddish Group,
Nora Butkovich, Virginia Commonwealth University
Redefining Mary Bauermeister’s ‘Maternal’ and Material
Practices, Lauren Hanson, University of Texas at Austin
White Shadows: The Photograms of Anneliese Hager,
Lynette Roth
10:30 AM–1:00 PM
■ Open Source: Artist Roundtable Event
SAC ARTspace
Murray Hill Suite, 2nd Floor
11:00 AM–12:00 PM
♦
Cash Flow Planning for Creative Professionals
Americas Hall II, Workshop Room 1, 3rd Floor
Leader: Aric Mayer
♦
Have, Want, Need: Toward a Collective Approach
to Education
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Natalia Nakazawa
12:00–2:30 PM
■ Chelsea Gallery Walking Tour
New York Hilton Midtown, main lobby, offsite event
See p. 92 for more details
12:30–1:30 PM
▲
Affiliated Society Business Meetings
See p. 88 for more details
♦
Techniques of Early American Historic Decoration
Demonstration: Reverse Glass Painting & Women’s
Hand Painted Furniture
Americas Hall II, Workshop Room 2, 3rd Floor
Leader: Mary Roth, City College, City University of New York
66
♦
WORKSHOPS
2:00–3:30 PM
Architectural Conversions and Imperial Imaginations
Concourse G, Concourse
Chairs: Ralph Ghoche, Barnard College, Columbia University;
Maria Gonzalez Pendas, Columbia University
Discussant: Nebahat Avcioglu
On Image Crafting and Conversion: Remembering St.
Louis in Colonial and Postcolonial Tunisia, Daniel Coslett,
Western Washington University
By Hammer and Chisel: Resource Extraction and the
Statue Bugeaud in French Algiers, Ralph Ghoche,
Barnard College, Columbia University
Orientalism and the Mudéjar: Appropriating Medieval
Islamic Architecture for the 1929 Iberoamerican
Exposition in Seville, Spain, Lia Dykstra, Brown University
The Alhambra Manifesto and the Politics of Spirit in
Fascist Spain, Maria Gonzalez Pendas, Columbia
University
Art and Diagrams Across Cultures
Beekman, 2nd Floor
Moses Maimonides’s (1138–1204) Architectural Diagrams
of the Second Temple, Zhenru Zhou, University of
Chicago
Leonardo da Vinci’s Book on Painting and Arab Optics ,
Francesca Fiorani, University of Virginia
Skin to Skin: Animality and Interconnectedness in the
Caribou-Skin Coats Painted by Innu Women during the
18th Century, Catherine Girard, Eastern Washington
University
Bridging the Mediterranean with the Orient: The
Catafalque of a 17th-Century Assyrian Woman, Silvia
Tita, Center for Advanced Study in the Visual Arts
Art and Financial Bubbles
Gramercy East, 2nd Floor
Chair: Maggie Cao, University of North Carolina at Chapel Hill
How Bubbles Gained Currency: Perception and Economic
Speculation in Eighteenth-Century British Print Culture,
Shana Cooperstein
Cupid’s Bubbles: Love, Capital and the Culture of Credit,
Nina Dubin, University of Illinois at Chicago
The Most Restless of Capitals: Charles Meryon’s CryptoGames, Richard Taws, University College London
■ EVENTS
▲ MEETINGS
Crisis on Cash: Images of Inflation on German Emergency
Money, 1914–1923, Tom Wilkinson, Warburg Institute
Commemorating the Deceased, Celebrating the
Living: Monumental Funerary Architecture in the
World of Islam
Nassau West, 2nd Floor
Chair: Onur Ozturk, Columbia College Chicago
Discussant: Conor Moynihan, University at Buffalo
Living Memory of Ottoman Martyrs in Nicosia, Cyprus,
Suna Guven, Middle East Technical University
Shah Balawal’s Tomb and its Adjacent Baradari: Socio
Political Role in the History and Cultural Life of Lahore,
Kanwal Khalid, Foreman Christian College University/
Govt. College for Women Gulberg
The Dar of al-Hallaj: Ceremonial Commemoration of a
Martyr Mystic, Angela Andersen, Centre for Studies in
Religion and Society, University of Victoria
The Politics of Female Commemoration in Medieval
Kayseri: the Tomb of Suli Pasa, Onur Ozturk, Columbia
College Chicago
Comradeship
Rendezvous Trianon, 3rd Floor
Chair: J. Myers-Szupinska, California College of the Arts
Panelists: Zdenka Badovinac, Museum of Modern Art,
and Museum of Contemporary Art Metelkova, Ljubljana;
J. Myers-Szupinska, California College of the Arts; Kate
Fowle, Independent Curators International
Decolonization, Process and Education
Concourse A, Concourse
Decolonizing Illustration: Rerooting Culture, Language,
and Activist Practice, Daniel Drennan ElAwar, Emily Carr
University
Translating Ink: How Printmaking Can Bridge Language
Barriers, Nicole Foran
Educating Diversely: The Artist Talk Platform, Arianna
Garcia-Fialdini, Concordia University
Paring Down: Minimalism, Craft, and Subversive Points of
View, Dana Hemenway
Diasporic Bauhaus: Functionalisms, Geographies, and
Holisms beyond Germany
Bryant, 2nd Floor
Chair: Charissa Terranova, University of Texas at Dallas
Discussant: Eva Forgacs, Art Center College of Design
The “Műhely” in Budapest (1928–38): The Legacy of the
Bauhaus in Hungary, Márton Orosz, Museum of Fine
Arts, Budapest
VISIT COLLEGEART.ORG/CONFERENCE
Heiress, Entrepreneur, Educator, Geneticist, and Architect:
How Walter Gropius Seeded Connections in the UK,
Charissa Terranova, University of Texas at Dallas
From Exhibition to Book: Gyorgy Kepes’s “New
Landscape” Project and Its Postwar Position within
Biocentric Discourse, Oliver A. I. Botar, University of
Manitoba, Winnipeg
“Hitler’s Revenge”: Critiques of the Bauhaus, ca. 1968,
John Blakinger, University of Southern California
The Long Shadow of the Supine Dome: Science and
Experimental Arts Pedagogy from Black Mountain to Cal
Arts, Hannah Higgins
Faculty Inclusivity: A Way Forward
Committee on Diversity Practices
Sutton South, 2nd Floor
Chairs: Flora Anthony, Kennesaw State University; Nicole De
Armendi, Converse College
Faculty Inclusivity: A Way Forward, Flora Anthony,
Kennesaw State University
Globalizing the Architectural History Syllabus
Morgan, 2nd Floor
Chair: Eliana AbuHamdi Murchie, MIT
Decolonizing Architectural Pedagogy, Shundana Yusaf,
University of Utah
Mysterious? According to Whom? Globalizing the
Architectural History Syllabus, Fernando Martinez
Nespral
Are We Teaching Global Yet?, Eliana AbuHamdi Murchie,
Massachusettes Institute of Technology
Looking East: Russian Orientalism in a Global Context
Society of Historians of East European, Eurasian, and
Russian Art and Architecture
Gramercy West, 2nd Floor
Chairs: Maria Taroutina, Yale University, NUS College;
Allison Leigh, University of Louisiana at Lafayette
Picturing the Cathay in Russia: Political use of Chinoiserie
interiors under Empress Elisabeth Petrovna and Emperor
Peter III, Ekaterina Heath, The University of Sydney
The “The Picturesque Caucasus” of Grigorii Gagarin and
Vasily Timm, Andrew Nedd, Savannah College of Art and
Design
The “Splendor of the Caliph’s Dwellings” on the Banks of
the Neva River: Saint Petersburg and the Moorish Revival,
Katrin Kaufmann, University of Zurich
Mania and Militarism in the life of Central Asian early
photography, Inessa Kouteinikova, ARTIKA
Pavel Kuznetsov’s “Distant and Strange” Agricultural Laborers,
Marie Gasper-Hulvat, Kent State University at Stark
SATURDAY
67
SATURDAY, FEBRUARY 16
2:00–3:30 PM
Metaveillant Issues
Sutton Center, 2nd Floor
Chair: Julia Scher, Kunsthochchule fuer Medien Koeln
Discussant: Timothy Kent, artist
“Veillant”, Julia Scher, Kunsthochchule fuer Medien Koeln
Surveillance Culture, Barbara London, curator, writer,
consultant, Yale University
Schismatic Technics, Charlotte Kent, Montclair State
University
Performance Art: Making not Faking
Nassau East, 2nd Floor
Chair: Robert Derr
Performance Art: Making not Faking, Robert Derr
Creativity of Practice in Performance Art in Africa, Massa
Lemu
Art in Odd Places (AiOP), Ed Woodham, Art in Odd Places
Festival
Archiving Performance in an Academic Setting: The Case
of Franklin Furnace, Evan Robert Neely, Pratt Institute
and Martha Wilson, Franklin Furnace Archive, Inc.
Performance Art: An Ephemeral Art Form, Deborah Oliver
Rhythm, Race, and Aesthetics of Being Together
Madison, 2nd Floor
Chairs: John Paul Ricco, University of Toronto; Kris Cohen,
Reed College
Busta Rhymes at the End of the World, Aria Dean
Rhythm in Deconstruction, Naomi Waltham-Smith,
University of Warwick
In the Meantime, Christian Nyampeta
Group Form after Computation, Kris Cohen, Reed College
Rhythm of the Night, John Paul Ricco, University of Toronto
Social Action, Censorship, and Campus Art Museums
RAAMP
Sutton North, 2nd Floor
Chair: Celka Straughn, Spencer Museum of Art, University
of Kansas
Discussant: Hunter O’Hanian, CAA
Panelists: Daniel Bejar; Saralyn Reece Hardy; Spencer
Museum of Art, University of Kansas; Paul Rucker, Artist
68
♦
WORKSHOPS
The Place of Art. The Re-definition of the Exhibition
Format in the 70s
Clinton, 2nd Floor
Chair: Clarissa Ricci, Iuav University in Venice
Theme-Driven Shifts in Late Postwar Exhibition Practice
(Documenta 5, 1972), Maria Bremer, Bibliotheca
Hertziana—Max Planck Institute for Art History
Galerie 1-36 and Conceptual Exhibition Making in 1970s
France, Inesa Brasiske, Vilnius Academy of Arts
How Video Art Called for new Exhibition Formats, Ariane
Noel de Tilly, Emily Carr University of Art + Design
Going Local: The First Latin American Biennial, Camila
Maroja, McGill University
Theorizing Community-Based Art in Nonurban Locations
Regent, 2nd Floor
Chairs: Justin Jesty, University of Washington; Noni
Brynjolson, University of California, San Diego
Rural Mythologies: How Can Socially Engaged
Curatorial Models Disrupt Dominant Narratives about
the UK Countryside?, Rosemary Shirley, Manchester
Metropolitan University
The Politics of Attraction in Rural Art Projects in Japan,
Justin Jesty, University of Washington
Strangers with Cameras: Mediating Difference, Division,
and Distrust in Appalshop’s Rural Placemaking Projects,
Noni Brynjolson, University of California, San Diego
Trojan Horses in the Chinese Countryside: The Bishan
Commune and the Practice of Socially Engaged Art in
Rural China, Mai Corlin, University of Copenhagen
■ Special Session on New Research on Brazilian Art
by the National Committee for the History of Art
Institute of Fine Arts NYU, offsite event, see page 97 for details
4:00–5:30 PM
Contemporary Performance Art Research in the
Context of Art History and Other Disciplines
Nassau East, 2nd Floor
Chairs: Jovana Stokic, New York University; Bertie Ferdman,
City University of New York
From the Institution of Performance to the Performance of
Institutions, Jonah Westerman, Purchase College, State
University of New York
Queer / Performativity: A Genealogy, Amelia Jones,
University of Southern California
■ EVENTS
▲ MEETINGS
Designing Landscapes: Encounter, Reception, and
Aleatory Effects of Monuments
American Council for Southern Asian Art
Concourse A, Concourse
Chairs: Divya Kumar-Dumas, University of Pennsylvania;
Pia Brancaccio, Drexel University
Discussant: James Wescoat, Massachusetts Institute of
Technology
Multivalent Monuments: Inscribed Columns as Venerable
Objects in Gupta North India, Elizabeth Cecil, Florida
State University
Buddhist Monumentality: Colossal Sculptures and the
Formation of a Transnational Buddhist Landscape in
South Asia, Pia Brancaccio, Drexel University
Writings on the Mirror Wall: Recovering Designs for
Sigiriya, Sri Lanka, Divya Kumar-Dumas, University of
Pennsylvania
Spatiality and Sainthood: Textual Representations of the
Makli Necropolis in Sindh, Pakistan, Fatima Quraishi,
University of California, Riverside
Familiar Objects: Taking Another Look at Medieval Art
International Center of Medieval Art
Sutton North, 2nd Floor
Chair: Lynn Jones, Florida State University
Discussant: Robert Nelson, Yale University
The Miniatures in the Rabbula Gospels and Iconographic
Analysis: Everything Old Is New Again, Felicity HarleyMcGowan, Yale University
Looking Again and Again: The Cross of the Scriptures at
Clonmacnoise, Heather Pulliam, Edinburgh University
Touching the Treasury: The Golden Spaces of the Uta
Codex (Munich: Bayerische Staatsbibliothek, CLM 13601),
Eliza Garrison, Middlebury College
Reexamining the Message of the Vestibule Mosaic of
Hagia Sophia, Lynn Jones, Florida State University
Global Fascism
Gramercy East, 2nd Floor
Chairs: Paul Jaskot, Duke University; R. Mark Antliff, Duke
University
Fascist Parades: The Urban Setting, John Beldon Scott,
University of Iowa
Global Fascism in Finland: Alvar Aalto and Flexible
Standardization, Nader Vossoughian, New York Institute
of Technology
Where the Cinema of Attractions Meets the Easel:
Pyke Koch, National Socialist Propaganda, and the
Nederlandsche Kultuurkamer, Stephanie Huber
Franco’s Dream: Islamic Heritage and Global Politics,
1936-1975, Michele Lamprakos
SEE CAA 2019 APP FOR PROGRAM UPDATES
Human-Centered Design Research
Bryant, 2nd Floor
Chair: Audrey Bennett, University of Michigan
Design Thinking in the Third World: A Case Study
of Women and Craft in Morocco, Ann Shafer, State
University of New York-FIT
The Semiotics of Pain: Examining the Communication
of Pain Across Languages, Kelly (Guewon) Park and
Cassini Nazir, The University of Texas at Dallas
Architectural Design Characteristics, Uses, and Perceptions
of Community Spaces in Permanent Supportive Housing,
Yelena McLane and Jill B. Pable, Florida State University
User Experience of Navigating Public Space, Michele
Washington, Columbia University
Nudging People to Use Revolving Doors: Improving the
Choice Architecture at Building Entryways, Andrew Shea,
Parsons School Of Design
Inhabiting Modernity: Home and Homemaking in
Postwar Italy
Italian Art Society
Gramercy West, 2nd Floor
Chairs: Lara Demori, Independent; Elisabetta Rattalino
Bringing the Change Home: Artists, Countryside, and
Domestic Space in Postwar Italy, Elisabetta Rattalino
Habitat, Teresa Kittler
Visual Interpretations of Domestic Activities in Postwar
Italy, Silvia Bottinelli, School of the Museum of Fine Arts
New Investigations into Pre-Columbian Materials and
Process
Concourse G, Concourse
Chair: Leah McCurdy, University of Texas at Arlington
The Cosmology and Ethnobotany of Two Floral Motifs at
Teotihuacan, Lois Martin, Fordham University
What the Ancient Maya Learned at Art School,
Leah McCurdy, University of Texas at Arlington and M.
Kathryn Brown, University of Texas at San Antonio
The Biology of the Aztec Feather Costume, Mary Brown,
Independent Scholar
Of Mutable Monuments and Changing Attitudes:
Learning from the Long History of Altering,
Appropriating, and Recontextualizing Italian Art
Regent, 2nd Floor
Chairs: Felicia Else, Gettysburg College; Roger Crum, Dayton
University
Tracing Legitimacy through Erasure: Imperial Palimpsests
at sixth-century Sant’Apollinare Nuovo in Ravenna, Hallie
Meredith, Washington State University
SATURDAY
69
From Silk Road Memories to Belt Road Visions: Exhibiting
the Past to Envision the Future, Marina Kaneti, National
University of Singapore
SATURDAY, FEBRUARY 16
4:00–5:30 PM
Re-imagining Asia: From Essentialism to Cosmopolitanism
in the Asian Civilisations Museum, Singapore, Emily
Stokes-Rees, Syracuse University
From the Italian Court Theater to the English Royal
Palace: The Changing Function of Andrea Mantegna’s
Triumphs of Caesar, Bryn Schockmel, History of Art &
Architecture
A Little Red Dot with Large (Art) Aspirations, Joyce Toh,
Singapore Art Museum
The Restoration and the Reinterpretation of Pisa’s
Camposanto following World War Two, Cathleen
Hoeniger, Queens University
A Relic of Reciprocity: The National Museum of the
Philippines, Pearlie Rose Baluyut, State University of
New York Oneonta
A Provocative Way of Re-imagining the Notion of Mutable
Monument Today: Alterazioni Video’s Incompiuto.,
Francesca Pietropaolo, Independent Scholar
Race, Vision, and Surveillance
Sutton Center, 2nd Floor
Chairs: Kim Bobier, Pratt Institute; Marisa Williamson,
Hartford Art School, University of Hartford
Picturing Marronage: Archives of Frustrated Surveillance,
Sarah Johnson, University of Chicago
In and Out of Africa: Race and Representations of the
Sudan in Modern Egyptian Art, Lara Ayad, Skidmore
College
Warm Data: Mariam Ghani and Chitra Ganesh’s Index of
the Disappeared, Jeannine Tang, Center for Curatorial
Studies, Bard College
Surveillance and Grenfell Tower in Visual Culture:
Kidulthood (2006), Adulthood (2009) and Brotherhood
(2016), Nicola Mann, Richmond, The American
International University in London
Reconstruction and Ruins: A Vision from Historical
Heritage to Contemporary Culture
Beekman, 2nd Floor
Mapping Architectural Practice in the Mediterranean: A
Database of Southern Italian Construction Techniques ca.
1050–1250 CE, Joseph Williams, University of Maryland
School of Architecture, Planning and Preservation
Between the Rococo and the Modern Reconstruction:
Notes on the Rededos of the Chapel of Christ of Health
in San Juan, Puerto Rico, Daniel Expósito Sánchez,
University of Puerto Rico, Río Piedras Campus
The Postapocalyptic Imagination: Envisioning Ruins in
Historical and Contemporary Visual Culture, Meghan
Bissonnette
Reinventing Museums in Southeast Asia from the
Colonial to the National, the Regional to the Global
Rendezvous Trianon, 3rd Floor
Chairs: Pearlie Rose Baluyut, State University of New York
Oneonta; Emily Stokes-Rees, Syracuse University
70
♦
WORKSHOPS
Technologies of Data and Visualization in Art and
Discourse
Morgan, 2nd Floor
We Are Come Ashore into a New World: Mapping and the
Microscope, Pamela Mackenzie, University of British
Columbia
Visualizing Data Concerning the Canon according to
Illustration Experts, 1830–1970, Jaleen Grove, Rhode
Island School of Design
World of Matter: An Eco-Aesthetic Approach to the
Complex “Ecologies” of Matter, Ana Varas Ibarra,
University of Essex
For Posterity and Pedagogy: Using 3D Models and 360
Capture to Preserve Exhibitions, Francesca Albrezzi,
University of California, Los Angeles
Tracing Islam through Artistic & Cultural Practices
Nassau West, 2nd Floor
The Caliph and the Bathing Beauties of the Umayyad
Palace of Qusayr ‘Amra: Power and the Feminine in Early
Islam, Heba Mostafa, University of Toronto
Intellectual Diversity and Acceptance of Thought in
Premodern India: The Case of Akbar’s Atelier, Sadia
Kamran, University of Punjab
Netherlandish Print Images of Muslims That Made Their
Way to New Spain: A Transcultural Tale, Carolyn Van
Wingerden
The Great al-Umari Mosque, Beirut: A Symbol of Urban
Renovation, May Farhat, Holy Spirit University
What do you show when there’s nothing to show?:
Social practice and the gallery
Clinton, 2nd Floor
Chairs: Nancy Nowacek; Allison Rowe
Discussant: Sanjit Sethi, Corcoran School of the Arts and
Design
Identifying Social Practices in Education–and the reverse,
Nisa Mackie
Built to Last: Constructing a Commons for the MCA,
January Arnall, Museum of Contemporary Art Chicago
■ EVENTS
▲ MEETINGS
SEE CAA 2019 APP FOR PROGRAM UPDATES
71
CAA COMMITTEE LOUNGES
Free and open to the public
Services to Artists Committee (SAC)
and the Student and Emerging
Professionals Committee (SEPC) offer
dedicated programming during the
CAA Annual Conference.
The Services to Artists Committee
(SAC) was formed by the CAA
Board of Directors to seek broader
participation by artists and designers
in the organization and at the Annual
Conference. SAC identifies and
addresses concerns facing artists and
designers; creates and implements
programs and events at the conference
and beyond; explores ways to
encourage greater participation and
leadership in CAA; and identifies ways
to establish closer ties with other
arts professionals and institutions.
To this end, committee members are
responsible for the programming of
ARTspace, Media Lounge, and its
related events including ARTexchange
and the Distinguished Artist Interviews.
72
SEE YOU IN CHICAGO FOR CAA 2020
ARTspace
ARTspace events, including the
Distinguished Artist Interviews,
take place in the Murray Hill Suite,
2nd floor of the New York Hilton
Midtown.
ARTexchange will take place in the
Grand Ballroom Foyer, 3rd Floor.
MEDIA LOUNGE
SEPC LOUNGE
Media Lounge is CAA’s main stage
of new media explorations where
students, academics, and artists come
together to build camaraderie. These
methods of working with conceptual
and technical content provides
fodder for a dynamic dialogue of how
artists place themselves in the larger
distinction of media, both analog and
digital.
The Student and Emerging
Professionals Committee (SEPC)
provides CAA with a crucial voice for
those in school, just out of school,
considering going back to school,
shifting gears, changing tracks,
or getting back into the game.
We help connect our constituents
to CAA’s network of resources,
provide professional development
programming at the annual
conference, and advocate for students
and emerging professionals within the
organization. Our lounge space is open
to attendees—come say hi and get to
know more about our programs and
priorities throughout CAA 2019.
Each year Media Lounge coordinates
a central theme to explore the
interrelationship of media across
a topic. Programming is located in
Gibson, 2nd Floor.
See pg. 76
Programming is located in the SEPC
Lounge, located in Petit Trianon,
3rd Floor.
See pg. 77
SEE CAA 2019 APP FOR PROGRAM UPDATES
73
ARTspace
THURSDAY, FEBRUARY 14
Murray Hill Suite, 2nd Floor
10:30 AM–12:00 PM
WEDNESDAY, FEBRUARY 13
2:00–3:30 PM
University Galleries: Strategies for Active Engagement
Chairs: Patricia Briggs, Jamestown Community College;
Steve Rossi, Parsons School of Design, State University of
New York at New Paltz
Panelists: Jeanne Brasile, Walsh Gallery, Seton Hall
University, Hollis Hammonds, St. Edward’s University;
Natalia Zubko, Parsons School of Design; Beau Kenyon,
Northeastern University College of Arts, Media, and Design
Free from market constraints university galleries are
uniquely situated to show innovative and experimental
work. This panel will bring together a mix of gallery
directors, artists, and educators to discuss successful
approaches for organizing campus exhibitions and
collaborations. Panelists will share projects, discuss
their strategies of engagement with the wider campus
community, and offer advice on approaching campus
galleries for exhibition opportunities.
