49657846 Conference Brancusi

SEATTLE

College Art Association92nd Annual ConferenceFebruary 18–21, 2004

This Program is published in conjunction with the 92nd Annual Conference of the CollegeArt Association.

The 92nd Annual Conference will be held at the Washington State Convention and TradeCenter, in downtown Seattle, from February 18 to 21, 2004. Unless otherwise noted, all activities will take place at this location.

For up-to-date information on the Conference, visit our website at www.collegeart.org.

CAA would like to extend its special thanks to the members of the Annual ConferenceCommittee; to Ellen K. Levy, Vice President for Annual Conference; and to the 2004Regional Representatives, David Brody, Barbara Brotherton, Heather Oaksen, PatriciaFailing, and Norie Sato.

CAA is deeply grateful to Mimi Gardner Gates, Director, and the Seattle Art Museum, forhosting this year’s reception.

CAA would also like to thank all the volunteers and CAA staff members who made theConference possible.

SAVE THE DATES

Atlanta 2005College Art Association

93rd Annual ConferenceFebruary 16–19, 2005

Boston 200694th Annual Conference

February 2006

CONFERENCE PROGRAM

15February 18–21, 2004

OPEN SESSIONSessions identified with this symbol address broader areas

and disciplines within studio art and art history.

OFF-SITE SESSIONSessions identified with this symbol will be

held outside the Conference site.

PRACTICUMSessions identified with this symbol offer practical

applications or deal with pedagogical issues.

MUSEUM SESSIONSessions identified with this symbol focus on issues of

interest to curators and other museum professionals.

AFFILIATED SOCIETY SESSIONSessions identified with this symbol are sponsored

by organizations affiliated with CAA.

CAA COMMITTEE SESSIONSessions identified with this symbol are

sponsored by committees of CAA.

E-SESSIONSessions identified with this symbol address the use of

digital technology and the Internet in studio art, art history, and art education

ARTspace

Brimming with events and activ-ities of special interest to CAA’sartist-members, ARTspace, intro-duced at the 2001 Conference,will extend over the full threedays of the conference. Part the-ater and part lounge, this confer-ence-within-a-conference will bethe site for innovative program-ming, ranging from artists’ talks,performances, and debates tosocial and networking opportuni-ties. All attendees are cordiallyinvited to be stimulated and toconverse, enjoy, and relax atARTspace.

With the exception of thosesessions marked ConferenceBadge Required for Admission,entrance to ARTspace events isfree and open to the public.

Unless otherwise noted, ARTspaceevents will be held on Level 6,Meeting Rooms 602/603/604.

Fresh Start: Perk up your senseswith complimentary coffee, tea,or juice. A detailed schedule ofthe day’s events will be madeavailable.

Eva Hesse Today

Chair: Sue Taylor, PortlandState University

Grounding the Hesse/PollockConnection Jeanne Siegel,School of Visual Arts

Pre-Feminist/Post-FeministHesse Kirsten Swenson, StateUniversity of New York, StonyBrook

Stayin’ Alive: Creativity,Survival, and Eva HesseVanessa Corby, independentscholar

Discussant: Jane Blocker,University of Minnesota

Conference badge required foradmission

Viewing of "Eva Hesse atSFMOCA," a DVD film of theEva Hesse show at the SanFrancisco Museum of ModernArt that documents the installa-tion and offers commentary byAnne Wagner, ElisabethSussman, Alex Potts, Briony Fer,Doug Johns, and others.

You are welcome to bring yourlunch.

TemporaryTransformations: Public Artas Social Action

Chairs: Jason S. Brown,University of Tennessee; GregorA. Kalas, Texas A&MUniversity

Dark Matters: Informal Art,Collective Practice, and theContemporary Public SphereGregory G. Sholette, School ofthe Art Institute of Chicago

Public Things: The Work andPhilosophy of N55 Jon Sorvin,N55 Design Collective

Dyke Action Machine!’s InstantMessaging: "Branding" LesbianIdentity on the New York CityStreet Carrie Moyer, artist

Tyree Guyton’s HeidelbergProject in Detroit: A CommunityTransformed Cheryl Alston,Wayne State University

Finding the Permanence of theTemporary: Socially EngagedPublic Art and Place-SpecificityCameron Cartiere, ChelseaCollege of Art and Design,London


Closed for the Members’Exhibition opening reception(see Special Events, p. 47)

On the Edge: West CoastPerformance in theAmericas

Chair: Meiling Cheng,University of SouthernCalifornia

Ecotone Claudia Bucher,Pasadena Art Center

Cutting with a Broken MirrorGwyan Rhabyt, California StateUniversity, Hayward

SRS: Stations Remain Structurethe gyrl grip, 2 GyrlzPerformative Arts

Performance Art in WesternCanada John G. Boehme, artist

Impossible Cohesions JennieKlein, Santa Ana College;Joanna Roche, California StateUniversity, Fullerton

un-Becoming: AnImprovisational Automatic Self-Performance Nicole R. Hodges,University of SouthernCalifornia


THURSDAYFEBRUARY 198:00–9:30 AM

9:30–NOON

12:30–1:30 PM

5:00–7:30 PM

8:00–10:30 PM2:00–5:00 PM

16 CAA 92nd Annual Conference in Seattle


Contemporary Art and Islam

Chair: Fereshteh Daftari,Museum of Modern Art, New York

The Postmodern Turn in IslamicCalligraphy Maryam Ekhtiar,Metropolitan Museum of Art

Standing on Formalities: WhatIs Contemporary Elsewhere?Mysoon Rizk, University ofToledo

Secularization, Hybridity, and"Dis-Orientalisms" in Contemp-orary Palestinian Art GannitAnkori, Hebrew University ofJerusalem


Artist Residency Workshop

Chair: Duane Slick, RhodeIsland School of Design

Bring your own brown-bag lunch

Seventh Annual Artists’Interviews

Following a conference tradition,stimulating talk with two artiststo be announced, in an interviewformat. This year’s subects areBuster Simpson of Los Angelesand Daniel Martinez of Seattle.

ARTS EXCHANGE

The Arts Exchange, given inconjunction with ARTspace, willserve as way for artists to pres-ent some of their recent work.Artists attending the conferencehave signed-up for a six-foottable to present small works onpaper (drawings, photographsand prints, etc) or a battery-pow-ered laptop presentation. Salesof works are not permitted.

Art’s Bar will be open duringthe Art Exchange.

This event will be held on Level 4,Ballroom 4B

Electronic Arts Exchange

Hosted by Heather DewOaksen, video artist fromSeattle and regional artist co-chair, and Norie Sato, artistfrom Seattle

As a supporter of the creationand presentation of art worksusing new technologies and digi-tal tools, ARTspace is pleased toannounce that it will begin whatmay become a new tradition atthe annual conference. We wel-come professional video artiststo screen their newest works orto replay older works. Videoartists will be able to present upto 8 minutes of their work. Aftereach clip is shown, questionsand comments will then bebriefly opened up to the audi-ence. The purpose is to encour-age feedback often lacking atformalized exhibitions. At theend of the session, attendees willbe invited to vote for theirfavorite video. A sign up sheetwill be available at ARTspacebeginning on Thursday morning.


Activating CriticalDiscourse: Models of CivicEngagement and PublicArts Practice

Chair: Bradley McCallum,ConjunctionArts

Animating Democracy:Opportunity and Challenge atthe Intersection of Art and CivicDialogue Pam Korza,Americans for the Arts

Creative Capital-IncorporatingDiscourse as Part ofComprehensive Artist SupportSean Elwood, Creative Capital

Community CulturalDevelopment Tomas Ybarro-Frausto, Rockefeller Foundation

Critical Conditions Patricia C.Phillips


Art FoundationInformation Session

NYFA Source: A NationalDirectory of Awards, Funding,and Support Services for Artists

The New York Foundation forthe Arts staff member, MelissaPotter, will demonstrate thenation’s most extensive onlinedirectory of awards, services,and publications, featuring over7,000 programs for artists andarts managers of all disciplines.

The Marie Walsh Sharpe ArtFoundation: Information forArtists

The Sharpe Art Foundation wasestablished in 1984 to providefinancial assistance to visualartists. Staff member Joyce E.Robinson will be on hand todescribe the Foundation’s servic-es, distribute materials, andanswer your questions. TheFoundation offers estate plan-ning advice, a studio space pro-gram, and exhibition opportuni-ties, among other services.

After the CapitalCampaign: Challenges toMuseums

Bellevue Art Museum’s plight isone topic in a discussion of theinstitutional and governancechallenges facing museumstoday. The discussion willinclude both positive and criticalassessments of specific and gen-eral conditions.

Chair: Brian C. Wallace, TheGalleries at Moore College ofArt and Design

ARTspace

FRIDAYFEBRUARY 208:00–9:30 AM

SATURDAYFEBRUARY 218:00–9:30 AM

9:00–11:30 AM

9:00AM–NOON

12:00–1:30 PM

12:00–1:30 PM

2:00–4:30 PM

3:00–5:00 PM

6:00–8:30 PM

7:00–8:30 PM

17February 18–21, 2004

Orientation forInterviewers andCandidatesLevel 6, Ballroom E

Michael Aurbach, VanderbiltUniversity

Laurie Beth Clark, Universityof Wisconsin, Madison

David M. Sokol, University ofIllinois at Chicago

Emmanuel Lemakis, CAA

Grant-Writing Workshopfor Artists: Parts 1 and 2Level 6, Meeting Rooms 613 & 614

Led by Barbara Bernstein,head of the Fine ArtsDepartment at the RinglingSchool of Art and Design inSarasota, FL, and DouglasChismar, Program Director,Liberal Arts Program, also of theRingling School of Art andDesign

Admission by reservation only

ASSOCIATION OF RESEARCHINSTITUTES IN ART HISTORYBusiness MeetingLevel 6, Meeting Room 608

ASSOCIATION OF RESEARCHINSTITUTES IN ART HISTORY Between the Museum andthe Academy: The Role ofthe Research Institute inArt History W1Level 6, Meeting Room 608

Chair: Elizabeth Cropper,Center for Advanced Study inthe Visual Arts

LEONARDO/THEINTERNATIONAL SOCIETY FORTHE ARTS, SCIENCES, ANDTECHNOLOGY Art, Science, andTechnology: Problems andIssues Facing an EmergingInterdisciplinary Field W2Level 6, Meeting Room 609

Chair: Mark Resch, OnomyLabs

Sheila Pinkel, Pomona College Julio Bermúdez, University ofUtah; Michael Punt, Centre forAdvanced Inquiry in theInteractive Arts; Nina Czegledy

Nina Czegledy

MID-AMERICA COLLEGE ARTASSOCIATIONBusiness MeetingLevel 6, Meeting Rooms 606 & 607

WOMEN’S CAUCUS FOR ARTBusiness MeetingLevel 6, Meeting Room 609

Redefining AmericanModernism TH 1Level 6, Ballroom 6E

Chairs: Anna VemerAndrzejewski, University ofWisconsin, Madison; Robert T.Cozzolino, University ofWisconsin, Madison

Reexamining the FormalistBody: The Gendering ofAmerican Abstract Art in the1960s Marcia Brennan, RiceUniversity

A Question of Modernity: TheFigure in American Sculpture Ilene Susan Fort, Los AngelesCounty Museum of Art

Redefining AmericanModernism: How Realism CanBe Modern Gail Levin, BaruchCollege and the Graduate Center,City University of New York

What Is It to Be a ModernArtist?: Karl Zerbe’s Paintingand Teaching JudithBookbinder, Boston College

Discussant: Patricia Hills,Boston University

TUESDAY–THURSDAY


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION

AFFILIATED SOCIETYSESSION

CAA COMMITTEESESSION

E-SESSION

Convocation

Welcome and OpeningRemarks

Michael Aurbach, CAAPresident

Presentation of Awards

Keynote Address

Reception

Seattle Art Museum100 University Street

Admission by ticket only

THURSDAYFEBRUARY 19

WEDNESDAYFEBRUARY 18

TUESDAYFEBRUARY 176:30–8:00 PM 7:30–9:00 AM2:00–5:00 PM

12:30–2:00 PM

4:00–5:30 PM

5:30–7:00 PM

9:30–NOON

7:30–9:00 PM

9:30 AM–NOON THURSDAY

Thomas Kinkade, the Artistin the Mall TH 2Level 2, Meeting Rooms 2A & 2B

Chair: Alexis L. Boylan,Lawrence University

Marketing Uplift: Sources,Strategies, and Purposes ofThomas Kinkade’s Work Michael Clapper, SkidmoreCollege

Back to the Future: Democracy,Art, and Salvation at the Mall Patrick Luber, University ofNorth Dakota

The Selling Power of Nostalgiain the Art and Industry ofThomas Kinkade Andrea Wolk,Yale University

Manufacturing “Masterpieces”for the Market: Thomas Kinkadeand the Rhetoric of “High Art”Monica Kjellman-Chapin,Clark University

Repetition, Exclusion, and theUrbanism of Nostalgia: TheArchitecture of Thomas KinkadeChristopher Pearson, TrinityUniversity

INTERNATIONAL CENTER OF MEDIEVAL ART Beyond the Sitter: TheMaterial Culture ofMedieval Portraits, circa1200–1500 TH 3Level 6, Ballroom 6B

Chairs: Sarah T. Brooks,Metropolitan Museum of Art;Jennifer L. Ball, BrooklynCollege, City University of NewYork

Portraiture and the Performanceof Loyalty at the Valois Courts ofFrance Stephen Perkinson,Bowdoin College

The Jew in the Retable Portraitor Self-Portrait Vivian B.Mann, The Jewish Museum

A Portrait of the Archer as aYoung Man: RefiguringPortraiture in Late MedievalFlanders James J. Bloom,Florida State University

Personifying “Modern” History:The Use of Ottoman ImperialPortraits in a ByzantineApocalyptic Chronicle AngelaVolan, University of Chicago

Colonial Curry andAmerican Apple Pie: TheTransportation of Cultureand Nationalism in theSouth Asian Diaspora,Inventing Indianness as aSymbolic Site for ViewingContemporary Art TH 4Level 3, Meeting Room 3A

Chairs: Andrew L. Cohen,Southwest Missouri StateUniversity; Rina Banerjee,Bennington College

What Is South Asian AmericanArt? Marketing Raj Nostalgia ora Stroll through Masala Alley?Sujata Moorti, Old DominionUniversity

Shahzia Sikander’s Tattered VeilsClaire Daigle, The GraduateCenter, City University of NewYork

Who Is the Other? AnnuPalakunnathu Matthew,University of Rhode Island

Slicing the Pie Allan deSouza,independent scholar and artist

What Is Visibly South Asian inContemporary Art?: Touring andTourism in Contemporary ArtPractice, Producing theCosmopolitan International ArtScene Rina Banerjee,Bennington College

ASSOCIATION OF ARTHISTORIANS Border Crossings in ArtHistory: Britain and theUnited States, 1970s to the Present TH 5Level 6, Meeting Room 605 & 610

Chairs: Fintan Cullen,University of Nottingham;Deborah Cherry, University ofSussex

Discrepant Modernisms/FeministInternationalisms: Art Historyand the Temporality of BordersRanjana Khanna, DukeUniversity

The Shock of the Old:Protectionism and IndigenousModes of Address CharlotteTownsend-Gault, University ofBritish Columbia

Between Nottingham andNowhere: Locating Gay ArtHistory Michael Hatt,University of Nottingham

Embodied Histories:Postcolonial Agency and SettlerColonial Memory AnnieCoombes, Birkbeck College,University of London

WOMEN’S CAUCUS FOR ARTNegotiating Collaboration:Aesthetics and SocialChange TH 6Level 3, Meeting Room 3B

Chairs: Liz Dodson, Women’sCaucus for Art; Jeanne Philipp,Women’s Caucus for Art

Sharing Stories, Creating Hope:Artists, Activists, and ImmigrantsWorking Jointly for SocialChange Marilyn Cuneo,Women’s International Leaguefor Peace and Freedom

Suzanne Lacy’s and LeslieLabowitz’s In Mourning and inRage: Erasing the Silence aboutRape Vivien Green Fryd,Vanderbilt University

The Politics of Pedagogy andCommunity Arts in the Work ofJudy Chicago and Amalie Mesa-Baines Ruth R. Miller, DiabloValley College

The Collaborative Performancesof the Icelandic LoveCorporation Anna SigrídurArnar, Minnesota StateUniversity, Moorhead

A Fragile Alliance:Porcelain as Sculpture,1700 to 1900, Part 1 TH 7Level 6, Ballroom 6A

Chairs: Martina Droth, HenryMoore Institute; AlisonYarrington, University ofGlasgow

Derby Porcelain Figures andRoyal Academy Sculpture circa1769–1799 Timothy Clifford,National Galleries of Scotland

Porcelain Reproductions of theWorks of Sir John Steell, RSA(1804–1891) Rocco Lieuallen,Western Oregon University

“Zuvörderst factisch, nimmerproblematisch” PorcelainMiniatures in Classical WeimarCatriona MacLeod, Universityof Pennsylvania

Gaspero Bruschi and the TuscanBaroque: Some UnkownSculptures in Doccia PorcelainAndreiana d’Agliano, inde-pendent scholar

Part 2 of this session will be heldon Saturday at 2:30 PM.

19February 18–21, 2004

Identity Roller Coaster:Between Magiciens de laterre and Documenta 11TH 8Level 6, Ballroom 6C

Chair: Norman Kleeblatt, TheJewish Museum

From Form to Platform: ThePolitics of Representation andthe Representation of PoliticsJohanne Lamoureux,Université de Montréal

Magiciens de la terre: TheRoaring Success of a FailureColleen Ovenden, McGillUniversity

The Whitney Museum 1993Biennial: An Afterword; PublicOutrage, InstitutionalConsequences, Market Impact,Critical Benchmark ElisabethSussman, independent curator

Ordering the Universe:Documenta 11 and theApotheosis of the OccidentalGaze Sylvester OkwunoduOgbechie, University ofCalifornia, Santa Barbara

Discussant: Reesa Greenberg,York University

Retrofitting: TraditionalEast Asian Art inContemporary PaintingPractice TH 9Level 6, Meeting Rooms 606 & 607

Chair: Mernet Larsen,University of South Florida

Recoding the Roots: GeneticReformation and CulturalSynthesis in the Era ofGlobalization Lampo Leong,University of Missouri,Columbia

The Microcosmic Reverie, or MyBrush with Chinese PaintingElisabeth Condon, Universityof South Florida

Invisible Energy: Asian ArtForm Influences in My WorkLili White, artist

Kazari: The Potential ofTraditional Japanese DecorationSymbolism and Crafts inContemporary Painting PracticeChie Fueki, independent artist

Five East Asian ProvocationsMernet Larsen, University ofSouth Florida

Discussant: Daphne LangeRosenzweig, Ringling School ofArt and Design

Almost Still: Photography,Performance, and theRecord TH 10Level 6, Meeting Rooms 613 & 614

Chairs: Nick Muellner, IthacaCollege; Chris Mills, New YorkUniversity

Beyond the Document:Performative Aspects in EarlyConceptual PhotographyCatharina Manchada, TheGraduate Center, City Universityof New York

Subject, Subjection, Subjectivity:The Photographic Activity ofPerformance Art Kelly Dennis,University of Connecticut, Storrs

Namuth and Pollock:Performance PhotographyPeggy Phelan, StanfordUniversity

No Ideas but in Things: ReadingGanahl Reading Marx NickMuellner, Ithaca College; ChrisMills, New York University

East-West Innovations andEarly Modern CourtCulture TH 11Level 3, Meeting Rooms 307 & 308

Chairs: Jacqueline Musacchio,Vassar College; Sally AnnMetzler, D’Arcy Museum,Loyola University, Chicago

Astronomy at the Medici Courts:Art and Science in the Family’sService Roberta J. M. Olson,New-York Historical Society;Jay M. Pasachoff, WilliamsCollege

Ten Thousand Tiered Peaks in aBlack Box: The Camera Obscuraand Perspectival Painting at theKangxi Court Chin-SungChang, Yale University

“Invention” in Technology andthe Arts in Early Modern CourtCulture Joaneath Spicer,Walters Art Museum

Oil and Hellenism: The d’EsteCourt and Realism in FerrareseArt of the Fifteenth CenturyRupert Shepherd, AshmoleanMuseum

The Art of Innovation: AlchemicTraditions in Courtly Europecirca 1600 Sally Ann Metzler,D’Arcy Museum, LoyolaUniversity, Chicago

Regional Media ArtsHistories: Seedbeds ofTwentieth-Century ArtTH 12Level 6, Meeting Rooms 618 & 619

Chair: Robin Oppenheimer,Bellevue Community College

Kate Horsfield, Video DataBankPaul Wong, Video InCheryl Harper, The Gershman Y

STUDIO ART OPEN SESSION:DESIGNReinventing DesignEducation TH 13Level 6, Meeting Rooms 611 & 612

Chair: Christopher Ozubko,University of Washington

Design as Research; Researchby Design Barbara Martinson,University of Minnesota

Research in Theory ofCollaboration: Course inCollaborative Process MuneeraU. Spence, Oregon StateUniversity

Designing Research from theBottom Up: FormulatingMethods for Essential Decision-Making in InterdisciplinaryResearch Michael Gibson,University of North Texas

Contemporary Issues in Design:A Writing Intensive CourseAndrea Marks, Oregon StateUniversity

THURSDAY 9:30–NOON


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

12:30–2:00 PM THURSDAY

Eva Hesse Today TH 14Level 6, Meeting Rooms602/603/604

Chair: Sue Taylor, PortlandState University

Grounding the Hesse/PollockConnection Jeanne Siegel,School of Visual Arts

Pre-Feminist/Post-FeministHesse Kirsten Swenson, StateUniversity of New York, StonyBrook

Stayin’ Alive: Creativity,Survival, and Eva HesseVanessa Corby, independentscholar

Discussant: Jane Blocker,University of Minnesota

A new video on Eva Hesse, pro-duced in connection with theexhibition held at the SanFrancisco Museum of ModernArt, will be shown immediatelyfollowing this session.

