CAA Logo, Red/Yellow Abstracts 2022 Red C0 M R238 Hex # Panto Yellow C0 M R249 Hex # Panto  Black C0 M0 Y0 K100 R0 G0 B0 Hex #000000 Grey C0 M0 Y0 K50 R147 G149 B152 Hex #939598 © 2022 College Art Association of America, Inc. Abstracts 2022 is published in conjunction with the 110th CAA Annual Conference and is the document of record for content presented. With a wide range of topics, Abstracts 2022 highlights recent scholarship of leading art historians, artists, curators, designers, and other professionals in the visual arts at all career stages. The publication features summaries of all sessions and presentations, as submitted by chairs and speakers, as well as abstracts of exhibitor sessions. Affiliated Society and CAA Professional Committee sessions include their respective names under the session title. All content reflects the program as of December 20, 2021. As a scholarly organization devoted to the pursuit of independent scholarship, CAA does not condone theft or plagiarism of anyone’s scholarship, whether presented orally or in writing. Participants at the conference are not allowed to make personal audio or video recordings of any session at the Annual Conference without the express permission of all presenters. If you believe your work has been stolen or plagiarized by some other person, we encourage you to contact the publisher so that an investigation might be conducted, if appropriate. CAA acknowledges this conference was produced during ongoing the Covid-19 pandemic of 2021, through many challenges for individuals and institutions within our membership. Cover image: Riding coat, Anonymous, British, ca. 1760, The Met, Purchase, Mr. and Mrs. Alan S. Davis Gift, 1976 Cover design: Allison Walters 110th CAA Annual Conference This content is current as of Thursday, March 10, 2022. CAA 2022 Session Abstracts and through which formal languages are they able to do so? Alongside her text, Pindell’s abstract, punched paper works from this period are also interventions into masculinist and 'Heresies' and Other Mythologies racist conceptions of artistic authorship. In this talk, I will argue Chairs: Abbe Schriber, Massachusetts College of Art & that by using both conceptualist and painterly process-based Design; Montana Marie Ray methods in works such as "Carnival at Ostende," 1977, Pindell was claiming expressive authorship and questioning the In November 1977, members of the Combahee River Collective construct of authorship itself—a position that reflects the protested the omission of Black women and women of color in intersectionality of her own identifications. My project seeks to Heresies journal issue #3, "Lesbian Arts and Artists." Noting that offer a more nuanced look at Pindell’s critique of what she "[f]eminist and lesbian politics and creativity are not the exclusive called “the (white) women’s movement” as well as a new property of white women," Combahee's critique is one of many understanding of the way that feminist artists in the period that have expanded histories of the women's movement in the complicated the supposed incompatibility of conceptual and seventies. Heresies, however, was structured through lively embodied styles of making. debate and dissent, a result of tensions between editorial collectives formed to edit each issue, and the main "mother" Heresies: An Anti-Racist Visual Politics collective. These multiple tiers of dialogue, and the journal itself, Crystal am Nelson often function as symbols of failed feminist unification, even as In the late 70s and early 80s, few venues existed where the most recent major overview, the 2008 documentary The feminists of color could engage in acute critiques of Heretics, serves as an homage to the group's supposed heteropatriarchy, white supremacy, power, and domination. unanimity. Departing from either perspective, this panel proposes Heresies journal offered such a space where Third-World Heresies as a site of conflict that manifested real critique of women could convene for the work of dismantling the master’s racist, capitalist heteropatriarchy, however messy, and exceeds house. Although the “mother” collective was, as self- the lens of white-identified feminism so often ascribed to it. We described, a group of college-educated, white, middle-class seek papers exploring contributions to the journal by artists such lesbians, they were open to critique of how they performed as Vivian E. Browne, Michelle Cliff, Emma Amos, Ana Mendieta, their politics and solidarity. The publication of “Lesbian Art and Lorraine O’Grady, Lois Red Elk, and many others; and thematic Artists” (#3) was particularly problematic for its omission of issues such as “Third World Women” (#8), lesbian artists of color. The Combahee River Collective’s "Earthkeeping/Earthshaking: Feminism & Ecology (#13), and protests led to the publication of “Third World Women” (#8) “Racism Is the Issue” (#15) to name a few. We also welcome and “Racism Is the Issue” (#15). While Issue #8 and Issue #15 papers that interrogate collectivity as it relates to Black, might be viewed as tokenism, this paper argues that the two womanist, Indigenous, and decolonial feminisms; networks of issues are key documents in the discourse on not only women artists in dialogue with Heresies; and theories of the maternal in of color feminism/womanism but also on contemporary art. radical struggles. This paper particularly explores these two issues for the anti- racist visual politics presented by the artists who contributed Disassembling Artistic Authorship in Howardena Pindell’s