4:00–5:30 PM
Alternative Models: Artist-run Galleries and Curatorial
Collectives
Chairs: Sarah Comfort, Artist, Critical Distance Centre for
Curators, Toronto; Steven Rossi, Parsons School of Design,
State University of New York at New Paltz
Panelists: Jacob Rhodes, Field Projects; Andrew Prayzner,
Tiger Strikes Asteroid; Evonne Davis, Gallery Aferro; Rachael
Gorchov, Tiger Strikes Asteroid; Rhianna Hurt, Brooklyn Art
Space & Trestle Gallery
Artists have been forming collectives to establish artistrun galleries as alternatives to institutional spaces and
commercially-driven art enterprises for decades. Whether
they’re non-profit spaces that receive government
funding or totally independent projects that engage
with commercial markets on their own terms, exhibition
projects organized by artist-collectives continue to
provide an important platform within the field of
contemporary practice. This panel will look at existing
artist-run galleries and curatorial collectives, and discuss
how and why they form, how they survive and how the
artist-run gallery continues to evolve.
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SEE YOU IN CHICAGO FOR CAA 2020
Discussions of Marketplace: Socially engaged and
political art practice in commercial galleries
Chairs: TeaYoun Kim-Kassor, Georgia College; Steven Rossi,
Parsons School of Design, State University of New York at New
Paltz
Panelists: Rachel Moore, Helen Day Art Center; William
Powhida, School of Visual Arts; Kristen Becker, Marianne
Boesky Gallery; Meleko Mokgosi, New York University
DIY artist run spaces, non-profit art centers, public
interventions, there are many exhibition contexts
available to artists that provide near total freedom, but
what about showing work in a commercial context? What
challenges are unique to artists working in this type
of venue? What sorts of compromises or opportunities
should an artist anticipate while showing politically and
socially engaged work in a commercial gallery context?
Join us for a discussion on these and many more
questions related to this contentious issue
2:00–3:30 PM
Balancing Actions: revisiting the myth of balance in
Artmaking for the parent-artist
Chair: Niku Kashef, California State University, Northridge
Woodbury University
An artist is never off the clock, art making and ideas don’t
happen on schedule. Balancing family time, studio time
and work time leaves little personal time—time to think,
time to be. For those balancing a teaching practice with
studio work, contingent faculty work, and other ways to
maintain some economic viability, much additional time
is taken away from a personal practice. Many artists
consider the decisions of starting a family in what sort
of art career they want. But these discussions are not
new. This panel asks the questions: Where are we now?
Are there sustainable practices for individual artistparents? Are there new support systems (or new ones we
can create)? How far has the needle moved? What has
changed with residencies, family and career planning,
education and resources? Where can we go from here?
Panelists and audience members will consider and
discuss truths and strategies that parent-artists face and
the actions that create some version of balance integral
to social, studio and family practice.
4:00–5:30 PM
Artists Everywhere: Alternative Avenues for Success
Chairs: Amelia Winger-Bearskin, Decoded (Americas); IDEA
New Rochelle; Alice Mizrachi, Independent Artist; Niku
Kashef, California State University, Northridge, Woodbury
University
This panel considers the alternative markets and career
paths for artists; bringing together artists, cultural
producers and organizations who don’t have their
primary practice in the studio or academia. We’ll discuss
the “hows” and “whys” for creating new avenues of
opportunity and definitions of success. Non-art-world
communities, pubic and social practice, activism,
collaborations and job markets for the artist.
FRIDAY, FEBRUARY 15
8:30–10:00 AM
Artistic Practice and Economic Sustainability
Chair: Alice Mizrachi, Independent Artist
In this interactive panel, we will brainstorm with artists
and cultural producers, talking about the questions of
how we create sustainable models for our practice that
are conducive to artists today and in the future; discuss
how we make money as artists and implement a method
that creates space for future artists to thrive and succeed;
and ways we can build structures that are more equitable
and inclusive. Panelists consider how we can implement
business practices for artists and new systems to place
and value of work for artists.
10:30 AM–12:00 PM
Art Happens: Longevity to Legacy
Chairs: Reni Gower, Virginia Commonwealth University;
Melissa Hilliard Potter, Columbia College Chicago
In an art world that values youth and immediate
gratification, how does a mature artist sustain a decadeslong career? Getting old is not for sissies and being in
it for the long haul takes stamina, grit and discipline.
Through four sequential conversations between Reni
Gower and Victor Ford; Melissa Potter and Juan Sanchez;
TeaYoun Kim-Kassor and Annet Couwenberg; Patricia
Briggs and David Rich, this session features artists (ages
60 – 83) who have remained active and productive for
over 40 years. Come meet these artists and hear their
amazing stories. Be motivated by their longevity and
inspired by their legacies.
VISIT COLLEGEART.ORG/CONFERENCE
2:00–3:30 PM
Ecology of the Studio: Art in the
Waste Stream
Chairs: Joan Giroux, Columbia College
Chicago; Cara Tomlinson, Lewis &
Clark College
Panelists: Billy Dufala, RAIR (Recycled
Artist in Residency) Aurora Robson;
Mary Mattingly, Pratt Institute and
Nomad/9 (University of Hartford,);
Marion Wilson, Independent Artist; John Sabraw, The Ohio
University.
What is the artist’s responsibility for the material,
historical, environmental and psychological costs of their
production? What does a sustainable practice look like
in terms of material and immaterial resources? This panel
examines how artists are addressing the waste stream
by intercepting, diverting and interrupting it through
critical practice. These artists and artist residency present
models of material-based practices that incorporate
waste materials and sustainable cradle to grave systems
of production.
3:30–5:30 PM
Distinguished Artist Interviews
Organized by CAA’s Services to Artists
Committee, the Distinguished Artist Interviews
feature esteemed artists who discuss their work
with a colleague.
Julie Mehretu interviewed by Julia Bryan-Wilson,
University of California, Berkeley.
Guadalupe Marravilla interviewed by author
Sheila Maldonedo.
This event is free and open to the public.
5:30–7:30 PM
ARTexchange
Grand Ballroom East Foyer
The Services to Artists Committee creates CAA’s popup exhibition from artist members submissions. The
annual social event provides an opportunity for artists
to share their work and build affinities with other artists,
historians, curators, and cultural producers. Cash bar.
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WEDNESDAY, FEBRUARY 13
THURSDAY, FEBRUARY 14
10:30 AM–1:00 PM
10:30 AM–12:00 PM
Open Source: Artist Roundtable Event
Organizers: Niku Kashef, California State University,
Northridge, Woodbury University; Sarah Comfort, Artist,
Critical Distance Centre for Curators, Toronto; Steven Rossi,
Parsons School of Design, State University of New York at
New Paltz
CAA Services for Artists Committee hosts “Open Source:
Artist Resource Roundtables.” This community-building
intimate roundtable session allows artists to meet
with local institutions, artist run centers, and skilled
professionals in business and professional development.
Discussions support individual artist needs for open
source skill-share, networking, and camaraderie.
MEDIA LOUNGE
Gibson, 2nd Floor
WEDNESDAY, FEBRUARY 13
2:00–3:30 PM
Data Détournement
Organizers: Derek Curry, Northeastern University
Jennifer Gradecki, Northeastern University
Panelists: Hasan Elahi, University of Maryland
Ben Grosser, University of Illinois at Urbana-Champaign
The unbridled datification of everyday life in
contemporary networked societies has created a situation
where people are increasingly being reduced to data
points. Artists and creative practitioners have developed
tactics to subvert or exert agency over this datification
process. This panel will feature artists working with data
in ways that both expose its limitations and open up
ontological, epistemological, and ethical questions. Like
early photographers, these artists demonstrate that data
is not always (if ever) an indexical trace, but is situated,
contingent and shaped by socio-technical agencements.
The work of these artists raises questions about the
limitations and qualities of representation through data
and presents creative tactics for evading and overloading
dataveillance technologies, appropriating data for
alternative ends, and the infiltration and manipulation of
existing data sets.
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SEE YOU IN CHICAGO FOR CAA 2020
Transitional Performances and Ephemeral Works
Chairs: Carissa Carmen, Indiana University Bloomington;
Niku Kashef, California State University, Northridge,
Woodbury University; Melissa Hillard Potter, Columbia
College Chicago
Panelists: Harley Spiller, Franklin Furnace
Chin Chih Yang, Independent Artist
Artists, cultural producers and institutions discuss the
‘hows’ of transitional performances and ephemeral works
in public spaces.
12:30–1:30 PM
Graduate Student Screenings
A curated selection of current MA/MFA graduate student
video and digital artworks.
2:00–03:30 PM
Digital Art and Activism
Moderator: Dorothy Santos, University of California,
Santa Cruz
Organizers: Morehshin Allahyari; Angela Washko,
Carnegie Mellon University
Responding to the structural conditions and byproducts
of technologically mediated life, artists Morehshin
Allahyari and Angela Washko will discuss their artistic
activism in digitally mediated environments. The two
artists will present their political and poetic work as well
as strategies to reflect on what activist practice might
look like in today’s media-saturated landscape. The
conversation will be moderated by writer, curator and
researcher Dorothy R. Santos.
4:00–5:30 PM
Artists and Rebellion
Chairs: Edgar Endress, George Mason University
Donald Russell, Provisions Library
This program brings together media artist works that
have been made as an action of political or intellectual
rebellion. And considers how political work has changed
the landscape of the studio practice, as well as what
challenges, censorship and limitations have been set on
the artist’s voice and space.
FRIDAY, FEBRUARY 15
10:30 AM–12:00 PM
Balancing Actions: Video and new genres revisiting
the myth of balance in Artmaking for the parent-artist
Chair: Myrel Chernick, Independent Artist and Writer;
Niku Kashef, California State University, Northridge
Woodbury University
An artist is never off the clock, art making and ideas
don’t happen on schedule. Balancing family time, studio
time and work time leaves little personal time—time to
think, time to be. In this MediaLounge program a curated
screening of artists’ time-based and new genre works
revisit the myths of having it all as an often-precarious
balance between art making, family-life and other
distractions. Works shown respond to and explore the
role of parent-artist.
12:30–1:30 PM
SEPC LOUNGE
Petite Trianon, 3rd floor
WEDNESDAY,
FEBRUARY 13
3:30-5:30 PM
Mock Interviews
Each year at CAA, Students and Emerging Professionals
Committee (SEPC) offers 20-minute mock interviews for
students and emerging professionals. Participants practice
one-on-one with a seasoned interviewer and receive candid
feedback. By pre-conference registration only. Free of charge.
THURSDAY, FEBRUARY 14
Graduate Student Screenings
A curated selection of current MA/MFA graduate student
video and digital artworks.
8:00–9:30 AM
2:00–3:30 PM
Conference Crash Course
New CAA member? First time here? What does SEPC do,
anyway? Get tips on navigating the conference and learn
more about how CAA and SPEC can help you year-round.
Good Artists Torrent, Great Artists Fork
Organizers: Nick Bontrager, Texas Christian University
Taylor Hokanson, Columbia College Chicago
Associate Professors Nick Bontrager (TCU) and Taylor
Hokanson will lead a pair of hands-on coding/soldering
workshops at NMC/CAA 2019. At the first event,
participants will assemble their own mini circuit board and
interface it with an open source, wifi-enabled conference
badge. At the second workshop, Bontrager and Hokanson
will demonstrate how to alter the code that runs on the
badges, allowing participants to craft custom interactive
behaviors and games. Finally, we’ll take these badges out
to a bar and see what they can do! Participation limited to
20. Participants should a laptop (helpful but not required),
and can pay $30 if they want to keep a ‘badge’.
Welcome breakfast
9:30–10:30 AM
11:00 AM-12:00PM
Workshop: Writing Your Dissertation
Troubleshooting a crucial part of your intellectual
development that you’ve never done before and won’t do
again.
12:30-1:30 PM
Roundtable: Job Search Horror Stories & Pointers
How bad can it be? Part catharsis and part guidance, we’ll
discuss the myriad indignities of job hunting and share tips
on how to reduce angst about the process.
2:00-3:00 PM
Workshop: Cover Letter Bootcamp
Bring a job description and a laptop, leave with a first draft.
3:30-5:30 PM
Mock Interviews
By pre-conference registration only.
SEE CAA 2019 APP FOR PROGRAM UPDATES
77
THURSDAY, FEBRUARY 14
4:00–5:30 PM
Concourse G
Wicked Problems in Visual Arts Education
CAA’s Education Committee invites members to take part
in a face-to-face forum where educators, students, and
emerging professionals can discuss “wicked problems” in
visual arts and humanities education. This session aims to
foster creative thinking and collaboration among diverse
participants invested in addressing pressing concerns in
the field. Group discussions will be facilitated by members
of the Education and Student and Emerging Professionals
committees. Additionally, a Wicked Problems website will
archive ideas, allow for ongoing exchange, and provide
access to those unable to attend the session in person.
wickedproblems2019.caa.hcommons.org/
FRIDAY, FEBRUARY 15
8:30-9:30 AM
Roundtable: What Next? Navigating the Best Path to a
Rewarding Career
With a daunting job market and a rise in quit lit, decisions
about the future can be anxiety-inducing: Pursue an
advanced degree, or find immediate employment? Will
graduate school limit career options, or build transferable
skills? What are some resources to support informed
decisions? Experienced voices provide their perspectives and
field your questions.
9:30–11:30 AM
Mock interviews
By pre-conference registration only.
11:30 AM–12:30 PM
Roundtable: Neoliberal Ecosystems in the Arts
Students and emerging historians and artists face the
dilemma of exposure and experience for their unpaid
creative or intellectual labor. Participants are invited to join
the conversation on how to navigate the pitfalls of academic
capitalism while defining an individual voice.
12:30-1:30 PM
Workshop: Digital Tools for Arts Professionals
Digital and web-based platforms are abundant, but which of
these tools are worth the time and money?
2:00–4:00 PM
Mock interviews
By pre-conference registration only.
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SEE YOU IN CHICAGO FOR CAA 2020
4:30–5:30 PM
Roundtable: Alternative Careers in the Visual Arts
Not everyone is on the tenure track or working at a museum.
Arts professionals from many backgrounds discuss their
paths.
SATURDAY, FEBRUARY 16
9:00–10:00 AM
Workshop: What No One Tells You About Publishing
Writing is the easy part. Who pays for what? How do you
clear permissions? Why does no one tell you this stuff?
10:30 AM–12:00PM
Negotiating change in arts professions: Emerging and
established voices
Sutton South
This year, SEPC’s session features a dialogue between
a distinguished scholar and a younger arts professional,
moderated by the members of the committee.
VISIT COLLEGEART.ORG/CONFERENCE
79
CULTURAL AND ACADEMIC
NETWORK HALL
Free and open to the public
The Network Hall is the place to
participate in a workshop, meet
prospective employers, and see
exhibits from institutional members
and other cultural organizations.
It’s also the place for professional
development advice and mentoring,
having conversations, and sharing
ideas.
This year, we’ve increased the number
of workshops in the Network Hall, with
the generous support the Emily Hall
Tremaine Foundation. Workshops are
free and open to the public, with prior
registration.
See the index of Cultural and Academic
Network Hall exhibitors for a full list of
participating exhibitors.
DATES:
Thursday, February 14–Saturday,
February 16
HOURS:
Thursday–Friday: 9:00 AM–6:00 PM,
Saturday: 9:00 AM–2:30 PM
LOCATION:
Americas Hall II
New York Hilton Midtown
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SEE YOU IN CHICAGO FOR CAA 2020
IDEA EXCHANGE
Idea Exchange is an opportunity to
host informal roundtable discussions
on topics ranging from fellowship
applications and gallery representation
to student engagement in the
classroom and preserving women
artists’ legacies.
Discussions are led by an individual
knowledgeable in their respective
field. A complete list of the topics
for the Idea Exchange will be posted
on the app, the conference website,
and at the Network Hall. Check out
the schedule to find a topic that is of
interest to you!
Idea Exchange will be held in the
Cultural and Academic Network Hall
as follows:
DATES AND TIMES:
Thursday, February 14: 10:30 AM;
12:30 PM; 2:00 PM; 4:00 PM
Friday, February 15: 10:30 AM;
12:30 PM; 2:00 PM; 4:00 PM
Saturday, February 16: 10:30 AM; 12:30 PM
CANDIDATE CENTER
AND INTERVIEW
BOOTHS
Interview booths are located in the Network Hall. These
spaces will give candidates the opportunity to meet
prospective employers in a private and professional
setting. CAA’s standards and guidelines for candidates and
interviews are available at collegeart.org. CAA supports the
highest standards in professional practices and does not
condone or support employment interviews occurring in
hotel guest rooms. If a candidate is asked to interview in a
hotel guest room, they should feel free to tell the prospective
employer that booths are available. If a candidate does not
feel comfortable telling a prospective employer about this
opportunity, they should simply inform a CAA employee who
will make sure that a confidential request has been made
that the interview be held in one of the interview booths.
To book one of the interview booths, simply speak to
someone at the CAA desk in the Network Hall.
The Network Hall will also feature the Candidate Center,
where candidates will have computer access to the Online
Career Center to review job listings, post a résumé, apply
for positions, request interviews, print résumés, and
receive interview-related messages during the conference.
Check emails often, as messages are sent regularly from
employers. Access to computers is on a first-come, firstserved basis.
WORKSHOPS
Americas Hall II, 3rd floor
WEDNESDAY,
FEBRUARY 13
2:00–3:00 PM
Decolonial Strategies for the Art History Classroom
Workshop Room 1
Leaders: Amber Hickey, University of California, Santa Cruz;
Anastasia Tuazon, Stony Brook University
We come together in this open workshop format to discuss
how we are working towards decolonizing our art history
classrooms. Participants may come simply to listen and
ask questions, or ready to share their own decolonial
pedagogical practices.
How to draw a Cup: Step one: draw a cup—Inside
Out and Back—Learning Personal Creativity Through
Visual Literacy
Workshop Room 2
Leader: David Loncle
Workshop addressing the challenge of developing the
individual creativity of students. This workshop is a
simulated introductory drawing class designed to enhance
creativity, engagement, visual literacy and personal visual
awareness. Appropriate for educators at any career level.
David Jacobsen Loncle has 8 years of experience teaching
undergraduate studio art, painting and drawing.
CAREER RESOURCES
Artists’ Portfolio Review and Career Development Mentoring
appointments offer artists, art historians, art educators,
and museum professionals at all stages of their careers the
opportunity to engage in one-on-one consultations with
veterans in their field. Sessions are made by appointment
only and in advance of the conference. Limited slots may be
available. See the CAA desk in the Network Hall for more
information.
SEE CAA 2019 APP FOR PROGRAM UPDATES
Many thanks to the Emily Hall Tremaine Foundation
for the generous support of our workshops.
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WEDNESDAY, FEBRUARY 13
3:30–4:30 PM
Is There A Place For Color Theory In Today’s Art
Classroom? Color Theory—Color Mixing
Workshop Room 2
Leader: Dee Solin
Where Does Color Theory Belong In todays Classroom? Dee
Solin, an MFA graduate from The School of Visual Arts in
New York City, will lead a hands on painting workshop in
CMYK Color Mixing, with a discussion about Color Theory,
Color Wheels, Color Mixing Guides, Johannes Itten’s “Color
Contrasts” and Josef Albers “Interaction of Color”as it relates
to today’s interdisciplinary artists.
The Future is Latinx: Advantages of Hiring Specialists
of U.S. Latinx Art & Art History
Workshop Room 1
Leader: Rose Salseda, Stanford University
This workshop will address the cross-field, interdisciplinary
nature of U.S. Latinx art, explicating why institutions hiring
specialists will both offer a more complete understanding
of American and global art and demonstrate their ethical
commitment to addressing shifts in US demographics. Topics
include: terminology (-a/o/x, Hispanic, Latin, etc.); statistics;
best practices.
THURSDAY, FEBRUARY 14
9:30–10:30 AM
Admin Presents: Institutions
Workshop Room 2
Leader: David Borgonjon
This intensive workshop is intended to equip artists
with skills and ideas for founding, running, and closing
institutions. Participants will be encouraged to prototype a
fantastical organization—one that they would like to see—
from scratch and close it, as an exercise in the institutional
imagination.
Starting Your Career: How to Use Networking to Build
and Sustain a Life in the Arts
Workshop Room 1
Leaders: Angie Wojak, School of Visual Arts; Stacy Miller,
Parsons the New School for Design
Angie Wojak, Director of Career Development at SVA, and
Stacy Miller, Faculty at Parsons School of Design, and coauthors of Starting Your Career as an Artist, will lead this
interactive workshop on how to activate your network and
connect with opportunities.
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SEE YOU IN CHICAGO FOR CAA 2020
11:00 AM–12:00 PM
Artists As Publishers
Workshop Room 1
Leader: James McElhinney, Needlewatcher LLC
Following the success of his limited-edition Hudson
Highlands Suite (Needlewatcher Editions. 2017), visual artist,
author, publisher and 2017 Pollock-Krasner Grant recipient
James Lancel McElhinney unpacks a playbook for artistpublishers that includes forming business-entities, creating
business-plans, locating backers and funding, contentdevelopment, editions production, product registration,
marketing, and distribution.
Whiteness and Art Education: Developing a Reflective
Practice
Workshop Room 2
Leader: Hannah Heller
This workshop focuses on developing a reflective teaching
practice, looking at manifestations of whiteness in art
education. Participants will learn about different definitions
of whiteness and what its impacts are for education, and
engage with different critically reflective techniques to
evaluate various impacts of their racial identity in practice.
12:30–1:30 PM
Drawing Into Painting Via Projection
Workshop Room 2
Leader: Charles Browning
Using overlay projections of paintings on the live figure
to abstract the subject and address the entirety of the
composition, this workshop will explore the intimate
relationship of drawing and painting. The immediacy and
gesture of the drawn line and mark become the basis for
translation and transformation in paint.
2:00–3:00 PM
Cultivating an Equitable Classroom Environment
Workshop Room 1
Leader: Carrie Neal, Parsons School of Design
Come for a facilitated conversation about strategies for
building syllabi and projects that center student learning
in an engaged and equitable way. Faculty will leave
with guiding questions for shaping their own syllabi and
projects, information on social emotional capacities, sample
community operational agreements, and a sample inclusion
statement.
Professional Strategies for Meeting the Demands of
Tenure-Track and Term Appoinments in Studio
Workshop Room 2
Leader: Michael Aurbach, Vanderbilt University
The demands of a new teaching position can be
overwhelming in the first few years. This session is designed
to help junior faculty find a balance between research and
teaching while making meaningful progress toward retention
and tenure. Some basic strategies to employ during the
probationary periods will be discussed.
3:30–4:30 PM
Art as a Social Vehicle for Cultural Diffusion
Workshop Room 2
Leader: Tim Roda
Cultural diffusion is a mixing of culture due to migration.