This session will take place inARTspace

Rebels with a Cause; or,The Wounded Generation:Revisiting Vietnam-Era Artand Its ContemporaryRevisions TH 15Level 6, Meeting Room 609

Chair: Kim S. Theriault, GrandValley State University

Men at Work: Minimal Makingin the War Years, 1965–1970Julia Bryan-Wilson, Universityof California, Berkeley

How to Tell a War StoryRichard E. Nickolson, IndianaUniveristy

Art and Memory: RecoveredVisions of a Combat ExperienceVietnam 1967–68, Sculpture andDrawings as Metaphor AllenMooney, State University ofNew York, Cortland

Reframing the Shot: YasumasaMorimura's Slaughter Cabinet IIand Eddie Adam's General LoanExecuting a Viet Cong SuspectKirstin Ringelberg, ElonUniversity

Discussant: Suzaan Boettger,Bergen Community College

Authentic Décor TH 16Level 6, Meeting Room 608

Chair: Guy Walton, New YorkUniversity

In the House of Mirrors:Painting and Experience in theDutch Republic MariëtWestermann, Institute of FineArts, New York University

Reconstructing the Hôtel deMenars on the Place desVictoires Alden Rand Gordon,Trinity College

Unserer Väter Werke: History,Authenticity and GermanNational Identity SabineWieber, University of Chicago

Creating and Recreating OldWorld Atmosphere: The DiningRoom at Olana KarenZukowski, independent scholar

ART HISTORY OPEN SESSION:NATIVE AMERICAN ARTCurrent Research onNorthwest Coast NativeArts: Ancient to TwentiethCentury TH 17Level 6, Meeting Rooms615/616/617

Chair: Robin K. Wright,University of Washington

The Renaissance as Humpty-Dumpty: Putting NorthwestCoast Art History Back TogetherAgain Ronald W. Hawker,Zayed University

David Neel: Contemporary andkwakwaka’ wakw? CarolynButler Palmer, University ofPittsburgh

New Attributions in NorthwestCoast Silverwork Katie Bunn-Marcuse, University ofWashington

Revivals and Revisions in CoastSalish Wool Weaving BarbaraBrotherton, Seattle Art Museum

AMERICAN INSTITUTE OFGRAPHIC ARTSBusiness MeetingLevel 6, Ballroom 6A

AMERICAN SOCIETY OFHISPANIC ART SCHOLARSBusiness MeetingLevel 6, Meeting Room 608

ARTTABLEArt Paths: AlternativeCareers in the Viusal ArtsTH 18Level 2, Meeting Rooms 2A & 2B

Chair: Katie Hollander,ArtTable

Susan Coliton, Paul G. AllenFoundationElizabeth A. Brown, Henry ArtGalleryRobin Oppenheimer, BellevueCommunity CollegeBarbara Johns, independentcurator

ASSOCIATION OF HISTORIANSOF AMERICAN ARTThe American(ist) AgendaTH 19Level 3, Meeting Room 3B

Chairs: Wanda Corn, StanfordUniversity; John Davis, SmithCollege

Wendy Bellion, RutgersUniversityDerrick Cartwright, HoodMuseum of Art, DartmouthCollegeRichard Meyer, University ofSouthern CaliforniaGwendolyn Shaw, HarvardUniversity

Business meeting will follow.

21February 18–21, 2004

12:30–2:00 PM

CAA TOWN MEETINGIs CAA Leading theFuture Direction of Artand Art HistoryScholarship?Level 6, Ballroom 6E

We are counting on your par-ticipation throughout CAA’splanning process; close com-munication among the mem-bership, the board, and thestaff will enable us to setmeaningful goals for the yearsahead.

ASSOCIATION FOR TEXTUALSCHOLARSHIP IN ART HISTORYThe Agonistic Arts:Redefining the Paragonewithin and without Italy TH 20Level 6, Meeting Rooms 613 & 614

Chair: Leatrice Mendelsohn,independent scholar

The Paragone between Paintingand Music in the CinquecentoAcademy: Textual TracesLeslie Korrick, York University

The Paragone as Conversion:Quinten Massys at theCrossroads between Silence andSound Christiane J. Hessler,Berlin University

A Chinese Paragone? SomeIssues Surrounding the PainterSu Shi’s Claims for the Unity ofPainting and Poetry in SongChina Elisabeth Brotherton,State University of New York,New Paltz

Painting as Philosophy’s Sister:A Paragone Argument fromSamuel van Hoogstraeten’sInleyding tot de Hooge Schooleder Schilderkonst (1678)Thijs Weststeijn, Universiteitvan Amsterdam

CAA COMMITTEE ON WOMENIN THE ARTSRoads Scholars orDedicated Teachers?:Women as AdjunctLaborers TH 21Level 6, Meeting Rooms 618 & 619

Chairs: Eleanor Dickinson;Karen A. Bearor, Florida StateUniversity

CAA INTERNATIONALCOMMITTEEBest Practices forInternational Art ProjectsTH 22Level 6, Meeting Rooms 611 & 612

Chair: Jan Brown Checco

The Leveraged ResidencyKurt Perschke, artist

Making the Best of Grants andFellowships Beauvais Lyons,University of Tennessee

Operating a MulticulturalCeramics Workshop: Clay,Color, and Fire Kirk Mayhew,artist

Best Practices—Artworks forPublic Greenspaces GeraldChecco, Cincinnati City Parks

Art in an International Context:Seeing from Both Sides LindaCunningham, artist

CAA PROFESSIONAL PRACTICESCOMMITTEECredentialing in the ArtsTH 23Level 6, Meeting Rooms 609

Chairs: Kristi Nelson,University of Cincinnati; AnnaCallouri Holcombe, KansasState University

Participants to be announced.

CAA SERVICES TO ARTISTS COMMITTEEPersonal andEnvironmental Health andSafety for Artists and ArtInstitutions III TH 23ALevel 6, Ballroom 6C

Chair: Duane Slick, RhodeIsland School of Design

Alan Cantara, EnvironmentalHealth and Safety Manager,Rhode Island School of Design

Other participants to beannounced.

FOUNDATIONS IN ART:THEORY AND EDUCATIONNurturing the Social Roleof Art: Service Learning inthe FoundationsCurriculum TH 24Level 3, Meeting Room 3A

Chair: Barbara Nesin, SpelmanCollege

Community Mosaic: Art,Politics, and the Environment forFuture Teachers Judith Baker,University of Wisconsin, FoxValley Campus

Implementing Service Learningin an Art Curriculum with Easeand Effectiveness AntoinetteMartin, Windward CommunityCollege, Hawai’i

Campus CommunityCollaboration: Service Learningin the Art Foundations LauraRuby, University of Hawai’i atManoa

GETTY RESEARCH INSTITUTEMarkets and Value TH 24A

Chair: Thomas Crow, GettyResearch Institute

HISTORIANS OF GERMAN ANDCENTRAL EUROPEAN ART ANDARCHITECTUREBusiness MeetingLevel 3, Meeting Room 307 & 308

INTERNATIONAL ASSOCIATIONOF ART CRITICSPublic Art and the ArtCritic: Advocate orAntagonist TH 25Level 6, Meeting Rooms 605 & 610

Chair: Susan Platt, independentscholar

Gloria Bernstein, artist;Barbara Goldstein, Mayor’sOffice of Art and CulturalAffairs, Seattle; Norie Sato,artist; Matthew Kangas, art critic; John Feodorov

Discussant: Eleanor Hartney,International Association of ArtCritics

INTERNATIONAL CENTER OFMEDIEVAL ARTBusiness MeetingLevel 6, Ballroom 6B

MID-AMERICA COLLEGE ARTASSOCIATIONThe “Interplay” ConferenceTH 26Level 6, Meeting Rooms 606 & 607

Chair: Wayne E. Potratz,University of Minnesota

Karen Wirth, MinneapolisCollege of Art and Design; IrveDell, Saint Olaf College

THURSDAY 12:30–2:00 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION


OFF-SITE SESSIONS

AMERICAN INSTITUTE FORCONSERVATIONLearning through Looking:Examining African Art TH 27

Chair: Andrea Kirsh, independ-ent scholar

This session will be held at theSeattle Art Museum.

A conversation with StevenMellor, conservator and Directorof Conservation, NationalMuseum of African Art,Smithsonian Institution, and PamMcClusky, curator of Africanand Oceanic Art, Seattle ArtMuseum. This gallery-basedworkshop will address questionsof construction, surface condi-tion, and evidence of history anduse of sub-Saharan African Art.Can we determine the originalappearance of these artworks?Do they show evidence of ritualuse? How much of their appear-ance reflects collecting standardsand subsequent treatments?Attendance will be strictly limited, by prereservation.

Historical Techniques/Contemporary Innovations:Sosaku-hanga, the JapaneseWater-Based Woodcut TH 28

Chair: Kathleen Rabel, CornishCollege of the Arts

This session will be held atCornish College of the Arts,1000 Lenora Street, Seattle.

From Convention Center, walkfive blocks north on 9th Avenueto Lenora Street.

TemporaryTransformations: Public Artas Social Action TH 30Level 6, Meeting Rooms602/603/604

Chairs: Jason S. Brown,University of Tennessee; GregorA. Kalas, Texas A&MUniversity

Dark Matters: Informal Art,Collective Practice, and theContemporary Public SphereGregory G. Sholette, School ofthe Art Institute of Chicago

Public Things: The Work andPhilosophy of N55 Jon Sorvin,N55 Design Collective

Dyke Action Machine!’s InstantMessaging: “Branding” LesbianIdentity on the New York CityStreet Carrie Moyer, artist

Tyree Guyton’s HeidelbergProject in Detroit: A CommunityTransformed Cheryl Alston,Wayne State University

Finding the Permanence of theTemporary: Socially EngagedPublic Art and Place-SpecificityCameron Cartiere, ChelseaCollege of Art and Design,London

This session will take place inARTspace.

Courts and Court StylesRevisited: A Session inMemory of Harvey StahlTH 31Level 3, Meeting Room 3A

Chair: Caroline Bruzelius,Duke University

Privileging Styles for Privateand Public Audiences: Paintingand Illumination at the PapalCourt of Avignon. CathleenFleck, Walters Art Museum

The Court of the Margrave ofMeissen and Its Impact onNaumburg Cathedral JacquelineJung, University of California,Berkeley

Jumping Our Big Holes: Saul,Political Ideology, and Court inthe Psalter of St. LouisChristopher Hughes

Francesco di Giorgio Martiniand the Novesco Oligarchy: TheArchitectural Style of Siena’sPost-Republican Elite(1487–1512) Fabrizio Nevola,University of Warwick

The Morgan Picture Biblebetween the Courts of Europeand Iran Marian Simpson,independent scholar

Art and Commerce:Corporate Support of theArts in Twentieth-CenturyAmerican Art TH 32Level 3, Meeting Room 3B

Chair: Michael Bzdak, Johnsonand Johnson and RutgersUniversity

At the Intersection of ArtisticProduction and GoodCitizenship: Case Studies fromTobacco Industry Philanthropyin the 1990s Margaret Daniel,University of California, SanFrancisco

The Absent Center of the 1996Hugo Boss Prize BeckFeibelman, University ofPennsylvania

Industry: Art Angel? CorporateArt Patronage in the 1940sDeirdre A. Robson, ThamesValley University

Brand Name Modernism: HelenaRubenstein’s Art Collection andWomen’s Business CultureMarie Clifford, WhitmanCollege

Discussant: Sandra Lang, NewYork University

23February 18–21, 2004

2:30–5:00 PM

CAA DistinguishedScholar’s Session inHonor of James Cahill

Decentered, Polycentric,and Counter-Canons inChinese Painting TH 29Level 6, Ballroom 6E

Chair: Richard Vinograd,Stanford University

Southern Song Ghost Paintingand Its Afterlife YoshiakiShimizu, Princeton University

Challenging the Canon:Socialist Realism in TraditionalChinese Painting RevisitedXiaoping Lin, Queens College

Making the Bi-Disc Round:Imperial Collecting in theQing Dynasty, PatriciaBerger, University ofCalifornia, Berkeley

Constructing Art History inRepublican China, JuliaAndrews, Ohio StateUniversity

Discussant: James Cahill

CAA is grateful to the SamuelH. Kress Foundation for fundingthe fourth CAA DistinguishedScholar’s Session.

OPEN SESSIONContemporary NorthwestNative, First Nations, andAlaskan Native Arts TH 33Level 6, Meeting Rooms 605 & 610

Chairs: Mario A. Caro,University of California, SantaBarbara; Marie K. Watt,Portland Community College

Andrea Marie Wilbur-Sigo Othniel Art Oomittuk Lillian PittJames Lavadour

HISTORIANS OF BRITISH ARTBritish Visual Culture, thePublic Sphere, andVisuality TH 34Level 6, Meeting Rooms 606 & 607

Chair: Julie Codell, ArizonaState University

Live Architecture, 1951:Envisioning the Modern BritishCity Deborah Lewittes, CityUniversity of New York,Kingsborough CommunityCollege

The Nineteenth-Century TurkishBaths and the Public Display ofMale Bodies John Potvin,Queen’s University

From Press to Panic:Recontextualizing Images inBritish Visual Culture JenniferFriedlander, Pomona College

Making Mackintosh andMarketing Modernism in GrittyGlasgow J. Philip Gruen,University of California,Berkeley

Japanese Visuality for Britain:The Late Nineteenth- and EarlyTwentieth-Century Cult of theJapanese Garden ToshioWatanabe, Chelsea College ofArt and Design

Necro-Techno: Examplesfrom an Archaeology ofMedia TH 35Level 6, Meeting Rooms 611 & 612

Chairs: Rebecca Cummins,University of Washington; TomGunning, University of Chicago

Cultural Optics: NarrowingDown the History of VisualityTom Gunning, University ofChicago

Messengers and Kings PaulDeMarinis, Stanford University

Dust: Memory, Optics, and aBeam of Light Ellen Zweig

Another Correction, Please!:Toward Shedding the Pro-Western Bias in “Pre-Cinema”Studies Erkki Huhtamo,University of California, LosAngeles

Fine Art and ExperimentalAnimation: Creative andTheoretical Affinities TH 36Level 6, Meeting Rooms 618 & 619

Chair: Janeann Dill, PattersonCenter for the Arts andEuropäische Universität fürInterdisziplinäre Studien,Switzerland

Live and on Film! The Self-Consciousness of the CreativeAct, circa 1900 Nancy MowllMathews, Williams College

A Critical Balance: Modern andPostmodern Analyses ofExperimental AnimationLorettann Gascard, FranklinPierce College

Musical Time Brian Evans,University of Alabama

Animation Brut: Homage andInspirations of Art Brut in thePuppet Animation Films ofStephen and Timothy QuaySuzanne Buchan, SurreyInstitute of Art and Design,University College

Digital Technology in Hand-Drawn and Video AnimationY. David Chung, George MasonUniversity

The Art of Diagrams/TheDiagramming of Art TH 37Level 2, Meeting Rooms 2A & 2B

Chairs: Paul Emmons, VirginiaPolytechnic Institute and StateUniversity, Washington-Alexandria Architecture Center;Carol Emmons, University ofWisconsin, Green Bay

The Diagrammatic Vernacular inAmerican Art PedagogyBarbara Jaffee, NorthernIllinois University

Diagramming the Unborn inEarly Modern French VisualCulture Lianne McTavish,University of New Brunswick

The Uncharted Kahn: TheVisuality of Planning andPromotion in the 1930s and1940s Andrew M. Shanken,Oberlin College

Screen Theory and ChiasmusDonald Kunze, PennsylvaniaState University

Myth and Modern Art, Part 1 TH 38Level 6, Ballroom 6A

Chair: Alison Hilton,Georgetown University

Max Klinger: Myths of Originand Identity Marsha Morton,Pratt Institute

Degenerare or Renovare: TheMyth of the Phoenix and theMyth of Eternal ReturnGiovanna Costantini, StateUniversity of New York,Oswego

Andre Masson’s ZarathustraClark V. Poling, EmoryUniversity

Mark Rothko and the MythicImage in the 1940s Rina C.Faletti, University of Texas,Austin

Part 2 of this session will be heldon Saturday at 9:30 AM.



OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION


ASSOCIATION FOR LATINAMERICAN ART Telling Images: Interactionsbetween Visual andPerforming Arts in theAmericas TH 39Level 6, Meeting Room 608

Chair: Margaret A. Jackson,University of Miami

When Sculptures Sing, Dance,and Drink: An Exploration of thePerformative Aspects of Jama-Coaque Figurative SculpturesJoyce L. Banks, University ofTexas, Austin

Reconstructing the World:Eighth-Century MayaCoronation Ritual at Temple 22,Copan, Honduras Jennifer F.Ahlfeldt, Columbia University

Hidden Transcripts in theHighland Andes: Native Dancersin Colonial Corpus ChristiProcessions Susan VerdiWebster, University of St.Thomas

Drawing Out the Truth inColonial Nahua CourtroomsDeliah A. Cosentino, DePaulUniversity

Other Objects, OtherArtists: AlternativeAccounts of Twentieth-Century Art TH 40Level 6, Ballroom 6C

Chairs: Christina Kiaer,Columbia University; RichardMeyer, University of SouthernCalifornia

Recovering Complex Space inthe 1960s: Robert Smithson, thePark Place Group, and the“Fourth Dimension” LindaDalrymple Henderson,University of Texas, Austin

Inappropriate Appropriations:Sturtevant, Gender, andRepetition Michael Lobel, BardCollege

Lee Bontecou and the SecretWorld of 1960s Sculpture JoApplin, University College,London

Surviving Suprematism: LazarKhidekel Alla Efimova,University of California,Berkeley, Art Museum

Apprentice Tourist, ExpertModernist: Mário de Andradeand a (Brazilian) Theory ofModernism Esther Gabara,Duke University

Female Relations: Imageryof Women and Girls inLate Antiquity andByzantium TH 41Level 6, Meeting Rooms 613 & 614

Chairs: Kriszta Kotsis,University of Washington;Cecily J. Hennessy, CourtauldInstitute of Art

Ladies in Waiting EuniceDauterman Maguire, JohnsHopkins University

Donor as Doormat: Portraits ofFemale Patrons in the FloorMosaics of Churches inByzantine Palestine Karen C.Britt, University of Louisville

“Woman to Woman”:Parturient-Midwife Imagery inByzantine Art Matilda Meyer,The Hebrew University ofJerusalem

Girls in Church and CourtCecily J. Hennessy, CourtauldInstitute of Art

Discussant: Anna D. Kartsonis,University of Washington

HISTORIANS OF EIGHTEENTH-CENTURY ART ANDARCHITECTURE Art on Display: Collecting,Exhibiting, and Viewing Artin the Eighteenth CenturyTH 42Level 6, Meeting Rooms615/616/617

Chair: Heather McPherson,University of Alabama atBirmingham

L’Espace du roi or L’Espace dupeuple? The Politics ofDisplaying and ViewingPortraits in the GrandAppartements of Versailles ToddL. Larkin, Montana StateUniversity

Shopping for Pictures in EarlyEighteenth-Century LondonCarol Gibson-Wood, Universityof Victoria

Jean de Jullienne and theMonumentality of Drawings inEighteenth-Century ParisJennifer Jones, ColumbiaUniversity

Eighteenth-Century Engravingsin the Crayon Manner: AGrowing Market for an EnlargedPublic Sophie Raux-Carpentier, Université deCharles de Gaulle

Selling the Self in RevolutionaryFrance: The Case of FrançoisVincent and the Boyer-FonfrèdeFamily Amy Freund, Universityof California, Berkeley

STUDIO ART OPEN SESSION Mirroring Landscape TH 43Level 6, Meeting Room 609

Chairs: Hearne Pardee,University of California, Davis;Gina Werfel, University ofCalifornia, Davis

Paintings of the DesertSouthwest Jane Culp, artist

Paintings and Collages MarkLewis, University of Tulsa

Paintings and DigitalPhotographs Ron Janowich,University of Florida,Gainesville

Nature as Teacher ArminMühsam, Northwest MissouriState University

RENAISSANCE SOCIETY OFAMERICA Whither Connoisseurship?Part 1 TH 44Level 6, Ballroom 6B