original artwork to the journal at the time. Punched Paper Paintings Ashton Cooper, USC We are alive and creating, too: Returning to the Third In her 1979 Heresies essay “Criticism/or/Between the Lines,” World Women's Issue of Heresies and Zarina multimedia artist Howardena Pindell impugned the art press Sadia Shirazi, John Hopkins University for all too frequently taking Black women artists’ racial Founded in New York in 1977, Heresies was a feminist journal identities as the single determinant of the meaning and value of art and politics produced by the all-white Heresies of their work. Navigating the siloed art worlds of 1970s New Collective. In response to the publication of its third issue York, where she was rendered invisible as often as she was "Lesbian Arts and Artists” the Combahee River Collective pushed forward as a token, Pindell struggled with collectivity wrote a letter to the editors regarding their omission of Black even as she labored within several of the era’s major groups and other Third World artists. This paper focuses on one of and institutions (A.I.R., MoMA, and JAM, among them). two special issues that was published in response to this Pindell constantly negotiated the ways in which identity-based critique—”Third World Women: The Politics of Being Other”— group allegiances irrevocably shaped not only the and on the artist Zarina, who was part of its guest editorial interpretation of her works, but her very identity as an artist. collective. Returning to this one-off issue today entails naming Her Heresies piece asks: Who gets to claim artistic authorship the structures that contributed to the absence of artists of color 03/22/2022 https://www.collegeart.org Page 1 of 234 110th CAA Annual Conference from feminist histories of art, while also making space for the the space and conditions of viewing? For this presentation, I possibilities of social life and refusal as demonstrated by the would like to discuss the work, its reception, and offer some artist. reflection on what kinds of connections the face precludes and the voice allows. (inappropriate) digital intimacies Fluid e-exchanges at dissolving boundaries, Disrupting Chair: Francesca Balboni, University of Texas at Austin Difference in Barbara Browning's The Gift Kitty Whittell This session takes its title and ethos from Barbara Browning’s In Barbara Browning’s The Gift liquid language flows through 2017 metafictional novel, The Gift (Or, Techniques of the Body). the e-mail exchanges recorded in the book. Messages come The narrator/protagonist Barbara revels in seizing “inappropriate in ‘floods’ or when the character of Sami stops responding to intimacies:” replying to junk email with heartfelt sincerity, Barbara, she says he has ‘evaporated.’ In the deluge and spamming strangers with cover songs on ukulele, developing an droughts of their conversations the boundaries that might intense relationship with a man online, of whose veracity she can define a distant relationship between people dissolve with the never be sure. Browning’s character and this friend collaborate immediate intimacy enabled by online exchange. The on dance videos, her hands moving to music and voicemail that complication of these boundaries is emphasised by the videos he had created—“digital intimacies,” twice-over. The reader accompanying the novel. Hands embrace like a dancing engages these through description and black and white screen- couple and Barbara’s body moves with the rhythms of Sami’s captures, but is also invited to view them on Vimeo. In this way, speech in moving images inferring touch despite these people Browning redoubles her effort for radical forms of stranger never meeting in person. These fluidly shifting boundaries intimacy online and the possibility of virtual touch, with gifts that shape connections, but also differences between Barbara and disrupt logics of capital and heteronormative patriarchy, as well Sami. They are woman and man, neuro-typical and neuro- as the bounds between “reality” and “fiction.” In the pandemic, divergent. These markers of difference are established by causal and erotically-charged interactions with strangers IRL Luce Irigaray whose theorisations of elemental passions stuttered and shifted. More of social life occurs online, and it is disrupts a concept of a gendered ‘other’ and instead situates likely to remain that way to some degree. This panel invites case differences as a mutual exchange flowing back and forth. studies and theoretical meditations that address the risky Could this fluid exchange be applied as a metaphor for online potential of “digital intimacies” with strangers, intentional or intimacy that dissolves the conception of interactions mediated inadvertent, realized or imagined. Topics might include: by technology and redefines the binaries between distance dispersed forms of social practice, apps and sites like Tik Tok, and proximity, telepresence and physical touch? This paper OnlyFans, and Chatroulette, the roles of humor and play in will superimpose the fluid exchange proposed by the likes of addressing strangers, and embodied interactions through Irigaray onto the disruption of boundaries presented within “virtual” technologies. Artists are invited to present their work. Browning’s work, including both text and visual material. I will We encourage intersectional and/or global approaches, as well develop comparisons to similar multimedia projects; the 2013 as non-traditional presentations. exhibition Liquid Autist and Cecile B. Evan’s Sprung a Leak (2016), that show how fluid exchanges enabled by networked Hotline: A Reflection on Mediated Intimacies technologies reshape binaries. Aliza Shvarts From sex hotlines, to crisis hotlines, to psychic hotlines, to tip Intimacy, through the wires: desire and stranger hotlines, the anonymous telephone call is a poignant example relationality on the early web of intimacy without proximity. But what makes the line “hot”? Megan Driscoll, University of Richmond What kinds of things do we ask each other, confess to each Today, the search for stranger relationality on the internet feels other, or create with each other in the absence of an image? automatic, even effortless, the frisson of risk introduced only In 2020, I was commissioned by the Shelley & Donald Rubin when we choose to become vulnerable. Yet while the primary Foundation to make a work for their Performance-In-Place function of computer networks has always been to facilitate series, responding to the conditions of the pandemic. In interpersonal connection, the horizon of those relations has response to this, I made Hotline: a "choose your own not always seemed so open, their intimacies so tactile and adventure" narrative distributed through a voicemail menu. available. In the 1990s, as the growth of the web was just The number is live and able to receive calls 24 hours a day at starting to bring large numbers online, embodiment remained (866) 696-0940. Participants are invited to call, choose from an abstraction and erotics thrived only along the fringes. It was set options, and leave an anonymous message. Messages during these years that Auriea Harvey and Michaël Samyn are accessible to audiences to listen to when the piece is encountered each other as strangers on the now-defunct exhibited via image QR code paintings (on view at A.I.R. platform hell.com, and embarked upon an experiment with the Gallery in November 2020). Printed on square canvases, the elision of artistic and intimate collaboration inside the network. QR codes reference iconic moments of mediation in pop Separated by an ocean—as well as IRL promises to other culture and frame a tension extending from the trajectory of people—the pair began to exchange secret dHTML letters 20th century painting to contemporary screen culture: is the with messages of longing and desire woven through image, surface of a screen or canvas a portal for connection, a sound, and the poesis of code. Eventually Harvey and Samyn window to an elsewhere place, or a mirror that returns us to came together and formed the artist group Entropy8Zuper!, releasing the collected web letters under skinonskinonskin 03/22/2022 https://www.collegeart.org Page 2 of 234 110th CAA Annual Conference (1999). The project deploys the dual mechanisms of code theoreticalapproach. Four years later, the first critical (input) and the graphical web (output) to construct an exhibition on the subject took place at thesame place with embodied intimacy that is aesthetically and semiotically native Juegos de Ingenio y Agudeza. La pintura emblemática en la to what the artists call "the wires." A visual and social NuevaEspaña. Why did it take so long to have a non-linear document of its time, the exchange recovers the thrill and discourse on colonial art? Wasproblematizing the questions vulnerability that once tinged all attempts to cultivate stranger for authorship and the autonomy of style in this intimacy across the network. periodshadowed by political programs based on a glorious pre-Columbian past and avant-gardemural painting? Great To Love Somebody: Algorithmic Lust and Victorian Luxury efforts within the private and public sectors allowed curators Torey Akers andacademics to finally materialize their new vision of VictorianLover's Eyes—achingly intimate, anonymous viceroyalty historiography withinternational exhibitions since depictions of a beloved's face worn as brooches or hat 2010 to 2019 in Spain and the US, including theemblematic ornaments—typified an era of curated personal luxury that case of the Hispanic Society. How did the exhibitions’ both insulated and edified its uppercrust participants. In a discourses changethrough time? My aim is to examine the European milieu defined by hierarchy and predetermination, discourses of exhibitions on “colonial-viceregal”Mexican art these tiny, twinkling flashes of affect, typically painted in since 1940 and to trace the historiographic turns and the watercolor on ivory or gouache board, de-territorialized the emphasis oncultural studies in recent exhibitions, two of them experience of embodiment in all its messy, frustrating, and from my experience. tyrannical iterations, side-stepping a Duchy-approved relationship to love in favor of far murkier yearnings. Art Dealing with Islam at the Iran Bastan Museum historian Hanneke Grootenboer refers to Lovers Eyes as Solmaz Kive “prephotographic instances of “being seen” rather than of This paper would discuss the interplay of the discourses of seeing”, effectively modeling the Lacanian dynamics of “Iranian art” and “Islamic art” at the Iran-Bastan Museum in camerawork a century before its invention. As with so many Tehran (1937). Established under a secular regime as the facets of Victorian culture, the line between sentiment and country’s first national museum, the Iran Bastan promoted a death was a thin one; towards the beginning of the 19th narrative of a transhistorical "Iranian spirit," which was century, Lover’s Eyes shifted from clandestine declarations of presumably rooted in the ancient Persian Empire (550 –330 