Cultural diffusion is central in my art, which draws upon my
Italian-American culture and travels between mediums. In
this workshop, participants will learn about and investigate
how Art can be a social vehicle for cultural diffusion in the
classroom.
How to Work with an Editor
Workshop Room 1
Leader: Seph Rodney, Hyperallergic
This workshop will look to inform writers, artists, and
thinkers who would like to contribute to a respected arts
publication how to make successful pitches, deal with
different types of editors and editing, and establish and
maintain good working relationships. The workshop will be
facilitated by an editor at Hyperallergic.
FRIDAY, FEBRUARY 15
9:30–10:30 AM
Parametric Modeling with Rhino and Grasshopper
Workshop Room 2
Leader: Aaron Nelson
This workshop will be an introduction to building algorithms
using the Grasshopper visual scripting language within Rhino
3D. Parametric modeling has a variety of applications in art
and design including Generative Art, Structural Engineering,
Architectural Design, and Advanced Fabrication. Participants
should have a laptop with Rhino 6 installed (trial OK).
Self-Promotion Leave-Behinds and Mailers—Don’t get
left behind
Workshop Room 1
Leader: Elaine Cardella-Tedesco
A workshop and discussion on self-promotional leavebehinds and mailers. What works, what doesn’t? Let’s explore
containers, fold-outs, die-cuts, and clever constructions.
View self-promotion objects from working illustrators,
VISIT COLLEGEART.ORG/CONFERENCE
including: postcards, zines, tee-shirts,
bookmarks, pencils, etc. Think outside
the box—make the box!
11:00 AM–12:00 PM
Condition Reporting for Artists
Workshop Room 2
Leader: Ingrid Neuman, Rhode Island
School of Design Museum
Condition Reporting is one of the quintessential tools that
can serve as a baseline for the work that an artist creates.
Come learn about how to document your work so that you
can create a detailed and accurate reference which will serve
as a useful record when you submit your work for exhibition.
Pedagogy Workshop: Five Activities in Collaboration
and Contemplation to Add to Your Classroom
Workshop Room 1
Leader: BFAMFAPhD, collective
Participants will learn four short activities in contemplation
and collaboration: attunements, individual agreements,
group agreements and asset mapping. After a short
demonstration of the activities, participants will form small
groups to focus on one activity and will support one another
in determining how to adapt it to their context.
12:30–1:30 PM
Exploring Opacity and Transparency in Color Theory
Workshop Room 2
Leader: Patricia Chow, Claremont Graduate University
In this hands-on workshop, we will experiment with
watercolor, gouache and acrylic paint to understand how
opacity and transparency affect color mixing. We will discuss
modern color theory based on the light spectrum as well
as traditional color systems used by European masters and
traditions from East Asia.
Grant writing + Project Funding for Artists and Arts
Organizations
Workshop Room 1
Leader: Jenn Dierdorf, A.I.R. Gallery
Project funding workshop for individual artists or arts
organizations. Workshop will cover finding appropriate
funding sources (not limited to grants), tailoring projects
to be fundable, formulating clear, concise written grant
proposals and building constructive relationships in your
artistic community. Please being any current or former
proposals to work on.
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FRIDAY, FEBRUARY 15
SATURDAY, FEBRUARY 16
2:00–3:00 PM
9:30–10:30 AM
Content Advisories: Productive Discomfort in the
Contemporary Classroom
Workshop Room 1
Leaders: Hope Childers, Alfred University; Bethany
Johnson, Alfred University
This workshop demonstrates a new approach to dealing
with discomfort in an academic setting. Students of art
and art history necessarily examine difficult, provocative,
even distressing material in the college classroom. Our
Content Advisories Module includes six adaptable discussion
exercises, enabling faculty and students to navigate positiontaking, empathy-building, and communication.
First Impressions on the Job Market: The CV and Cover
Letter as Application Documents for Faculty Positions
in Art History and Studio Art
Workshop Room 1
Leader: Anthony Mangieri, Salve Regina University
The CV and cover letter are the first contact that a job
candidate has with a search committee when applying
for a faculty position. This workshop will help you to craft
compelling CVs and cover letters that will get you an
interview and will empower you as a job seeker.
Women into University Work: prep for the job
interview.
Workshop Room 2
Leader: Hilary Robinson, Loughborough University
This workshop welcomes an intersectional, inclusive group.
Recognising that women face particular issues in gaining
academic employment at all levels, this workshop will help
you prepare for your job interview by anticipating questions,
developing answers, and thinking about your performance.
Incorporating Non-Native English Speakers in Art
Classes
Workshop Room 2
Leader: Nichole Van Beek
Language barriers and cultural differences can make
learning more challenging for non-native English speakers.
In this workshop, we will discuss specific difficulties teachers
and students face, and outline strategies for bridging
communication gaps and incorporating the awareness of
differences in language and culture into studio art classes.
3:30–4:30 PM
11:00 AM–12:00 PM
Teaching to Audience: Adapting Lesson Plans to
Diverse Communities
Workshop Room 2
Leader: Suzy Kopf
As an adjunct teaching at a community college, a prominent
art school and a world renown university, I think about my
audiences constantly and how to best teach to their various
interests and goals. This workshop will focus on reframing
lessons to appeal and land with diverse groups of people.
Have, Want, Need: toward a Collective Approach to
Education
Workshop Room 2
Leader: Natalia Nakazawa
This workshop is designed for educators and social practice
artists interested in social imagination: the awareness of
the relationship between personal experience and society.
Through articles by educational theorists and thinkers,
personal storytelling, and hands-on zine making, we will
examine approaches to teaching that expand the narratives
about what is possible.
Getting Unstuck and Getting Published: The Minimum
VIable Product Approach to Writing
Workshop Room 1
Leader: Amy Whitaker, New York University
Taking a “minimum viable product” approach to writing will
help you move through drafts, submit and publish, and test
ideas for different audiences. This workshop provides both
practical industry knowledge and a creative-process writing
framework, from an author of three books and multiple
articles across peer-reviewed and non-academic outlets.
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SEE YOU IN CHICAGO FOR CAA 2020
Cash Flow Planning for Creative Professionals
Workshop Room 1
Leader: Aric Mayer, Cake Machine
Every artist and creative professional is the CEO of their
own enterprise, with diverse income sources and expenses.
Participants will learn how to adapt, implement and teach
an MBA level cash flow budgeting framework used by
corporations to support multidimensional creative careers
and project planning.
12:30–1:30 PM
Techniques of Early American Historic Decoration
Demonstration: Reverse Glass Painting & Women’s
Hand Painted Furniture
Workshop Room 2
Leader: Mary Roth, The City College, City University of New
York
Reverse glass painting involves creating a mirror image
of a picture on glass. The foreground is painted first, the
background last, so that the image can be viewed correctly
on the opposite side. The basics of women’s hand painted
furniture, an early American School Girl Art form, will be
demonstrated.
Writing Successful Grant Applications
Workshop Room 1
Leader: Jacquelyn Gleisner, University of New Haven
This informative workshop will walk through the research
and writing process for grants across creative disciplines. A
list of resources and grant opportunities will be provided and
the entire process will be reviewed in depth—from the initial
selection and research to the writing and acceptance of the
application.
SEE CAA 2019 APP FOR PROGRAM UPDATES
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NEW YORK HILTON MIDTOWN, AMERICAS HALL II
CULTURAL AND ACADEMIC NETWORK HALL
WORKSHOP 1
WORKSHOP 2
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SEE YOU IN CHICAGO FOR CAA 2020
CULTURAL AND ACADEMIC NETWORK HALL
EXHIBITORS LIST
Art Students League of New York
Artists Thrive
Boston University School of Visual Arts
California College of the Arts
Christie’s Education
Cranbrook Academy of Art
Drexel University’s Westphal College of Media Arts and Design
Foundation for Individual Rights in Education
The Frick Collection, Frick Art Reference Library
Fulbright Program
Georgia Museum of Art at the University of Georgia
Hofstra University School of Health Professions and Human Services
Lehigh University, Department of Art, Architecture and Design
New York Foundation for the Arts
New York School of Interior Design
New York Studio School
NY Arts Program
Pratt Institute
Richmond University, the American International University in London
School of Art, Architecture + Design, Indiana University
School of Visual Arts
Siracusa Fine Arts & Design Academy—MADE Program (Siracusa, Italy)
SUNY Cortland Art + Art History Department
SVA MA Curatorial Practice and Visual Art and Critical Studies
Tyler School of Art, Temple University
University of Indianapolis MA in Social Practice Art
Vermont College of Fine Arts
Yale Norfolk School of Art
Zayed University
VISIT COLLEGEART.ORG/CONFERENCE
13
40
6
16
8
44
2
11
4
9
17
43
38
7
37
34
10
39
15
42
5
3
33
35
12
36
14
41
32
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MEETINGS
CAA PROFESSIONAL
COMMITTEE AND
EDITORIAL BOARD
MEETINGS
These meetings are followed by a joint
lunch as a way to promote greater
communication between committee
members.
Please check the schedule for the
following CAA meetings which meet at
other times: Publications Committee,
Nominating Committee, Annual
Conference Committee, Publications
Editorial Boards, and Council of Field
Editors.
Unless otherwise noted, the following
meetings are open to CAA committee,
editorial board members only and take
place at the New York Hilton Midtown.
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SEE YOU IN CHICAGO FOR CAA 2020
AFFILIATED SOCIETY
BUSINESS MEETING
CAA’s Affiliated Societies conduct
business meetings at the Annual
Conference. Although free and open
to the public, these meetings are
designed for members of the Affiliated
Society and their invited guests. Each
Affiliated Society reserves the right
to use their meeting time as they see
fit and/or require membership in their
particular organization for participation
in the meeting.
CAA PROFESSIONAL
COMMITTEE AND
EDITORIAL BOARD
MEETINGS
7:30–9:00 AM
WEDNESDAY, FEBRUARY 13
CAA Affiliated Society
Sutton center, 2nd Floor
Open to all
8:00–10:00 AM
FRIDAY, FEBRUARY 15
Committee on Design
East, 4th Floor
Education Committee
New York, 4th Floor
International Committee
Hudson, 4th Floor
Professional Practices Committee
Holland, 4th Floor
Services to Artists Committee
Harlem, 4th Floor
10:00 AM–12:00 PM
THURSDAY, FEBRUARY 14
The Art Bulletin Editorial Board
Green, 4th Floor
12:30–1:30 PM
8:30–10:00 AM
caa.reviews Editorial Board
Hudson, 4th Floor
10:30–11:30 AM
Nominating Committee
Holland, 4th Floor
12:30–1:30 PM
Annual Conference Committee
Holland, 4th Floor
Committee on Diversity Practices
Holland, 4th Floor
Committee on Intellectual Property
East, 4th Floor
Committee on Women in the Arts
Hudson, 4th Floor
Museum Committee
New York, 4th Floor
Students and Emerging Professionals Committee
Harlem, 4th Floor
2:00–3:30 PM
12:00–2:00 PM
8:00–10:00 AM
12:00–2:30 PM
12:30–1:30 PM
CAA Professional Committee Luncheon
Check app for location
Art Journal Editorial Board
Green, 4th Floor
2:00–3:00 PM
Professional Committee “All Chairs”
Green, 4th Floor
SEE CAA 2019 APP FOR PROGRAM UPDATES
CAA Annual Business Meeting Part II
Hudson, 4th Floor
Open to all
4:00–5:30 PM
Council of Field Editors
Hudson, 4th Floor
SATURDAY, FEBRUARY 16
CAA Publications Committee
East, 4th floor
Resources for Academic Art Museum Professionals
(RAAMP) Meeting
Sutton North, 2nd Floor
Open to all
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AFFILIATED SOCIETY
BUSINESS MEETINGS
12:30–1:30 PM
WEDNESDAY, FEBRUARY 13
Association of Historians of 19th-Century Art
Madison, 2nd Floor
12:30–1:30 PM
THURSDAY, FEBRUARY 14
Alliance for the Arts in Research Universities
Nassau West, 2nd Floor
Arts Council of the African Studies Association
Madison, 2nd Floor
CAA Affiliated Society Meeting
Sutton Center, 2nd Floor
Association for Textual Scholarship in Art History
Beekman, 2nd Floor
Catalogue Raisonné Scholars Association
Gramercy East, 2nd Floor
New Media Caucus
Sutton North, 2nd Floor
Community College Professors of Art and Art History
Clinton, 2nd Floor
Diasporic Asian Art Network
Harlem, 4th Floor
Historians of Islamic Art Association
Bryant, 2nd Floor
Public Art Dialogue
Concourse A, Concourse
The Feminist Art Project
Lincoln, 4th Floor
12:30–2:00 PM
Association for Latin American Art
New York, 4th Floor
4:00–5:30 PM
Association of Research Institutes in Art History
New York, 4th Floor
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SEE YOU IN CHICAGO FOR CAA 2020
FRIDAY, FEBRUARY 15
SATURDAY, FEBRUARY 16
12:30–1:30 PM
12:30–1:30 PM
Association of Historians of American Art
Sutton Center, 2nd Floor
Design Incubation
Beekman, 2nd Floor
European Postwar and Contemporary Art Forum
Hudson, 4th Floor
Japan Art History Forum
Rendezvous Trianon, 3rd Floor
Historians of British Art
Gramercy East, 2nd Floor
National Committee for History of Art
Gramercy West, 2nd Floor
Historians of German, Scandinavian, and Central
European Art and Architecture
Harlem, 4th Floor
SECAC
Bryant Suite, 2nd Floor
American Council for Southern Asian Art
Nassau West, 2nd Floor
American Society for Hispanic Art Historical Studies
Clinton, 2nd Floor
International Art Market Studies
Nassau East, 2nd Floor
Italian Art Society
Bryant Suite, 2nd Floor
Queer Caucus for Art
Regent, 2nd Floor
Society of Contemporary Art Historians
Green, 4th Floor
Society of Historians of East European, Eurasian, and
Russian Art and Architecture
Madison Suite, 2nd Floor
US Latinx Art Forum
Clinton, 2nd Floor
Visual Resources Association (VRA)
Morgan, 2nd Floor
Women’s Caucus for Art
Beekman, 2nd Floor
VISIT COLLEGEART.ORG/CONFERENCE
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EVENTS
OFFSITE EVENTS
REUNIONS AND RECEPTIONS
Many organizations have graciously
organized events for CAA conference
attendees. Enjoy the opportunity
to connect with art professionals at
museums, cultural institutions, and
receptions in a variety of venues.
Unless labeled otherwise, all receptions
are at the New York Hilton Midtown.
Many events require RSVP. Please
check listing. For the most updated
information, please visit the
conference's website or download the
CAA 2019 app.
Find your institution’s event, reconnect
and network with colleagues and
classmates on p. 97.
MUSEUMS AND CULTURAL
LISTINGS
See p. 99 for a list of institutions
offering free or discounted admission.
CAA STAFF PICKS
See p. 102 for CAA staff ideas about
where to go in NYC!
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♦ WORKSHOPS
SEE
YOU IN CHICAGO FOR CAA 2020
■ EVENTS
▲ MEETINGS
OFFSITE
TUESDAY, FEBRUARY 12
9:30 AM–4:00 PM
The Artist as Entrepreneur
New York Foundation for the Arts (NYFA), 20 Jay Street,
Suite 740, Brooklyn, NY 11201
CAA has partnered with NYFA to deliver NYFA’s renowned
program “Artist as Entrepreneur,” the day before the
CAA Annual Conference begins. The program has been
customized to fit the needs of CAA artist members as well
as New York-based artists.
WEDNESDAY, FEBRUARY 13
10:00–11:00 AM
Sotheby’s Auction House Tour
Sotheby’s Auction House, 1334 York Ave, New York, NY 10021
A private tour sponsored by Sotheby’s Institute of Art.
Come tour the Auction House and get a behind the
scenes look at how they bring some of the world’s most
famous art works to the public. Sotheby’s Institute of Art
faculty will also be on hand to answer questions.
RSVP: Susan Roth, [email protected].
Limit 30 people.
12:00–2:30 PM
Chelsea Gallery Walking Tour
New York Hilton Midtown, meet in main lobby
Join expert art gallery guide Merrily Kerr on a trip to
Chelsea to see six of the season’s most important shows
by artists working in a variety of disciplines. Tours will
take place regardless of weather. We will travel together
by public transportation, round-trip travel will cost $6.00
(single ride); please purchase your MetroCard in advance.
Contact [email protected] with questions.
Price: $36. Limit 30 people per tour. Advance registration
is required through CAA’s event page, available tickets
may be purchased in conference registration area.
and learning. Presenters include: Wanda M. Corn, Robert
and Ruth Halperin Professor Emerita of Art History,
Stanford University; Judith Shea, sculptor; Kazumi Tanaka,
artist; and Bonnie Yochelson, independent scholar. HAHS
is grateful to the Dedalus Foundation for hosting this
event. For more information on HAHS: www.artistshomes.
org. This event is free with reception to follow.
RSVP: Valerie Balint; [email protected].
5:30–7:00 PM
Columbia University, Department of Art History and
Archaeology—Reception
Columbia University, West 116th and Broadway,
Department of Art History and Archaeology.
Judith Lee Stronach Center, Room 825 Schermerhorn
Hall, New York, NY 10027
6:30–8:00 PM
The Burke Prize: Craft as Resistance; Craft as Protest
Critical Craft Forum
Museum of Arts and Design, 2 Columbus Circle, New York, NY
10019
Drawing on themes explored by artists on view in the
inaugural Burke Prize exhibition, this program highlights
practices that are conscious of and engage with
community, and underscores diverse ways that craft
can be a tool of protest, sociopolitical commentary, and
ultimately, change.
Price: $15, or free with CAA registration badge
RSVP: madmuseum.org
8:00–10:00 PM
Hauser and Wirth Publishers Party
Hauser & Wirth, 548 West 22nd St, New York, NY 10011
Attendees will have access to the exhibitions on view
in the galleries. Food and drink will be available in the
Bookshop and Roth Bar. Books will be available for sale
during the event.
Advance registration is required through CAA’s event
page, available tickets may be purchased in conference
registration area.
4:00–6:00PM
The Studio as Muse: How Artists’ Homes and
Workplaces Stimulate Scholarship and Creativity
Dedalus Foundation, 25 East 21st St, New York, NY 10010
Everyone is welcome to this panel discussion and
reception sponsored by Historic Artists Homes and
Studios (HAHS). This event will introduce attendees to the
diversity of work HAHS properties perform. The panelists
will explore the ways artists’ workplaces have stimulated
their scholarship and creativity, and how the specificity of
place, vistas, and material goods provokes fresh insights
SEE CAA 2019 APP FOR PROGRAM UPDATES
93
THURSDAY, FEBRUARY 14
10:00–11:00 AM
Tour of Epic Abstraction: Pollock to Herrera
The Metropolitan Museum of Art, 1000 5th Ave., New York, NY
10028
Join curator Randall Griffey at The Met Fifth Avenue for a
tour of Epic Abstraction: Pollock to Herrera, an exhibition
exploring large-scale abstract painting, sculpture, and
assemblage through more than 50 works from the 1940s
into the 21st century. Many of the artists represented in
the exhibition worked in large formats not only to explore
aesthetic elements of line, color, shape, and texture but
also to activate scale's metaphoric potential to evoke
expansive—“epic”—ideas and subjects, including time,
history, nature, the body, and existential concerns of the
self in the postwar period.
Limited to 25. RSVP: [email protected]
10:00 AM–12:00 PM
Tour of The Extended Moment: Photography from the
National Gallery of Canada
The Morgan Library & Museum, 225 Madison Ave.,
New York, NY 10016
Free guided tour of exhibition The Extended Moment:
Photography from the National Gallery of Canada with
Joel Smith, Richard L. Menschel Curator and Department
Head of Photography.
RSVP: [email protected] by February 12.
Limit 50 people.
11:00 AM–12:00 PM
Sotheby’s Auction House Tour
Sotheby’s Auction House, 1334 York Ave., New York, NY 10021
A private tour sponsored by Sotheby’s Institute of Art.
Come tour the Auction House and get a behind the
scenes look at how they bring some of the world’s most
famous art works to the public. Sotheby’s Institute of Art
faculty will also be on hand to answer questions.
RSVP: Susan Roth, [email protected]
Limit 30 people.
12:30–2:30 PM
BANNED: Challenges to International Engagement in
the Visual Arts in the Age of Trump
The Museum of Modern Art, 11 West 53rd St., New York, NY,
10019.
This event, moderated by Mariët Westermann, The
Andrew W. Mellon Foundation, and Frederick Asher,
University of Minnesota, explores the impact of the
current ban on travel to the United States by artists,
scholars, and works of art from North Korea, Syria, Iran,
Yemen, Libya, Somalia, and Venezuela. Speakers from
several of these countries will participate via Skype and
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SEE YOU IN CHICAGO FOR CAA 2020
pre-recorded presentations. Scholars and artists in the
room will respond and discuss ways to sustain a global
arts community in the midst of political obstruction.
Free and open to conference attendees.
12:00–2:30 PM
Chelsea Gallery Walking Tour
New York Hilton Midtown, meet in main lobby
Join expert art gallery guide Merrily Kerr on a trip to
Chelsea to see six of the season’s most important shows
by artists working in a variety of disciplines. Tours will
take place regardless of weather. We will travel together
by public transportation, round-trip travel will cost $6.00
(single ride); please purchase your MetroCard in advance.
Contact [email protected] with questions.
Price: $36. Limit 30 people per tour. Advance registration
is required through CAA’s event page, available tickets
may be purchased in conference registration area.
2:00–3:00 PM
Behind the Locked Doors: Tour of Leslie-Lohman
Museum of Gay and Lesbian Art
Leslie-Lohman Museum of Gay and Lesbian Art,
26 Wooster Street, New York, NY 10013
Discover the world’s only queer art museum with a special
tour through its collection’s department. The museum
registrar will provide a one-hour tour of the department
that includes the library, artist files, and selected objects.
Some of the artwork is sexually explicit in nature. Space is
limited to 25 participants.
Advance registration is required through CAA’s event
page. Available tickets may be purchased in conference
registration area.
2:00–3:30 PM
Art Students League Tours and Reception
The Art Students League of New York, 215 West 57th St.,
New York, NY 10019
The Art Students League was founded in 1875 by artists,
for artists. Today, thousands of students study drawing,
painting, sculpture, printmaking and mixed media. This
tour of our 125-year-old Landmark building (a six-minute
walk from the Hilton) features student and instructor
exhibitions, and a look at the League’s iconic studios.
RSVP: theartstudentsleague.org/event/caa-tour
4:30–6:00 PM
Bruce Nauman: Spatial Encounters Book Release
Sperone Westwater, 257 Bowery, New York, NY 10002
Join authors Constance Lewallen and Dore Bowen for the
release of Bruce Nauman: Spatial Encounters (University
of California Press), the first book devoted solely to Bruce
Nauman’s corridors and other architectural installations.
6:00–7:30 PM
FIT and CAA co-host: The University Gallery in the 21st
Century
School of Art and Design, Fashion Institute of Technology,
227 West 27th St., New York, NY 10001
Join Hunter O’Hanian, CAA executive director and chief
executive officer, and Troy Richards, dean of the school
of art and design, for a conversation in FIT’s new gallery
about disrupting the traditional exhibition model, doing
something different right here and now.