Chair: Jeffrey Chipps Smith,University of Texas, Austin

Jan van Eyck’s van der PaeleMadonna: The TechnicalEvidence for a New ReadingMaryan Ainsworth,Metropolitan Museum of Art

Ever-Evolving Connoisseurship:Unfolding the EarlyNetherlandish DiptychRon Spronk, HarvardUniversity Art Museums

Connoisseurship and the Studyof Renaissance IlluminatedManuscripts Gregory Clark,University of the South

Theory and Discernment in theArt of Dürer Charles Talbot,Trinity University

Matthias Grünewald’s SmallCrucifixion Painting: Painting,Practice, and Personal StyleE. Melanie Gifford andSusanna Griswold, NationalGallery of Art, Washington;Norma Uemura, independentscholar


25February 18–21, 2004

Art and Visual Perceptionat Fifty TH 45Level 3, Meeting Rooms 307 & 308

Chair: Ian Verstegen, TempleUniversity

Arnheim’s Psychology Today:The Case of Light and ColorTiziano Agostini, University ofTrieste

Mind over Matter: Composingthe Spiritual and VisceralCenters within the HumanFigure Laurie Taylor-Mitchell,Hood College

Arnheim’s Lesson: Cubism,Collage, and Gestalt Roger I.Rothman, Bucknell University

Arnheim and ContemporaryFilm Theory Kevin Parker,University of North Carolina,Chapel Hill

CAA ANNUAL CONFERENCECOMMITTEEHow to Develop a Sessionfor the Annual ConferenceTH 46Level 6, Meeting Rooms 606 & 607

Chairs: Ellen K. Levy, Schoolof Visual Arts; EmmanuelLemakis, CAA


AMERICAN SOCIETY FOREIGHTEENTH-CENTURY STUDIESSeeing the Body in theEighteenth Century TH 47Level 6, Meeting Rooms 618 & 619

Chair: Eric Garberson, VirginiaCommonwealth University

Seeing the Royal Body: TheGrand Habit in Eighteenth-Century Portraiture KimberlyChrisman Campbell,Huntington Library

Reading the Entrails: CorporealAddress in The Death of CatoLela Graybill, StanfordUniversity

Black Bodies, White Vision: TheGaze of Science and Girodet’sand Benoist’s Portraits ofAfricans Susan HoughtonLibby, Rollins College

ARTS COUNCIL OF THEAFRICAN STUDIESASSOCIATIONBusiness MeetingLevel 2, Meeting Rooms 2A & 2B

ASSOCIATION OF ART MUSEUMCURATORSThe Curator in theMuseum Today:Conversations withTrustees from theAssociation of Art MuseumCurators TH 49

Colin Bailey, Frick Collection,New York; Stefano Carboni,Metropolitan Museum of Art,New York; Philip Conisbee,National Gallery of Art,Washington, DC; DouglasDruick, Art Institute of Chcago

Incorporated over a year ago andnewly affiliated with CAA, theAssociation of Art MuseumCurators provides a nationalforum for discssing issues andtrends of concern to the curatori-al profession. Four foundingTrustees of the AAMC will con-duct an informational sessionabout the organization, itsaccomplishments, goals, andplans for the future.Level 6, Meeting Rooms 605 & 610

CAA CULTURAL DIVERSITYCOMMITTEEDiversity in the ClassroomTH 50Level 6, Meeting Rooms615/616/617

Chair: Joseph P. Ansell, AuburnUniversity

Joseph Mannino, CarnegieMellon UniversitySallie McCorkle, PennsylvaniaState UniversityMelanie Herzog, EdgewoodCollege

DESIGN FORUMBusiness MeetingLevel 3, Meeting Room 3B

FOUNDATIONS IN ART:THEORY AND EDUCATIONA Foundation forFoundations: AnInteractive Presentationand Panel TH 51Level 3, Meeting Rooms 307 & 308

Chairs: Scott Betz, Weber StateUniversity; Steven Bleicher, ArtInstitute of Fort Lauderdale

Art School andInterdisciplinarity: DevelopingFoundation as a Shared SpaceMonique Fouquet, Emily CarrInstitute of Art and Design

Building a PedagogicalFoundation Mary Stewart,Northern Illinois University

A Theoretical FoundationsComponent Steven Shipps,Emerson University

Regional Roots John P. McGee,Ball State University

Addressing Global IssuesPaul R. Solomon, WesternMichigan University

HISTORIANS OF BRITISH ARTBusiness MeetingLevel 6, Meeting Room 609

NATIONAL COUNCIL OF ARTADMINISTRATORSThose Who Do Can, andThose Who Do Not, DoToo: Balancing aSignificant Art Practicewith an AdministrativePosition TH 52Level 3, Meeting Room 3A

Chair: Joe Lewis, FashionInstitute of Technology

THURSDAY 2:30–5:00, 5:30–7:00 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

5:30–7:00 PM


QUEER CAUCUS FOR ARTBusiness MeetingLevel 6, Ballroom 6B

SOCIETY OF HISTORIANS OFEAST EUROPEAN AND RUSSIANART AND ARCHITECTUREConsuming the Avant-Garde: Russia, Eastern andCentral Europe TH 54Level 6, Meeting Room 608

Chair: Jane A. Sharp, RutgersUniversity

Constructing Identity: The Imageof Russian Futurism 1910–1914in Contemporary Russian MediaSarah Dadswell, University ofSheffield

Five O’Clock on the Sun:Women Artists’ Film and Videoin Estonia and Hungary AngelaDimitrakaki, University ofSouthampton

What Is Dead when a RussianNonconformist Dies? Obituariesof the “Golden Ages” of TimurNovikov Ivor A. Stodolsky,University of Helsinki

STUDENT AND EMERGINGPROFESSIONALS COMMITTEEHarnessing the Power of thePen: Professional WritingStrategies for Future Artists,Art Historians, and MuseumProfessionals TH 55Level 6, Meeting Rooms 613 & 614

Chair: Patricia Flores,Metropolitan Museum of Art

Madeline Djerejian, photogra-pher; Bruce Robertson, Centerfor American Art, Los AngelesCounty Museum of Art, andUniversity of California, SantaBarbara; Lorraine Karafel,Institute of Fine Arts, New YorkUniversity, and MetropolitanMuseum of Art

VISUAL RESOURCESASSOCIATIONThe Digital Classroom: SafeHarbor or Danger Zone?TH 56Level 6, Ballroom 6A

Chair: Benjamin R. Kessler,University of Chicago

The ArtSTOR ProjectMax Marmor, ArtSTOR

The Madison Digital ImageDatabase (MDID) in the ArtHistory Classroom Kathryn E.Monger, James MadisonUniversity

An Uncanny Likeness: Art History and DigitalReproduction Dana Leibsohn,Smith College

ART HISTORIANS OFNINETEENTH-CENTURY ART Nineteenth-CenturyPopular Arts TH 57Level 6, Meeting Rooms615/616/617

Chair: Ann Bermingham,University of California, SantaBarbara

The Beast in the Box: Playingwith Empire in Nineteenth-Century Britain Romita Ray,Georgia Museum of Art,University of Georgia

The Diorama: Ultraroyalism andModernity Daniel Harkett,Brown University

Art and Class in the Age ofBarnum Michael Leja,University of Delaware

Picturing the Nation: MarquillasCigarerras Cubanas AlisonFraunhar, University ofCalifornia, Santa Barbara

Discussant: Vanessa Schwartz,University of SouthernCalifornia

On the Edge: West CoastPerformance in theAmericas TH 58Level 6, Meeting Rooms602/603/604

Chair: Meiling Cheng,University of SouthernCalifornia

Ecotone Claudia Bucher,Pasadena Art Center

Cutting with a Broken MirrorGwyan Rhabyt, California StateUniversity, Hayward

SRS: Stations Remain Structurethe gyrl grip, 2 GyrlzPerformative Arts

Performance Art in WesternCanada John G. Boehme, artist

Impossible Cohesions JennieKlein, Santa Ana College;Joanna Roche, California StateUniversity, Fullerton

un-Becoming: AnImprovisational Automatic Self-Performance Nicole R. Hodges,University of SouthernCalifornia

This session will be held inARTspace.

Lives of the Objects: NewApproaches to Ancient ArtTH 59Level 2, Meeting Rooms 2A & 2B

Chairs: Marian Feldman,University of California,Berkeley; Allison KarmelThomason, Southern IllinoisUniversity, Edwardsville

Let’s Make It Official: A NewLook at Third Millennium BC

Cylinder Seal Impressions SarahJarmer Scott, University ofPennsylvania

Theban Tomb Painting and theNegotiation of Identity MelindaK. Hartwig, Georgia StateUniversity

Exotica and the Early MinoanElite: A Biography CynthiaColburn, Pepperdine University

The Afterlives of Objects: TheCase of the Lost Treasures ofAthena from Lindos JosephineShaya, College of Wooster

Through a Glass Face to Face:The Lives of the Etruscan MirrorEvelyn E. Bell, California StateUniversity, San Jose

Beyond Damnatio Memoriae:Destroying the Power of Imagesin Roman Germany RachelKousser, Columbia University

Shopping “It” Around: AnOff-Road Approach TH 60Level 3, Meeting Room 3B

Chair: Reni Gower, VirginiaCommonwealth University

On the Road: The TravelingShow Reni Gower, VirginiaCommonwealth University

Cloud Seeding: Circus of thePerformative Object GeorgeFerrandi, artist

Inside the Box—Outside the BoxAvantika Bawa, SavannahCollege of Art and Design

The John Erickson Museum ofArt (JEMA): A New MuseumSpace Sean Miller, Universityof Florida, Gainesville

The Home House Project: ACurator’s Blueprint DavidBrown, Southeastern Center forContemporary Art

27February 18–21, 2004

8:00–10:30 PM

Revivals Revisited: History,Memory, and VisualCulture, 1789–1950 TH 61Level 6, Meeting Room 609

Chair: Elizabeth Guffey, StateUniversity of New York,Purchase

Alfred Waterhouse and theEvolution of Memory CymbreRaub, North Carolina StateUniversity

Thomas Eakins and the ColonialRevival Akela Reason,University of Maryland

Lighting the Past: IsamuNoguchi’s Akari LanternsKate Lemay, Indiana University

Modernism as Revival in ColdWar Germany Greg Castillo,University of Miami

ART HISTORY OPEN SESSIONItalian Renaissance Art,1300–1600 TH 62Level 6, Ballroom 6B

Chair: Andrée Hayum,Fordham University

The Renaissance Pulpit: Art andPreaching in Italy, 1400–1550Nirit Ben-Aryeh Debby, BenGurion University

Monuments of Humility:Renaissance Humanists and theChurches of Antiquity IrynaOryshkevich, ColumbiaUniversity

Ornament as Identity: Problemsof Interpretation in the GondiPalace in Florence LindaPellecchia, University ofDelaware

Villas and Portraits: Veroneseand the Classical TraditionJohn Garton, ClevelandInstitute of Art

Corporeality in Titian’s Venus atHer Mirror Jodi Cranston,Boston University

Artist Biographies:Historical Objectivity versus Political Correctness TH 63Level 6, Meeting Rooms 618 & 619

Chair: Evelyn Kain, RiponCollege

Writing around Thomas HartBenton Justin Wolff, HarvardUniversity

Woman’s Trauma, Masquerade,and Madness: Yayoi Kusama inthe Sixties Midori Yamamura,The Graduate Center, CityUniversity of New York

Male Artists and the Male Gaze:Tom Wesselmann and MelRamos in Context Joe A.Thomas, Clarion University ofPennsylvania

Ana Mendieta—The Late WorksLaura Roulet, HirshhornMuseum and Sculpture Garden

Disconcerting Self-Disclosure inthe Work of Richard Billinghamand Tracey Emin Kris Belden,The Graduate Center, CityUniversity of New York

HISTORIANS OF GERMAN ANDCENTRAL EUROPEAN ART The Central EuropeanDiaspora TH 64Level 6, Ballroom 6A

Chair: Thomas DaCostaKaufmann, PrincetonUniversity

The Cosmopolitan and NationIdiom of Jewish Art in the 1920sIrena Kossowska, Institute ofArt and Humanities, PolishAcademy of Sciences

The Opposite of Nation:Hybridity and Diaspora in theWork of Lasar Segall EdithWolfe, University of Texas,Austin

Socialism and the House:Margarete Schütte-Lihotzky inTurkey Esra Akcan, ColumbiaUniversity

Artistic Dreams: The Temptationof the Free World and OtherModernist Myths DeborahSchultz, University of Sussex

The Relevance of Traditionin Contemporary Art TH 65Level 6, Meeting Room 608

Chair: Norman Lundin,University of Washington

Piero’s Progeny: RenaissanceTradition in ContemporaryPainting Ann Bronwyn Paulk,Beloit College

From Negotiating with Nature toNegotiating with Cultures ZhiLin, University of Washington

Art and Arts in the Post, PresentEra Elaine A. King, CarnegieMellon University

Traditional and ContemporaryArt: Craft versus Content TimDoud, American University

ART HISTORY OPEN SESSIONThe History ofPhotography TH 66Level 6, Ballroom 6C

Chair: Douglas R. Nickel,Center for Creative Photography,University of Arizona

Joel Snyder, University ofChicago

Julia Margaret Cameron'sStudies for Artists JoanneLukitsh, Massachusetts Collegeof Art

Inventing “Documentary” inAmerican Photography: Towarda New History of Ideas SarahM. Miller, University ofChicago

Migrant Mother, MigrantGender: Rereading the Work andLife of Dorothea Lange SallyStein, University of California,Irvine

The Rayograph in the ModernParagone Susan Laxton,Columbia University

Art and Criticism on theCampus: The University asMedium TH 67Level 6, Meeting Rooms 613 & 614

Chairs: Simone Osthoff,Pennsylvania State University;Geraldo Orthof, Universidadede Brasília

The On-Campus Server as anIncubator for New Models ofProduction RelationshipsRobert Dansby, CaliforniaInstitute of the Arts

Artists, Networks, andInstitutions: Do We Need a NewModel for Production,Publishing, and Access?Carlos Rosas, PennsylvaniaState University



OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

7:00–8:30, 9:00–11:30 AM FRIDAY

Postcolonialism: ChicanoCritical Art Pedagogies JudithL. Huacuja, University ofDayton

The “Art Building” and theImpact of Its Form Jim Jacobs,Weber State University; PrescottMuir, Prescott Muir Architects

QUEER CAUCUS FOR ARTWhat Next?: ReconsideringQueer Methodologies TH 68Level 6, Ballroom 6E

Chairs: Maura Reilly, BrooklynMuseum of Art; James Smalls,University of Maryland,Baltimore County

Historical Overview of LGBTQVisual Studies James Saslow,Queens College and TheGraduate Center, City Universityof New York

Lesbian Space in Queer Time:Regional Histories outsideAcademe Tee A. Corinne, artistand independent scholar

Have We Exhausted Foucault?Eugenio Filice

The New Adam and Dream of aNew Painting JonathanWeinberg, Getty ResearchInstitute

The Artist in Industry andthe Academy:Interdisciplinary ResearchCollaborations TH 69Level 6, Meeting Rooms 611 & 612

Chair: Edward A. Shanken,Duke University

in silico v1.0: A Discovery-Based Model for Art-ScienceCollaboration Ruth West,University of California, LosAngeles

Degrees of Freedom—Models ofCorporate Relationship: WhenShould Hands-off Be Hands-on,When Hands-on, Hands-off?Sara Diamond, Banff NewMedia Institute

The Value of Collaborationbetween Artist and TechnologistDana Plautz, Intel ResearchCouncil

The Artist, the Scientist, and theEntrepreneur: Rethinking theAvant Garde with Saint-Simonand the National Academy ofSciences Michael Century,Rensselaer Polytechnic Institute

The Case for Comics TH 70Level 3, Meeting Room 3A

Chair: James Sturm, NationalAssociation of Comics ArtEducators

Sequential Art Basics TedStearn, Savannah College of Artand Design

The Cons and Prose of Comicsin an Art School ContextChrista Donner

Comics and Sequential Art: TheStudio Class Joel Priddy,Memphis College of Art andDesign

Interdisciplinary Approachesand Benefits of Comics in StudioArt Programs Christian Hill,California State University,Fullerton

ART HISTORY OPEN SESSIONModern Architect TH 71Level 3, Meeting Rooms 307 & 308

Chair: David Van Zanten,Northwestern University

At the Intersection ofArchitecture and Photography:The Formation of R. M.Schindler’s Modernist Vision

Eric Lutz, University ofCalifornia, Santa Barbara

Snapshots: Monumentality inPostwar Architecture SarahWilliams Goldhagen, HarvardUniversity

This Didn’t Kill That:Architectural History throughMedia Shannon Mattern,University of Pennsylvania

Steinhof: The Modernist MentalHospital and Its RepresenationLeslie Topp, Oxford BrookesUniversity

John Cage and ArchitectureJim Lutz, University ofMemphis

Multiplicity: Printmakingand the Use of Multiples inNative American CulturesTH 72Level 6, Meeting Rooms 605 & 610

Chair: Melanie Yazzie,University of Arizona

Confessions of a ThiefElizabeth Hanemann, WestVirginia University

The Politics of Representationand Sovereign Definitions inNorthwest Coast Art as itRelates to the Work of LarryMcNeil Larry McNeil, BoiseState University

Corwin ClairmontJoe FeddersonLynne Allen, Rutgers Center forInnovative Print and Paper

Discussant: John Hitchcock,University of Wisconsin,Madison

ART HISTORIANS INTERESTED INPEDAGOGY AND TECHNOLOGYTeaching with Technology:Partnering on Next StepsF1ALevel 3, Meeting Room 3A

Chair: Laetitia La Follette,University of Massachusetts

Choosing Partners: Who CanArt History Trust in the Post-Ektagraphic Era? DanielBridgman, Smith College

Partnering from a PublishingPerspective John Swanson,Wadsworth Publishing/ ThomsonLearning

Partner in Pedagogy orPurveyor of Product? WandaMiles, Learning Technologies

COMMUNITY COLLEGEPROFESSORS OF ART AND ARTHISTORYBusiness MeetingLevel 6, Meeting Rooms 606 & 607

29February 18–21, 2004

FRIDAYFEBRUARY 207:00–8:30 AM

9:00–11:30 AM

CAA COMMITTEE ON WOMENIN THE ARTS Annual RecognitionAwards Ceremony F1Nancy Spero and BetyeSaar will be honored thisyear.