Reception to follow. Advance registration is required
through CAA’s event page, available tickets may be
purchased in conference registration area.
10:00 AM–12:00 PM
FRIDAY, FEBRUARY 15
Visit to the Study Room of the Print Collection,
New York Public Library
The New York Public Library, Schwarzman Building, Room 308,
476 5th Ave., New York, NY 10018
The Print Collection of The New York Public Library invites
conference attendees to visit its study room to view
selections from its collection of over 200,000 works on
paper. Keyed to conference topics, the selections will
demonstrate the depth of the Collection’s holdings by
connecting works on paper from different times and
places via common style or subject matter. Attendance is
limited to 15 people.
Advance registration is required through CAA’s event
page, available tickets may be purchased in conference
registration area.
8:30–10:00 AM
10:15 AM–12:00 PM
Special Viewing Hours, Andy Warhol—From A to B and
Back Again
Whitney Museum of American Art, 99 Gansevoort Street,
New York, NY 11014
We are delighted to offer CAA conference participants
the opportunity to visit the Whitney’s exhibition Andy
Warhol—From A to B and Back Again. Free admission
with conference badge.
RSVP: bit.ly/2OY9xsN
9:30–10:30 AM
Curator-Led Tour: Nancy Holt and Blinky Palermo: To
the People of New York City
Dia Art Foundation, 535 West 22nd St., New York, NY 10011
Join Kelly Kivland, associate curator, and Megan Witko,
exhibitions manager and assistant curator, for a tour of two
new exhibitions at Dia:Chelsea. Nancy Holt features the artist’s
early and rarely-seen installations that explore the complexities
of perception, and Blinky Palermo’s To the People of New York
City returns to New York City after thirty years.
RSVP: [email protected]
10:00–11:00 AM
Tour of Lucio Fontana: On the Threshold
The Met Breuer, 945 Madison Ave., New York, NY 10021
Join curator Iria Candela at the Met Breuer for Lucio
Fontana: On the Threshold, the first retrospective of
Lucio Fontana (1899–1968) in the United States in more
than four decades. The founder of Spatialism and one of
the most innovative artists of the 20th century, Fontana
is widely known for his slashed paintings that became
symbols of the postwar era. The exhibition will present
extraordinary examples of this iconic series and will
explore Fontana’s beginnings as a sculptor as well as his
pioneering work with environments, thus contextualizing
the radical gesture of the Cuts within his broader practice.
RSVP: [email protected]
VISIT COLLEGEART.ORG/CONFERENCE
Arts Council of the African Studies Association
(ACASA)—Behind-the-Scenes at the Brooklyn Museum
Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NY 11238
Join Kristen Windmuller-Luna, Sills Family Consulting
Curator of African Arts, for a behind-the-scenes tour of
the new exhibition One: Egúngún. Featuring a Yoruba
(Nigerian) masquerade costume composed of over 300
African, Asian, and European textiles, the exhibition uses
new research and multiple perspectives to emphasize the
global connections and contemporary contexts of African
masquerades. Limited space
RSVP: bkm.nyc/caa2019acasa
12:00–2:30 PM
Chelsea Gallery Walking Tour
New York Hilton Midtown, meet in main lobby
Join expert art gallery guide Merrily Kerr on a trip to
Chelsea to see six of the season’s most important shows
by artists working in a variety of disciplines. Tours will
take place regardless of weather. We will travel together
by public transportation, round-trip travel will cost $6.00
(single ride); please purchase your MetroCard in advance.
Contact [email protected] with questions.
Price: $36. Limit 30 people per tour. Advance registration
is required through CAA’s event page, available tickets
may be purchased in conference registration area.
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FRIDAY, FEBRUARY 15
12:00–2:30
Lower East Side Galleries: Walking Tour
New York Hilton Midtown, meet in main lobby
Join Paddy Johnson, Founding Editor of Art F City, on a
tour of New York’s Lower East Side galleries. Paddy has
published in magazines such as New York magazine,
The New York Times, and The Economist. In 2008, she
became the first blogger to earn a Creative Capital Arts
Writers grant. Paddy was nominated for best art critic
at The Rob Pruitt Art Awards in 2010 and 2013. In 2014,
she was the subject of a VICE profile. Tour will take place
regardless of weather.
We will travel together by public transportation to the
Lower East Side. Round trip travel will cost $6.00 (single
ride); please purchase your MetroCard in advance at any
subway station.
Price: $20. Limit 15 people. Advance registration is
required through CAA’s event page, available tickets may
be purchased in conference registration area.
5:00–7:00 PM
Cocktail Hour and Exhibition Tour
Bard Graduate Center, 18 West 86th Street, New York, NY 10024
Visit the Bard Graduate Center Gallery to see the
exhibitions Jan Tschichold and The New Typography:
Graphic Design Between the World Wars and The
Story Box: Franz Boas, George Hunt and the Making of
Anthropology. A Graduate Student Educator will offer a
tour of the exhibitions at 6:00 PM.
RSVP: [email protected]. Limited space is
available for the tour, please indicate your interest in
joining the tour when you RSVP. Free.
5:30–7:30 PM
The Andrew W. Mellon Foundation:
Celebrating Five Decades of Philanthropy
Herb’N Kitchen, Lobby Level
RSVP: Regonline.com/mellon_reception_caa
1:30–5:30 PM
Symposium—Field/Fair/Museum: Franz Boas, George
Hunt, and the Making of Anthropology
Bard Graduate Center, 18 West 86th St., New York, NY 10024
This symposium marks the opening of The Story Box, a
BGC Focus Exhibition that examines the hidden histories
and complex legacies of one of the most influential books
in the field of anthropology: Franz Boas’s The Social
Organization and the Secret Societies of the Kwakiutl
Indians (1897).
Register online: bgc.bard.edu/events.
2:00–4:00 PM
Special Tour of The Frick Collection
The Frick Collection, 1 East 70th St., New York, NY 10021
This gallery tour provides an introduction to The Frick
Collection, a Fifth Avenue mansion built between
1913 and 1914 that contains one of the country’s most
important collections of old master paintings, sculpture
and decorative arts. We will consider its founder’s core
collection and original house, its transformation into a
museum in the 1930s, its evolving collection from Ingres
to Meissen and the current plans to make more of the
building publically accessible.
RSVP: [email protected]
Limited to 20 people.
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SEE YOU IN CHICAGO FOR CAA 2020
6:30–8:30
Tour of Faith and Empire: Art And Politics In Tibetan
Buddhism
The Rubin Museum of Art, 150 West 17th Street New York, NY
10011
Faith and Empire explores the intersection of politics,
religion, and art in Tibetan Buddhism in the courts of Asia
from the 7th to 19th centuries. At its heart is the force of
religion to claim political power, both symbolically as a
path to legitimation (sacral kingship), and literally as a
ritual technology to physical power (magic). This tour is
limited to 30 people.
RSVP: [email protected].
SATURDAY, FEBRUARY 16
12:00-2:30 PM
Chelsea Gallery Walking Tour
New York Hilton Midtown, meet in main lobby
Join expert art gallery guide Merrily Kerr on a trip to
Chelsea to see six of the season’s most important shows
by artists working in a variety of disciplines. Tours will
take place regardless of weather. We will travel together
by public transportation, round-trip travel will cost $6.00
(single ride); please purchase your MetroCard in advance.
Contact [email protected] with questions.
Price: $36. Limit 30 people per tour. Advance registration
is required through CAA’s event page, available tickets
may be purchased in conference registration area.
2:00–4:00 PM
Special Session on New Research on Brazilian Art by
the National Committee for the History of Art
Institute of Fine Arts, 1 East 78th Street, New York, NY, 10075
The National Committee of the History of Art invites all
CAA members to a special session on “New Research on
Brazilian Art.” This session is planned in conjunction with
the international CIHA congress in São Paulo (2020). The
session is chaired by Edward J. Sullivan (Institute of Fine
Arts, New York University), who will also lead off with a
paper on 20 years of research on Brazilian art in the US
Luisa Valle (The Graduate Center and Hunter College, City
University of New York) will follow with a presentation
on Roberto Burke Marx and Brasilia, followed by Esther
Gabara (Duke University) on her current Pop América
exhibition, and Brian Bentley (Institute of Fine Arts,
New York University) on Pop Art in Brazil.
REUNIONS AND
RECEPTIONS
Unless labeled otherwise, all receptions are at the New York
Hilton Midtown.
WEDNESDAY, FEBRUARY 13
5:30–7:00 PM
Columbia University, Department of Art History and
Archaeology
Columbia University, West 116th and Broadway, Department
of Art History and Archaeology, Judith Lee Stronach Center,
Room 825 Schermerhorn Hall, New York, NY 10027
6:00–8:00 PM
American Academy in Rome and Society of Fellows
American Academy in Rome, 7 E 60th St, New York, NY
10022. For information contact Ilana Pfefer at i.pfefer@
aarome.org; 212-751-7200 ext. 343
THURSDAY, FEBRUARY 14
8:30–10:00 AM
Crystal Bridges Museum of American Art, Tyson
Scholars Program
Hudson, 4th Floor
The Graduate Center, City University of New York, PhD
Program in Art History
East, 4th Floor
12:00–1:30 PM
Bryn Mawr College, Department of the History of Art
East, 4th Floor
Center for Advanced Study in the Visual Arts
Grand Ballroom West Foyer, 3rd Floor
National Gallery of Art Interns and Museum Fellows
Reunion
Green, 4th Floor
3:30–5:30 PM
Northwestern University Department of Art History
10 Rockefeller Plaza, Suite 800
Reservations are required.
RSVP: [email protected] or
847-491-3230
5:30–7:00 PM
Association of Art Historians and Wiley
Sheraton New York Times Square Hotel, Riverside Suite,
3rd Floor
SEE CAA 2019 APP FOR PROGRAM UPDATES
97
Grinnell College, Department of Art and Art History
Hudson, 4th Floor
Harvard University, History of Art and Architecture
New York, 4th Floor
Institute for Doctoral Studies in the Visual Arts (IDSVA)
Sheraton New York Times Square Hotel, Liberty Rooms 1 & 2,
3rd Floor
Penn State University, Department of Art History and
School of Visual Arts
Grand Ballroom West Foyer, 3rd Floor
Terra Foundation for American Art
Sheraton New York Times Square Hotel, Riverside Ballroom,
3rd Floor
Transart Institute for Creative Research
Holland, 4th Floor
Tufts University, School of the Museum of Fine Arts
Sheraton New York Times Square Hotel, Lenox Ballroom, 2nd
Floor
University at Buffalo, Department of Art
Sheraton New York Times Square Hotel, Liberty 5, 3rd Floor
University of Chicago, Department of Art History
Reception, East, 4th Floor
University of Connecticut, Department of Art and
Art History
Harlem, 4th Floor
University of Southern California, Dornsife
Department of Art History and the USC Visual Studies
Research Institute
Lincoln, 4th Floor
University of Texas at Austin, Department of Art and
Art History
Sheraton New York Times Square Hotel, Liberty 4, 3rd Floor
7:00–8:30 PM
The Courtauld Institute of Art
Herb’N Kitchen, Lobby Level
Please contact: [email protected] with questions.
7:00–9:00 PM
Historians of German, Scandinavian, and Central
European Art and Architecture (HGSCEA)
Special location in Chelsea. Please contact: James van Dyke,
at [email protected]
FRIDAY, FEBRUARY 15
8:30–10:00 AM
Boston University Alumni Breakfast
East, 4th Floor
Smithsonian American Art Museum Annual Reunion of
S.I. Fellows and Interns
Grand Ballroom West Foyer, 3rd Floor
Stanford University, Department of Art and Art History
Lincoln, 4th Floor
University of Pittsburgh, Department of the History of
Art and Architecture
Green, 4th Floor
12:00–1:30 PM
Clark Art Institute Research and Academic Program &
Williams Graduate Program in the History of Art
Grand Ballroom West Foyer, 3rd Floor
Princeton University, Department of Art and
Archaeology
Sheraton New York Times Square Hotel, Riverside Ballroom,
3rd Floor
Stony Brook University, Department of Art
East, 4th Floor
Yale University, Department of the History of Art
Green, 4th Floor
University of Virginia, McIntire Department of Art
Lincoln, 4th Floor
6:00–8:00 PM
5:00–6:30 PM
Cranbrook Academy of Art
Cranbrook Academy of Art Alumni + Friends
Knoll Showroom 1330 Avenue of the Americas New York, NY,
10019
6:30–8:30 PM
Washington University in St. Louis, Sam Fox School of
Design and Visual Arts
James Cohan Gallery—Lower East Side 291 Grand Street.
RSVP: [email protected] or 314-935-7382
VCUarts Alumni and Friends
Oldcastle Pub & Restaurant, 160 W. 54th Street, New York,
NY. For information please contact Kelly Kerr, VCUarts, at
[email protected] or 804-828-9182.
5:30–7:00 PM
Brown University, Department of the History of Art
and Architecture
Harlem, 4th Floor
Duke University, Department of Art, Art History, and
Visual Studies
Green, 4th Floor
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SEE YOU IN CHICAGO FOR CAA 2020
J. Paul Getty Trust
Grand Ballroom West Foyer, 3rd Floor
Maryland Institute College of Art
Lincoln, 4th Floor
University of San Diego, Department of Visual Arts
Alumni
New York, 4th Floor
University of Michigan, Department of the History of
Art
Faces and Names, 159 West 54th Street (between 6th and 7th
avenue), New York, NY 10019, (212) 586-9311.
Email Rachel Sutton: [email protected], for more
information
University of Pennsylvania, Department of the History
of Art
Holland, 4th Floor
Washington University in St. Louis, Department of Art
History and Archaeology
East, 4th Floor
Yale Center for British Art and Paul Mellon Centre
Sheraton New York Times Square Hotel, Empire Ballroom
West, 2nd Floor
5:30–7:30 PM
The Andrew W. Mellon Foundation: Celebrating Five
Decades of Philanthropy
MUSEUMS AND
CULTURAL LISTINGS
The following organizations have generously opened
their doors to CAA conference attendees. Present your
CAA 2019 badge upon entry during the days and hours
listed below for free or discounted admission.
AMERICAN FOLK ART MUSEUM
2 Lincoln Square, New York, NY 10023
Special Hours: Tuesday through Thursday, 10:00
AM–7:00 PM; Friday, 10:00 AM–7:30 PM; Saturday, 11:30
AM–7:00 PM; Sunday, 12:00–6:00 PM; closed Mondays
On view in February: Paa Joe: Gates of No Return;
John Dunkley: Neither Day nor Night
ASIA SOCIETY MUSEUM
725 Park Avenue New York, NY 10021
Hours: Tuesday through Sunday, 11:00 AM–6:00 PM;
Friday, 11:00 AM–9:00 PM; closed Mondays
On view in February: In Focus: China and Europe / Art and
the Encounter
BARD GRADUATE CENTER GALLERY
Herb’N Kitchen, Lobby Level
RSVP: Regonline.com/mellon_reception_caa
6:00–7:30 PM
The Metropolitan Museum of Art Fellows Alumni
Metropolitan Museum of Art, 1000 Fifth Avenue, New York,
NY 10028.
Please contact William Gassaway, william.gassaway@
metmuseum.org or (212) 396-5026
6:00–8:00 PM
New York University, Institute of Fine Arts
Institute of Fine Arts, NYU 1 East 78th Street, New York, NY
10075
Please contact Kathryn Falato, [email protected]
Phone: 212-992-5873
SATURDAY, FEBRUARY 16
18 West 86th Street, New York, NY 10024
Special Hours: February 15, 11:00 AM–7:00 PM;
February 16 and 17, 11:00 AM–5:00 PM
On view in February: Jan Tschichold and the New
Typography: Graphic Design between the World Wars; The
Story Box: Franz Boas, George Hunt and the Making of
Anthropology
20% discount on BGC publications
BROOKLYN MUSEUM
200 Eastern Parkway, Brooklyn, NY 11238
Hours: Wednesday, Friday, Saturday, and Sunday,
11:00 AM–6:00 PM; Thursday 11:00 AM–10:00 PM;
closed Mondays and Tuesdays
On view in February: Half the Picture: A Feminist Look
at the Collection; Frida Kahlo: Looks Can be Deceiving;
Syria, Then and Now: Stories from Refugees a Century
Apart; permanent collection
8:30–10:00 AM
University of Kansas, Kress Foundation Department of
Art History
Green, 4th Floor
VISIT COLLEGEART.ORG/CONFERENCE
99
THE CENTER FOR BOOK ARTS
28 West 27th Street, 3rd Floor, New York, NY 10001
Hours: Monday through Friday, 11:00 AM–6:00 PM;
Saturday, 10:00 AM–5:00 PM
On view in February: Politics of Place; Maria Veronica
San Martin: In Their Memory; Scholarship for Advanced
Studies in Bookbinding
DIA:BEACON
3 Beekman Street, Beacon, NY 12508
Hours: Friday through Monday 11:00 AM–4:00 PM
On view in February: Permanent collection
THE JAMES GALLERY, THE GRADUATE
CENTER, CITY UNIVERSITY OF NEW YORK
365 5th Avenue, New York, NY 10016
Hours: Tuesday through Thursday, 12:00 PM–7:00 PM;
Friday and Saturday, 12:00 PM–6:00 PM
On view in February: Ellen Rothenberg: ISO 6346
ineluctable immigrant
THE JEWISH MUSEUM
1109 5th Avenue, New York, NY 10128
Hours: Saturday, Sunday, Monday, and Tuesday,
11:00 AM–5:45 PM; Thursday, 11:00 AM–8:00 PM; and
Friday, 11:00 AM–4:00 PM
On view in February: Scenes from the Collection; Martha
Rosler: Irrespective
DIA:CHELSEA
541 and 545 West 22nd Street, New York, NY 10011
Hours: Tuesday through Saturday, 11:00 AM–5:00 PM;
closed Mondays and Sundays
On view in February: Nancy Holt; Blinky Palermo: To the
People of New York City
THE FRICK COLLECTION
1 East 70th Street, New York, NY 10021
Hours: Tuesday through Saturday, 10:00 AM–6:00 PM;
Sunday 11:00 AM–5:00 PM; closed Mondays
On view in February: Permanent collection
GREY ART GALLERY, NEW YORK
UNIVERSITY
100 Washington Square East, New York, NY 10003
Hours: Tuesday, Thursday, Friday, 11:00 AM–6:00 PM;
Wednesday 11:00 AM–8:00 PM; Saturday 11:00 AM–5:00
PM; closed Mondays and Sundays
On view in February: Fritz Ascher: Expressionist;
Metamorphoses: Ovid According to Wally Reinhardt
SOLOMON R. GUGGENHEIM MUSEUM
1071 5th Avenue, New York, NY 10128
Hours: Sunday through Wednesday, Friday, 10:00
AM–5:45 PM; Saturday, 10:00 AM–7:45 PM
On view in February: Hilma af Klint: Paintings for the
Future; R.H. Quaytman, + x: Chapter 34; Implicit Tensions:
Mapplethorpe Now; Guggenheim Collection: Brancusi;
Thannhauser Collection
$5 discount off of general admission adult
100
SEE YOU IN CHICAGO FOR CAA 2020
LESLIE-LOHMAN MUSEUM OF GAY AND
LESBIAN ART
26 Wooster Street, New York, NY 10013
Hours: Wednesday through Sunday, 12:00–6:00 PM;
Thursday, 12:00–8:00 PM; closed Mondays and Tuesdays
On view in February: On Our Backs: The Revolutionary Art
of Queer Sex Work
THE METROPOLITAN MUSEUM OF ART:
THE MET BREUER
945 Madison Avenue, New York, NY 10021
Hours: Tuesday through Thursday, 10:00 AM–5:30 PM;
Friday and Saturday, 10:00 AM–9:00 PM; Sunday, 10:00
AM–5:30 PM; closed Mondays
THE METROPOLITAN MUSEUM OF ART:
THE MET CLOISTERS
99 Margaret Corbin Drive, New York, NY 10040
Hours: Open seven days a week, 10:00 AM–4:45 PM
On view in February: Permanent collection
THE METROPOLITAN MUSEUM OF ART:
THE MET FIFTH AVENUE
1000 5th Avenue, New York, NY 10028
Hours: Sunday through Thursday, 10:00 AM–5:30 PM;
Friday and Saturday, 10:00 AM–9:00 PM
On view in February: Art of Native American: The Charles
and Valerie Diker Collection; In Praise of Painting: Dutch
Masterpieces at The Met; Jewelry: The Body Transformed;
Epic Abstraction; Monumental Journey:
The Daguerreotypes of Girault de Prangey
MOMA PS1
22-25 Jackson Ave, Long Island City, NY 11101
Hours: Thursday through Monday, 12:00–6:00 PM;
closed Tuesdays and Wednesdays
On view in February: Bruce Nauman: Disappearing Acts;
James Turrell, Meeting
THE MUSEUM OF MODERN ART
11 West 53rd Street, New York, NY 10019 (enter at 18 West
54th Street)
Hours: Sunday through Thursday, 10:30 AM–5:30 PM;
Friday, 10:30 AM–8:00 PM; Saturday and Sunday,
10:30 AM–5:30 PM
On view in February: Bruce Nauman: Disappearing Acts;
Constantin Brancusi Sculpture
NEUE GALERIE NEW YORK
1048 5th Avenue, New York, NY 10028
Hours: Monday, 11:00 AM–6:00 PM; Thursday through
Sunday, 11:00 AM–6:00 PM; closed Tuesday and
Wednesday
THE SCHOMBURG CENTER FOR RESEARCH
IN BLACK CULTURE
515 Malcolm X Boulevard, New York, NY, 10037
Hours: Monday, Thursday, Friday, and Saturday,
10:00 AM–6:00 PM; Tuesday and Wednesday,
10:00 AM–8:00 PM; closed Sundays
On view in February: Syncretic Vibrations: Exploring the
Mosaic of Blackness through the Melville J. and Frances
S. Herskovits Collection; exhibitions will also be on view
at the Latimer-Edison Gallery and the Langston Hughes
Lobby and Cosmogram
THE UKRAINIAN MUSEUM
222 East 6th Street, New York, NY 10003
Hours: Wednesday through Sunday, 11:30 AM–5:00 PM;
closed Monday and Tuesday
On view in February: Andy Warhol: Endangered Species;
Timeless Treasures: Recently Acquired Folk Costumes
and Textiles
On view in February: Selections from the Permanent
Collection, Gustav Klimt
During the time of the conference, the museum will be in
between exhibitions. Only one gallery room will be open
for viewing, and admission will be by donation/pay-whatyou-wish. All CAA conference attendees will be able to
skip any queues to the museum when presenting their
badge.
THE NOGUCHI MUSEUM
9-01 33rd Road, Queens, NY 11106
Hours: Wednesday, Thursday, Friday 10:00 am–5:00 pm;
Saturday and Sunday 11:00 am–6:00 pm; closed Monday
and Tuesday
On view in February: Akari: Sculpture by Other Means;
Akari Unfolded: A Collection by YMER&MALTA; permanent
collection
THE RUBIN MUSEUM OF ART
150 West 17th Street New York, NY 10011
Hours: Monday, 11:00 AM–5:00 PM; Wednesday,
11:00 AM–9:00 PM; Thursday, 11:00 AM–5:00 PM;
Friday, 11:00 AM–10:00 PM; Saturday, 11:00 AM–6:00 PM
On view in February: Faith and Empire: Art and Politics
in Tibetan Buddhism; Masterworks of Himalayan Art;
Gateway to Himalayan Art; Shrine Room Projects: Wishes
and Offerings, Wheel of Intentions
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101
CAA STAFF PICKS
2019 ANNUAL CONFERENCE
ART AND ENTERTAINMENT
FOOD AND DRINK
Dream House: Sound and Light Environment by
La Monte Young and Marian Zazeela
MELA Foundation
275 Church St., 3rd Floor, New York, NY 10013
—Joelle Te Paske
Bar Pitti
Italian plates and celebrity spotting.
268 6th Ave., New York, NY 10014
—Olivia Knauss
The Kitchen
Innovative work by emerging and established artists.
512 West 19th St., New York, NY 10011
—Re’al Christian
Howl! Happening: An Arturo Vega Project
Gallery dedicated to the creativity of the Lower East Side
6 East 1st St., New York, NY 10003
-Mira Friedlaender
Chef Yu
High-quality Chinese dishes.
520 8th Ave., New York, NY 10018
—Doreen Davis
The Ear Inn
NYC’s oldest bar since 1817
326 Spring St., New York, NY 10013.
—Teresa Lopez
Lower East Side Tenement Museum
Museum to see the immigrant experience.
103 Orchard St., New York, NY 10002
—Janet Landay
Great Northern Food Hall
Danish sandwiches, baked goods, and more.
Grand Central Terminal, Vanderbilt Hall West
89 East 42nd St., New York, NY 10017
—Alison Chang
Nuyorican Poets Café
Performance Poetry, Theater, Live Latin Jazz.
236 East 3rd St., New York, NY 10009.
(Reverend Pedro Pietri Way) between Avenues B and C
—Paul Skiff
Honey’s
Mead on tap.
93 Scott Ave., Brooklyn, NY 11237
—Heather Holmes
Walter De Maria, The New York Earth Room
141 Wooster St., New York, NY 10012
—Daniel Tsai
Japanese Ramen Noodle Brasserie
65 4th Ave. (between 9th and 10th St.) New York, NY 10003
—Allison Walters
Julius
Historic gay bar in the West Village
159 West 10th St., New York, NY 10014
—Hunter O’Hanian
Laut
Malaysian, Thai, and Singaporean Food
15 East 17th St., New York, NY 10003
—Mia Rubin
Mastro’s Steakhouse
1285 Avenue of Americas, New York NY 10019
—Denise Williams
102
SEE YOU IN CHICAGO FOR CAA 2020
New Wonjo
Korean BBQ fun
23 West 32nd St., New York, NY 10001
—Mira Friedlaender
Nom Wah Tea Parlor
Old school dim sum
13 Doyers St., New York, NY 10013
—JoAnn Wong
OTHER
Mount Sinai Beth Israel
Best place to have a stroke or receive stroke treatment
281 1st Ave., New York, NY 10003
—Hunter O’Hanian
Red Lobster
Seafood and more in the heart of NYC.
Five Times Square, New York, NY 10036
—Abdul Muhammad
Sofreh
Iranian cuisine.
75 St. Marks Ave., Brooklyn, NY 11217
—Nick Obourn
Tacos Cholula
Street vendor of quality Mexican fare
142 East 2nd St.,
New York, NY 10009
—Joe Hannan
Tannat Wine & Cheese
Wine and small plates near The Met Cloisters.
4736 Broadway, New York, NY 10040
—Tiffany Dugan
Taverna Kyclades
Excellent traditional Greek food
228 1st Ave., New York, NY 10009
Wo Hop
Chinese eats in bright, no-frills digs.
17 Mott St., New York, NY 10013
—Wayne Lok
VISIT
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2019 APP FOR PROGRAM UPDATES
103
BOOK AND TRADE FAIR
The Book and Trade Fair hosts more
than 100 publishers, art materials
manufacturers, and services for
professionals in the field. Stop by to
explore the products and talk directly
to the exhibitors. Meet an editor,
discover a great book, test a new
brush, chat with authors, explore
opportunities, and more!
•
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•
•
•
•
•
•
•
See the newest art books, journals, and
magazines
Attend book signings
Test the latest materials and tools and watch
demonstrations
Discuss your book ideas with experienced art
editors
Meet the editors of The Art Bulletin,
Art Journal, Art Journal Open, and
caa.reviews
Learn about new survey textbooks and
teaching aids for your classroom
Investigate digital-image resources for your
classroom or library
Learn about academic testing and research
firms
Meet with representatives from professional
associations
A wide variety of art materials will be on view,
and many of the experts who manufacture them
will be on hand to discuss their products, which
include:
•
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104
Paints and brushes
Graphic materials and graphic-design
supplies
Paper
Easels and tools
Printmaking supplies
Digital-studio supplies
SEE YOU IN CHICAGO FOR CAA 2020
Admission is FREE with your
conference registration badge.
For those not registered for the full
conference, Book and Trade Fair tickets
are available onsite in the 2nd floor
Promenade registration area:
Member: $15 with credit card
Nonmember: $25 with credit card
HOURS AND TIMES
Thursday–Friday: 9:00 AM–6:00 PM
Saturday: 9:00 AM–2:30 PM
Rhinelander Gallery and Americas Hall
New York Hilton Midtown
CAA BOOTH
EXHIBITOR SESSIONS
THURSDAY, FEBRUARY 14
THURSDAY, FEBRUARY 14
12:00-1:00PM
2:00–3:30 PM
Meet the Editors: Art Journal and Art Journal Open
CAA booth, Book and Trade Fair
Jordana Moore Saggese, Editor-in-Chief, AJ
Kirsten Swenson, Reviews Editor, AJ
Mechtild Widrich, Reviews Editor Designate, AJ
Rebecca K. Uchill, Editor-in-Chief, AJO
Where are all the Students? Boosting Engagement and
Enrollment in Art Courses
Concourse E, Concourse
Chair/Workshop Leader: Fred Kleiner, Boston University
Participant: Jennifer S. Pride, Liberty University
Where are all the Students? Boosting Engagement and
Enrollment in Art Courses—While driving enrollment in
Art courses can be a challenge, supporting the growth of
visual literacy can help students gain the knowledge to
confidently continue their journey through Art History—at
university and beyond. Discover how two instructors
embrace this lifelong skill and engage students in their Art
courses, increasing their desire to come back for more!
FRIDAY, FEBRUARY 15
12:00-1:00PM
Meet the Editors: The Art Bulletin
CAA booth, Book and Trade Fair
Milette Gaifman and Lillian Tseng, Coeditors-in-Chief
Designate
James A. van Dyke, Reviews Editor
1:00-2:00PM
Meet the Editor: caa.reviews
CAA booth, Book and Trade Fair
Juliet Bellow, Editor-in-Chief
SEE CAA 2019 APP FOR PROGRAM UPDATES
Will Your Paintings Flake, Fade, or Fail? From Research
to Reality
Concourse B, Concourse
Chair/Workshop Leader: Brian Holden Baade, University of
Delaware
Participants: Rustin Levenson, ArtCareConservation NYC,
Miami, LA, Sarah Sands, Golden Artist Colors, Michael R.
Skalka, National Gallery of Art, Matthew Skopek, Whitney
Museum of American Art
Recent research suggests that some of the materials
used in painting are far less stable than once believed.
Zinc white, a staple of color mixtures, is now considered
problematic and is thought to lead to cracking and paint
delamination. Water miscible oil paints allow freedom
from the use of organic solvents but may create paint
films that remain sensitive to water.
Do the results obtaining in limited lab experiments equate
to disaster in the real world? Do these pigments and
paints pose a serious risk to the longevity of art made
from them or do we need to proceed with caution before
abandoning materials that have a history in art making?
Finally, do we even have replacements for some of these
materials if they are indeed deleterious? A panel of
painting conservators, experts on art materials, and an art
materials industry representative will discuss these topics
and field questions from the audience.
105
4:00–5:30 PM
19th Century Art Revolution; through the eyes of the
Sennelier store in Paris
Concourse B, Concourse
Chair/Workshop Leader: Pierre Guidetti, Savoir-Faire
See how the 19th century changed the world of art
making through the eyes of the Sennelier store in Paris.
You will find some enjoyable historical facts and hear
anecdotes of master painters from Cezanne to Picasso
to Hockney. Pierre has had the opportunity to befriend
the likes of Willem De Kooning, David Hockney, Wayne
Thiebaud, Max Ginsburg, Daniel Greene, Wolf Kahn,
Richard Serra and countless other American Artists. By
listening to the desires and aspirations of artists, Pierre
has interpreted their needs by sourcing, then importing
the world’s finest creative materials. Pierre is driven by
the idea that art can change lives, and perhaps change
the world. His life’s work is to share the joys of creativity,
and of course, Savoir-Faire.
Fulbright Arts Awards: Funding for expanding your
practice in a global setting
Concourse E, Concourse
Chair/Workshop Leader: Grant Stream-Gonzalez, Institute
of International Education
This session will provide an overview of arts awards
offered through the Fulbright program as well as
practical information for those seeking to apply. As the
flagship international exchange program sponsored
by the Department of State, Bureau of Educational and
Culture Affairs, the Fulbright Program is committed to
providing opportunities for practicing and preforming
artist to develop their craft and/or teaching while living
abroad. Through self-directed projects, artists are given
the freedom to explore their creative interests, expand
their networks and develop their careers, in addition to
enhancing mutual understanding both in-country and
upon return to the US. Chaired by IIE staff, this panel will
consists of Fulbright arts alumni from both the Student
and Scholar Programs who will speak to the nature of
their projects and experience.
106
SEE YOU IN CHICAGO FOR CAA 2020
FRIDAY, FEBRUARY 15
2:00–3:30 PM
How to Get Published and How to Get Read
Concourse B, Concourse
Chair/Workshop Leader: Geraldine Richards, Routledge,
Taylor & Francis
This panel discussion is designed for scholars and artists
looking to submit an article or book proposal for academic
publication. Whether you are a seasoned publishing
veteran or new to the publishing landscape, this session
offers practical advice on how to get published and how to
get read, with helpful insight from journals editors, book
authors, and visual arts Routledge staff.
VISIT
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2019 APP FOR PROGRAM UPDATES
107
EXHIBITOR INDEX
Organization Booth
Allworth Press an imprint of Skyhorse Publishing, Inc.
American University in Cairo Press
apexart
Art Condo / Magic Palette Inc.
Art in America
Art in Embassies Program
ARTBOOK / D.A.P.
Artforum / Bookforum
Artstor
Asian/Pacific/American Institute at New York University
Bard Graduate Center Publications
Blick Art Materials
Bloomsbury Academic
Brill
CAA
Canson
Cengage Learning
Centre allemand d'histoire de l'art / Deutches Forum fur Kunstgeschichte
De Gruyter
Drawing from the Inside Out
Duke University Press
Foundwork, Inc.
Gelli Arts LLC
Getting Your SH*t Together / GYST Ink
Getty Publications
Golden Artist Colors Inc
Gregory Daniels Fine Arts
Hahnemuhle
Hartford Art School, Nomad / 9 MFA
Hauser & Wirth Publishers
Henry Moore Institute
Ingram Academic Services
Institut national d’histoire d’la arte INHA
Instituto de Investigaciones Esteticas UNAM
Intellect Books
Independent Publishers Group
Jack Richeson & Co. Inc
Kremer Pigments Inc.
Magic Palette Inc. / Art Condo
Manchester University Press
108
SEE YOU IN CHICAGO FOR CAA 2020
122, Rhinelander Gallery
305, Rhinelander Gallery
115, Rhinelander Gallery
314, Rhinelander Gallery
707 Americas Hall I
318, Rhinelander Gallery
618, 620, Americas Hall I
705 Americas Hall I
315, Rhinelander Gallery
313, Rhinelander Gallery
404 Americas Hall I
500, 502 Americas Hall I
111, 113, Rhinelander Gallery
700, Americas Hall I
400, 402, Americas Hall I
214, Rhinelander Gallery
407 Americas Hall I
312, Rhinelander Gallery
208, Rhinelander Gallery
320, Rhinelander Gallery
521, Americas Hall I
216, Rhinlander Gallery
308, Rhinelander Gallery
310, Rhinelander Gallery
701, 703, Americas Hall I
1101, 1103, Americas Hall I
411, Americas Hall I
218, Rhinelander Gallery
319, Rhinelander Gallery
602 Americas Hall I
100, Rhinelander Gallery
511, Americas Hall I
312, Rhinlander Gallery
210, Rhinelander Gallery
604, Americas Hall I
523, Americas Hall I
121, Rhinelander Gallery
101, 200, Rhinelander Gallery
314, Rhinelander Gallery
704, Americas Hall I
EXHIBITOR INDEX
Organization Booth
Manchester University Press
Marist College
McGill - Queen's University Press
MIT Press
Monacelli Press
Mujeristas Collective
Nomad / 9 MFA Hartford Art School
Old City Publishing / Woman's Art Journal
Oxford University Press
Palgrave Macmillan
Penn State University Press
Prestel and DelMonico Books
Princeton Architectural Press
Princeton University Press
Purgatory Pie Press
R&F Handmade Paints
Rizzoli International Publications
Rodovid Press / Ukrainian Museum
Routledge, Taylor & Francis
Royal & Langnickel Brush Manufacturing
Royal Talens
Rutgers University Press
Sabbatical Homes.com
Savoir Faire
Scholar's Choice
Soberscove Press
SRISA-Santa Reparata International School of Art
Thames & Hudson
Tulu Publishing
Ukrainian Museum / Rodovid Press
University of California Press
University of Chicago Press
University of Minnesota Press
University of Texas Press
University of Washington Press
Vermont Studio Center
Wiley
Woman’s Art Journal / Old City Publishing
Women’s Caucus for Art
Yale University Press
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704, Americas Hall I
317, Rhinelander Gallery
212, Rhinelander Gallery
207, 209, 211, Rhinelander Gallery
406, Americas Hall I
307, Rhinelander Gallery
319, Rhinelander Gallery
606, Americas Hall I
702, Americas Hall I
213, Rhinelander Gallery
520, Americas Hall I
107, 109 Rhinelander Gallery
522, 524, Americas Hall I
508, 510, Americas Hall I
120, Rhinelander Gallery
614, Americas Hall I
217, 219, Rhinelander Gallery
600, Americas Hall I
501, 503, 505, 507 Americas Hall I
220, Rhinelander Gallery
306, Rhinelander Gallery
606, Americas Hall I
622, Americas Hall I
610, Americas Hall I
409, Americas Hall I
215, Rhinelander Gallery
316, Rhinelander Gallery
201, 202, Rhinelander Gallery
221, Rhinelander Gallery
600, Americas Hall I
504, 506 Americas Hall I
514, 516, 518, 515, 517, 519, Americas Hall I
405, Americas Hall I
616, Americas Hall I
706, Americas Hall I
117, Rhinelander Gallery
206, Rhinelander Gallery
606, Americas Hall I
309, Rhinelander Gallery
408, 410, 412, 414, 416 Americas Hall I
109
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BOOK AND TRADE FAIR
LOUNGE AREA
54th STREET
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NEW YORK HILTON MIDTOWN, AMERICAS HALL I
BOOK AND TRADE FAIR
54th STREET
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CAA BOARD, STAFF, COMMITTEES
BOARD OF DIRECTORS
OFFICERS
MEMBERS
Jim Hopfensperger, President, Professor of Art, Western
Michigan University
Laura Anderson Barbata, Artist
Suzanne Preston Blier, Past President, Allen Whitehill
Clowes Professor of Fine Arts and Professor of African and
African American Studies, Harvard University
Andrew Schulz, Vice President for External Relations, Dean,
College of Fine Arts, University of Arizona
Julia A. Sienkewicz, Vice President for Committees,
Assistant Professor, Art History, Roanoke College
N. Elizabeth Schlatter, Vice President for Annual
Conference and Programs, Deputy Director and Curator of
Exhibitions, University of Richmond Museums
Audrey G. Bennett, Professor Penny W. Stamps School of
Art & Design, University of Michigan
Colin Blakely, Director and Professor, School of Art,
University of Arizona
Dahlia Elsayed, Associate Professor, CUNY—La Guardia
Community College
Carma Gorman, Associate Professor, School of Design &
Creative Technologies, The University of Texas at Austin
Alice Ming Wai Jim, Professor of Contemporary Art,
Concordia University
Rachel Weiss, Vice President for Publications, Professor,
Arts Administration and Policy, School of the Art Institute of
Chicago
Jawshing Arthur Liou, Herman B. Wells Professor, Digital
Art, School of Art, Architecture + Design, Indiana University,
Bloomington
Roberto Tejada, Vice President for Diversity and Inclusion,
Hugh Roy and Lillie Cranz Cullen Distinguished Professor,
Depts. of English and Art History, University of Houston
Peter Lukehart, Associate Dean for Research, Center for
Advanced Study in Visual Arts, National Gallery of Art
Melissa Hilliard Potter, Secretary, Associate Professor, MFA,
Columbia College Chicago
David Raizman, Treasurer, Professor Emeritus, Art & Art
History, Drexel University
Jeffrey P. Cunard, CAA Counsel Partner, Debevoise &
Plimpton, LLP
Hunter O’Hanian, CAA Executive Director and CEO
112
CALL
SEE
YOUFOR
IN CHICAGO
SUBMISSIONS
FOR CAA 2020
TK
Chika Okeke-Agulu, Professor of African and African
Diaspora Art, Dept. of Art & Archaeology, Princeton University
Anuradha Vikram, Senior Lecturer, MFA Fine Arts: Area
Emphasis in Art + Social Practice, Otis College of Art and
Design
Andrés Mario Zervigón, Professor of the History of
Photography and Acting Chair, Art History Department,
Rutgers University
COMMITTEES
2018–2019
ANNUAL CONFERENCE COMMITTEE
N. Elizabeth Schlatter, University of Richmond Museums,
Vice President for Annual Conference and Programs,
CAA Board Liaison
Chair, Charlene Villaseñor Black, University of California,
Los Angeles
Maite Basaguren, New York University, Regional Representative
Colin Blakely, University of Arizona, CAA Board Liaison
Tiffany Dugan, CAA staff liaison
Mira Friedlaender, CAA staff liaison
Diana Gisolfi, Pratt Institute
Sarah Lichtman, The New School Parsons, Regional
Representative
Jawshing Arthur Liou, Indiana University, CAA Board Liaison
Peter Lukehart, National Gallery of Art, CAA Board Liaison
Julia Morrisroe, University of Florida
Rosemary M. O’Neill, The New School Parsons
Melissa Hilliard Potter, Columbia College Chicago,
CAA Board Liaison
Joseph Lamar Underwood, Kent State University
Andrés Zervigón, Rutgers University, CAA Board Liaison
Thank you to our additional Readers for Annual
Conference 2019:
Susan Altman, Middlesex County College, Professional
Practices Committee
Sussan Babaie, The Courtauld Institute of Art, Historians of
Islamic Art Association
Tatiana Flores, Rutgers University, Association for Latin
American Art
Helen Frederick, Pyramid Atlantic, A Center for Printmaking,
Hand Papermaking, the Art of the Book, and
Digital Media
Hunter O’Hanian, CAA Executive Director
Jennifer Reynolds-Kaye, Yale University
Delia Solomons, Drexel University, Association for Latin
American Art
Anne Swartz, SCAD, Committee on Women in the Arts
Connie Tell, Rutgers University, The Feminist Art Project
PROFESSIONAL COMMITTEES
Julia A. Sienkewicz, Roanoke College, VP for Committees,
serves as an ex-officio member of all Professional
Committees.