This event will be held at theSheraton Seattle Hotel andTowers, Second Floor,Metropolitan Ballroom, 1400Sixth Avenue

Preregistration is required

ITALIAN ART SOCIETYBusiness MeetingLevel 6, Meeting Rooms 613 & 614

Cultural Exchange betweenthe Netherlands and Italy,1400–1530 F2Level 3, Meeting Rooms 307 & 308

Chair: Ingrid Alexander-Skipnes, Stavanger UniversityCollege

Florentine Bankers and FlemishFriars: New Light on thePatronage of the PortinariAltarpiece Diane Wolfthal,Arizona State University

Memling’s Impact on the EarlyRaphael Barbara G. Lane,Queens College and TheGraduate Center, City Universityof New York

Agostino Chigi’s FlemishConnection (1466–1520) IngridD. Rowland, AmericanAcademy in Rome

Mainz at the Crossroads ofUtrecht and Venice: ErhardReuwich’s Illustrations forPeregrinatio in terram sanctam(1486) Elizabeth Ross, HarvardUniversity

Regional Styles and PoliticalAmbitions: Margaret of Austria’sMonastic Foundation at BrouLaura D. Gelfand, Universityof Akron

The Noble Failure inRenaissance and BaroqueArt F3Level 2, Meeting Rooms 2A & 2B

Chairs: Michaël Amy, RochesterInstitute of Technology;Giancarlo Fiorenza, independ-ent scholar

Daniele da Volterra,Michelangelo, and a ContestedLineage Morten Steen Hansen,Walters Art Museum

The Construction of Failure:Prospero Bresciano’s MosesSteven F. Ostrow, University ofCalifornia, Riverside

The Critique of “Mere Practice”in Renaissance and BaroqueWritings on Art Erin Campbell,University of Victoria

Buying a Condemned Painting:The Duke of Mantua, GiulioMancini, and Caravaggio’sDeath of the Virgin OpherMansour, Courtauld Institute ofArt

“Certainly a Base Concept”:Paolo de Matteis’s Self-PortraitJames Clifton, Sarah CampbellBlaffer Foundation

Designing for Security: OurNew Urban EnvironmentF4Level 3, Meeting Room 3B

Chair: Deborah Bershad, ArtCommission of the City of NewYork

Sandra Bloodworth, Arts forTransit, MetropolitanTransportation Authority

Building Security Design:Achieving Transparency in CivicArchitecture Barbara A. Nadel,Barbara Nadel Architect

Neural Architecture: A SmartBuilding Is a Nervous BuildingDeborah G. Aschheim,University of California, Irvine

Ioannis C. Yessios, ClevelandInstitute of Art

Educated Glass F5Level 6, Meeting Rooms 605 & 610

Chair: Bonnie Biggs, CornishCollege of the Arts

The Fluidity of Change: The Glass Matrix in theCollaborative Print StudioPreston B. Lawing, SaintMary’s University of Minnesota

Developing College GlassCurriculums Kenneth vonRoenn, University of Louisville

The Place of CollaborationPike Powers, Pilchuck GlassSchool

Many Hands Make Light WorkRichard Posner, University ofthe Arts, Berlin

Study Abroad: AcademicArcadia or Just AnotherGrand Tour? F6Level 6, Meeting Rooms 613 & 614

Chairs: Martha Carothers,University of Delaware; JefferyCote de Luna, DominicanUniversity

Drawing on Florence JefferyCote de Luna, DominicanUniversity

Art and Culture in Mali, WestAfrica Janet Goldner, AntiochUniversity

Not Just Another Roman HolidayCarrie Galbraith, ScuolaInternazionale di Grafica;Elizabeth Carroll, IndianaUniversity

Overseas Campaigns: CreatingHybrid Art History/Studio FieldCourses in London, EnglandGerard Curtis, MemorialUniversity of Newfoundland

Discussant: Ginger Sheridan,Jacksonville University

ART HISTORY OPEN SESSIONBaroque Art F7Level 6, Meeting Room 608

Chairs: Margaret D. Carroll,Wellesley College; JeffreyCollins, University ofWashington

Todd Olson, University ofSouthern California

Signature Killer: Caravaggio’sBloodiest Conceit David M.Stone, University of Delaware

Poussin’s Reflection JonathanUnglaub, Brandeis University

Engagement and Deferral inDutch Group Portraits: Riegland the PosographicalImperative Harry Berger, Jr.,University of California, SantaCruz

Bernini’s Shifting Signifiers:Apollo, Daphne, and the RollingStones Perry Brooks, BaruchCollege, City University of NewYork

Discussant: Erika Naginski,Massachusetts Institute ofTechnology

Contemporary Art andIslam F8Level 6, Meeting Rooms602/603/604

Chair: Fereshteh Daftari,Museum of Modern Art, NewYork

FRIDAY 9:00–11:30 AM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

9:00–11:30 AM FRIDAY

The Postmodern Turn in IslamicCalligraphy Maryam Ekhtiar,Metropolitan Museum of Art

Standing on Formalities: WhatIs Contemporary Elsewhere?Mysoon Rizk, University ofToledo

Secularization, Hybridity, and“Dis-Orientalisms” inContemporary Palestinian ArtGannit Ankori, HebrewUniversity of Jerusalem


Representation afterRepresentativeness:Problems in African-American Art Now F9Level 6, Meeting Rooms 611 & 612

Chair: Darby English,University of Chicago

Cornered: Adrian Piper asAfrican-Amerian Artist John P.Bowles, Indiana University

“Bye, Bye Black Girl”: LornaSimpson’s Figurative RetreatHuey Copeland, University ofCalifornia, Berkeley

Matters of Race: Medium,Material, and Post-IdentityKianga Ford, University ofCalifornia, Santa Cruz

It’s My Body and I’ll Cry if IWant To: The Art of DaveMcKenzie Hamza Walker,University of Chicago

Discussant: Glenn Ligon, artist

Untidy Minds: CurrentProblems in IntermediaHistoriography F10Level 6, Ballroom 6A

Chair: Peter Frank, L.A.Weekly/Angeleno magazine

Indeterminate Terminology:Intermedia Entwined on theInternet Lynda Bunting,Museum of Contemporary Art,Los Angeles

Cyborg Art History: Techno-Aesthetics and Metafictions ofDigital Culture ElizabethMenon, Purdue University

New Untidy Media and Inter-activity Christian Gerstheimer,El Paso Museum of Art

Out of the (Inter)-Media and intothe Mediation: The Case againstArt Administrator Art Mark VanProyen, San Francisco ArtInstitute

Discussant: Judith Hoffberg,Umbrella Associates

CAA MUSEUM COMMITTEEApproaches to ExhibitingModern and ContemporaryAsian Art in the UnitedStates F11Level 6, Ballroom 6E

Chairs: Mimi Gates, Seattle ArtMuseum; Barbara Johns, inde-pendent curator

Collecting Contemporary AsianArt in Today’s Museums: WhoDecides? Vishakha N. Desai,The Asia Society

On Familiar Ground:Contemporary Asian Art in theAsian Museum Pauline J. Yao,Asian Art Museum of SanFrancisco

Curating from a Distance: ADialogue with Contemporary Artof East Asia Betti-Sue Hertz,San Diego Museum of Art

Curating the Contemporary:Chinese Experimental Art Insideand Outside China MelissaChiu, The Asia Society

Discussant: Lisa Corrin, SeattleArt Museum

Art and Money F12Level 6, Meeting Rooms615/616/617

Chair: Paul Mattick, AdelphiUniversity

Art versus Money: LandscapeDrawing in the SeventeenthCentury Michael Zell, BostonUniversity

The Cost of Originality RichardSpear, University of Maryland

Consumption of Art and DealerInitiative in Early ModernFrance Hans J. Van Miegroet,Duke University

Form as Gold Standard:Aesthetic and Commercial Valuein MoMA’s Machine ArtExhibition, 1934 JenniferMarshall, University ofCalifornia, Los Angeles

COMMITTEE ON WOMEN INTHE ARTSFirst-Generation Artists andScholars: Fresh Vision orRevision F13Level 3, Meeting Room 3A

Chairs: Gloria Maya, WesternNew Mexico University; FlaviaRando, New Jersey CityUniversity

First Nation and Canuck Artistsin the Diaspora CharleenTouchette, independent scholar

Growing Forward CarolynneWhitefeather, Utica College ofSyracuse University

Visioning Contexts for DialogueMarty Spence, ColumbiaUniversity

The Rise and Fall ofMemorial Sculpture, Part 1 F14Level 6, Meeting Rooms 618 & 619

Chairs: Sarah Blake McHam,Rutgers University; Margaret A.Kuntz, Drew University

Homer and the Monument:Memorial Strategies and theAncient Tomb ElizabethMcGowan, Williams College

Intergenerational Storytelling:The Enduring Language ofMedieval Memorials ElizabethValdez del Alamo, MontclairState University

The Origins of the AmericanMemorial Tradition SallyWebster, The Graduate Center,City University of New York

The Rise of Memorial Sculpturein the United States: MartinMilmore’s 1867 SoldiersMonument Lucretia HooverGiese, Rhode Island School ofDesign


“Craft,” “Curio,” and“Curiosity”: Art,Commodity, and thePolitics of Exchange F15Level 6, Meeting Rooms 606 & 607

Chair: Karen E. Milbourne,University of Kentucky

Carving Out Identity: Seattle’sYe Olde Curiosity Shop andNuu-chah-nulth Totem PolesKate C. Duncan, Arizona StateUniversity

UNESCO’s Role in Benin’sContemporary Art Development:How Curious? Dana Rush,University of Illinois, Urbana-Champaign

31February 18–21, 2004

Culture in the Marketplace:California Indian TraditionalArts Margaret Dubin, inde-pendent scholar

Not Only for Their Beauty: Art,Craft, and the African Art CenterMarilyn Wyman, San Jose StateUniversity

Discussant: Christopher B.Steiner, Connecticut College

ART HISTORY OPEN SESSION Medieval Art History andHistoriography, Part 1 F16Level 6, Ballroom 6B

Chair: William Tronzo, TulaneUniversity

A Chalice that CementedFriendship: Collecting andAppreciating Byzantine Art inthe 1910s Robert S. Nelson,University of Chicago

Pavel Florensky’s Iconostasisand Its PsychoanalyticalPerspective Tatiana V.Senkevitch, University ofMichigan

Dating Periods Eric Fernie,Courtauld Institute of Art

Ordering Disorder: Gothic MadeRational, 1770–1820 SarahThompson, University ofCalifornia, Santa Barbara

The Issue of Pictorial SourcesReconsidered: ModelsReproduced from Memory in theSephardic Haggadot KatrinKogman-Appel, Ben GurionUniversity of the Negev


The Maya World: ArtisticContinuities and ChangeF17Level 6, Meeting Room 609

Chairs: Carol Ventura,Tennessee TechnologicalUniversity; He Zhang, WilliamPaterson University

“Maya Baroque” Churches ofthe Colonial Period CarolVentura, TennesseeTechnological University

Carving the Mountain of theAncients: Living Maya Artistsand Their Conception of the PastAllen J. Christenson, BrighamYoung University

Persistence and Change:Mexican Stitch Resist/Tie ResistSkirts Virginia Davis, independ-ent scholar

Working Methods and HighlandWeaving: Documenting Changein the History of GuatemalanTextiles Catie A. Cadge-Moore,De Anza College

Continuity and Change in theTextile Traditions of YucatecanAmelia M. Trevelyan, PrincipiaCollege

AMERICAN INSTITUTE OFGRAPHIC ARTS Special Session F18Level 6, Ballroom 6A

Chairs: Frank Baseman,Philadelphia University;Elizabeth Resnick,Massachusetts College of Art

Topic and participants to beannounced.

THE ARTS COUNCIL OF THEAFRICAN STUDIES ASSOCIATIONWomen, Leadership, andArt in Africa F19Level 6, Meeting Rooms 605 & 610

Chairs: Victoria Rovine,University of Iowa Museum ofArt; Christa Clarke, NewarkMuseum

Praise and Power: Women,Leadership, and the Arts amongthe Kuba Patricia J. Darish,independent scholar

The King Is a Woman: Genderand Authority in Central AfricaMary Nooter Roberts, FowlerMuseum of Cultural History,University of California, LosAngeles

“Remembering” Royal Women:Art, Memory, and Power at theCourt of Benin, Nigeria FloraEdouwaye S. Kaplan, NewYork University

Discussant: Suzanne PrestonBlier, Harvard University

ASSOCIATION FOR LATINAMERICAN ARTBusiness MeetingLevel 2, Meeting Rooms 2A & 2B

CAA COMMITTEE ONINTELLECTUAL PROPERTYFair Use: Who Has theRights? F20Level 6, Ballroom 6C

Chair: Patricia Failing,University of Washington

Fair Use of Images in theClassroom: How Far Is Fair?Christine Sundt, University ofOregon

Fair Use: An Image Provider'sPerspective David Weiskoph,Corbis Corporation

Don't Forget About Trademarks:Fair Use of Trademarked Textand Images Sean O’Conner,University of Washington Schoolof Law

Discussant: Jeffrey P. Cunard,Debevoise and Plimpton,Attorneys at Law

CAA EDUCATION COMMITTEEProving We Know TheyKnow: ConsideringAssessment F21Level 6, Ballroom 6B

Chair: Steve Shipps, EmersonCollege

Assessment and Its Relation toAccreditation Steven Bleicher,Art Institute of Fort Lauderdale

Assessment Results from “TheSurvey of the Survey” KevinConcannon, University ofAkron

FRIDAY 9:00–11:30 AM, NOON–1:30 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

NOON–1:30 PM

CAA TOWN MEETING What Do Artists Wantfrom CAA, Anyway?Level 6, Ballroom 6E

We are counting on your partic-ipation throughout CAA’s plan-ning process; close communica-tion among the membership,the board, and the staff willenable us to set meaningfulgoals for the years ahead.

Portfolio Assessment inCalifornia’s Teacher EducationProgram in Art Mika Cho,California State University, LosAngeles

Assessment from the UnitedKingdom Art/Design PerspectiveSue Gollifer, University ofBrighton

Student Writing as Evidence inAssessment David McCarthy,Rhodes College

Discussant: MarthaDunkleman, Canisius College

CAA MUSEUM COMMITTEEWhat Curators Need toKnow: EvaluatingCuratorial StudiesPrograms F22Level 6, Meeting Room 608

Chairs: Maria Ann Conelli,Fashion Institute of Technology;Katherine B. Crum, Parrish ArtMuseum

Michael Conforti, Sterling andFrancine Clark Art InstituteJoan Marter, RutgersUniversityAlicia Longwell, Parrish ArtMuseumErica E. Hirshler, BostonMuseum of Fine Arts

COALITION OF WOMEN IN THEARTS ORGANIZATIONWomen Artists asInterpreters of Socio-Political Issues of theTwenty-First Century F23Level 3, Meeting Rooms 307 & 308

Chair: Kyra Belan, BrowardCommunity College

Interactive Art Janice Hartwell,Florida State University

All the Flack about Audrey Flackand Her Artistic Response to theTwenty-first Century ArthurJones, University of NorthDakota

Shelter against Violence: A Casefor Empowerment MurielMagenta, Arizona StateUniversity

The Archetypes of the Feminineand the Politics of SpiritualityKyra Belan, BrowardCommunity College

COMMUNITY COLLEGEPROFESSORS OF ART AND ARTHISTORYDisconnected: Artists andthe Community College F24Level 6, Meeting Rooms 606 & 607

Chairs: Thomas Morrissey,Community College of RhodeIsland; Leo Morrissey, BrevardCommunity College

If I Stopped Making Art . . .Would Anyone Notice? LeoMorrissey, Brevard CommunityCollege

Re-Energizing Arts Education:The Importance of Developingthe Role of Artist/Arts EducatorJean Linville, Briarcliff Manor Union Free School District

To Do or Not to Do: UphillBattle or Downhill Slide?Thomas Morrissey, CommunityCollege of Rhode Island

Discussant: Sheldon Hurst,Adirondack Community College

HISTORIANS OF EIGHTEENTH-CENTURY ART ANDARCHITECTURENew Scholars: MakingMeaning in Eighteenth-Century Visual Culture F25Level 3, Meeting Room 3B

Chair: Laura Auricchio,Parsons School of Design andCooper-Hewitt, National DesignMuseum

Construing the Oeuvre inEighteenth-Century FranceGraham Larkin, StanfordUniversity

The Oxford Almanack and thePomfret Statues: The Ideology ofVertu Dennine Dudley,University of Victoria

The Emperor’s Two BodiesJudith Dolkart, BrooklynMuseum of Art

The Death of Caesar and TheDeath of Virginia by VincenzoCamuccini and the Politics ofClassicism in Italy, 1793–1815Jon L. Seydl, J. Paul GettyMuseum

HISTORIANS OF ISLAMIC ARTIslamic Wall Painting F26Level 6, Meeting Room 609

Chair: Richard Turnbull,Fashion Institute of Technology

Wall Painting in Pre-MongolIran and Central Asia: NewDiscoveries in Samarkand YuryKarev, Russian Academy ofSciences

The Craftsmen and BuildersRepresented in the PaintingCycle at the Umayyad Palace atQusayr’ Amra: AnIconographical Analysis HanaTaragan, Tel Aviv University

Early Ottoman Wall Paintingand the Decorative AlternativeRichard Turnbull, FashionInstitute of Technology

Wall Paintings from DifferentCultures in Western AnatoliaInci Kuyulu Ersoy, EgeUniversity

ITALIAN ART SOCIETYContinuity and Change:The State of Research onSixteenth-Century ItalianArt F27Level 6, Meeting Rooms 613 & 614

Chair: Bernadine Barnes, WakeForest University

The Cult of Materials MichaelCole, University of Pennsylvania

Acquisition and Identity inSixteenth-Century Rome: TheCase of the Pope’s DaughterCaroline Murphy, University ofCalifornia, Riverside

Best Sellers: Problems withPrints Christopher L. C. E.Witcombe, Sweet Briar College

NATIONAL ENDOWMENT FORTHE ARTSFunding Opportunities atthe National Endowmentfor the Arts F28Level 6, Meeting Rooms 618 & 619


PART-TIME EMPLOYMENT TASKFORCEPart-Time Employment inArt History and the Arts:Open Discussion F29Level 3, Meeting Room 3A

Chairs: Irina Costache,California State University; D.Fairchild Ruggles, Universityof Illinois, Urbana-Champaign

NOON–1:30 PM FRIDAY

33 February 18–21, 2004

QUEER CAUCUS FOR ARTQueer Artists Speak F30Level 6, Meeting Rooms 611 & 612

Chair: Sallie McCorkle,Pennsylvania State University

Harmony Hammond,University of ArizonaSallie McCorkle, PennsylvaniaState UniversityCarrie Moyer, Dyke ActionMachine!Robert Repinski

VISUAL CULTURE CAUCUSTeaching Visual CultureStudies F31Level 6, Meeting Rooms615/616/617

Chairs: Jill Casid, University ofWisconsin, Madison; EricaRand, Bates College

Teaching Visual Culture at theCooper Union Maren Stange,Cooper Union

Using Visual Culture toChallenge Cultural Values,Beliefs, and AssumptionsWanda B. Knight, PennsylvaniaState University

From Gen X to Y to Z: ATransgenerational Approach toVisual Culture John Corso,Cornell University

Visual Ethnography in VisualCulture Studies Karin Becker,Konstfack Stockholm

SPECIAL ADVOCACY SESSIONCultural Heritage in Timeof War F31ALevel 6, Meeting Rooms 613 & 614

Chair: Marta Teegen, CAA

Report from IraqCultural Heritage: Why ShouldWe Care?Models for Reconstruction:Bosnia, Cambodia, Afghanistan

Zainab Bahrani, ColumbiaUniversity; James A. R.Nafziger, Willamette UniversityCollege of Law; Jeffrey B.Spurr, Harvard University;John H. Stubbs, WorldMonuments Fund; YasserTabbaa, Oberlin College


Annual Artists’ InterviewsF32Level 6, Meeting Rooms602/603/604



Romanesque SculptureStudies: Where Are WeNow? F33Level 6, Ballroom 6E

Chairs: Kirk Ambrose,University of Colorado, Boulder;Robert Maxwell, University ofPennsylvania

Roots or Retro: Romanesque’sParadoxical Paradigm LindaSeidel, University of Chicago

Ut Pictura Poesis: ARomanesque Poetic Ekphrasisand Its “Ear”—RelevantIllustrations Peter Scott Brown,Columbus State University

Program or Assemblage:Looking for Meaning inRomanesque SculptureJames D’Emilio, University ofSouth Florida

The Nude, Phantasia, and theAffective Powers of RomanesqueSculpture Thomas E. A. Dale,University of Wisconsin,Madison

Sight, Sound, and Touch:Sensory Perception inAmerican Art F34Level 6, Meeting Rooms 606 & 607

Chairs: Wendy Bellion, RutgersUniversity; Rachael Z. DeLue,University of Illinois, Urbana-Champaign

At the Mouth of the Cave: Onthe Sights and Sounds of ThomasCole’s Kaaterskill Falls MichaelGaudio, University ofMinnesota, Twin Cities

From Sonic to Social: Noise,Quiet, and Nineteenth-CenturyAmerican Banjo Imagery Leo G.Mazow, Palmer Museum of Art,Pennsylvania State University

The Illusion of “Experience”and the Circulation of the Sensesin Gilded-Age Trompe L’OeilMeredith Davis, ColumbiaUniversity

Shake, Rattle, and Roll JanineMileaf, Swarthmore College

You May Want to Hear...theSound of Bruce Nauman’s ArtJanet Kraynak, StateUniversity of New York,Purchase

Where to Draw the Line F35Level 6, Meeting Rooms 618 & 619

Chair: Susan E. Boye, CornishCollege of the Arts

Circumventing Hand and BrainConnections: If We StopDrawing, We Stop Thinking likeArtists and Designers CraigWarner, Northwest MissouriState University

Defining How the Line IsDrawn: Educating Undergradu-ate Artists in the Twenty-firstCentury Yonsenia White,Virginia Polytechnic Instituteand State University

A Waste of Time? How ChangingStudent Opinions Can Inform theTeaching of Drawing withinDesign Curricula Edwin Jager,University of Wisconsin,Oshkosh

Drawing and Design: The Penciland the Mouse and Reinventingthe Wheel Mark Fetkewicz,University of Northern Colorado

Better? Worse? Or JustDifferent! Chris Garvin, TheUniversity of the Arts

Partisan Canons, Part 1:Discursive Sites F36Level 6, Meeting Rooms615/616/617

Chair: Anna W. Brzyski,University of Kentucky

Drawing on Their Friends:Manuscript Style as PoliticalMessage in the Art of Eleventh-Century Flanders Diane J.Reilly, Indiana University

A Useful and Glorious Exercise:The 1667 Academic Conferencesand the Construction of aFrench Artistic Canon CarolynAllmendinger, Ackland ArtMuseum, University of NorthCarolina, Chapel Hill

FRIDAY NOON–1:30, 2:00–4:30 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

2:00–4:30 PM

2:00–4:30 PM FRIDAY

Caillebotte, Durand-Ruel,Rewald, and the ImpressionistCanon James E. Cutting,Cornell University

Modernist Formalism in theMaking: Paul Signac’s FromEugène Delacroix to Neo-Impressionism Michelle A. Foa,Princeton University

In Picasso’s Defense: Building aCanon of Modernism in the RealBohemia Nicholas Sawicki,Grinnell College

Part 2 of this session will be heldon Saturday at 2:30 PM.