SEE CAA 2019
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COMMITTEE ON DESIGN
Chair, Carma R. Gorman, University of Texas at Austin
Helen Armstrong, North Carolina State University
Holly Cline, Radford University
Federico Freschi, University of Johannesburg
Chris Garvin, University of Georgia
Matthew Gaynor, Kansas State University
Elizabeth Guffey, State University of New York at Purchase
Jim Hopfensperger, Western Michigan University,
CAA President and Board Liaison
David Howarth, Zayed University, Dubai
Zach Kaiser, Michigan State University
Sarah E. Lawrence, Parsons School of Design
Yelena McLane, Florida State University
Nicholas Obourn, CAA staff liaison
Victoria Pass, Maryland Institute College of Art
David Raizman, Drexel University, CAA Treasurer and
Board Liaison
Julia A. Sienkewicz, Roanoke College, VP for Committees
Allison Walters, CAA staff liaison
Bess Williamson, School of the Art Institute of Chicago
Dan Wong, New York City College of Technology, CUNY
COMMITTEE ON DIVERSITY PRACTICES
Chair, Julie L. McGee, University of Delaware
Mariola Alvarez, Washington College
Flora B. Anthony, Kennesaw State University
Amanda L. Bagneris, Tulane University
Audrey G. Bennett, University of Michigan, CAA Board
liaison, ex officio
Christopher Bennett, University of Louisiana
Kim Blodgett, Westminster Schools
Katherine Brion, New College of Florida
Alison Chang, Sponsorship and Partnership Manager,
CAA staff liaison
Radha Dalal, Virginia Commonwealth Univ. Qatar
Nicole Dearmendi, Converse College
Shannon Forrester, Royal College of Art, London
Nikki A. Greene, Wellesley College
Damon McArthur, Western Illinois University
Chika Okeke-Agulu, Princeton University, CAA Board liaison
Eugene Rodriguez, De Anza College
Raél Jero Salley, Maryland Institute College of Art
Claudia Marion Stemberger, Duke University
Roberto Tejada, University of Houston, CAA VP for
Diversity & Inclusion
Daniel Tsai, Publications & Programs Administrator,
CAA staff liaison
Tobias Wofford, Virginia Commonwealth University
113
COMMITTEE ON INTELLECTUAL PROPERTY
EDUCATION COMMITTEE
Chair, Anne Collins Goodyear, Bowdoin College Museum of Art
Michael Corris, Southern Methodist University
Melissa Eckhause, Golden Gate University Law School
Jeffrey P. Cunard, Debevoise & Plimpton LLP, CAA Board
Liaison
Scott Gerhardt, IT Manager, CAA staff liaison
Eleanor H. Goodman, The Pennsylvania State University Press
Carma Gorman, Univ. of Texas at Austin, CAA Board liaison
Emily Lanza, US Copyright Office
Kelly Salchow MacArthur, Michigan State University
David Raskin, School of Art Institute of Chicago
Francesca Rose, Terra Foundation for American Art, Paris
Julia A. Sienkewicz, Roanoke College, VP for Committees
Gunnar Swanson, East Carolina University, Greenville, NC
Joelle Te Paske, CAA staff liaison
Elizabeth Varner, U. S. Department of the Interior
Anne M. Young, Indianapolis Museum of Art at Newfields
Andrés Mario Zervigón, Rutgers University,
CAA Board liaison
Chair, Dr. Virginia B. Spivey, Maryland Inst. College of Art
Patricia Berman, Wellesley College
Judy Bullington, Belmont University
Rebecca Easby, Trinity Washington University
Johanna Ruth Epstein, Independent Art Historian, Critic
Dahlia Elsayed, CUNY-LaGuardia Community College,
CAA Board liaison,
Karen Gergely, Graceland University
Glenn Holmstrom, Neumann University
Ellen Mueller, Minneapolis College of Art and Design
Anne Norcross, Kendall College of Art and Design
Nick Obourn, Director of Communications, Marketing and
Membership, CAA staff liaison
Ellen Anna Osterkamp, Lane Community College
Morgan T. Paine, Florida Gulf Coast University
Andrea Rusnock, Indiana University, South Bend
Denise Williams, Membership Communications Coordinator,
CAA staff liaison
Jacqulyn Ann Williams, Virginia Commonwealth Univ. School
of the Arts, Qatar
COMMITTEE ON WOMEN IN THE ARTS
INTERNATIONAL COMMITTEE
Chair, Jennifer Rissler, San Francisco Art Institute
Sampada Aranke, San Francisco Art Institute
Laura Anderson Barbata, Artist
Susanneh Bieber, Texas A & M University
Amanda Cachia, University of California San Diego
Andy Campbell, Rice University
Sally Deskins, West Virginia University Libraries
Aliza Edelman, Independent curator, art historian, critic
Alyssa Fridgen, Bartow-Pell Mansion Museum
Johanna Gardner-Huggett, DePaul University
Katya Grokhovsky, artist, curator, educator
Heather Holmes, CAA staff liaison, Associate Editor for
Digital Publications
Vanessa Jalet, Executive Liaison, CAA staff liaison
Carron Little, artist, curator, cultural producer
Rachel Middleman, California State University, Chico
Kalliopi Minioudaki, feminist scholar and curator
Laura E. Sapelly, Pennsylvania State University
Anne Swartz, Savannah College of Art & Design
Chair, Pearlie Rose Baluyut, SUNY, Oneonta, NY
Janet Bellotto, Zayed University
Ann Elias, The University of Sydney
Alice Ming Wai Jim, Concordia University
Les Joynes, Columbia University; Renmin University
Russell Kelty, Art Gallery of South Australia
Janet Landay, CAA staff Liaison,
Jawshing Arthur Liou, Indiana University, CAA Board liaison
Wayne Lok, CAA staff Liaison,
Nomusa Makhubu, Michaelis School of Fine Art
Elisa C. Mandell, California State University
Hunter O’Hanian, CAA Executive Director and CEO
Pierre Pepin, Artist and Independent Scholar
David Roxburgh, Harvard University NCHA president
Julia A. Sienkewicz, Roanoke College
Noa Turel, University of Alabama
Sandra Uskokovic, University of Dubrovnik
114
SEE YOU IN CHICAGO FOR CAA 2020
MUSEUM COMMITTEE
SERVICES TO ARTISTS COMMITTEE
Chair, Anuradha Vikram, Otis College of Art and Design
Bruce Altshuler, Grad. School of Arts & Science, NYU
Leda Cempellin, South Dakota State University
Rebecca DeRoo, Rochester Institute of Technology
Laura Flusche, Museum of Design, Atlanta
Jennifer Foley, Albright-Knox Art Gallery
Judith Hoos Fox, c2-curatorsquared
Antoniette (Toni) Guglielmo, Getty Leadership Institute at
Claremont Graduate University
Adam Jolles, Florida State University
Risham Majeed, Ithaca College
Jennifer Reynolds-Kaye, Yale Center for British Art
Elizabeth Rodini, The Johns Hopkins University
Eric J. Segal, Harn Museum of Art, University of Florida
Emily Stamey, Weatherspoon Art Museum, UNC Greensboro
Joelle Te Paske, Media and Content Manager, CAA staff liaison
N. Elizabeth Schlatter, University of Richmond Museums,
CAA Board Liaison
Paul Skiff, CAA, Assistant Director for Annual Conference,
CAA staff liaison
Celka Straughn, Spencer Museum of Art, University of Kansas
Chair, Niku Kashef, California State University Northridge
Patricia Briggs, Jamestown Community College
Re’al Christian, CAA staff liaison
Sarah Comfort, Artist, Critical Distance Centre for Curators,
Toronto
Edgar Endress, George Mason University
Joan Giroux, Columbia College Chicago
Reni Gower, Virginia Commonwealth University
Julie Hughes, De Anza College
TeaYoun Kim-Kassor, Georgia College and State University
Alice Mizrachi, artist, educator
Hunter O’Hanian, CAA Executive Director
Chika Okeke-Agulu, Princeton University
Melissa Potter, Columbia College Chicago, CAA Board liaison
Steve Rossi, Parsons School of Design
Paul Skiff, Assistant Director for Annual Conference,
CAA staff liaison
Cara Tomlinson, Lewis & Clark College
Vagner Whitehead, Multidisciplinary artist, Texas Women’s
University
PROFESSIONAL PRACTICES COMMITTEE
Chair, Brian Bishop, Framingham State University
Susan Altman, Middlesex County College
Tom Berding, Michigan State University
Dr. Carolyn Butler-Palmer, University of Victoria, BC, Canada
Michael Bowdidge, Transart Institute, Glasgow
Alison Chang, Sponsorship and Partnership Manager,
CAA staff liaison
Laura Gelfand, Utah State University
Michael Grillo, University of Maine
Marcella Hackbardt, Kenyon College
Paul Jaskot, Duke University
Charles Kanwischer, Bowling Green State University
Meghan Kirkwood, North Dakota State University
Meredith Lynn, Indiana State University
Sandy Ng, Hong Kong Polytechnic University
Hunter O’Hanian, CAA Executive Director
Dianne Pappas, Northern Essex Community College
Hannah Park, Texas State University
Phil Renato, Kendall College of Art & Design
Troy Richards, Fashion Institute of Technology
Andrew Schulz, University of Arizona, Board Liaison
Greg Shelnutt, University of Delaware
Allison Walters, Web & Graphic Designer, CAA staff liaison
VISIT
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2019 APP FOR PROGRAM UPDATES
STUDENT AND EMERGING
PROFESSIONALS COMMITTEE
Co-Chair, Rachel P. Kreiter, Emory University
Co-Chair, Nathan Manuel, Co-founder “Doer of Stuff”
Julian Adoff, Pacific Northwest College of Art
Meghan Bissonette, Colorado Mesa University
Colin Blakely, University of Arizona, Board liaison
Doreen Davis, Manager of Member Services, CAA staff liaison
Mira Friedlaender, Manager of Annual Conference,
CAA staff liaison
Abbey Hepner, University of Colorado
Astrid Kaemmerling, University of Springfield, Illinois
Cortney Anderson Kramer, University of Wisconsin-Madison
Annie Storr, Brandeis University
Amanda S. Wangwright, University of South Carolina
Hannah Wong, Austin Community College, Austin, Texas
115
PUBLICATIONS
COMMITTEE AND
EDITORIAL BOARDS
The Art Bulletin EDITORIAL BOARD
Nina Athanassoglou-Kallmyer, University of Delaware,
Editor-in-Chief
Constance Cortez, Texas Tech University
Milette Gaifman, Yale University, Coeditor Designate
Leora Maltz-Leca, Rhode Island School of Design
Jonathan M. Reynolds, Barnard College, Columbia University
Michael J. Schreffler, University of Notre Dame
Nancy Um, Binghamton University, SUNY, Reviews Editor
Lillian Lan-ying Tseng, Institute for the study of the Ancient
World, New York University, Coeditor Designate
James van Dyke, University of Missouri, Review Editor
Laura Weigert, Rutgers University, Chair
Ittai Weinryb, Bard Graduate Center
Art Journal EDITORIAL BOARD
Rebecca M. Brown, Johns Hopkins University, Past Editor
Jane Chin Davidson, California State University,
San Bernardino
Tatiana E. Flores, Rutgers University, Chair
Talinn Gregor, University of California, Davis
Amelia G. Jones, University of Southern California
Jane McFadden, Art Center College of Design, Pasadena
Derek Conrad Murray, University of California, Santa Cruz
Jordana Moore Saggese, University of Maryland,
Editor-in-Chief
Kirsten Swenson, University of Massachusetts Lowell,
Reviews Editor
Rebecca K. Uchill, University of Massachusetts Dartmouth,
Art Journal Open Editor-in-Chief
Mechtild Widrich, School of the Art Institute of Chicago
Karin Zitzewitz, Michigan State University
caa.reviews EDITORIAL BOARD
Juliet Bellow, Editor-in-Chief (American University)
Eddie Chambers (University of Texas at Austin)
Eduardo de Jesús Douglas (University of North Carolina at
Chapel Hill)
Andrei O. Pop (University of Chicago)
Elizabeth Rodini (Independent Scholar)
Pepper Stetler (Miami University)
Jamie Vander Broek, Librarian (University of Michigan)
116
SEE YOU IN CHICAGO FOR CAA 2020
caa.reviews COUNCIL OF FIELD EDITORS
FOR BOOKS AND RELATED MEDIA
Anna Anguissola (University of Pisa) Ancient Greek, Roman,
Egyptian, and Near Eastern Art
Hala Auji (American University of Beirut) Islamic Art
Phillip Bloom (Huntington Library, Art Collection and
Botanical Gardens) Chinese, Japanese, and Korean Art
Karen L. Carter (Kendall College of Art and Design,
Ferris State University) Design History
Faya Causey (National Gallery of Art) Museum Studies
Eddie Chambers (University of Texas at Austin) African
and African Diaspora Art
Carol Clark (Amherst College) Art of United States
Martha Dunkelman (Canisius College) Early Modern
European Art (South)
Andrew Finegold (University of Illinois at Chicago)
Precolumbian Art
Katrina Grant (Australian National University)
Digital Humanities
Anne Heath (Hope College) Medieval Art
Jason Hill (University of Delaware) Photography
Iris Moon (Pratt Institute) Eighteenth-Century Art
Allison Morehead (Queens University) Twentieth-Century Art
Kevin Murphy (Vanderbilt University) Architecture
and Urbanism
Andrei O. Pop (University of Chicago) Theory and
Historiography
Natasha Ruiz-Gómez (School of Philosophy and Art History,
University of Essex) Nineteenth-Century Art
Alexandra Schwartz (Independent Scholar) Contemporary Art
Maya Stanfield-Mazzi (University of Florida) Latin American
Art
Samine Tabatabaei (Independent Scholar) South and
Southeast Asian Art
Angela Vanhaelen (McGill University) Early Modern European
Art (North)
caa.reviews COUNCIL OF FIELD EDITORS
FOR EXHIBITIONS
Leslie Anderson (Utah Museum of Fine Arts, University
of Utah) West Coast
Anca Lasc (Pratt Institute) New York
Angelina Lucento (National Research University Higher
School of Economics, Moscow) Europe
Susan Richmond (Georgia State University) Southeast
Lily Woodruff (Michigan State University) Midwest
Susan Elizabeth Ryan (Louisiana State University) Southwest
Ricardo Miranda Zúñiga (Hunter College, City University
of New York) Northeast
Lily Woodruff (Michigan State University) Midwest
Ricardo Miranda Zúñiga (Hunter College, City University of
New York) Northeast
PUBLICATIONS COMMITTEE
PROGRAMS AND PUBLICATIONS
Nina Athanassoglou-Kallmyer, University of Delaware,
The Art Bulletin Editor-in-Chief
Juliet Bellow, American University, caa.reviews,
Editor-in-Chief
Tiffany Dugan, Director of Programs and Publications
Joe Hannan, Editorial Director
Tatiana E. Flores, Rutgers University, Art Journal Editorial
Board Chair
Deborah Hutton
Jordana Moore Saggese, University of Maryland, Art Journal
Editor-in-Chief
Emily Shapiro, Archives of American Art Journal,
CAA member-at-large
Laura Weigert, Rutgers University, The Art Bulletin
Rachel Weiss, School of the Art Institute of Chicago,
CAA Vice President for Publications, Chair
Tiffany Dugan, Director of Programs and Publications
Paul Skiff, Assistant Director for the Annual Conference
Mira Friedlaender, Manager of the Annual Conference
Re’al Christian, Programs Assistant
Daniel Tsai, Publications and Programs Administrator
Janet Landay, CAA-Getty International Program
Joe Hannan, Editorial Director
Joan Strasbaugh, Publications and Programs Editor
Heather Holmes, Associate Editor for Digital Publications
Olivia Knauss, RAAMP Project Assistant
Mia Rubin, Programs Intern
Cali Buckley, Grants and Special Programs Manager
STAFF
ADMINISTRATION
EXECUTIVE OFFICE
Hunter O’Hanian, Executive Director
Vanessa Jalet, Executive Liaison
COMMUNICATIONS, MARKETING, AND
MEMBERSHIP
Nicholas Obourn, Director of Communications, Marketing
and Membership
Joelle Te Paske, Media and Content Manager
Alison Chang, Sponsorship and Partnership Manager
Allison Walters, Web and Graphic Designer
Doreen Davis, Manager of Member Services
Denise Williams, Membership Communications Coordinator
Dounia Bendris, Membership Specialist
Taniel Washington, Membership Specialist
VISIT
SEE CAA
COLLEGEART.ORG/CONFERENCE
2019 APP FOR PROGRAM UPDATES
FINANCE
Teresa Lopez, CFO
Abdul-Rahman Muhammad, Staff Accountant
Roberta Lawson, Office Manager
INFORMATION TECHNOLOGY
Scott Gerhardt, IT Manager
Wayne Lok, Systems Administrator
PHILANTHROPY
JoAnn Wong, Institutional and Individual Giving Manager
117
CAA PRESIDENTS
2018–2020
Jim Hopfensperger
Western Michigan University
2016–2018
Suzanne Preston Blier
Harvard University
2014–2016
Dewitt Godfrey
Colgate University
2012–2014
Anne Collins Goodyear
Bowdoin College Museum
of Art
2010–2012
Barbara Nesin
Independent Artist
2008–2010
Paul B. Jaskot
DePaul University
2006–2008
Nicola M. Courtright
Amherst College
2004–2006
Ellen K. Levy
Brooklyn College
2002–2004
Michael L. Aurbach
Vanderbilt University
2000–2002
Ellen T. Baird
University of Illinois at
Chicago
1998–2000
John R. Clarke
University of Texas at Austin
1996–1998
Leslie King-Hammond
Maryland Institute College
of Art
118
1994–1996
Judith K. Brodsky
Rutgers, The State University
of New Jersey
1992–1994
Larry Silver
Northwestern University
1990–1992
Ruth Weisberg
University of Southern
California
1988–1990
Phyllis Pray Bober
Bryn Mawr College
1986–1988
Paul Arnold
Oberlin College
1984–1986
John Rupert Martin
Princeton University
1981–1984
Lucy Freeman Sandler
New York University
1980–1981
Joshua Taylor
National Collection of Fine
Arts, Smithsonian
Institution
1978–1980
Marilyn Stokstad
University of Kansas
1976–1978
George Sadek
Cooper Union
1974–1976
Albert Elsen
Stanford University
SEE YOU IN CHICAGO FOR CAA 2020
1972–1974
Anne Coffin Hansen
Yale University
1949–1952
Henry Hope
Indiana University
1970–1972
H. W. Janson
New York University
1947–1949
Frederick B. Deknatel
Harvard University
1968–1970
Marvin Eisenberg
University of Michigan,
Ann Arbor
1945–1947
Rensselaer W. Lee
Smith College, Institute for
Advanced Study
1966–1968
George Heard Hamilton
Yale University
1941–1945
Sumner McK. Crosby
Yale University
1964–1966
Richard F. Brown
Los Angeles County Museum
of Art
1939–1941
Ulrich Mitteldorf
University of Chicago
1962–1964
James S. Watrous
University of Wisconsin,
Madison