New Approaches to theHistory and Theory ofMontage F37Level 2, Meeting Rooms 2A & 2B

Chairs: Brigid Doherty,Princeton University; ElizabethOtto, State University of NewYork, Buffalo

Ernst Neumann’s New Values ofFine Art: Art and Mass Cultureat the Turn of the CenturySherwin Simmons, Universityof Oregon

Reading Montage: TheTranslation of Montage viaGerman and AmericanPhotography Books AndreaNelson, University of Minnesota

Pictorial Suture and RadicalPolitics: John Heartfield’s AIZPhotomontages Sabine Kriebel,University of California,Berkeley

Montage Artist as Marketer inJapan Gennifer Weisenfeld,Duke University

Warhol’s Sleep: Serial Slownessand the Body of Film WilliamMcManus, Princeton University

The Period-Room Debateand the Making ofAmerica’s Public ArtMuseums F38Level 6, Meeting Room 608

Chair: Sally Anne Duncan,Plymouth State University

Picture Houses and PeriodRooms: Wallace Nutting, theMuseum, and the MarketThomas Andrew Denenberg,Wadsworth Atheneum Museumof Art

Style and Lifestyle in theMachine Age: The ModernistPeriod Rooms of The Architectand the Industrial Arts KristinaWilson, Yale University ArtGallery

Alexander Dorner’s AtmosphereRoom: The Museum asExperience Curt Germundson,Minnesota State University,Mankato

Frederic Remington’s Studio: AnInnovative Exhibition Strategy atthe Whitney Gallery of WesternArt Elizabeth Kennedy, TerraMuseum of American Art

Discussant: Alan Wallach,College of William and Mary

Nature in Crisis: Landscapein the Twenty-first CenturyF39Level 6, Meeting Rooms 605 & 610

Chair: Philip Govedare,University of Washington

What Can Landscape SaySarah McCoubrey, SyracuseUniversity

I Would Rather Look at aPainting of a Landscape than aReal Landscape: Reflections onthe Crossroads Where HumanLonging and Anxiety Meet,Landscape Painting and theFiction of “Nature” GregoryAmenoff, Columbia University

Painting What’s Left of theLandscape: Thoughts onWounded Beauty Tim Casey,Bard College

American Pastoral DennisCongdon, Rhode Island Schoolof Art and Design

The Duwamish Waterway:Painting from a Superfund SitePhilip Govedare, University ofWashington

INTERNATIONAL ASSOCIATIONOF WORD AND IMAGE STUDIESWalter Benjamin and theVisual Arts F40Level 6, Ballroom 6C

Chair: Michèle Hannoosh,University of Michigan

Benjamin’s Snapshot ofSurrealism: Metaphor, Image,and Action Raymond Spiteri,University of North Dakota

“Earth’s Eye,” the Horizon, andthe Shadow of the Object AronVinegar, Ohio State University

Walter Benjamin’s MaterialistPhysiognomy John Welchman,University of California, SanDiego

The Screen: Visuality andResponsibility after the AuraticDemise Dag Peterson, RoyalLibrary, Denmark

Beyond Benjamin’s Aura: HisContribution to Visual StudiesToday and How May We Proceedfrom It Ruth E. Iskin, BenGurion University

ITALIAN ART SOCIETYThe Meaning of Portraiturein Renaissance andBaroque Italy F41Level 6, Ballroom 6A

Chairs: Irving Lavin, Institutefor Advanced Study; Beth L.Holman, Bard Graduate Center

Identity in Renaissance PortraitsJoanna Woods-Marsden,University of California, LosAngeles

Gianmarco Cavalli’s Testoni ofFrancesco II Gonzaga: TheCirculation of Allegory and theLegitimacy of Rule inRenaissance Mantua GregoryHarwell, Princeton University

Medici Portraits and theSantissima Annunziata ofFlorence Bernice Iarocci,University of Toronto

Costanza Bonarelli: Model,Mistress, Muse? Sarah McPhee,Emory University

The Loaded Portrait: Caricatureand Artistic Identity in EarlyModern Italy Sandra Cheng,University of Delaware

Investigating New Art inFrance F42Level 6, Meeting Room 609

Chair: Martin Patrick, IllinoisState University

Tom McDonough, BinghamptonUniversity

Artist on the Bridge: OusmaneSow’s Outdoor ParisRetrospective James E.Housefield, Texas StateUniversity, San Marcos

Situations françaises: AtlantaPresents New Art from FranceLisa Fischman, Atlanta Collegeof Art Gallery

35 February 18–21, 2004

Antoine Vigne, independentscholar

Vivian Rehberg, ARC/Muséed'Art moderne de la Ville deParis

Rewriting Jacob Lawrence:A Proposition F43Level 6, Ballroom 6B

Chair: Richard J. Powell, DukeUniversity

When Haiti Was in Vogue: JacobLawrence’s Account of ToussaintLouverture Lindsay J. Twa,University of North Carolina,Chapel Hill

Black Femininity andIntertextuality in JacobLawrence’s Harriet TubmanSeries (1939) Joan DelPlato,Simon’s Rock College at Bard

Nineteen Forty-Six Richard J.Powell, Duke University

Revisiting the Presence ofthe Object F44Level 3, Meeting Rooms 307 & 308

Chair: Robin Reisenfeld,Christie’s Education

What’s the Object? Theater andTheatricality in ContemporaryArt Howard N. Fox, LosAngeles County Museum of Art

Paul Thek: HippopotamusPoison and Other ConservationConcerns Michael Duffy, TheMuseum of Modern Art, NewYork

The Assertion of Form MarthaBuskirk, Montserrat College ofArt

Op Ed: Bridget Riley on BruceNauman Linda G. Norden,Fogg Art Museum

Discussant: Bruce J. Altshuler,New York University

HISTORIANS OFNETHERLANDISH ART The Long Legacy of theDevotio Moderna F45Level 3, Meeting Room 3B

Chair: Nanette Salomon, TheCollege of Staten Island, CityUniversity of New York

The Ghent Altarpiece andPerformative Painting Marc De Mey, Ghent University

Marys at the Tomb: Paintings,Sculpture, and a Passion PlayBuilt for One Kathryn M.Rudy, Utrecht University

Hieronymus Bosch: Inner Eyeand Empty Talk ReindertFalkenburg, Leiden University

Melancholia and the Magdalene:Feminity and/as Interiority LisaRosenthal, University ofIllinois, Urbana-Champaign

Rembrandt’s Painted Portrait ofthe Remonstrant ClergymanJohannes Wtenbogaert and theModern Devotion David A.Levine, Southern ConnecticutState University

Discussant: Ellen Konowitz,State University of New York,New Paltz

JAPAN ART HISTORY FORUM Hidden Agendas: PoliticalSymbolism in Japanese ArtF46Level 6, Meeting Rooms 611 & 612

Chair: Sarah E. Thompson,University of Oregon

Anthropomorphosis and Allegoryin The Picture Scroll of the Warof the Twelve Animals Sarah E.Thompson, University of Oregon

Politics of Partying: Scenes ofPleasure in Mansions SusanLee, Florida State University

The Dual Regime: PoliticalConnotations of Edo-PeriodMakura-e Amaury Garcia, ElColegio de Mexico

Politics of the Stone: SomeConceptualist and Mono-haWorks in the Late 1960s ReikoTomii, independent scholar

Discussant: Andrew M.Watsky, Vassar College

Textiles, 1890–1940 F47Level 3, Meeting Room 3A

Chair: Virginia Gardner Troy,Berry College

Textiles and Architecture:Weaving Modern DiscourseAliki Economides, CentreCanadien d’Architecture

Sophie Taeuber, Hans Arp, andthe Politics of Cross-StitchBibiana Obler, University ofCalifornia, Berkeley

Art into Life: RussianConstructivist Textile Designsand Atelier Simultané of SoniaDelaunay Julia Tulovsky,Moscow State University

Wearing Wood: World War I andthe Development of Kunstseidein Germany Maria Makela,independent scholar

Redressing the Gender ofIndustry: In and AroundBauhaus Textile ProductionT’ai Smith, University ofRochester

OFF-SITE SESSION

Australian Aboriginal ArtF48Seattle Art Museum, Lecture Hall

Chair: Brenda Croft, NationalGallery of Australia

This session will feature indige-nous curators from Australia,Canada, and the United Stateswho discuss their experiences inestablishing a place in main-stream institutions. As a caseexample, they will trace thedevelopment and difficultiesencountered in putting togetheran exhibition entitled JesusLoves Me This I Know. Thisexhibition is currently in formu-lation for an international tourand addresses a subject not oftenreviewed with critical perspec-tives in art museums. The ses-sion will be held at the SeattleArt Museum, followed by areception and a tour of a localprivate collection.

FRIDAY 2:00–4:30 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

4:45–5:45 PM

Meet the CandidatesLevel 6, Meeting Rooms 611 & 612

Become an engaged and edu-cated voter! Learn the back-grounds and positions of thecandidates for CAA’s Board ofDirectors. All CAA membersare strongly urged to attendthis important meeting.

6:00–8:30 PM FRIDAY

Third Waves:Contemporary Feminism/Contemporary Art F49Level 6, Meeting Rooms 613 & 614

Chair: Elizabeth Adan,University of California, SantaBarbara

From Womyn to Grrrls:Fostering Understandingbetween Feminist GenerationsMaria Elena Buszek, KansasCity Art Institute

Nowhere and Everywhere: TheLesbian Presence in Feminist Artof the 1990s Aviva Dove-Viebahn, University ofRochester

From Goddess to Cyborg:Contemporary Asian WomenArtists Jieun Rhee, SeoulNational University

A Data Body Discourse in Imageand Text Simone Win Paterson,University of Newcastle and theHunter Institute of Technology

Trappings: Stories of Women,Power, and Clothing TiffanyLudwig and Renee Piechocki,Two Girls Working

Fashioning the Public Self:Modernity, TransformativeFictions, and the SocialConstruction of ArtisticIdentity, Part 1 F50Level 6, Ballroom 6E

Chairs: Susan M. Canning,College of New Rochelle;Patricia G. Berman, WellesleyCollege

Cézanne in Public and Private:Fashioning the Self in the Imageof the Other Carol Armstrong,Princeton University

The Symbolist Artist in 1900:Degeneracy Acknowledged orGenius Proclaimed? SharonHirsh, Dickinson College

Fashioning Artistic Identities:The Critical Performance ofWhistler and Sargent MeaghanClarke, University of Sussex

Confounding the Homeland: The Precarious Reception ofBrancusi’s Peasant IdentityAlexandra Parigoris, independ-ent scholar

Discussant: Susan Sidlauskas,University of Pennsylvania


Postmodern “Possession”:The Reception andReappraisal of VictorianArt in the New MillenniumF51Level 6, Meeting Rooms 605 & 610

Chair: Susan P. Casteras,University of Washington

Repossessing Victorian Royal Portrait Traditions:Representing Diana, Princess ofWales Colleen Denney,University of Wyoming

Victorian Tendencies amongContemporary Artists SharonLacey, independent scholar

Queer Orientalism: Masculinityof the Other in William Etty andMulready Jongwoo J. Kim,Institute of Fine Arts, New YorkUniversity

“They that Look on Her MustCome to Me”: Abjection andAlterity in Dante GabrielRossetti’s Images of Jane MorrisAmy Bingaman, CornishCollege of Art

Nostalgia and Resistance in theStudy of Photography under theRaj Gary Sampson, ClevelandInstitute of Art

CAA INTERNATIONALCOMMITTEEGoing Global: DefiningCAA’s Role in theInternational CommunityF52Level 3, Meeting Room 3A

Chairs: A. Victor Coonin,Rhodes College; AllisonMorehead, University ofChicago

Positioning CAA forInternational Activities AnnDavis, The Nickle Arts Museum,University of Calgary

The Case of Northern Cyprus:Cultural Welfare and PoliticalStalemate Michael J. K. Walsh,Eastern MediterraneanUniversity

Valuation, Ownership, andProtection of Heritage Sites of“Universal” Significance: NewAge Trend or Noble Fallacy?John H. Stubbs, WorldMonuments Fund and ColumbiaUniversity

Beyond Catalogued Losses: TheIraq Museum Database Projectat the Oriental Institute ClemensReichel, University of Chicago

Photography and theAbject F53Level 6, Meeting Room 608

Chair: Laurie Dahlberg, BardCollege

Disaster and Dissolution in theVictorian Mass-ReproducedImage Gerry Beegan, RutgersUniversity

The Aporia of PhotographingAbjection: Charcot’s NouvelleIconographie de la SalpêtrièreFae Brauer, University of NewSouth Wales

Looking at LynchingPhotographs: Sadistic Voyeurismor Historical Witness? DoraApel, Wayne State University

Having One’s Cake and Eating ItToo: Artists’ Strategies ofSubstitution and the Rhetoric ofPhotographic Evidence MaryBeth Heffernan, OccidentalCollege

Redefining the Work ofArt: Artists and ArtScholars Collaborate F54Level 6, Ballroom 6A

Chairs: Andrea Feeser, ClemsonUniversity; Gaye Chan,University of Hawai’i

Renovations, Conversations:Female Co-Creativity 1970–2003 Judith Batalion,Courtauld Institute of Art

Sculptural Consciousness:Recontextualizing the SystemAesthetic Celina Jeffery,Savannah College of Art andDesign; James Coupe, SouthBank University

Using History: The Role of anArt Historian in Fred Wilson’sSpeak of Me as I Am Paul H. D.Kaplan, State University ofNew York, Purchase; FredWilson, Skidmore College

Margaret Crane/Jon Winet:Collaboration and Hybrid WorkJon Winet, University of Iowa;Margaret Crane

37 February 18–21, 2004

6:00–8:30 PM

The Activist Artist:Community-Based ArtPractice F55Level 6, Meeting Rooms 611 & 612

Chairs: Barbara Goldstein, Cityof Seattle, Mayor’s Office ofArts and Cultural Affairs; LisaRichmond, City of Seattle,Mayor’s Office of Arts andCultural Affairs

OnRamp Arts—Collaborationsin Digital Media Jessica Irish,OnRamp Arts

Artist as Cultural ActivistLonnie Graham, artist

Who’s Right: The Artist or theCommunity? Steve Durland,Community Arts Network

An Institutional View: TheCommunity-Based ArtistResidency J. Susan Isaacs,Delaware Center for theContemporary Arts

Paper: Art Practice andCollaboration; Materialand Innovation F56Level 3, Meeting Room 3B

Chairs: Susan Gosin, DieuDonné Papermill, Inc.; Anne Q.McKeown, Rutgers Center forInnovative Print and Paper

Renaissance and Revolution inContemporary PapermakingSusan Gosin, Dieu DonnéPapermill, Inc.

Thinking in Paper and the Art ofCollaboration Anne Q.McKeown, Rutgers Center forInnovative Print and Paper

Handmade Paper and thePrinted Mark, from Two to ThreeDimensions Joan Hall,Washington University, St. Louis

“Paper Covers Rock”:Institutionalizing the StudioMarilyn Sward, ColumbiaCollege, Chicago

Working on Living ArtistsF57Level 6, Meeting Rooms 606 & 607

Chair: Susan Jarosi, DukeUniversity

Reading Lips: Field Notes on the Art Historian as CulturalAnthropologist David E. Little,The Museum of Modern Art,New York

Art and Craft: Making Work andMaking Exhibitions RobertStorr, independent curator andcritic; Institute of Fine Arts, NewYork University

In the Belly of the Beast: The Artist’s Daughter as ArtHistorian Hannah Higgins,University of Illinois, Chicago

On the Teaching, Reception, andDissemination of Art HermannNitsch, artist

The Place of the Local inAmerican Art History F58Level 6, Meeting Rooms615/616/617

Chair: Wendy Katz, Universityof Nebraska, Lincoln

Fitz Hugh Lane: Time, Memory,Canvas, and Lumber inNineteenth-Century Coastal NewEngland Margaretta Lovell,University of California,Berkeley

From Regional to Local: AlfredJacob Miller and Painting inBaltimore, 1840–1860 LisaStrong, independent scholar

“Little of Artistic Merit?”: TheProblem of Southern Art HistoryMaurie McInnis, University ofVirginia

Entrepreneurial Elites and theNationalization of the Art Worldin Gilded Age America JohnOtt, James Madison University

Haunted Lines: NegotiatingGerman-American Identity inJohn W. Winkler’s San FranciscoChinatown Etchings LouiseSiddons, Stanford University

Strange Fragments:Reassessing theRelationships between ArtHistory and ArchaeologyF59Level 6, Ballroom 6C

Chairs: Barbara Kellum, SmithCollege; Kara Olsen Theiding,University of California,Berkeley

The National Geographic Style:The Role of Fantasy inArchaeological Interpretationwith Special Focus on Artist andArchaeologist at Troy MaureenBasedow, University ofCincinnati

The Living Temple as Space of Ruins: DocumentaryPhotography in Nineteenth-Century British India Gita Pai,University of California,Berkeley

“Tesori d’arte ed oggetti di vita”:Archaeology Meets Aesthetics inthe Antiquarium OstienseMargaret Laird, University ofChicago

The Archaeologist and theArchitect: Fragments of Memoryand Rhetorics of ReconstructionSheila Crane, University ofCalifornia, Santa Cruz

Fragments Estranged: Visualityand Concealment at the Site ofPsychoanalysis DianeO’Donoghue, Tufts Universityand School of the Museum ofFine Arts

Discussant: Boreth Ly,University of Utah

Signs of Devotion: BathtubMadonnas, HighwayCrosses, and PersonalManifestations ofSpirituality andMemorialization F60Level 3, Meeting Rooms 307 & 308

Chair: Ellen Kosmer, WorcesterState College

Homemade Sacred: PersonalizedShrines at the Family CemeteryChristina Bertoni, Rhode IslandSchool of Design

Viernes de Dolores: Altars to theVirgin of Sorrows NancyDeffebach, Rice University

Articles of Faith: Materials ofBelief Robert Mertens,University of Wisconsin,Whitewater

Discussant: Kellen McIntyre,University of Texas, San Antonio

FRIDAY 6:00–8:30 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

9:30 AM–NOON SATURDAY

Breaking Down theBoundaries: What HappensWhen Educators Curate F61Level 2, Meeting Rooms 2A & 2B

Chair: Tamara Moats, HenryArt Gallery

Other Voices, Other Rooms: Artand Education in ContextCarolyn H. Wood, Ackland ArtMuseum

Considering Exhibition Structureand Art Experience JohnWeber, San Francisco Museumof Modern Art

Meeting Grounds JannaGraham, Art Gallery of Ontario;Richard Hill, Art Gallery ofOntario

Graffiti: Re(sur)facing anOld Wall F62Level 6, Meeting Rooms 618 & 619

Chair: Oscar E. Vázquez,University of Illinois, Urbana-Champaign

Paintguns, Cops, and theTwenty-First-Century TaggerMargaret Weigel, MACHAMedia

Framing [Con]text: Graffiti andPlace Ella Chmielewska,Canadian Centre for Architecture

Cries from the Pueblo: MexicanPolitical Graffiti and Street ArtPamela Scheinman, MontclairState University

Mark My Words: Epigraphy,Inscription, or Graffiti?Michelle A. Rein, University ofPennsylvania

Lettered/Visual/Orders:Illegibility and Culture Critiquein Graffiti Art Joe Austin,Bowling Green State University

ART HISTORY OPEN SESSION Michelangelo F63Level 6, Ballroom 6B

Chair: William E. Wallace,Washington University, SaintLouis

Editing a Life: Michelangelo inBologna and Renaissance ArtHistory Randi Klebanoff,Carleton University

Michelangelo in MiniatureMaria Ruvoldt, Cooper-HewittMuseum

Color and Poetry Donald R.Schrader, independent scholar

Michelangelo, Anti-AntiquarianCammy Brothers, University ofVirginia

Faith, Hope, and Charity: AConsideration of the JuliusTomb’s Quattrocento OriginsShelley E. Zuraw, University ofGeorgia

ASSOCIATION OF HISTORIANSOF NINETEENTH-CENTURY ARTBusiness MeetingLevel 6, Meeting Room 608

CATALOGUE RAISONNÉSCHOLARS ASSOCIATIONBusiness MeetingLevel 3, Meeting Room 304

JAPAN ART HISTORY FORUMBusiness MeetingLevel 6, Meeting Rooms 613 & 614

PACIFIC ARTS ASSOCIATIONBusiness MeetingLevel 3, Meeting Room 303

ASSOCIATION OF HISTORIANSOF AMERICAN ART Postcolonialism,Globalization, andAmerican Art SA1Level 6, Meeting Rooms 606 & 607

Chairs: Bill Anthes, Universityof Memphis; ElizabethHutchinson, Barnard College

Tanner, Hybridity, and the Bloodof the Holy Land Alan C.Braddock, Syracuse University

Haiti on My Mind: Rethinkingthe Concept of Harlem and ItsRelationship to Haiti in JacobLawrence’s The Life ofToussaint Louverture La NitraWalker, Duke University

Asiamericasia: Towards aGlobalized Asian American ArtHistory Joan Kee, University ofHong Kong

Archive Fevers: Colonialism,Modernity, and the Politics ofDisplay Jennifer A. Gonzalez,University of California, SantaCruz

Discussant: Frances Pohl,Pomona College

Fashioning the Public Self:Modernity, TransformativeFictions, and the SocialConstruction of ArtisticIdentity, Part 2 SA2Level 3, Meeting Room 303

Chairs: Susan M. Canning,College of New Rochelle;Patricia G. Berman, WellesleyCollege

“Meine Kunst kriegt hier zufressen”: Max Beckmann’sPublic Persona during the GreatWar Amy Kelly Hamlin,Institute of Fine Arts, New YorkUniversity

Alienation and Stardom:Delaunay-Terk’s Self-PortraitsSherry Buckberrough,University of Hartford

Anti-Portrait on an umourist:Jacques Vaché and the Personaof Trauma Kirsten Strom,Grand Valley State University

“Also sprach der Oberdada”:Johannes Baader, Madness, andNietzsche’s Model AdrianSudhalter, Busch-ReisingerMuseum, Harvard University ArtMuseum

Discussant: Susan Sidlauskas,University of Pennsylvania

39 February 18–21, 2004

SATURDAYFEBRUARY 217:30–9:00 AM

9:30 AM–NOON

CAA Annual BusinessMeetingLevel 6, Meeting Rooms 606 & 607

See your CAA Board ofDirectors in action. You arecordially invited to attend thisimportant meeting to hear thelatest reports on what’s hap-pening at CAA.

Myth and Modern Art, Part 2 SA3Level 3, Meeting Room 3A

Chair: Alison Hilton,Georgetown University

Sculptor Bikky Sunazawa andHis Use of Ainu TraditionalMyths as a Statement of EthnicPride Chisato O. Dubreuil,University of Victoria

Fernand Léger’s Myth ofRegeneration: FomentingRevolution or ConstructingColonialism? Maureen G.Shanahan, State University ofNew York, Oswego

Modern Transformations andMedusa Kimberly Allen-Kattus, Northern KentuckyUniversity

Ancient Subtext, ModernContext: An Artist’s ContributionAndrea Eis, Oakland University

Beyond Style: FashioningCultural Identity in AncientMesoamerican Art andArchitecture SA4Level 6, Meeting Room 608

Chairs: Julia GuernseyKappelman, University ofTexas, Austin; AnnabethHeadrick, Vanderbilt University

Yax Pasaj and the PalencanoPresence at Copán RhondaTaube, University of California,San Diego; Karl Taube,University of California,Riverside

Cultural Identity and StylisticSpheres at Las Higueras,Veracruz John L. Machado, Jr.,University of Texas, Austin

An Art Practice for a Communitywithout Borders: Placing theBorgia Group Manuscripts AnneWalke Cassidy, ColumbiaUniversity

The West Mexican–MimbresConnection: Influence,Appropriation, or Collision atthe Northern Frontier JamesFarmer, VirginiaCommonwealth University

Death, Ethnicity, and the State inthe Tarascan Society of the EarlySixteenth Century AngélicaAfanador, University ofCalifornia, Los Angeles

Discussant: Jeff Karl Kowalski,Northern Illinois University

ART HISTORY OPEN SESSIONThe Northwest School: FarBeyond and Deep WithinSA5Level 6, Ballroom 6C

Chair: Martha Kingsbury,University of Washington

Mark Tobey: Construction of anArtistic Identity SherylConkelton, independent scholar

North of Northwest: Relationsbetween American and CanadianEarly Modern Artists on thePacific Coast Gerta Moray,University of Guelph

Reconsidering Clyfford Still: TheCreation of Abstract Art as SpiritPower Herbert R. Hartel, Jr.,John Jay College, CityUniversity of New York

Discussant: Ray Kass, VirginiaPolytechnic Institute and StateUniversity

Discussant: Susan Fillin-Yeh,independent scholar

After Vietnam: Traces ofExile and Fragments ofHomeland in Canadian ArtSA6Level 6, Ballroom 6A

Chairs: Martha Langford,McGill University; JerryZaslove, Simon FraserUniversity

Re: Considering CulturalProduction in Vancouver duringthe 1960s and 1970s: ADiscussion of Two IntermediaTexts by Roy Kiyooka GlenLowry, Coquitlam College

A Critical Beauty:Photoconceptual Art inVancouver Sharla Sava, SimonFraser University

Conceptual Lithography at NovaScotia College of Art andDesign: From Acconci toWieland Jayne Wark, NovaScotia College of Art and Design

American Expatriate Artists inCanada: A Life of Exile orPrelude to NAFTA PeterWollheim, Boise StateUniversity

Art History de jure SA7Level 6, Meeting Rooms615/616/617

Chair: Elizabeth C. Mansfield,University of the South

From Sam’s Café to United ArtContractors: Actionable Art?Kevin Concannon, Universityof Akron

Andy’s Art or Dull Documents:Defining Warhol’s PhotographicLegacy in the CourtroomWilliam V. Ganis, New YorkInstitute of Technology

Big Picture, Fine Print: TheSurprising Impact of the IllicitArt Trade on Tax Law and ArtHistorians Anne-Marie Rhodes,Loyola University School of Law

Art History and the NewIconoclasm Elizabeth C.Mansfield, University of theSouth

Activating CriticalDiscourse: Models of CivicEngagement and PublicArts Practice SA8Level 6, Meeting Rooms602/603/604

Chair: Bradley McCallum,ConjunctionArts

Animating Democracy:Opportunity and Challenge atthe Intersection of Art and CivicDialogue Pam Korza,Americans for the Arts

Creative Capital—IncorporatingDiscourse as Part ofComprehensive Artist SupportSean Elwood, Creative Capital

Community CulturalDevelopment Tomas Ybarro-Frausto, Rockefeller Foundation

Critical Conditions Patricia C.Phillips


SATURDAY 9:30 AM–NOON


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

9:30 AM–NOON SATURDAY

The Rise and Fall ofMemorial Sculpture, Part 2 SA9Level 6, Meeting Rooms 613 & 614

Chairs: Sarah Blake McHam,Rutgers University; Margaret A.Kuntz, Drew University

The Public Memorial inNineteenth-Century Italy:Giuseppe Grandi and theMonument to the Five Days ofMilan, 1881–1894 David M.Gariff, University of Wisconsin,Stout

Colonial Embodiment: GreaterFrance, Great Glory, and theGare St.-Charles in MarseillesJennifer Foley, CornellUniversity

The Fall and Rise of Iosif Stalin:Iconoclasm and Resurrection ofPublic Monuments in the Post-Soviet Era Mike O’Mahony,University of Bristol

Loss as Vanished Form: On theAnti-Memorial Sculptures ofHorst Hoheisel Ellen HandlerSpitz, University of Maryland,Baltimore County

Collaborative Teaching ofCollaboration: TeachingInterdisciplinary DigitalMedia and PerformanceSA10Level 6, Meeting Rooms 618 & 619

Chair: Jeff McMahon, ArizonaState University

Collaborative Teaching forInterdisciplinary CurriculumPatricia Clark, Arizona StateUniversity

Approaching the Body:Interdisciplinary StudentCollaborations Petra Kuppers,Bryant College

“And You Don’t Stop”:Collaborative, Interactive Hip-Hop Performance FrankBarber, Columbia College

Acting as though Digital Is JustAnother Tool Gwyan Rhabyt,California State University,Hayward

Storyscape: An ExperienceDesign Site of Environment,Media, and Event WovenTogether by Story Jacki Apple,Art Center College

Media Screens/ScreenMedia SA11Level 2, Meeting Rooms 2A & 2B

Chair: Katie Mondloch,University of California, LosAngeles

Interfaces in Electronic MediaYvonne Spielmann, HBKBraunschweig, Germany

Projecting Screens: LucioFontana’s Spatial SpectacleStephen Petersen, University ofDelaware

The Depreciation of theRelational: The Media Screensof Liza May Post ChristineRoss, McGill University

Translucent Temporalities:Motility, Autonomy, and theVideo Projection ScreenMargot Bouman, University ofRochester

Another Language of NewMedia: Rethinking Movement,Interactivity, and the ScreenMichele White, WellesleyCollege

NATIONAL ART EDUCATIONASSOCIATIONArtful Mentoring in HigherEducation: Role Modelsand Pedagogical Strategiesfor Enhanced Learning inthe Arts SA12Level 3, Meeting Room 3B

Chair: Renee Sandell, MarylandInstitute College of Art

Role Models and PedagogicalStrategies for MentoringStudents into Art ProfessionalsKathleen Desmond, CentralMissouri State University

The Role of Mentoring in theSenior Thesis Project RichardHamwi, Mercyhurst College

The Community in theClassroom: Breaking into theWhite Cube Carol Janson,Western Washington University

Helping Students Follow TheirPaths: A Visual RecordPhyllis Plattner, MarylandInstitute College of Art

Mentoring in Higher Education:Exploring the PossibilitiesCarole Henry, University ofGeorgia

RENAISSANCE SOCIETY OFAMERICA Whither Connoisseurship?Part 2 SA13Level 3, Meeting Room 303

Chair: Jeffrey Chipps Smith,University of Texas, Austin

Connoisseurship and the Studyof Renaissance Stained GlassVirginia C. Raguin, College ofthe Holy Cross

Quality Control: Vittoria’sPortrait Busts as Case Studies inConnoisseurship ThomasMartin, Bard High School EarlyCollege

Whither Connoisseurship of theRembrandtesque; or, What to Dowith All the Not Rembrandts?Catherine B. Scallen, CaseWestern Reserve University

Taking the “Con” Out ofConnoisseurship (and Puttingthe Visual Knowledge Back In)Benjamin Binstock, New YorkUniversity

Appraising Fanzago: DiscerningEyes in Seventeenth-CenturyNaples J. Nicholas Napoli,Princeton University

ART HISTORY OPEN SESSIONRelocating the Pacific SA14Level 6, Meeting Rooms 605 & 610

Chair: Terry Smith, Universityof Pittsburgh

Traversing the Pacific: Mai,Cultural Entanglement, andIndigenous Appropriation JosHackforth-Jones, Richmond,The American InternationalUniversity in London

Images of the Pacific: AestheticConnections between Australiaand the American West1850–1930 Erika Esau,Australian National University

Split Vision: Figuring the Pacificin New Zealand in the 1970sChristina Barton, VictoriaUniversity of Wellington

Islands of Difference: SpatialExplorations and PedagogicalLessons in the Pacific Karen K.Kososa, University of Hawai’i atManoa

41 February 18–21, 2004

Venice, Venus, and theVirgin: The Search forArcadia in Sixteenth-Century Painting SA15Level 6, Meeting Room 609

Chair: Joanne Snow-Smith,University of Washington

Sebastiano del Piombo’s Deathof Adonis: Between Venice andRome Irene Trevor, TheMuseum of Fine Arts, Houston

The Spiritual and the Corporealin Titian’s Danae from NaplesLuba Freedman, The HebrewUniversity of Jerusalem

Vernacular Ideals of Beauty:Pietro Bembo’s Gli Asolani andTitian’s Paintings of BeautifulWomen, circa 1515 Judith B.Gregory, University ofDelaware and the DelawareCollege of Art and Design

Sensual Skin, Vibrant Views, andCharming Colors: TheGendering of Venetian OilPainting Karen Goodchild,Wofford College

Venetia figurata or Venus: TheFemale Nude in Sixteenth-Century Venice ElizabethCarroll, Indiana University,Bloomington, and ScuolaInternazionale di Grafica

Biography andContemporary Art SA16Level 6, Ballroom 6B

Chair: Judith Stein, independentcurator

Minor Characters: Stieglitz’sPandora’s Box Judith MaraGutman, The New SchoolUniversity

David Smith Michael Brenson,independent art critic

Inside Ab-Ex: Talk as BiographyGeoffrey Dorfman

Shaping, Structuring, andEditing the Past: Jack GoldsteinRichard A. Hertz, independentscholar

Ed Kienholz in Art History:Reconsidering the Artist’sBiography Damon Willick,Loyola Marymount University

ART HISTORY OPEN SESSIONMedieval Art History andHistoriography, Part 2 SA17Level 4, Meeting Room 401

Chair: William Tronzo, TulaneUniversity

Celestial Jerusalem in theMorgan Beatus: A Unique Imagefor a Transformed World AlisonLocke, Yale University

The Political Representation ofHenry II Eliza B. Garrison,Northwestern University

Text, Audience, Image:Iconographic Specificity in theChoir Frescoes of DonnareginaKerr Houston, MarylandInstitute College of Art

Hoc est corpus meum: VisualSpace and TheologicalConstruction in Medieval Danceof Death Imagery ElinaGertsman, Boston University

Nature and the Divine: TheChapel Vaults at Ingolstadt andthe Space of Mystical ExperienceEthan Matt Kavaler,University of Toronto

Acquiring the Past: A Critical History ofCollecting ClassicalAntiquities SA18Level 3, Meeting Rooms 307 & 308

Chair: Julie Van Voorhis,Indiana University

How Romans Organized GreekSculpture Peter de Staebler,Institute of Fine Arts, New YorkUniversity

Cultivating Antique Culture inthe Middle Ages: The Patriotismand Influences of PetrarchCharles Stewart, IndianaUniversity

Integrating Classical Antiquitiesin Sixteenth-Century FlorenceClaudia Lazzaro, CornellUniversity

From Antiquarianism toArchaeology: Ancient RomanAntiquities in the CapitolineMuseum Heather Hyde Minor,University of Colorado, Boulder

Collecting Contextual SculpturesJens Daehner, The J. Paul GettyMuseum

The Printed Image in EastAsia SA19Level 6, Meeting Rooms 611 & 612

Chair: Suzanne E. Wright,University of Tennessee

Woodcut Pictorial Advertising inTraditional China EllenJohnston Laing, University ofMichigan

Artifactual Art: FictionIllustration in Late Nineteenth-Century Shanghai Lisa R.Claypool, Lewis and ClarkCollege

Edo Remakes of KansaiPublications: A Look atMoronobu’s Drawing Power andEdo Publishing during theSeventeenth Century Helen M.Nagata, Milwaukee Institute ofArt and Design

Censorship and Politics inUkiyo-e: The Ehon TaikôkiIncident of 1804 Julie NelsonDavis, University ofPennsylvania

Mapping the History of Templeand Shrine Prints in JapanSherry Fowler, University ofKansas

ART HISTORIANS INTERESTED INPEDAGOGY AND TECHNOLOGYBusiness Meeting Level 6 Ballroom 6C

ART HISTORIANS OF SOUTHERN CALIFORNIANew Perspectives from theArt Historians of SouthernCaliforniaLevel 6, Meeting Rooms 606 & 607

Art History PhD Survey:Combining Career andFamily in the Humanities,A Struggle to Juggle forMen and Women! SA19ALevel 4, Meeting Room 401

Chair: Maresi Nerad, Universityof Washington, Center forInnovation and Research inGraduate Education

Susan Ball, College ArtAssociationPauline Yu, American Councilof Learned Societies

SATURDAY 9:30 AM–NOON


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

12:30–2:00 PM

12:30–2:00 PM SATURDAY

The panel will discuss a nationalstudy concentrated on career out-comes of some 500 art historyPhDs who graduated between1985 and 1991 from 54 (all)U.S. art-history doctoral pro-grams. The panelists will focuson the situation of women schol-ars in the humanities with anemphasis on art historians.Art history is a field in whichmore than 50 percent of doctoralrecipients have been women fora long time; therefore, pipelineproblems do not exist. Nevertheless, men occupy themore prestigious positions, aremore often tenured, and earnmore. This national surveyserves as a case study on howfamily relations and commit-ments influence academiccareers of women and men.

ASSOCIATION OF ART EDITORSBusiness MeetingLevel 2, Meeting Rooms 2A & 2B

ASSOCIATION OF HISTORIANSOF NINETEENTH-CENTURY ART Future Directions in theHistory of Nineteenth-Century Art SA20Level 6, Meeting Room 608

Chair: Andrew C. Shelton,Ohio State University

Allegory, Ruin, andEmbodiment: Benjamin andIngriste Allegorical PortraitureSarah Betzer, University ofCalifornia, Santa Cruz

The Evolutionary Body:Rethinking the Nude in Post-Darwinian French ArtMartha Lucy, Institute of FineArts, New York University

The Aesthete as Socialist: WalterCrane’s Fate of Persephone(1878) Morna O’Neill, YaleUniversity

ASSOCIATION FOR LATINAMERICAN ARTOpen Session SA21Level 3, Meeting Room 3B

Chair: Patrick Frank,University of Kansas

Portraying the Aztec Past:Colonial Strategies AngelaMarie Herren, The GraduateCenter, City University of NewYork

Latin American Orientalism andthe Globalization of Taste: TheProduction of Biombos in theSpanish Empire SofiaSanabrais, New York University

Arte para los años 80: CreatingColumbian Conceptualism GinaMcDaniel Tarver, University ofTexas

CAA PUBLICATIONSCOMMITTEEUniversity Press Publishingin the Arts Today SA21ALevel 6, Meeting Rooms 613 & 614

Chair: Eve Sinaiko, CAA

Deborah Kirshman, Universityof California PressSusan Bielstein, University ofChicago Press


THE COUNCIL OFINDEPENDENT COLLEGESSurvey of HistoricArchitecture and DesignSA22Level 6, Ballroom 6A

Chair: Barbara S. Christen,Council of Independent Colleges

The Council of IndependentColleges, with funds provided bythe Getty Grant Program of theJ. Paul Getty Trust, is conductinga survey of historic architecture

and landscape design. Hear thepreliminary results of the surveyand discuss your own institu-tion’s situation. Learn how otherinstitutions are thinking aboutdocumentation, study, andpreservation of the physicalplants of their campuses, as theyplan for the future.

DESIGN FORUMCollaboration in DesignStudies SA23Level 3, Meeting Rooms 307 & 308

Chair: Ann Schoenfeld, PrattInstitute

Towards a CollaborativeAuthorship Susan Bowman,Rowan University

Ecocrisis and Material Culture:Locating ConsequentialCollaboration Barbara Dass,University of Ulster

Collaboration and Experience-Based Design Paul Platosh,Pacific Northwest College of Art

Mosaics, Minarets, andMultimedia Design: Reflectionson American-Style DesignEducation in the Middle EastHarry St. Ours, MontgomeryCollege

Collaboration or Collusion?Coordination or Control?Michael Schmidt, University ofMemphis

HISTORIANS OF ISLAMIC ARTBusiness MeetingLevel 6, Meeting Room 609

INTERNATIONAL SCULPTURECENTERRecognition Opportunitiesfor Emerging Artists andTheir Faculty and ArtDepartments SA24Level 6, Meeting Rooms 605 & 610

Chair: Mary CatherineJohnson, International SculptureCenter

Professional Presenting Skillsfor Emerging Artists JamesNestor, Indiana University ofPennsylvania

International Sculpture CenterOpportunities for Recognition ofStudents, Faculty, and ArtDepartments Michael Johnson,University of Puget Sound

Trends for Emerging ArtistsBryan Ohno

LEONARDO/THEINTERNATIONAL SOCIETY FORTHE ARTS, SCIENCES, ANDTECHNOLOGYBusiness MeetingLevel 6, Meeting Rooms615/616/617

NATIONAL COUNCIL FOREDUCATION IN THE CERAMICARTSMirrors of Influence:Aesthetics and Agenda SA25Level 6, Meeting Rooms 611 & 612

This slide lecture by RebeccaHarvey, Ohio State University,will demonstrate how all aspectsof an object, from design tomaterial to method of manufac-ture, have been used to reinforceand propagate social and politi-cal agendas.