1938–1939
Walter W. S. Cook
New York University
1960–1962
David M. Robb
University of Pennsylvania
1923–1938
John Shapely
Brown University, New York
University, University of
Chicago
1958–1960
Charles Parkhurst
Oberlin College
1919–1923
David M. Robinson
Johns Hopkins University
1956–1958
Joseph C. Sloane
Bryn Mawr College
1916–1919
John Pickard
University of Missouri
1954–1956
Lamar Dodd
University of Georgia
1914–1915
Walter Sargent
The University of Chicago
1952–1954
S. Lane Faison, Jr.
Williams College
1912–1913
Holmes Smith
Washington University in
St. Louis
PARTICIPANT INDEX
A
Abbe, Mark, 21
Abdullah, Sarena, 29
Abijanac, Julie, 23
AbuHamdi Murchie, Eliana,
67
Acciarino, Damiano, 31
Aceves-Sepulveda, Gabriela,
18
Adamou, Natasha, 25
Adler, Amy, 62
Adler, Dan, 64
Agee, William, 19
Ahern, Mal, 65
Ajani, Gianmaria, 23
Aksoy, Farah, 20
Al-Adeeb, Dena, 24
Alam, Johnny, 28
Alambritis, Maria, 54
Albrezzi, Francesca, 70
Aldouri, Hammam, 45
Alhadeff, Albert, 41
Allahyari, Morehshin, 76
Allen, Joanne, 30
Altman, Susan, 45
Alvarez, Maite, 58
Amar, Abhishek, 48
Amin, Alessandra, 60
Amin, Natessa, 20
Amnéus, Cynthia, 52
Amos, Johanna, 58
Amrhein, Anastasia, 38
Amstutz, Nina, 59
Anania, Katherine, 65
Andersen, Angela, 67
Anderson, Benjamin, 41
Anderson, Eric, 48
Anderson, Jocelyn, 49
Anderson, Noel, 40
Andina, Tiziana, 23
Andreeva, Petya, 52, 53
Anthony, Flora, 67
Antliff, R. Mark, 69
Arabindan-Kesson, Anna, 49
Aranda-Alvarado, Rocio, 32
Aranke, Sampada, 32, 51
Arbelaez, Natalia, 32
Ari, Nisa, 20
Ariane, Thomas, 60
Ariaz, Jeremiah, 51
Arnall, January, 70
Arnold, Dana, 22
Aronson, Lisa, 21
Arredondo, Carianna, 28
Ashe, Lisa, 22
Atanassova, Katerina, 31
Aurbach, Michael, 25, 35, 83
Austen-Perry, Victoria
Austen-Perry, Victoria, 43
Avcioglu, Nebahat, 66
Avila, Theresa, 55
Ayad, Lara, 70
Ayoung, Todd, 37
Azgour, Michael, 56
B
Baade, Brian, 38
Babinec, Amy, 61
Bacci, Francesca, 36
Badgett, Virginia, 17
Bahrani, Zainab, 53
Baigell, Matthew, 45
Bailey, Indira, 63
Bajuyo, Leticia, 49
Bal, Mieke, 39
Balachandran, Sanchita, 56
Balboni, Francesca, 53
Baldini, Andrea, 23
Ballard, Horace, 42, 56
Baluyut, Pearlie Rose, 70
Barber, Tiffany, 29
Bargellini, Clara, 55
Barnadas, MR, 28
Barnet, S., 50
Barnhill, Georgia, 58
Barowitz, Elliott, 24
Barringer, Timothy, 50
Barry, Ben, 57
Barush, Kathryn, 22, 23
Barzilay, Karni, 37
Baskin, Sasha, 39
Bass, Chloë, 37
Bass, Laura, 53
Bassnett, Sarah, 54
Baykal Rollins, Jeffrey, 45
Beach, Caitlin, 50
Bear, Jordan, 18
Beauchamp-Byrd, Mora, 50
Becker, Annette, 56
Becker, Danielle, 39
SEE CAA
VISIT
2019
COLLEGEART.ORG/CONFERENCE
APP FOR PROGRAM UPDATES
Becker, Kristen, 32, 74
Becker Solomon, Mel, 33
Bedarida, Raffaele, 64
Beetham, Sarah, 33
Behan, Antonia, 60
Behrendt, Kurt, 48
Bejar, Daniel, 68
Belan, Kyra, 59
Belden-Adams, Kris, 18
Bell, Adrienne, 41
Bell, Anonda, 19
Bellisio, Nina, 30
Bellucci, Matteo, 26
Belnap, Heather, 58
Ben-Horin, Keren, 29
Benay, Erin, 55
Bennett, Audrey, 69
Bennett, Christopher, 61
Bennett, Hannah, 16
Benson, LeGrace, 16
Bent, George, 42
Bergmann, Bettina, 43
Berman, Avis, 17
Berman, Daniella, 27
Bernard, MaryGrace, 26
Bernstein, Margot, 21
Berry, Anne, 32
Bertrand-Dewsnap, Anne, 44
Best, Stephen, 51
Bewer, Francesca, 21
Bey, Sharif, 31
Bhandari, Heather, 64
Bianchi, Alessandro, 21
Bigman, Alexander, 58
Binnie, Maria, 18
Biro, Yaëlle, 21
Bishop, Brian, 33
Bissonnette, Meghan, 70
Bivens, Becky, 65
Black, Emily R., 18
Blackwell, Richard, 24
Blakinger, John, 67
Bland, Cynthia, 55
Blas, Lisa, 48
Blaylock, Sara, 40
Blier, Suzanne Preston, 27
Bloom, Lisa, 28
Boasso, Lauren, 38
Bobier, Kim, 70
Boetzkes, Amanda, 35
Bogel, Cynthea, 56
Bogues, Barrymore, 16
Bohn, Babette, 48
Boisvert, Heidi, 44
Boldon, Alan, 16
Bontrager, Nick, 77
Boone, Elizabeth, 39
Borgonjon, David, 30
Botar, Oliver A. I., 67
Bottinelli, Silvia, 69
Bourland, William, 45
Boustan, Ra’anan, 20
Bovino, Emily Verla, 43
Bowen, Deanna, 25
Bowers, Anthony, 60
Boxer, Eileen, 42
Boyer, Axelle, 58
Boyer, Frank, 42
Boylan, Alexis, 45
BBoyle-Turner, Caroline, 41
Bradbury, Victoria, 20
Brady, Aoife, 48
Bralower, Alyssa, 43
Brancaccio, Pia, 69
Brancato, Hannah, 19
Brasile, Jeanne, 24
Brasiske, Inesa, 68
Bravo, Monica, 40
Brawner, Lydia, 32
Brazil, Sally, 17
Bremer, Maria, 68
Brendle, Ross, 24
Briel, Mariah, 49
Briggs, Patricia, 24, 74, 75
Britt, Karen, 20
Briz, Ana, 32
Brock, Hovey, 40
Brod, Kelsey, 32
Brodsky, Judith, 26
Bronson, Danielle, 28
Brooks, LeRonn, 39
Brown, Jason, 49
Brown, M. Kathryn, 69
Brown, Mary, 18
Browning, Charles, 34, 82
Bruckbauer, Ashley, 65
Brynjolson, Noni, 68
Bubenik, Andrea, 39
Buhe, Elizabeth, 24
Buller, Rachel, 23
119
Burdick, Catherine, 53
Burges, Steven, 21
Burke, Marcus, 50
Burleigh, Paula, 23
Burns, Emily, 41
Burroughs, Charles, 31
Burrus, Sean, 20
Busbea, Larry, 33
Buskirk, Martha, 62
Buszek, Maria Elena, 26
Butkovich, Nora, 66
Butler, Anne Marie, 56
Butterfield-Rosen, Emmelyn,
48
Byrd, Dana, 56
Byrd, Sarah, 29
C
Caldwell, Ellen, 23
Callas, Kimberly, 37
Canning, Susan, 26
Cao, Maggie, 66
Caplan, Allison, 33
Caplan, Lindsay, 33
Capper, Emily, 61
Capron, Emma, 53
Caragol-Barreto, Taina, 17
Card, Baillie, 42
Cardella-Tedesco, Elaine, 47,
83
Carey, Chanda, 19
Carey, Dwight, 61
Carey, Jean Marie, 17
Carlson, Amanda, 44
Carman, Carissa, 34
Carnwath, Squeak, 23
Carollo, Michelle, 56
Carothers, Martha, 44
Carrasco, Michael, 16
Carson, A. D., 33
Carter, Kristen, 61
Cartwright, Derrick, 36
Casaletto, Kristin, 51
Cass, Robin, 29
Cassidy, Anne, 37
Cast, David, 31
Castellanos, Carlos, 59
Castellanos, IV, 63
Castenell, Wendy, 65
Castro, Mark, 65
Caws, Mary Ann, 30
Cecil, Elizabeth, 69
Cempellin, Leda, 46, 64
Ceperkovic, Slavica, 32
Cervone, Einor, 19
Cesare, Carla, 29
Ch’ien, Letha, 43
Chamberlain, Colby, 25
120
Chan, Chun Wa, 59
Chan, Jeffrey, 55
Chang, Boyoung, 25
Chang, Chung-Fan, 23
Chavez, Alex, 40
Chavez, Juan, 56
Checa-Gismero, Paloma, 62
Chen, Fong Fong, 19
Chen, Shuxia, 19
Cheng, Joyce, 45
Childers, Hope, 51, 84
Childs, Adrienne, 56
Chin, Stephanie, 56, 70
Cho, Yong, 52, 53
Choi, Jinkyoung, 64
Choi, Kee IL, 21
Chou, Wen-shing, 46
Chow, Patricia, 50, 83
Chowdhury, Zirwat, 64
Chu, Petra T. D., 28
Chung, Yeon Shim, 65
Cibelli, Deborah, 41
Clark, Alexis, 31
Click, Carolyn, 30
Clifford, Benjamin, 19
Clifford, Christen, 63
Clunis, Sarah, 29
Codell, Julie, 18
Cohen, Kris, 68
Cohn, Rachel, 24
Colard, Sandrine, 21
Colburn, Cynthia, 23
Colizzi, Alessandro, 26
Collins, Lisa Gail, 39
Cologni, Elena, 43
Coman, Sonia, 21
Comfort, Sarah, 24, 74, 76
Condello, Angela, 23
Conley, Katharine, 30
Cook, Nicole, 38
Cooke, Edward, 44
Cooke, Susan, 17
Cooperstein, Shana, 66
Coover, Roderick, 54
Corlin, Mai, 68
Cortez, Constance, 35
Corvette, Michelle, 41
Coslett, Daniel, 66
Coughlan, Gráinne, 39
Coughlin, Maura, 61
Courtois de Viçose,
Alexandra, 52
Courtright, Nicola, 26
Courts, Jennifer, 53
Cowan, Sarah, 37
Cowcher, Kate, 27
Cox, Emily, 24
Cox, Patsy, 31
SEE YOU IN CHICAGO FOR CAA 2020
Coyle, Alexander, 29
Cramer, Lauren, 51
Crasnow, Sascha, 57
Croggon, Nicholas, 20
Cropper, M. Elizabeth, 54
Crum, Lilian, 44
Crum, Roger, 69
Cuesta, Luis, 50
Culotta, Alexis, 17
Cunningham, Linda, 31
Cunningham, Theresa, 52
Curry, Derek, 76
Curtis, Ariana, 24
Cushman, Carrie, 49
Cytlak, Katarzyna, 29
D
D’Ambra, Eve, 40
Dabbs, Julia, 54
Dadi, Iftikhar, 46
Dalton, Benjamin, 43
Dasgupta, Priyanka, 50
Dasovic, Anna, 23
Dastin, Elizabeth, 37
Datchuk, Kimberly, 17
Daufenbach, Karine, 19
Davalos, Karen Mary, 36
Davidow, Jackson, 18
Davies, Veronica, 30
Davis, Emily, 62
Davis, Evonne, 24, 74
Davis, Heather, 22
Davis, Sasha, 18
Davis, Whitney, 48
Davson, Victor, 39
de Anda, Raquel, 60
De Armendi, Nicole, 67
De Carlos, Maria Cruz, 34
de Duve, Thierry, 45
De Luna, Celeste, 28
De Staebler, Peter, 21
De Tillio, Samantha, 26
Dean, Aria, 68
Debreczeny, Karl, 46
Decker, Arden, 55
Degen, Natasha, 64
Delamaire, Marie-Stephanie,
36
DeLand, Lauren, 25
Dell’Aria, Annie, 41
Delos Reyes, Jen, 32, 37
DelPlato, Joan, 47
DeLuna, Elizabeth, 32
Demaray, Elizabeth, 59
Demori, Lara, 40, 69
Demos, T., 22, 35
DeRoo, Rebecca, 59
DeRosa, Andrew, 55
Derr, Diane, 24
Derr, Robert, 68
Derricotte, Cheryl, 60
deSouza, Allan, 58
DeVun, Leah, 37
Dewsnap, Terence, 57
Deyasi, Marco, 20
Dhingra, Sonali, 17
Diamond, Shawn, 22
Diaz Martin, Esther, 40
Dibble, R., 56
Dickey, Stephanie, 48
Diel, Lori, 39
Dierdorf, Jenn, 50, 83
Diers, Michael, 28
DiGiulio, Lauren, 49
Dillon, Sarah, 17
Dimon, Roz, 64
Dinkar, Niharika, 22
DiSarno, Jamie, 55
DiTillio, Jessi, 55
Dixon, Susan, 17
Dodd, Samuel, 61
Dombrowski, Andre, 22
Dominguez, Monica, 58
Donahue-Wallace, Kelly, 60
Donnelly, Michelle, 18
Donner, Christa, 23
Dosch, Mya, 17
Douglas, Susan, 27
Downing, Theresa, 17
Dowty, Morgan, 19
Doyle, Allan, 18
Doyle, Jennifer, 37
Doyle, Kate, 50
Dozier, Saena, 25
Drennan ElAwar, Daniel, 67
Driggers, Kristopher, 33
Driscoll, Megan, 34
Drissell, Matt, 53
Drosos, Nikolas, 61
Dubin, Nina, 66
Duer, Zach, 60
Dufala, Billy, 52, 75
Dufresne, Laura, 49
Duganne, Erina, 42
Duggan, Ginger, 64
Dumbadze, Alexander, 47
Dupey Garcia, Elodie, 37
Dusseault, Ruth, 24
Dykstra, Lia, 66
Dzhema, Linda, 28
E
Eager, Elizabeth, 49
Earley, Caitlin, 20
Easby, Rebecca, 34
Edinger, Carrie, 59
Edwards, Adrienne, 39
Ehrenpreis, David, 61
Ehrlich, Tracy, 27
Elahi, Hasan, 22, 76
Elder, Thomas, 55
Elfline, Ross, 39
Elias, Amy, 51
Ellsworth, Angela, 65
Elsayed, Dahlia, 41
Else, Felicia, 69
Elton, Alexis, 49
Emami, Farshid, 64
Emerling, Jae, 47
Englot, Anne T., 39
Erickson, Ruth, 54
Escobar, Jesús, 26
Estevez, Lisandra, 53
Evans, Ayana, 63
Evans, Lauren, 40
Everhart, Emily, 17
Expósito Sánchez, Daniel,
70
F
Fabijanska, Monika, 63
Fabio, Lucia, 56
Faietti, Marzia, 26
Falbel, Anat, 19
Falk, Naomi, 58
Fallan, Kjetil, 29
Farber, Paul, 46
Farhat, May, 70
Farmer, Sophia, 23
Fava-Piz, Clarisse, 47
Favorite, Jennifer, 37
Fellah, Nadiah, 32
Ferdman, Bertie, 68
Ferguson, Brigit, 64
Ferrari, Roberto, 47
Ferraris, Maurizio, 23
Ferrell, Elizabeth, 33
Fidler, Patricia, 25
Figueroa, Amanda, 24
Filipowska, Roksana, 43
Fineberg, Jonathan, 42
Fiorani, Francesca, 66
Fisher, Sarah, 49
Flach, Sabine, 40
Flaten, Arne, 29
Fletcher, Pamela, 42
Flinchum, Russell, 44
Flint, Kate, 45
Floyd, Emily, 47
Floyd, Kathryn, 61
Flusche, Laura, 52, 64
Flynn, Annalise, 26
Foa, Michelle, 58
Foka, Amalia, 28
Folárànmí, Stephen, 27
Folk, Elizabeth, 48
Foran, Nicole, 67
Forgacs, Eva, 67
Forster, Kurt, 16
Foulk, Rachel, 43
Fowler, Caroline, 65
Fox, Judith, 64
Fox, Peter, 48
Fox-Amato, Matthew, 56
Franco, Josh, 42, 58
Frank, Marie, 19
Frassani, Alessia, 53
Frederick, Michele, 37
Freeman, Erin, 58
Freyermuth, Sherry, 32
Friday, Matthew, 44
Fried, Alexandra, 19
Fried, Laura, 56
Friedlaender, Mira, 26
Fripp, Jessica, 27
Frostig, Karen, 46
Fruhstuck, Sabine, 46
Fu, Cissie, 34
G
Gaiter, Colette, 32
Gajowy, Aleksandra, 19
Galanter, Philip, 64
Galvez, Paul, 28
Gambetta, Michele, 30
Gamble, Antje, 64
Gans, Sofia, 21
Gansell, Amy, 38
Garber, Laurel, 58
Garcia-Fialdini, Arianna, 67
Garrison, Eliza, 69
Garrison, Mark, 60
Gasparini, Mariachiara, 67
Gasper-Hulvat, Marie, 19
Gayed, Andrew, 43
Geha, Katie, 41
Gephart, Emily, 41
Gere, Rich, 44
Gergely, Karen, 37
Gerhold, Emily, 17
Germano, Thomas, 30
Gerschultz, Jessica, 20
Gerspacher, Arnaud, 42
Getsy, David, 33
Ghoche, Ralph, 66
Ghosh, Pika, 53
Giebel, Douglas, 25
Giese, Francine, 20
Gilbert, Gregory, 45
Gilbert, Zanna, 18
Gilchrest, Alison, 56
Gillaspie, Caroline, 49
SEE CAA 2019 APP FOR PROGRAM UPDATES
Gilvin, Amanda, 27
Gingeras-Uklanska, Alison,
37
Girard, Catherine, 66
Giroux, Joan, 52, 75
Giuntini, Parme, 17
Giviskos, Christine, 58
Glahn, Philip, 33
Gleisner, Jacquelyn, 66, 85
Gleisser, Faye, 43
Goddard, Maggie, 33
Godlewska, Maja, 20
Godson, Lisa, 39
Goerlitz, Amelia, 36
Goldstein, Jennie, 29
Gollnick, Elizabeth, 43
Gomez, Gabriela, 35
Gonzales-Day, Ken, 36
González, Cristina, 55
Gonzalez, Ella, 23
Gonzalez Pendas, Maria, 66
Gonzalez Rice, Karen, 33
Goodeve, Thyrza, 65
Goodyear, Anne Collins, 25,
42
Gorchov, Rachael, 74
Gorman, Carma, 38
Gotlieb, Rachel, 44
Gottlieb, Nell, 51
Gower, Reni, 48, 75
Goyal, Anjali, 60
Grabski, Joanna, 29
Gradecki, Jennifer, 76
Gramatke, Corinna, 55
Grandjean, Joan, 19
Grant, Daniel, 24
Graybill, Lela, 58
Greaves, Kerry, 66
Greeley, Anne, 25
Green, Joshua, 31
Griefen, Katherine, 26
Griffin, Dori, 45
Griffin, Sushma, 47
Grijzenhout, Frans, 37
Grokhovsky, Katya, 18, 35,
43, 60, 63
Grosser, Benjamin, 114
Grossman, Wendy, 21
Grove, Jaleen, 70
Grusiecki, Tomasz, 26
Guglielmo, Antoniette, 52
Guidetti, Pierre, 38, 106
Guillen, Melinda, 43
Gulbransen, Krista, 20
Gupta, Huma, 36
Guseva, Anna, 36
Guven, Suna, 67
Guyer, Nanina, 21
Gyorody, Andrea, 56
Gyure, Dale, 19
H
Haakenson, Thomas, 61
Haberstich, David, 16
Hacker, Robert, 56
Haenggi, Andrea, 35
Hahn, Cynthia, 22
Hamill, Sarah, 25
Hammonds, Hollis, 24, 74
Hansen, James, 40
Hanson, Debra, 59
Hanson, Jenny, 49
Hanson, Lauren, 66
Haq, Sarah, 52
Hara, Mari, 41
Harley-McGowan, Felicity, 69
Harmeyer, Rachel, 29
Harnish, Katherine, 29
Harp, Gabriel, 20
Harris, Beth, 42
Harris, Dianne, 53
Harris, Mark, 32
Hart, Imogen, 59
Hart, Margaret, 23
Hartzell, Freyja, 61
Harvey, Melanee, 54
Hasbun, Muriel, 42
Haugnes, Natasha, 48
Haynes, Clarity, 37
He, Feng, 44
Heath, Ekaterina, 67
Hecker, Sharon, 64
Hedreen, Guy, 17
Hegarty, Valerie, 36
Hegenbart, Sarah, 28, 62
Heller, Hannah, 34, 82
Hemenway, Dana, 67
Hendren, Claire, 54
Henni, Samia, 36
Henri, Janine, 16
Henriksen, Niels, 65
Hernandez, Robb, 53
Hernandez-Duran, Ray, 28
Hernandez-Ying, Orlando, 50
Heuer, Keely, 40
Hick, Darren, 23
Hickey, Amber, 21, 81
Hiebert, Ted, 28
Higgins, Hannah, 67
Higonnet, Anne, 121
Hilliard Potter, Melissa, 34,
48, 75, 112, 113
Hillman-Harrigan, Robyn, 60
Ho, Christine, 62
Hoeniger, Cathleen, 70
Hohensee, Naraelle, 42
121
Hokanson, Taylor, 77
Holland, Kristopher, 40
Holloway, Camara, 59, 60
Holly, Michael Ann, 53
Holmgren, Hoag, 48
Holochwost, Catherine, 33
Holohan, Kate, 50
Holzman, Laura, 33
Hooper, Rachel, 30
Hoover, Polly, 45
Hopkins, Candice, 57
Horisaki-Christens, Nina, 20
Hornik, Heidi, 52
Houghteling, Sylvia, 53, 60
Houze, Rebecca, 61
Hrychuk Kontokosta, Anne,
21
Hryszko, Barbara, 44
Huaracha, Laura, 58
Huber, Stephanie, 69
Hubregtse, Menno, 20
Hudson, Suzanne, 47
Hunnicutt, Rachel, 46
Hunt, Ashley, 38
Hunt, Patrick, 40
Hunter Larsen, Jessica, 59
Hupfield, Maria, 63
Hurt, Rhianna, 24, 74
Hwang, Karen, 35
Hwang, Tae, 28
I
Iarocci, Louisa, 58
Iglioliorte, Heather, 26
Igoe, Laura, 61
Ingarao, Giulia, 30
Irons, Ellie, 54
J
Jackall, Yuriko, 27
Jackson, Katherine, 25
Jackson, Meg, 40
Jackson-Beckett, Michelle,
57
Jacobs, Hannah, 18
Jahanshahi, Pouya, 45
Jahoda, Susan, 37
James, Erica, 16
Jamrozik, Julia, 51
Jaquis, Michele, 46
Jaskot, Paul, 18, 26, 53, 69
Jaskunas, Paul, 45
Jervis, Carolyn, 43
Jesty, Justin, 68
Jimenez, Maya, 28
Johal, Rattanamol, 19
John, Nicola, 52
Johnson, Annika, 54
122
Johnson, Bethany, 51, 84
Johnson, Sarah, 70
Jolicoeur, Ernest, 56
Jollet, Etienne, 48
Jones, Amelia,68
Jones, Lynn, 68
Jones, Meghen, 44
Jones, Zoë, 25
Jordan, Cara, 28, 62
Joselit, David, 24
K
Kaimal, Padma, 17
Kalb, Peter, 22
Kamran, Sadia, 70
Kaneti, Marina, 70
Kang, Changduk (Charles),
27
Kang, Eunsu, 22
Kanouse, Sarah, 40
Kanwischer, Charles, 29
Karapetian, Farrah, 35
Karol, Peter, 62
Kashef, Niku, 34, 35, 39, 48,
74, 75, 76, 77
Kasper, Jeffrey, 37
Kauffman, Alexander, 22
Kaufmann, Katrin, 67
Kee, Joan, 62
Keist, Carmen, 52
Kennedy, Hollyamber, 36
Kent, Charlotte, 68
Kent, Timothy, 70
Kenyon, Beau, 74
Kerman, Monique, 40
Kerr, Iain, 44
Kersey, Kristopher, 58
Ketcham, Christopher, 25
Khalid, Kanwal, 67
Khan, Nadhra, 29
Khera, Dipti, 64
Khimasia, Anna, 52
Khullar, Sonal, 46
Kienle, Miriam, 53
Kikuchi, Yuko, 62
Kilroy-Ewbank, Lauren, 42
Kim, Ann, 53
Kim, David, 48
Kim, Eunsong, 32
Kim, Jinah, 17
Kim, Jongwoo, 45
Kim, Patricia, 54
KKim, Youn-mi, 56
Kim-Kassor, TeaYoun, 32, 74,
75
King, Elliott, 25
King, Susan, 46
King Hammond, Leslie, 29
SEE YOU IN CHICAGO FOR CAA 2020
Kirchhoff, Chassica, 59
Kirtley, Alexandra, 65
Kittler, Teresa, 69
Klein, Eva, 40
Kleiner, Fred, 105
Kleutghen, Kristina, 34
Knight, Christina, 29
Knott, Elizabeth 38
Knox, Gordon, 16
Koehne, Eckart, 60
Kojzar, Christopher, 65
Kolasinski, Jacek, 56
Kong, Hyoungee, 36
Koontz, Rex, 20
Kopf, Suzy, 54, 84
Koppke, Karolyna, 27
Korda, Andrea, 30
Kormanik, Adel, 25
Kouteinikova, Inessa, 67
Kovach, Jodi, 59
Kowalski, Jennifer, 32
Kozak, Nazar, 29
Kraft, Jeannine, 23
Kramer, Sean, 59
Kraus, Heidi, 39
Kreiter, Rachel, 65
Krispinsson, Charlotta,
Krohn, Deborah, 17
Kubo, Michael, 49
Kull, Sabena, 53
Kumar-Dumas, Divya, 69
Kunimoto, Namiko, 46
Kuo, Phoebe, 35
Kutasz Christensen, Theresa,
64
L
La Rosa, Melanie, 39
Ladd, Thomas, 53
Laferrière, Carolyn, 24
Lamm, Kimberly, 32
Lamprakos, Michele, 69
Lancaster, Lex, 33
Landa, Robin,32
Lane, Barbara, 53
Langendorfer, Breton, 41
Lanza, Emily, 28
LaPalombara, David, 29
Lapin Dardashti, Abigail, 39
Lapossy, Coe, 50
Larson, Katharine, 25
Lasch, Pedro, 46
Latorre, Guisela, 49
Lau, Charlene, 35
Lawrence, Sarah, 64
Lazevnick, Ashley, 33
Le Gall, Shalini, 59
Ledezma, Deanna, 32
Lee, Ha Na, 22
Lee, Inmi, 22
Lee, Jaewook, 25
Lee, Jennifer, 61
Lee, JJ, 28
Lee, Jungsil, 45
Lee, Lisa, 45
Lee, Melissa, 50
Lee, Pamela, 47
Lee, SooJin, 62
Lees-Maffei, Grace, 61
Legrady, George, 28
Lehner, Ace, 57
Leibsohn, Dana, 33, 39
Leigh, Allison, 17, 67
Leimer, Ann Marie, 49
Leininger-Miller, Theresa, 33
Lemu, Massa, 68
Lenssen, Anneka, 52
Lenz, Heather, 62
Lerer, Marisa, 37
Levenson, Rustin, 38, 105
Levin, Gail, 19
Levine, Cary, 33
Levy, Aaron, 50
Levy, Ellen, 59
Levy, Ellen, 59
Liao, Chia-Ying, 37
Lichty, Patrick, 49
Lieberman, Shannon, 18
Lignou-Tsamantani, Kyveli,
45
Liljegren, Dana, 64
Lima, Álvaro Luís, 18
Lindsay, David, 46
Lingo, Estelle, 42
Linrothe, Rob, 17
Lipka, Astrid, 64
Lippert, Sarah, 55
Lippit, Yukio, 62
Lipps, Andrea, 64
Litchfield, Sandy, 65
Little, Carron, 43, 114
Liu, Chen, 29
Llorens, Natasha Marie, 23
Lock, Tracey, 31
Locke, Steve, 33
Lome, Erica, 57
Loncle, David, 21, 81
London, Barbara, 68
Lonegan, Christopher, 53
Long, Courtney Skipton, 38
Lopez, Ana, 21
Lord, Carmen, 31
Lott, Chercy, 58
Louden, Sharon, 23
Louis, Francois, 53
Lovatt, Anna, 25
Loveless, Natalie, 20, 23
Lovell, Margaretta, 36
Lubin, David, 58
Lucento, Angelina, 50, 116
Lugacy, Talia, 63
Lugo, Roberto, 31
Lum, Julia, 49
Lusch, Peter, 32
Lyn-Kee-Chow, Jodie, 60
Lynch, Robin, 48
Lynn, Meredith, 56
M
Macagba, Jonathan, 22
MacArthur, Kelly, 32
Macaulay-Lewis, Elizabeth,
42
Macchiavello, Carla, 20
Machida, Margo, 62
Mack, Stephen, 19
Mackenzie, Pamela, 70
Mackie, Nisa, 70
Macsotay, Tomas, 47
Madaio, Michael, 55
Magnatta, Sarah, 47
Mahon, Alyce, 30
Majeski, Anna, 41
Maki, Ariana, 46
Mameni, Sara, 22
Mangieri, Anthony, 56, 62,
84
Mann, Nicola, 70
Mansoor, Jaleh, 35
Manthorne, Katherine, 41
Manuel, Nathan, 65
Marchal, Stephanie, 28
Marcin, Nadja, 35, 45
Marina, Claudia, 29
Marley, Anna, 28
Maroja, Camila, 68
Marotta, Alexis, 26
Martin, Lois, 69
Martin, Meredith, 64
Martin, Sarah, 55
Martinez, Jessica, 59
Martinez Nespral, Fernando,
67
Masse, Isabelle, 42
Mathieu, Camille, 58
Matsumura, Kimiko, 61
Matthews, J. Barrington, 59
Mattingly, Mary, 52, 75
Mattock, Lindsay
Mattock, Lindsay, 62
Mattos Avolese, Claudia, 26
Matuszak, Joanna, 43
Mayer, Aric, 66, 84
Mayer, Tamar, 48
Mazzanti, Anna, 41
Mazzola, Emily, 57
McAllen, Katherine, 55
McArthur, Damon, 17
McClellan, Courtney, 50
McClendon, Emma, 57
McCurdy, Leah, 69
McDermott, Ian, 34
McDonald, Louisa, 42
McElhinney, James, 34, 82
McFerrin, Neville, 41
McGowan, Elizabeth, 21
McGrath, Jack, 65
McGuire, Laura, 57
McInnis, Maurie, 56
McKee, C.C., 61
McKelligan Hernández,
Alberto, 55
McLane, Yelena, 64, 69
McLaughlin, Laurel, 54
McLean, Alick, 46
McMahon, Brendan, 47
McManus, Darren, 45
McPherson, Heather, 28
McQuillen, John, 34
McVicker, Michelle, 57
Means, Danyelle, 26
Mehring, Frank, 16
Meilvang, Emil, 66
Melius, Jeremy, 58
Melville, Stephen, 45
Mendoza, Barbara, 40
Menon, Arathi, 21
Meredith, Hallie, 69
Merfish, Beth, 55
Meskimmon, Marsha, 57
Meslay, Olivier, 38
Metzger, Cyle, 33
Meyer, Martina, 27
Meyer, Walter, 28
Michelon, Christina, 54
Middleman, Rachel, 26
Milbrath, Susan, 37
Milkova, Liliana, 59
Millar Fisher, Michelle, 41
Miller, Ashley, 61
Miller, Hillary, 39
Miller, Olivia, 19
Miller, Rachel, 55
Miller, Sarah, 47
Miller, Stacy, 30, 82
Mills, Katherine, 34
Milroy, Elizabeth, 60
Minioudaki, Kalliopi, 63
Minor, Kimberly, 59
Mintie, Katherine, 36
Mizrachi, Alice, 38, 44, 75
Mobley, Kayce, 49
SEE CAA 2019 APP FOR PROGRAM UPDATES
Modrak, Rebekah, 59
Moerman, D., 56
Mohrmann, Michaela, 50
Mokgosi, Meleko, 32, 74
Molloy, Audrey, 49
Molloy, Traci, 19
Moninski, Richard, 58
Monteyne, Joseph, 26
Montiel, Anya, 49
Montross, Sarah, 24
Moore, Christopher, 20
Moore, Rachel, 32, 74
Morgan, Jo-Ann, 40
Moriuchi, Mey-Yen, 28
Morrissey, Nicolas, 48
Morton, Mary, 28
Morton, Patricia, 22
Moser, Gabrielle, 20
Moss, Dorothy, 18
Mostafa, Heba, 70
Moynihan, Conor, 48, 67
Mueller, Ellen, 37
Mukhopadhyay, Deepanjan,
50
Mulhearn, Kevin, 22
Mundy, Barbara, 39
Muñoz Sarmiento, Sergio, 26
Munro, Silas, 45
Murat, Zuleika, 30
Muro, Marvella, 50
Murrell, Denise, 26
Musillo, Marco, 26
Mustard, Maggie, 35
Musto, Jeanne-Marie, 16
Mwaba, Stary, 22
Myburgh, Brittany, 49
Myers, Andrea, 23
N
Nachabe, Yasmine, 20
Nadalo, Stephanie, 22, 23
Nagam, Julie, 26
Nagel, Alexander, 60
Naidus, Beverly, 37, 44
Naismith, Jacqueline, 61
Nakazawa, Natalia, 66, 84
Naoi, Nozomi, 62
Nazir, Cassini, 69
Neal, Carrie, 35, 82
Neckles-Ortiz, Shervone, 23
Nedd, Andrew, 67
Neely, Evan, 68
Neginsky, Rosina, 41
Nelson, Aaron, 47, 83
Nelson, Elyse, 27
Nelson, Robert, 69
Nelson, Solveig, 53
Nelson, Steven, 53
Nelson Pazian, Erika, 28
Neuman, Ingrid, 50, 83
Newman, Emily, 35
Nezer, Orly, 35
Ng, Sandy, 51, 115
Nguyen, Jason, 42
Nguyen, Kim, 32
Nicholas, Vanessa, 60
Nickel, Douglas, 47
Nicolai, Fausto, 17
Niell, Paul, 16, 65
Nnochiri, Umana, 44
Noel, Samantha, 49
Noel de Tilly, Ariane
Noel de Tilly, Ariane, 68
Noorman, Judith, 37
Noriega, Chon, 39
Norman, David, 35
Norman, Zachary, 54
Normoyle, Cat, 32
Norouzi, Minou, 18
Norris, Debra Hess, 56
Norris, Tameka, 40
Norton, Danielle, 23
Nowacek, Nancy, 70
Nyampeta, Christian, 68
O
O’Hanian, Hunter, 5, 27, 51,
64, 68
O’Neill, Rosemary, 22
O’Rourke, Kathryn, 19
O’Steen, Danielle, 43
Obey, Erica, 30
Oesch, Andrew, 44
Ogrodnik, Benjamin, 62
Oh, Gyung Eun, 25
Okada, Takeshi, 42
Okin, Mary, 36
Olin, Ferris, 26
Oliver, Deborah, 68
Olson, Mark, 18
Olszewski, Christopher, 30
Ong, Joel, 22
Onuoha, Louisa, 58
Orcutt, Kimberly, 41
Oring, Sheryl, 37
Orosz, Márton, 67
Orr, Joey, 36
Ortega, Mariana, 49
Ortega-Miranda, Patricia,
46
Osborn, Ed, 25
Ott, John, 37
Ozturk, Onur, 67
O’Dea, Rory, 24
O’Dell, Kathy, 49
123
P
Pable, Jill, 69
Packer, Allyson, 26
Padberg, Carol, 44
Padmanabhan, Lakshmi, 24
Paeslack, Miriam, 64
Pafford, Isabelle, 41
Palfrey, Simon, 39
Paoletti, Giulia, 49
Papapetros, Spyros, 43
Pappas, Dianne, 45
Parent, Vanessa, 32
Park, Hyuna, 51
Park, Jessie, 58
Park, Kelly (Guewon), 69
Parsons, Jennifer, 39
Pass, Victoria, 59, 113
Pastan, Elizabeth, 57
Patel, Alpesh, 57
Patrick, Martin, 28
Patten, Mary, 38
Pauwels, Erin, 33
Pavitt, Jane, 48
Paxton, Merideth, 37
Peña, Elizabeth, 23
Perez, Laura, 49
Perrill, Elizabeth, 45
Peruzzi, Bice, 20
Peters, Lauren, 57
Peterson, Kristi, 47
Pfaffman, Scott, 31
Philogene, Jerry, 16
Pierce, Kathleen, 19
Pierre, Caterina, 47
Pietropaolo, Francesca, 70
Pillsbury, Joanne, 20, 39
Piola, Erika, 58
Piotrowski, Andrzej, 31
Piwowarczyk, Thiago, 19
Plastini, Johnny, 44
Platts, Christopher, 26
Plesch, Véronique, 58
Poddar, Neeraja, 53
Poggio, Natacha, 32
Poitras Santos, Julie, 54
Polanco, Dominique, 17
Pollack, Rebecca, 61
Ponce de León, Jennifer,
49
Poon, Jessica, 28
Pop, Andrei O., 28
Popovici, Catherine, 55
Powell, Catherine, 38
Powell, Valerie, 23
Powhida, William, 32, 74
Prakash, Tara, 20
Prayzner, Andrew, 24, 74
Preisinger, Raphaèle, 55
124
Prejmerean, Vasile-Ovidiu,
54, 55
Presutti, Kelly, 58
Price, Michael, 42
Price, Rachel, 52
Pride, Jennifer, 38
Prochner, Isabel, 20
Prophet, Jane, 61
Puleo, Risa, 38
Pullagura, Anni, 24
Pulliam, Heather, 69
Purtle, Jennifer, 17
Putnam, EL, 64
Pyun, Kyunghee, 64
Q
Quiles, Daniel, 47
Quinn, Heather, 44
Quodbach, Esmée, 19
Quraishi, Fatima, 69
R
Rabinovitch-Fox, Einav, 52
Rackover, Suzanne, 34
Radlo-Dzur, Alanna Simone,
33
Rado, Mei, 64
Raengo, Alessandra, 51
Ragland, Jared, 51
Ragona, Melissa, 62
Raizman, David, 29
Ramírez-Weaver, Eric, 41
Rattalino, Elisabetta, 69
Rauh, Elizabeth, 43
Raymer, Katherine, 36
Raymond, Claire, 55
Reece Hardy, Saralyn, 56, 68
Reed, Christopher, 36
Reed, Marcia, 16
Reese, Ligorano, 37
Reeves, Christopher, 32
Rehm, Cindy, 35
Reilly, Lisa, 57
Reisinger, Gunther, 61
Reizman, Renée, 35
Relyea, Lane, 64
Remington, R., 57
Remmen, Manda, 49
Reynolds, Ann, 42
Reynolds, Craig, 17
Reynolds-Kaye, Jennifer, 20,
52
Reznick, Jordan, 57
Rhee, Jieun, 46
Rhodes, Jacob, 24, 74
Rhodes, Kimberly, 45
Ribeiro, Juliana, 21
Ricci, Clarissa, 68
SEE YOU IN CHICAGO FOR CAA 2020
Ricco, John Paul, 22, 68
Rice, Lyn, 64
Rich, Byron, 20
Richards, Geraldine, 52, 106
Richards, Troy, 29
Richardson, Jamie, 60
Richardson, Margaret, 31
Richardson, Sarah, 46
Rickard, Jolene, 49
Riederer, Ted, 26
Riley, Caroline, 36
Rios, Joshua, 40
Rivas Perez, Jorge, 57
Rizk, Mysoon, 25
Rizvi, Kishwar, 36
Robbins, Carrie, 54
Robbins, Christa, 33
Robbins, Nicholas, 45
Roberts-Seppi, Lisa, 55
Robertson, Breanne, 55
Robertson, Bryan, 42
Robertson, Gwen, 38
Robertson, Jean, 30
Robertson, Jennifer, 46
Robinson, Hilary, 51, 84
Robinson, Macushla, 59
Robison, Leslie, 37
Robson, Aurora, 75
Rocco, Vanessa, 64
Rochielle, Jules, 39
Roda, Tim, 38, 83
Rodenbeck, Judith, 65
Rodini, Elizabeth, 42
Rodney, Seph, 38, 83
Rodríguez, Gretel, 24
Rodriguez, Oli, 53
Rodríguez, Xuxa, 42
Rojas, Raquel, 29
Roll, Renee, 35
Romagoza, Yali, 60
Romero, Anthony, 40
Rose, Marice, 21
Rosenberg, Eric, 25
Rosenberg, Lydia, 60
Rosenfeld, Jason, 50
Ross, Christine, 35
Rossi, Steven, 24, 32, 74, 76
Rostvik, Camilla, 33
Roth, Lynette, 66
Roth, Mary, 66, 85
Rounthwaite, Adair, 32, 61
Rousseva, Nicoletta, 32
Rowe, Allison, 43, 70
Rowe, M., 33
Royce, Michael, 60
Rucker, Paul, 68
Rudenstine, Angelica, 56
Rudy, Elizabeth, 58
Rugiadi, Martina, 60
Ruiz, Viva, 63
Rumball, Hannah, 58
Rushfield, Rebecca, 34
Rutkoff, Rebekah, 65
Rutledge, Virginia, 62
Ruudi, Ingrid, 62
Ruyle, Meghan, 61
S
Sabraw, John, 52, 75
Saggese, Jordana Moore, 37
Saiz, Sallie, 30
Salas, Alexis, 65
Salley, Rael, 39
Salomon, Kathleen, 16
Salseda, Rose, 24, 82
Salyer, Joseph, 43
Sanchez, Magdalena, 34
Sanders, Susan, 64
Sandhoff, Bridget, 40
Sands, Sarah, 38
Santos, Dorothy, 76
Saracino, Jennifer, 37
Savig, Mary, 42
Scalissi, Nicole, 42
Scanga, Carrie, 18
Scheper, George, 30
Scher, Julia, 68
Scherling, Laura, 55
Schockmel, Bryn, 70
Schrader, Jeffrey, 50
Schriber, Abbe, 51
Schrimsher, Kimberly, 55
Schroeder, Sue, 18
Schulz, Vera-Simone, 60
Schwartz, Sheila, 17
Schweizer, Anton, 56
Scott, Emily, 22
Scott, John Beldon, 69
Scutt, Tom, 42
Sealy, Peter, 49
Seaman, Kristen, 41
Seastrand, Anna, 53
Sebastián Lozano, Jorge, 42
Seda-Reeder, Maria, 32
Segal, Kenneth, 29
Senie, Harriet, 33
Sepulveda, Susana, 40
Sepuya, Paul, 37
Sethi, Sanjit, 70
Seymour, Gayle, 18
Shafer, Ann, 69
Shaffer, Holly, 54
Shaffer, Jenny, 57
Shane, Robert, 40, 41
Shanks, Gwyneth, 39
Shannon, Joshua, 25
Sharp, Sarah, 24
Sharpe, Gemma, 65
Shaw, Jennifer, 43
Shea, Andrew, 69
Shelnutt, Greg, 33
Shelton, Andrew, 36
Sherer, Scott, 25
Sherin, Aaris, 45
Shimada, Akira, 48
Shirley, Rosemary, 68
Sholette, Gregory, 37
Shtromberg, Elena, 20
Shvarts, Aliza, 24
Shvartzberg Carrió, Manuel,
36
Sichel, Jennifer, 53
Siddiqi, Anooradha, 36, 54
Siddiqui, Yasmeen, 57
Siddons, Louise, 33
Siegenthaler, Fiona, 27
Sienkewicz, Julia, 47
Sik, Sarah, 65
Silas, Susan, 35
Silveri, Rachel, 65
Simbao, Ruth, 22
Simelius, Samuli, 43
Simmons, William, 37
Simon, Janice, 41
Simonson, Lily, 25
skalka, Michael, 38
Skerritt, Henry, 49
Skopek, Matthew, 38, 105
Skurvida, Sandra, 40
Skvirsky, Karina, 40
Slavick, Elin O’Hara
Slavick, Susanne, 42
Slavkin, Mary, 53
Slipp, Naomi, 51, 65
Smith, Briana, 33
Smith, David, 30
Smith, Jeffrey Chipps, 48
Smith, Joanna, 46
Smith, Joshua, 42
Smith, Nicholas, 48
Smith, Sable, 23
Smither, Devon, 18
Sneed, Pamela, 22
Snyder, Daniella, 32
Soboleva, Ksenia, 18
Solaimani, Sara, 32
Solari, Amara, 33
Soletta, Federica, 49
Solin, Dee, 24, 82
Solin, Deirdre, 30
Solomon, Paul, 44
Solomon, Virginia, 62
Solomons, Delia, 59
Somers, Lynn, 33
Sorkin, Jenni, 35
Soucek, Brian, 23
Soukhakian, Fazilat, 52
Soussloff, Catherine, 22
Speck, Catherine, 31
Spencer, Justina, 26
Sperber, David, 38
Spiker, Christina, 55
Spiller, Harley, 34, 76
Spiteri, Raymond, 30
Spivey, Virginia, 41
Springborg, Martin, 48
Square, Jonathan, 57
Stabler, Albert, 43
Stagliano, Nicholas, 21
Stanfield-Mazzi, Maya, 48,
Stang, Aandrea, 38
Stanley, Jared, 32
Staples, Cary, 60
Stasiak, Kaleena, 43
Stecklein, Heather, 55
Stefanacci, Davide, 29
Steinberg, Monica, 34
Steinbock, Eliza, 33
Steindl, Barbara, 16
Steinhardt, Nancy, 53
Steinkraus, Emma, 29
Stemwedel, Mark, 58
Stephens, Rachel, 51
Stephenson, Andrew, 18
Stephenson, John, 41
Stevenson Stewart, Jessica,
58
Stewart-Halevy, Jacob, 47
Stimson, Blake, 45
Stinely, Alison, 59
Stokes-Rees, Emily, 70
Stokic, Jovana, 68
Stoney, Elisabeth, 65
Stott, Timothy, 39
Stowell, Laura, 65
Strahan, Donna, 21
Strang, Susannah, 50
Stratford, Linda, 25
Straughn, Celka, 68
Stream-Gonzalez, Grant, 40,
106
Strickland, Lisa, 43
Strunck, Christina, 26
Stubblefield, Thomas, 53
Stupak, Peter, 45
Sullivan, Edward, 16
Sullivan, Edward
Sullivan, Mark, 28
Sully, Nicole, 65
Summers, Robert, 22
Supak, J. Wren, 38, 40
Svedlow, Andrew, 36
SEE CAA 2019 APP FOR PROGRAM UPDATES
Swan, Claudia, 61
Sward, Brandon, 29
Swartz, Amy, 28
Swenson, Kirsten, 25, 105
Swift, Jason, 30
Sykes, Ginny, 43
Syme, Alison, 45
Symko, Riva, 25
Szabo, Victoria, 18
Sze Pek, Ying, 20
Szymanek, Angelique, 32, 49
T
Tabatabaei, Samine, 24
Tagle, Thea, 22
Tain, John, 18
Tally-Schumacher, Kaja, 43
Taminiaux, Pierre, 65
Tang, Jeannine, 70
Tanga, Martina, 61
Tani, Ellen, 24, 54
Taronas, Katherine, 60
Taroutina, Maria, 67
Tasman, Marc, 45
Tawadros, Gilane, 26
Taws, Richard, 66
Taylor, Chris, 49
Taylor, Christina, 58
Taylor, Jeff, 64
Tchibozo, Romuald, 21
Tedeschi, Martha, 56
Tefková, Zuzana, 19
Tegtmeyer, Rebecca, 44
Telfair, Catharine, 52
Telhan, Orkan, 59
Tell, Connie, 19, 63
Terranova, Charissa, 25, 67
Thielemans, Veerle, 36
Thomas, James, 54
Thompson, Erin, 42
Thompson, Whitney, 17
Thorp, Scott, 23
Tiffany, Tanya, 34
Tillet, Salamishah, 19, 46
Tita, Silvia, 66
Toh, Joyce, 70
Tomic, Milena, 61
Tomlinson, Cara, 52, 75
Trasi, Ambika, 60
Trinks, Ieke, 43
Triplett, Edward, 18
Triplett, Stephanie, 28
Troensegaard, Margrethe, 65
Tromble, Meredith, 25
Truax, Raegan, 40
Truong, Hong-An, 23
Tsuchikane, Yasuko, 45
Tuazon, Anastasia, 21, 81
Tucker, Rebecca, 55
Tucker, Toisha, 60
Turel, Noa, 64
Twemlow, Alice, 45
Twomey, Robert, 22
U
Underwood, Joseph, 19
Ustick, Jennifer, 37
V
Vail, Gabrielle, 37
Valjakka, Minna, 46
Van Beek, Nichole, 62, 84
van Haaften-Schick, Lauren,
28, 43
Van Hoesen, Brett, 61
Van Horn, Jennifer, 56
Van Scoy, Susan, 40
Van Wingerden, Carolyn, 70
Vara, Renee, 26
Varas Ibarra, Ana, 70
Varela Braga, Ariane, 20
Varshavskaya, Elena, 36
Vartikar, Jason, 36
Vaughan, Naomi, 64
Veneskey, Laura, 22
Ventura, Jonathan, 29
Vermeulen, Heather, 22
Vicario, Niko, 52
Vikram, Anuradha, 52
Villarroel, Fernanda, 43
Villaseñor Black, Charlene,
5, 58
Vogt, Naomi, 33
Von Koenig, Gretchen, 29
Von Vogt, Matt, 55
Vossoughian, Nader, 69
Vranic, Ivana, 26, 48
Vronskaya, Alla, 19
W
Wahi, Jasmine, 63
Waits, Mira, 58
Waldburger, Natalie, 28
Waldman, Louis Alexander,
58
Walkiewicz, Alice, 52
Walsh, Taylor, 25
Walsh-Gallina, Lois, 44
Waltham-Smith, Naomi, 68
Wander, Maggie, 49
Wang, Di, 18
Wang, Ruobing, 46
Wang, Yang, 61
Wangwright, Amanda, 41
Ward, Andrew, 17
washington, michele, 69
125
Washko, Angela, 76
Watson, Mark, 18
Way, Jennifer, 48
Weber, Alan, 18
Wei, Chu-Chiun, 35
Wei, Ren, 62
Weinstein, Andrew, 64
Weintraub, Linda, 44
Weiss, Sean, 49
Weleski, Dawn, 56
Wells, Lindsay, 59
Welty, Emma, 35
Wentrack, Kathleen, 26
Werbel, Amy, 32
Werier, Leah, 65
Wescoat, James, 69
West, Ruth, 16
Westerman, Jonah, 68
Westman, Barbara, 44
Weston, Frederick, 22
Wetmore, Ellen, 44, 56
Whalen, Catherine, 17
Whitaker, Amy, 28, 54, 84
White, Carolyn, 22
White, Veronica, 18
Whitham, Hilary, 61
Whitman, Matt, 64
Widrich, Mechtild, 61
Wiggers, Namita, 35, 58
Wight, Gail, 25
Wild, Lorraine, 45
Wile, Aaron, 61
Wiles, Stephanie, 59
Wilkins, Catherine, 51
Wilkinson, Tom, 67
Williams, Christopher, 58
Williams, Joseph, 70
Williams, Lauren, 43
Williams, Linda, 33
Williams, Lyneise, 39
Williams, Nicole, 37, 55
Williamson, Marisa, 46, 70
Willis, Deborah, 29
Wilson, Kristina, 59
Wilson, Marion, 52, 75
Wilson, Martha, 68
Wilson-Sanchez, Maya, 20
Wing, Emily, 25
Winger-Bearskin, Amelia,
38, 75
Winick, Amber, 57
Winther-Tamaki, Bert, 52
Wisotzki, Paula, 52
Witkowski, Jacqueline, 35
Witt, Andrew, 33
Wofford, Tobias, 47
Wojak, Angie, 30, 82
Wolf, Reva, 56
126
Wolf, Tom, 62
Wolff, Lesley, 16
Wolff de Carvalho, Maria, 39
Wolfskill, Phoebe, 39
Wolverton, Nan, 36
Wong, Daniel, 44
Wong, Wendy, 51
Wong, Winnie, 62
Woo, Jung-Ah, 65
Wood, Ghislaine, 48
Wood, Kelli, 60
Woodham, Ed, 68
Wouk, Edward, 48
Wu, Chinghsin, 46
Wurm, Jan, 23
Y
Yamamura, Midori, 62
Yang, Chin Chih, 34, 76
Yang, Xiaoyi, 19
Yasunaga, Marie, 16
Yavelberg, Josh, 30, 34, 60
Yeager, Raymond, 30
Yoon, Soyoung, 25
Yusaf, Shundana, 67
Z
Zadeh, Eli, 25
Zahabi, Liese, 32
Zalewski, Leanne, 54
Zalman, Sandra, 61
Zamir, Einav, 60
Zandi, Monica, 61
Zarobell, John, 19
Zavistovski, Katia, 56
Zervigon, Andres, 47
Zhan, Zhenpeng, 19
Zhang, Fan, 53
Zhang, Hongtu, 42
Zhang, Lifang, 22
Zhou, Zhenru, 66
Ziegenfuss, Jessica, 33
Zohar, Ayelet, 46
Zonno, Sabina, 30
Zubko, Natalia, 24, 74
Zucker, Steven, 42
Zutic, Danijela, 58
SEE YOU IN CHICAGO FOR CAA 2020
NOTES
SEE CAA 2019 APP FOR PROGRAM UPDATES
127
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