43 February 18–21, 2004

NEW MEDIA CAUCUSConstructing Boundaries:Approaches to theDiscourse of New MediaAesthetics SA26Level 6, Meeting Rooms 618 & 619

Chair: Doreen Maloney,University of Kentucky

Jonathan Binstock, CorcoranGallery of ArtNancy Atakan, artist and criticRachel Clarke, California StateUniversity, SacramentoSara Doris, University ofKentucky

PACIFIC ARTS ASSOCIATIONWomen, Cloth, andPolynesia: The Legacy ofJehanne Teilhet-Fisk SA27Level 3, Meeting Room 303

Chair: Anne E. Guernsey Allen,Indiana University Southeast

The Urban in the Island:Traditions of Change KarenStevenson, CanterburyUniversity, Christchurch

The Formation of a New TextileTradition: Cook Island TivaevaePhyllis Herda, University ofAuckland

Jehanne Teilhet-Fisk and theAcculturative Process HilaryScothorn, Florida StateUniversity

RADICAL ART CAUCUSBusiness MeetingLevel 3, Meeting Room 304

AMERICAN SOCIETY OFHISPANIC ART SCHOLARSCultural Crossings: Spain,Italy, the Netherlands, andthe Americas SA28Level 6, Meeting Room 608

Chair: Lynette M. F. Bosch,State University of New York,Geneseo

Convento Retablos: MissionizingMexico in the Sixteenth CenturyEloise Quinoñes Keber, TheGraduate Center and BaruchCollege, City University of NewYork

Performance and Image in Post-Conquest Mexico: SyncreticExpressions of Power on theFaçade of the Casa Montejo,Mérida, Yucatán Linda KristineWilliams, University ofWashington

Spain and the Pearl of theAntilles: Mudejar-MoriscoBuilding Practices in theColonial Architecture of Cuba,Sixteenth–Eighteenth CenturiesAlka Patel, University ofMichigan

Imperial Eclecticism at theCathedral of Plasencia andCáceres Sergio Sanabria,Miami University of Ohio

Discussant: Mark Denaci, StateUniversity of New York,Geneseo

Partisan Canons, Part 2:Institutional Sites SA29Level 6, Ballroom 6B

Chair: Anna W. Brzyski,University of Kentucky

Canon Fodder: Mexican Art atNew York’s Museum of ModernArt in the Mid-1950s CathaPaquette, University ofCalifornia, Santa Barbara

American Artists Paint the City:Katharine Kuh’s Disruption ofCanonical Paradigms at the1956 Venice Biennale CarolineSimpson, University ofNebraska

Recovering and ReconstructingModern Art in Divided BerlinClaudia Mesch, Arizona StateUniversity

Chinese Art, the National PalaceMuseum, and Cold War PoliticsJane C. Ju, National ChengchiUniversity

Canons Apart and ApartheidCanons: Casting Black SouthAfrican Art Locally and GloballyJulie L. McGee, BowdoinCollege

Space, Spectatorship, andthe Dialogue between Artand Architecture Practices,1950–1980 SA30Level 6, Meeting Rooms 613 & 614

Chairs: Noah Chasin, BardCollege; Monica Amor,Maryland Institute College ofArt

Bodies and Cities: Valie Export’sBody Configurations inArchitecture Jill Dawsey,Stanford University

Paris Plasticity: FromIntegration of the Arts toEnvironmental Semiotics LarryBusbea, Manhattan College

Modeling ConceptualArchitecture: Of Eisenman,Kosuth, and Paradox NanaLast, Rice University

Haacke’s Matter GrahamBader, Harvard University

Caracas as Ciudad Dispositivo:Imagen de Caracas’s Critique ofVenezuelan ModernismMarguerite Mayhall, KeanUniversity

Art and Religion inNineteenth-CenturyAmerica SA31Level 3, Meeting Rooms 307 & 308

Chair: Charles Colbert,Portland State University

Nature’s Hieroglyphs and theMasonic Vision of Thomas ColeDavid Bjelajac, GeorgeWashington University

Building the House of Wisdom:Violet Oakley’s Early Muralsand Christian Science BaileyVan Hook, Virginia PolytechnicInstitute and State University

All Very Fast and Going to theVery Dogs: Quakers and theVisual Arts Kristin Fedders,Earlham College

Evangelical Christianity Hitchesa Ride “Down the River”: TheVisual Texts of Uncle Tom’sCabin Jo-Ann Morgan, CostalCarolina University

SATURDAY 12:30–2:00, 2:30–5:00 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

2:30–5:00 PM

2:30–5:00 PM SATURDAY

A Fragile Alliance:Porcelain as Sculpture,1700 to 1900, Part 2 SA32Level 6, Ballroom 6C

Chairs: Martina Droth, HenryMoore Institute; AlisonYarrington, University ofGlasgow

The Sculptural Prestige ofBoizot’s Grand Vase for Sèvres:A French Royal Commission of1783 Juliet Carey, CourtauldInstitute of Art

A Revolutionary Currency:Sèvres Medallions Producedduring the French RevolutionEmily Richardson, UniversityCollege London

Porcelain: Materiality andMeaning in Post-RevolutionaryFrance Stephen Adams,University of Hertfordshire

The Collaboration of Gauguinand Chaplet at the Dawn of theArt Nouveau Yeon Shim Chung,Institute of Fine Arts, New YorkUniversity

Discussant: Malcolm Baker,University of SouthernCalifornia

PACIFIC ARTS ASSOCIATION Bodily (Re)Presentations inOceania SA33Level 6, Meeting Rooms 611 & 612

Chair: Stacy L. Kamehiro,University of California, SantaCruz

Body Interpretations by aSamoan Artist Jewel Castro,artist

Fish Caskets as Social Bodies,S.E. Solomon Islands DeborahB. Waite, University of Hawai’i,Manoa

Paul Gauguin’s TahitianAllegory of Virtue and ViceSuzanne Donahue, TempleUniversity

The Pleasures of Travel:Victorian “Lady Travelers” andEmbodied Encounters in theSouth Pacific HeatherWaldroup, University ofCalifornia, Santa Cruz

Discussant: Riet Delsing,University of California, SantaCruz

RADICAL ART CAUCUSAesthetics, Politics, and the Counter-Globalization MovementSA34Level 6, Meeting Rooms 618 & 619

Chairs: Janet Koenig, RadicalArt Caucus; Noel Douglas,Slade School of Fine Art

Another (Art) World Is Possible:Theorizing OppositionalConvergence Gene Ray,Alexander von HumboldtFoundation and KunstwerkeInstitute for Contemporary Art,Berlin

Retooling Dissent EmilyForman, School of the ArtInstitute of Chicago

Bring NAFTA Back to Tijuana’sMaquiladora Workers: ATraveling Art Exhibition FredLonidier, University ofCalifornia, San Diego

Asocijacija Apsolutno: A Viewon Globalization from “Other”Europe Jelena Stojanovic,Ithaca College

Dan Wang

Medieval Venice:Mythogenesis and Self-Transformation SA35Level 6, Meeting Room 609

Chair: Anne McClanan,Portland State University

The State of Venetian ArtHistory: The View from 2004Debra Pincus, National Galleryof Art, Washington, D. C.

San Marco and the Kinship ofStone Fabio Barry, ColumbiaUniversity

The Foundation of VenetianState Power through LionImagery Marina Karem, inde-pendent scholar

Forces at Work: Venice’s UrbanEconomy and the Reliefs ofWorking Life on the PortaleMaggiore of San Marco MarkRosen, University of California,Berkeley

Discussant: Helena Szépe,University of South Florida

“Ask Somebody ElseSomething Else”: Analyzingthe Artist Interview SA36Level 6, Meeting Rooms 613 & 614

Chairs: Johanna Burton,Princeton University; LisaPasquariello, StanfordUniversity

Against Criticism: The ArtistInterview in AvalancheMagazine, 1970–1976 GwenAllen, Stanford University

Robert Ryman, RetrospectiveSuzanne P. Hudson, PrincetonUniversity

Method Acting: The Artist-Interviewer Conversation TimGriffin, Artforum

Discussant: Rhea Anastas, BardCollege

not-design, not-art:Crafting and Naming anInterdisciplinaryCurriculum SA37Level 6, Ballroom 6A

Chairs: Tina Simonton, GeorgiaInstitute of Technology; SabirKhan, Georgia Institute ofTechnology

(In)discipline KennethFitzgerald, Old DominionUniversity

“2x4D: Time-Based Site-SpecificCollaboration”—A PilotInterdisciplinary Project forFirst-Year Art FoundationStudents Winn Rea, Long IslandUniversity

Against the Grain: AnInterdisciplinary Course Withina Traditional CurriculumJ. Bradley Adams, Mount BerryCollege

Discussant: Linda Weintraub,Oberlin College

45 February 18–21, 2004

Work in Progress:Presentations by CAAProfessional DevelopmentFellowship Recipients SA38Level 3, Meeting Room 3B

Chair: Lauren Stark, CAA

Performative Notions: YourCrown Is Bought and Paid ForLisa Bradley, School of the ArtInstitute of Chicago

Looking In/Looking Out: TheRepresentation of Race in 1950sand 1960s United StatesPhotography Erina Duganne,University of Texas, Austin

Photographs, Books, and Ideasof Community JonathanGitelson, Columbia CollegeChicago

Michelangelo’s Soul: The Battleof Cascina as PsychomachiaJames Carlton Hughes,University of North Carolina,Chapel Hill

Somatypes: Race and Materialityin Twentieth-Century SculptureLinda Kim, University ofCalifornia, Berkeley

Assimilation or Resistance? TheProduction and Consumption ofTlingit Beadwork MeganSmetzer, University of BritishColumbia

CAA PROFESSIONAL PRACTICESCOMMITTEEIs the Visual ArtsStudio/Classroom a“Hostile Environment”?SA39Level 3, Meeting Room 3A

Chair: John M. Sullivan,Arkansas Tech University

A New Etiquette for TeachingContemporary College FigureDrawing Classes, withComparisons to the SalonApproach Janice Trusky,Indiana University ofPennsylvania

The Nude Dilemma in AcademiaRoss Zirkle, University ofKentucky

Rethinking Japonisme SA40Level 3, Meeting Rooms 605 & 610

Chairs: Aileen Dashi Tsui,Columbia University; NorikoMurai, independent scholar

Fantasies of Asia Ting Chang,McGill University

An Early Example of Japonismein American Interior Design:Louis Comfort Tiffany’s Roomsin the Bella Apartments Ellen E.Roberts, Boston University

Rethinking “Japan Mania”:Popular Consumption and theGendering of Japan ElizabethKramer, University ofManchester

“Doing What Nature Does”:Japonisme, Laurence Binyon,and Transcendence in the Worksof Wyndham Lewis circa1910–1914 Jonathan Shirland,independent scholar

Japonisme, through the LookingGlass Alicia Volk, YaleUniversity

Modernist Abstractionacross the Disciplines SA41Level 6, Meeting Rooms 606 & 607

Chairs: Marshall Brown,University of Washington;Marek Wieczorek, Universityof Washington

Concerning the Spiritual—andthe Concrete—in Kandinsky’s ArtLisa Florman, Ohio StateUniversity

Greenberg DiscipliningGreenberg Randall VanSchepen, Roger WilliamsUniversity

Monochrome Medicine MarkCheetham, University ofToronto

Morris Louis, et al: CourtPainters to Liberal AmericaAlexander Nemerov, YaleUniversity

OFF-SITE SESSION

Session on New Media SA42

Chair: Barbara London,Museum of Modern Art, NewYork


See Special Events, p. 48.

SATURDAY 2:30–5:00, 7:00–8:30 PM


OPEN SESSION

OFF-SITE SESSION

PRACTICUM

MUSEUM SESSION



E-SESSION

7:00–8:30 PM

INDEX OF PARTICIPANTS

AAdams, J. Bradley SA37Adams, Stephen SA32Adan, Elizabeth F49Afanador, Angélica SA4Agostini, Tiziano TH45Ahlfeldt, Jennifer F. TH39Ainsworth, Maryan TH44Akcan, Esra TH64Alexander-Skipnes, Ingrid F2Allen, Anne E. Guernsey SA27Allen, Gwen SA36Allen, Lynne TH72Allen-Kattus, Kimberly SA3Allmendinger, Carolyn F36Alston, Cheryl TH30Altshuler, Bruce J. F44Ambrose, Kirk F33Amenoff, Gregory F39Amor, Monica SA30Amy, Michaël F3Anastas, Rhea SA36Andrews, Julia TH29Andrzejewski, Anna Vemer TH1Ankori, Gannit F8Ansell, Joseph P. TH50Anthes, Bill SA1Apel, Dora F53Apple, Jacki SA10Applin, Jo TH40Armstrong, Carol F50Arnar, Anna Sigrídur TH6Aschheim, Deborah G. F4Atakan, Nancy SA26Auricchio, Laura F25Austin, Joe F62

BBader, Graham SA30Bahrani, Zainab F31ABaker, Judith TH24Baker, Malcolm SA32Ball, Jennifer L. TH3Ball, Susan SA19ABanerjee, Rina TH4Banks, Joyce L. TH39Barber, Frank SA10Barnes, Bernadine F27Barry, Fabio SA35Barton, Christina SA14Basedow, Maureen F59Baseman, Frank F18Batalion, Judith F54Bawa, Avantika TH60Bearor, Karen A. TH21Becker, Karin F31Beegan, Gerry F53Belan, Kyra F23Belden, Kris TH63Bell, Evelyn E. TH59Bellion, Wendy F34Berger, Patricia TH29Berger, Harry, Jr. F7

Berman, Patricia G. F50, SA2Bermingham, Ann TH57Bermúdez, Julio W2Bernstein, Gloria TH25Bershad, Deborah F4Bertoni, Christina F60Betz, Scott TH51Betzer, Sarah SA20Bielstein, Susan SA21ABiggs, Bonnie F5Bingaman, Amy F51Binstock, Benjamin SA13Binstock, Jonathan SA26Bjelajac, David SA31Bleicher, Steven TH51Blier, Suzanne Preston F19Blocker, Jane TH14Bloodworth, Sandra F4Bloom, James J. TH3Boehme, John G. TH58Boettger, Suzaan TH15Bookbinder, Judith TH1Bosch, Lynette M. F. SA28Bouman, Margot SA11Bowles, John P. F9Bowman, Susan SA23Boye, Susan E. F35Boylan, Alexis L. TH2Braddock, Alan C. SA1Bradley, Lisa SA38Brauer, Fae F53Brennan, Marcia TH1Brenson, Michael SA16Bridgman, Daniel F1ABritt, Karen C. TH41Brooks, Perry F7Brooks, Sarah T. TH3Brothers, Cammy F63Brotherton, Barbara TH17Brotherton, Elisabeth TH20Brown, David TH60Brown, Elizabeth A. TH18Brown, Jason S. TH30Brown, Marshall SA41Brown, Peter Scott F33Bruzelius, Caroline TH31Bryan-Wilson, Julia TH15Brzyski, Anna W. F36, SA29Buchan, Suzanne TH36Bucher, Claudia TH58Buckberrough, Sherry SA2Bunn-Marcuse, Katie TH17Bunting, Lynda F10Burton, Johanna SA36Busbea, Larry SA30Buskirk, Martha F44Buszek, Maria Elena F49Bzdak, Michael TH32

CCadge-Moore, Catie A. F17Cahill, James TH29Campbell, Erin F3

Campbell, Kimberly Chrisman TH47Canning, Susan M. F50, SA2Cantara, Alan TH23ACarey, Juliet SA32Caro, Mario A. TH33Carothers, Martha F6Carroll, Elizabeth F6Carroll, Margaret D. F7Cartiere, Cameron TH30Cartwright, Derrick TH19Casey, Tim F39Casid, Jill F31Cassidy, Anne Walke SA4Casteras, Susan P. F51Castillo, Greg TH61Castro, Jewel SA33Century, Michael TH69Chan, Gaye F54Chang, Chin-Sung TH11Chang, Ting SA40Chasin, Noah SA30Checco, Gerald TH22Checco, Jan Brown TH22Cheetham, Mark SA41Cheng, Meiling TH58Cheng, Sandra F41Cherry, Deborah TH5Chiu, Melissa F11Chmielewska, Ella F62Cho, Mika F21Christen, Barbara S. SA22Christenson, Allen J. F17Chung, Y. David TH36Chung, Yeon Shim SA32Clairmont, Corwin TH72Clapper, Michael TH2Clark, Gregory TH44Clark, Patricia SA10Clarke, Christa F19Clarke, Meaghan F50Clarke, Rachel SA26Claypool, Lisa SA19Clifford, Marie TH32Clifford, Timothy TH7Clifton, James F3Codell, Julie TH34Cohen, Andrew L. TH4Colbert, Charles SA31Colburn, Cynthia TH59Cole, Michael F27Coliton, Susan TH18Collins, Jeffrey F7Concannon, Kevin F21Condon, Elisabeth TH9Conelli, Maria Ann F22Conforti, Michael F22Congdon, Dennis F39Conkelton, Sherly SA5Coombes, Annie TH5Coonin, A. Victor F52Copeland, Huey F9Corby, Vanessa TH14Corinne, Tee A. TH68Corn, Wanda TH19

Corrin, Lisa F11Corso, John F31Cosentino, Deliah A. TH39Costache, Irina F29Costantini, Giovanna TH38Cote de Luna, Jeffery F6Coupe, James F54Cozzolino, Robert T. TH1Crane, Margaret F54Crane, Sheila F59Cranston, Jodi TH62Croft, Brenda F48Cropper, Elizabeth W1Crow, Thomas TH24ACrum, Katherine B. F22Cullen, Fintan TH5Culp, Jane TH43Cummins, Rebecca TH35Cunard, Jeffrey P. F20Cuneo, Marilyn TH6Cunningham, Linda TH22Curtis, Gerard F6Cutting, James E. F36Czegledy, Nina W2

DDadswell, Sarah TH54D’Agliano, Andreiana TH7D’Emilio, James F33Daehner, Jens SA18Daftari, Fereshteh F8Dahlberg, Laurie F53Daigle, Claire TH4Dale, Thomas E. A. F33Daniel, Margaret TH32Dansby, Robert TH67Darish, Patricia F19Dass, Barbara SA23Davis, Ann F52Davis, John TH19Davis, Julie Nelson SA19Davis, Meredith F34Davis, Virginia F17Dawsey, Jill SA30De Mey, Marc F45De Staebler, Peter SA18Debby, Nirit Ben-Aryeh TH62Deffebach, Nancy F60Dell, Irve TH26Delsing, Riet SA33DeLue, Rachael Z. F34DelPlato, Joan F43DeMarinis, Paul TH35Denaci, Mark SA28Denenberg, Thomas Andrew F38Denney, Colleen F51Dennis, Kelly TH10Desai, Vishakha N. F11Desmond, Kathleen SA12deSouza, Allan TH4Diamond, Sara TH69Dickinson, Eleanor TH21Dill, Janeann TH36

131February 18–21, 2004

Dimitrakaki, Angela TH54Djerejian, Madeline TH55Dodson, Liz TH6Doherty, Brigid F37Dolkart, Judith F25Donahue, Suzanne SA33Donner, Christa TH70Dorfman, Geoffrey SA16Doris, Sara SA26Doud, Tim TH65Douglas, Noel SA34Dove-Viebahn, Aviva F49Droth, Martina Th7, SA32Dubin, Margaret F15Dubreuil, Chisato O. SA3Dudley, Dennine F25Duffy, Michael F44Duganne, Erina SA38Duncan, Kate C. F15Duncan, Sally Anne F38Dunkleman, Martha F21Durland, Steve F55

EEconomides, Aliki F47Efimova, Alla TH40Eis, Andrea SA3Ekhtiar, Maryam F8Elwood, Sean SA8Emmons, Carol TH37Emmons, Paul TH37English, Darby F9Ersoy, Inci Kuyulu F26Esau, Erika SA14Evans, Brian TH36

FFailing, Patricia F20Faletti, Rina C. TH38Falkenburg, Reindert F45Farmer, James SA4Fedders, Kristin SA31Fedderson, Joe TH72Feeser, Andrea F54Feibelman, Beck TH32Feldman, Marian TH59Feodorov, John TH25Fernie, Eric F16Ferrandi, George TH60Fetkewicz, Mark F35Filice, Eugenio TH68Fillin-Yeh, Susan SA5Fiorenza, Giancarlo F3Fischman, Lisa F42Fitzgerald, Kenneth SA37Fleck, Cathleen TH31Flores, Patricia TH55Florman, Lisa SA41Foa, Michelle A. F36Foley, Jennifer SA9Ford, Kianga F9

Forman, Emily SA34Fort, Ilene Susan TH1Fouquet, Monique TH51Fowler, Sherry SA19Fox, Howard N. F44 Frank, Patrick SA21Frank, Peter F10Fraunhar, Alison TH57Freedman, Luba SA15Freund, Amy TH42Friedlander, Jennifer TH34Fryd, Vivien Green TH6Fueki, Chie TH9

GGabara, Esther TH40Galbraith, Carrie F6Ganis, William V. SA7Garberson, Eric TH47Garcia, Amaury F46Gariff, David M. SA9Garrison, Eliza B. SA17Garton, John TH62Garvin, Chris F35Gascard, Lorettann TH36Gates, Mimi F11Gaudio, Michael F34Gelfand, Laura D. F2Germundson, Curt F38Gerstheimer, Christian F10Gertsman, Elina SA17Gibson, Michael TH13Gibson-Wood, Carol TH42Giese, Lucretia Hoover F14Gifford, E. Melanie TH44Gitelson, Jonathan SA38Goldhagen, Sarah TH71Goldner, Janet F6Goldstein, Barbara TH25, F55Gollifer, Sue F21Gonzalez, Jennifer A. SA1Goodchild, Karen SA15Gordon, Alden Rand TH16Gosin, Susan F56Govedare, Philip F39Gower, Reni TH60Graham, Janna F61Graham, Lonnie F55Graybill, Lela TH47Greenberg, Reesa TH8Gregory, Judith B. SA15Griffin, Tim SA36Griswold, Susanna TH44Gruen, J. Philip TH34Guffey, Elizabeth TH61Gunning, Tom TH35Gutman, Judith Mara SA16gyrl grip, the TH58

HHackforth-Jones, Jos SA14Hall, Joan F56

Hamlin, Amy Kelly SA2Hammond, Harmony F30Hamwi, Richard SA12Hanemann, Elizabeth TH72Hannoosh, Michele F40Hansen, Morten Steen F3Harkett, Daniel TH57Harper, Cheryl TH12Hartel, Jr., Herbert R. SA5Hartney, Eleanor TH25Hartwell, Janice F23Hartwig, Melinda K. TH59Harvey, Rebecca SA25Harwell, Gregory F41Hatt, Michael TH5Hawker, Ronald W. TH17Hayum, Andrée TH62Headrick, Annabeth SA4Heffernan, Mary Beth F53Henderson, Linda DalrympleTH40Hennessy, Cecily J. TH41Henry, Carole SA12Herda, Phyllis SA27Herren, Angela Marie SA21Hertz, Betti-Sue F11Hertz, Richard A. SA16Herzog, Melanie TH50Hessler, Christiane J. TH20Higgins, Hannah F57Hill, Christian TH70Hill, Richard F61Hills, Patricia TH1Hilton, Alison TH38, SA3Hirsh, Sharon F50Hirshler, Erica E. F22Hitchcock, John TH72Hodges, Nicole R. TH58Hoffberg, Judith F10Holcombe, Anna Callouri TH23Hollander, Katie TH18Holman, Beth L. F41Horsfield, Kate TH12Housefield, James E. F42Houston, Kerr SA17Huacuja, Judith L. TH67Hudson, Susanne P. SA36Hughes, Christopher TH31Hughes, James Carlton SA38Huhtamo, Erkki TH35Hurst, Sheldon F24Hutchinson, Elizabeth SA1

IIarocci, Bernice F41Irish, Jessica F55Isaacs, J. Susan F55Iskin, Ruth E. F40

JJackson, Margaret A. TH39Jacobs, Jim TH67

Jaffee, Barbara TH37Jager, Edwin F35Janowich, Ron TH43Janson, Carol SA12Jarosi, Susan F57Jeffery, Celina F54Johns, Barbara TH18, F11Johnson, Mary Catherine SA24Johnson, Michael SA24Jones, Arthur F23Jones, Jennifer TH42Ju, Jane C. SA29Jung, Jacqueline TH31

KKain, Evelyn TH63Kalas, Gregor A. TH30Kamehiro, Stacy L. SA33Kangas, Matthew TH25Kaplan, Flora F19Kaplan, Paul H. D. F54Kappelman, Julia Guernsey SA4Karafel, Lorraine TH55Karem, Marina SA35Karev, Yury F26Kartsonis, Anna D. TH41Kass, Ray SA5Katz, Wendy F58Kaufmann, Thomas DaCosta TH64Kavaler, Ethan Matt SA17Keber, Eloise Quinoñes SA28Kee, Joan SA1Kellum, Barbara F59Kennedy, Elizabeth F38Kessler, Benjamin R. TH56Khan, Sabir SA37Khanna, Ranjana TH5Kiaer, Christina TH40Kim, Jongwoo J. F51Kim, Linda SA38King, Elaine A. TH65Kingsbury, Martha SA5Kirsh, Andrea TH27Kirshman, Deborah SA21AKjellman-Chapin, Monica TH2Klebanoff, Randi F63Kleeblatt, Norman TH8Klein, Jennie TH58Knight, Wanda B. F31Koenig, Janet SA34Kogman-Appel, Katrin F16Konowitz, Ellen F45Korrick, Leslie TH20Korza, Pam SA8Kosmer, Ellen F60Kososa, Karen K. SA14Kossowska, Irena TH64Kotsis, Kriszta TH41Kousser, Rachel TH59Kowalski, Jeff Karl SA4Kramer, Elizabeth SA40Kraynak, Janet L. F34Kriebel, Sabine F37




Kuntz, Margaret A. F14, SA9Kunze, Donald TH37Kuppers, Petra SA10

LLacey, Sharon F51La Follette, Laetitia F1ALaing, Ellen Johnston SA19Laird, Margaret F59Lamoureux, Johanne TH8Lane, Barbara G. F2Lang, Sandra TH32Langford, Martha SA6Larkin, Graham F25Larkin, Todd TH42Larsen, Mernet TH9Last, Nana SA30Lavadour, James TH33Lavin, Irving F41Lawing, Preston B. F5Laxton, Susan TH66Lazzaro, Claudia SA18Lee, Susan F46Leibsohn, Dana TH56Leja, Michael TH57Lemakis, Emmanuel TH46Lemay, Kate TH61Leong, Lampo TH9Levin, Gail TH1Levine, David A. F45Levy, Ellen K. TH46Lewis, Joe TH52Lewis, Mark TH43Lewittes, Deborah TH34Libby, Susan Houghton TH47Lieuallen, Rocco TH7Ligon, Glenn F9Lin, Xiaoping TH29Lin, Zhi TH65Linville, Jean F24Little, David E. F57Lobel, Michael TH40Locke, Alison SA17London, Barbara SA42Longwell, Alicia F22Lonidier, Fred SA34Lovell, Margaretta F58Lowry, Glen SA6Luber, Patrick TH2Lucy, Martha SA20Ludwig, Tiffany F49Lukitsh, Joanne TH66Lundin, Norman TH65Lutz, Eric TH71Lutz, Jim TH71Ly, Boreth F59Lyons, Beauvais TH22

MMachado, Jr., John L. SA4MacLeod, Catriona TH7Magenta, Muriel F23

Maguire, Eunice Dauterman TH41Makela, Maria F47Malina, Roger W2Maloney, Doreen SA26Manchada, Catharina TH10Mann, Vivian B. TH3Mannino, Joseph TH50Mansfield, Elizabeth C. SA7Mansour, Opher F3Marks, Andrea TH13Marmor, Max TH56Marshall, Jennifer F12Marter, Joan F22Martin, Antoinette TH24Martin, Thomas SA13Martinson, Barbara TH13Mathews, Nancy Mowll TH36Mattern, Shannon TH71Matthew, Annu Palakunnathu TH4Mattick, Paul F12Maxwell, Robert F33Maya, Gloria F13Mayhall, Marguerite SA30Mayhew, Kirk TH22Mazow, Leo G. F34McCallum, Bradley SA8McCarthy, David F21McClanan, Anne SA35McCorkle, Sallie TH50, F30McCoubrey, Sarah F39McDonough, Tom F42McGee, John P. TH51McGee, Julie L. SA29McGowan, Elizabeth F14McHam, Sarah Blake F14, SA9McInnis, Maurie F58McIntyre, Kellen F60McKeown, Anne Q. F56McMahon, Jeff SA10McManus, William F37McNeil, Larry TH72McPhee, Sarah F41McPherson, Heather TH42McTavish, Lianne TH37Mendelsohn, Lea TH20Menon, Elizabeth F10Mertens, Robert F60Mesch, Claudia SA29Metzler, Sally Ann TH11Meyer, Matilda TH41Meyer, Richard TH19, TH40Milbourne, Karen E. F15Mileaf, Janine F34Miles, Wanda F1AMiller, Ruth R. TH6Miller, Sean TH60Mills, Chris TH10Minor, Heather Hyde SA18Moats, Tamara F61Mondloch, Katie SA11Monger, Kathryn E. TH56Mooney, Allen TH15Moorti, Sujata TH4Moray, Gerta SA5

Morehead, Allison F52Morgan, Jo-Ann SA31Morrissey, Leo F24Morrissey, Thomas F24Morton, Marsha TH38Moyer, Carrie TH30, F30Muellner, Nick TH10Mühsam, Armin TH43Muir, Prescott TH67Murai, Noriko SA40Murphy, Caroline F27Musacchio, Jacqueline TH11

NNadel, Barbara A. F4Nafziger, James A.R. F31ANagata, Helen M. SA19Naginski, Erika F7Napoli, J. Nicholas SA13Nelson, Andrea F37Nelson, Kristi TH23Nelson, Robert F16Nemerov, Alexander SA41Nerad, Maresi SA19ANesin, Barbara TH24Nestor, James SA24Nevola, Fabrizio TH31Nickel, Douglas R. TH66Nickolson, Richard E. TH15Nitsch, Hermann F57Norden, Linda G. F44

OObler, Bibiana F47O’Conner, Sean F20O’Donoghue, Diane F59Ogbechie, Sylvester OkwunoduTH8Ohno, Bryan SA24Olson, Roberta J. M. TH11Olson, Todd F7O’Mahony, Mike SA9O’Neill, Morna SA20Oomittuk, Othniel Art TH33Oppenheimer, Robin TH12, TH18Orthof, Geraldo TH67Oryshkevich, Iryna TH62Osthoff, Simone TH67Ostrow, Steven F. F3Ott, John F58Otto, Elizabeth F37Ovenden, Colleen TH8Ozubko, Christopher TH13

PPai, Gita F59Palmer, Carolyn Butler TH17Paquette, Catha SA29Pardee, Hearne TH43Parigoris, Alexandra F50

Parker, Kevin TH45Pasachoff, Jay M. TH11Pasquariello, Lisa SA36Patel, Alka SA28Paterson, Simone Win F49Patrick, Martin F42Paulk, Ann Bronwyn TH65Pearson, Christopher TH2Pellecchia, Linda TH62Perkinson, Stephen TH3Perschke, Kurt TH22Petersen, Stephen SA11Peterson, Dag F40Phelan, Peggy TH10Philipp, Jeanne TH6Phillips, Patricia SA8Piechocki, Renee F49Pincus, Debra SA35Pinkel, Sheila W2Pitt, Lillian TH33Platosh, Paul SA23Platt, Susan TH25Plattner, Phyllis SA12Plautz, Dana TH69Pohl, Frances SA1Poling, Clark V. TH38Posner, Richard F5Potratz, Wayne E. TH26Potvin, John TH34Powell, Richard J. F43Powers, Pike F5Priddy, Joel TH70Punt, Michael W2

RRabel, Kathleen TH28Raguin, Virginia SA13Rand, Erica F31Rando, Flavia F13Raub, Cymbre TH61Raux-Carpentier, Sophie TH42Ray, Gene SA34Ray, Romita TH57Rea, Winn SA37Reason, Akela TH61Rehberg, Vivian F42Reichel, Clemens F52Reilly, Diane J. F36Reilly, Maura TH68Rein, Michelle A. F62Reisenfeld, Robin F44Repinski, Robert F30Resch, Mark W2Resnick, Elizabeth F18Rhabyt, Gwyan SA10Rhee, Jieun F49Rhodes, Anne-Marie SA7Richardson, Emily SA32Richmond, Lisa F55Ringelberg, Kirstin TH15Rizk, Mysoon F8Roberts, Ellen E. SA40Roberts, Mary Nooter F19

133February 18–21, 2004

Robertson, Bruce TH55Robson, Deirdre A. TH32Roche, Joanna TH58Rosas, Carlos TH67Rosen, Mark SA35Rosenthal, Lisa F45Rosenzweig, Daphne Lange TH9Ross, Christine SA11Ross, Elizabeth F2Rothman, Roger I. TH45Roulet, Laura TH63Rovine, Victoria F19Rowland, Ingrid D. F2Ruby, Laura TH24Rudy, Kathryn M. F45Ruggles, D. Fairchild F29Rush, Dana F15Ruvoldt, Maria F63

SSaar, Betye F1St. Ours, Harry SA23Salomon, Nanette F45Sampson, Gary F51Sanabrais, Sofía SA21Sanabria, Sergio SA28Sandell, Renee SA12Saslow, James TH68Sato, Norie TH25Sava, Sharla SA6Sawicki, Nicholas F36Scallen, Catherine B. SA13Scheinman, Pamela F62Schmidt, Michael SA23Schoenfeld, Ann SA23Schrader, Donald R. F63Schultz, Deborah TH64Schwartz, Vanessa TH57Scothorn, Hilary SA27Scott, Sarah Jarmer TH59Seidel, Linda F33Senkevitch, Tatiana F16Seydl, Jon L. F25Shanahan, Maureen G. SA3Shanken, Andrew M. TH37Shanken, Edward A. TH69Sharp, Jane A. TH54Shaw, Gwendolyn TH19Shaya, Josephine TH59Shelton, Andrew C. SA20Shepherd, Rupert TH11Sheridan, Ginger F6Shimizu, Yoshiaki TH29Shipps, Steven Th51, F21Shirland, Jonathan SA40Sholette, Gregory G. TH30Siddons, Louise F58Sidlauskas, Susan F50, SA2Siegel, Jeanne TH14Simmons, Sherwin F37Simonton, Tina SA37Simpson, Caroline SA29Simpson, Marian TH31

Sinaiko, Eve SA21ASlick, Duane TH23ASmalls, James TH68Smetzer, Megan SA38Smith, Jeffrey Chipps TH44, SA13Smith, T’ai F47Smith, Terry SA14Snow-Smith, Joanne SA15Snyder, Joel TH66Solomon, Paul R. TH51Sorvin, Jon TH30Spear, Richard F12Spence, Marty F13Spence, Muneera U. TH13Spero, Nancy F1Spicer, Joaneath TH11Spielmann, Yvonne SA11Spiteri, Raymond F40Spitz, Ellen Handler SA9Spronk, Ron TH44Spurr, Jeffery B F31AStange, Maren F31Stark, Lauren SA38Stearn, Ted TH70Stein, Judith SA16Stein, Sally TH66Steiner, Christopher B. F15Stevenson, Karen SA27Stewart, Charles SA18Stewart, Mary TH51Stodolsky, Ivor A. TH54Stojanovic, Jelena SA34Stone, David M. F7Storr, Robert F57Strom, Kirsten SA2Strong, Lisa F58Stubbs, John H. F31A, F58Sturm, James TH70Sudhalter, Adrian SA2Sundt, Christine F20Sullivan, John M. SA39Sussman, Elisabeth TH8Swanson, John F1ASward, Marilyn F56Swenson, Kirsten TH14Szépe, Helena SA35

TTabbaa, Yasser F31ATalbot, Charles TH44Taragan, Hana F26Tarver, Gina McDaniel SA21Taube, Karl SA4Taube, Rhonda SA4Taylor, Sue TH14Taylor-Mitchell, Laurie TH45Teegen, Marta F31ATheiding, Kara Olsen F59Theriault, Kim S. TH15Thomas, Joe A. TH63Thomason, Allison Karmel TH59Thompson, Sarah F16Thompson, Sarah E. F46

Tomii, Reiko F46Topp, Leslie TH71Touchette, Charleen F13Townsend-Gault, Charlotte TH5Trevelyan, Amelia M. F17Trevor, Irene SA15Tronzo, William F16, SA17Troy, Virginia Gardner F47Trusky, Janice SA39Tsui, Aileen Dashi SA40Tulovsky, Julia F47Turnbull, Rich F26Twa, Lindsay J. F43

UUemura, Norma TH44Unglaub, Jonathan F7

VValdez del Alamo, Elizabeth F14Van Hook, Bailey SA31Van Miegroet, Hans J. F12Van Proyen, Mark F10Van Schepen, Randall SA41Van Voorhis, Julie SA18Van Zanten, David TH71Vazquez, Oscar E. F62Ventura, Carol F17Verstegen, Ian TH45Vigne, Antoine F42Vinegar, Aron F40Vinograd, Richard TH29Volan, Angela TH3Volk, Alicia SA40Von Roenn, Kenneth F5

WWaite, Deborah B. SA33Waldroup, Heather SA33Walker, Hamza F9Walker, La Nitra SA1Wallace, William E. F63Wallach, Alan F38Walsh, Michael J. K. F52Walton, Guy TH16Wang, Dan SA34Wark, Jayne SA6Warner, Craig F35Watanabe, Toshio TH34Watsky, Andrew M. F46Watt, Marie K. TH33Weber, John F61Webster, Sally F14Webster, Susan Verdi TH39Weigel, Margaret F62Weinberg, Jonathan TH68Weintraub, Linda SA37Weisenfeld, Gennifer F37Weiskoph, David F20Welchman, John F40

Werfel, Gina TH43West, Ruth TH69Westermann, Mariët TH16Weststeijn, Thijs TH20White, Lili TH9White, Michele SA11White, Yonsenia F35Whitefeather, Carolynne F13Wieber, Sabine F37Wieczorek, Marek SA41Wilbur-Sigo, Andrea Marie TH33Williams, Linda Kristine SA28Willick, Damon SA16Wilson, Fred F54Wilson, Kristina F38Winet, Jon F54Wirth, Karen TH26Witcombe, Christopher L. C. E.F27Wolfe, Edith TH64Wolff, Justin TH63Wolfthal, Diane F2Wolk, Andrea TH2Wollheim, Peter SA6Wong, Paul TH12Wood, Carolyn H. F61Woods-Marsden, Joanna F41Wright, Robin K. TH17Wright, Suzanne E. SA19Wyman, Marilyn F15

YYamamura, Midori TH63Yao, Pauline J. TH63Yarrington, Alison TH7, SA32Yazzie, Melanie TH72Ybarro-Frausto, Tomas SA8Yessios, Ioannis C. F4Yu, Pauline SA19A

ZZaslove, Jerry SA6Zell, Michael F12Zhang, He F17Zirkle, Ross SA39Zukowski, Karen TH16Zuraw, Shelley E. F63Zweig, Ellen TH35



PRESIDENTMichael Aurbach

VICE PRESIDENT FOR EXTERNAL AFFAIRSThomas Reese

VICE PRESIDENT FORCOMMITTEESAndrea Norris

VICE PRESIDENT FOR ANNUAL CONFERENCEEllen Levy

VICE PRESIDENT FORPUBLICATIONSCatherine Asher

SECRETARYJoyce Hill Stoner

COUNSELJeffrey P. Cunard

TREASURERJohn Hyland, Jr.

Kaucyila BrookeKevin ConseyIrina CostacheNicola CourtrightDiane EdisonMichael Ann HollyDennis IchiyamaTran T. Kim-TrangDale KinneyJoan MarterVirginia M. MecklenburgNicholas MirzoeffFerris OlinGregory G. SholetteChristine L. SundtMimi Hall Yiengpruksawan

EXECUTIVE DIRECTORSusan Ball

DEPUTY DIRECTORMarta Teegen

PROGRAMSEmmanuel LemakisBrenna M. JohnsonPaul SkiffLauren Stark

PUBLICATIONSEve SinaikoJoe HannanChristopher HowardBetty Leigh HutchesonMurtaza Vali

GOVERNANCE AND ADVOCACYRebecca Cederholm

DEVELOPMENT, MARKETING,AND COMMUNICATIONSRichard SeldenTom BrydelskySusan Sacramone

ADMINISTRATIONDeirdre BarrettLuisa Cruz

FINANCEDavid LaFleurOnofre BeltranPatricia HolquistAndrei Ralko

INFORMATION TECHNOLOGYAND STATISTICSLavinia Diggs RichardsonMarcin BielawskiDarlene WrightOida Jarell

MEMBERSHIP SERVICESTheresa SmythDoreen DavisMartha GuzmanDenise WilliamsAndrea Wright

CAA BOARD AND STAFF • CAA PRESIDENTS

CAA PRESIDENTS2002–2004Michael L. AurbachVanderbilt University

2000–2002Ellen T. BairdUniversity of Illinois, Chicago

1998–2000John R. ClarkeUniversity of Texas, Austin

1996–98Leslie King-HammondMaryland Institute, College of Art

1994–96Judith K. BrodskyRutgers, State University of NewJersey

1992–94Larry SilverNorthwestern University

1990–92Ruth WeisbergUniversity of Southern California

1988–90Phyllis Pray BoberBryn Mawr College

1986–88Paul ArnoldOberlin College

1984–86John Rupert MartinPrinceton University

1981–84Lucy Freeman SandlerNew York University

1980–81Joshua TaylorNational Collection of Fine Arts, Smithsonian Institution

1978–80Marilyn StokstadUniversity of Kansas

1976–78George SadekCooper Union

1974–76Albert ElsenStanford University

1972–74Anne Coffin HansenYale University

1970–72H. W. JansonNew York University

1968–70Marvin EisenbergUniversity of Michigan, Ann Arbor

1966–68George Heard HamiltonYale University

1964–66Richard F. BrownLos Angeles County Museum of Art

1962–64James S. WatrousUniversity of Wisconsin

1960–62David M. RobbUniversity of Pennsylvania

1958–60Charles ParkhurstOberlin College

1956–58Lamar DoddUniversity of Georgia

1952–54S. Lane Faison, Jr.Williams College

1949–52Henry HopeIndiana University

1947–49Frederick B. DeknatelHarvard University

1945–47Rensselaer W. LeeSmith College, Institute forAdvanced Study

1941–45Sumner McK. CrosbyYale University

1939–41Ulrich MiddledorfUniversity of Chicago

1939Walter S. CookNew York University

1923–38John ShapelyBrown University, New YorkUniversity, University of Chicago

1919–23David M. RobinsonJohns Hopkins University

1916–19John PickardUniversity of Missouri

1912–13Holmes SmithWashington University, St. Louis

135 February 18–21, 2004