affection to miniature mourning totems, often mingled with BCE). Despite its aspiration to forge an unbroken link between locks of hair. Despite these changes in meaning and scope, the present and the past, many historical facts, especially the one foundational aspect of their craftsmanship remained changes after Islam, threatened this narrative of continuity. consistent—they were almost exclusively created by poor The museum vigorously used many art-historical, rhetorical, women with no access to fine art education. Still, these female curatorial, and design strategies to pave over this gap. On the artisans, usually casualties of failed family businesses and other hand, as the Iran Bastan adopted its institutional form inter-continential war diasporas, utliized the popularity of and epistemological basis (including the idea of the nation- Lover’s Eyes to scrape their way into the mercantile class— state, an interest in national heritage, and the practice of Rosalba Carriera, the pastel portraitist and former Lover’s Eye archaeology), it was under the hegemony of Western (art) snuff-box painter, for instance, became the richest artist of her historical periodization that promoted essentialist notions such generation. I explore the intersection of love, loss, gender and as “Muslim world” and “Islamic art.” In contrast to the idea of a commerce through the lens of my own practice in a continuous “Iranhood,” the notion of a “Muslim world” would multimedia, theoretically informed presentation. mark out the Iranian Islamic period to group it with other Muslim lands. This paper discusses the Iran Bastan’s reconciliation of these two paradigms, looking both inward on (re)activation of Exhibitions as sites of Iranian construction of national identity (as epitomized in the contestation overarching notion of “Iranian spirit”) and outward on Western displays of similar objects as “Islamic art.” Although not less Changing Discourses: American Exhibitions of Early ideologically charged than the Western construction of Modern Europe and Hispanic Colonial American Art “Islamic art,” the practice at the Iran Bastan could challenge (16th-19th centuries). A Critical Reflection on Exhibitions the essentialist perception of a uniform “Islamic art.” since 1940 and Two Study Cases Luis Javier Cuesta, Universidad Iberoamericana Telling Visual Stories in Jamel Shabazz's Peace To The Divided into four chronological sections, Twenty Centuries of Queen Mexican Art was perhapsthe first and most important Janell Nequeva Ajani, University of Texas at Austin exhibition for this country in an international institution suchas In chess, only an experienced player can develop their queen. the MOMA. The “colonial” section was curated by historian Move too soon, the queen is left open to attack and can be Manuel Toussaint,however, his approach for colonial art was taken out early in the game. In these cases, the queen will evolutionary and linear. Almost forty yearslater, exhibitions often move into spaces that leave her most vulnerable. This exploring Mexican colonial art took place in Spain and United paper is an exploration of Peace to the Queen, a seminal States. InMexico, the Museo Nacional de Arte organized a collection of works from the archive of Brooklyn-born and tribute to professor Toussaint with theexhibition Obras raised photographer Jamel Shabazz. This collection centers maestras del arte colonial, but there was no change in the the lives of Black and Brown women and children captured 03/22/2022 https://www.collegeart.org Page 3 of 234 110th CAA Annual Conference during his 45-year career. In these intimate spaces of vulnerability, we access their joy, revel in their sovereign 50th Anniversary of Committee on Women in beauty, and catch glimpses of the wisdom that is evident in the the Arts: Looking Back, Moving Forward brilliance of their eyes. We become completely engulfed in COMMITTEE ON WOMEN IN THE ARTS their power and sweet innocence. As they are mirrored back to us, we are reminded to cultivate our own. The exhibit, being Chair: Joanna P. Gardner-Huggett held at the Carver Museum in Austin, Texas, functions as both Fifty years ago, the Committee on Women in the Arts was a celebration and memorial to the presence and essence of founded to promote the recognition of women’s valuable Black and Brown women and children who are living and contribution to the visual arts and to critical art-historical study; those who have transitioned. In this racially hostile climate this advocate for feminist scholarship and activism in art; develop paper queries what do multimedia exhibits like Peace to the partnerships with organizations with compatible missions; Queen reveal about the importance of creating and monitor the status of women in the visual-arts professions; documenting the visual narratives of Black, Brown, provide historical and current resources on feminist issues; and Indigenous, and Asian women and children? How can visual support emerging artists and scholars in their careers. In 2020, storytelling become an opportunity to celebrate and protect the CWA implemented the 50/50 initiative, which aims for 50% our Queens and cultivate an urgency to preserve their stories representation of women scholars and artists at the CAA annual during a time when the world is committed to erasing them? conference and intersectional feminist content inclusive of race, class, gender, body size, disability or age. At this significant Wir sind da natürlich überall gewesen: the Dorothee juncture, this session proposes to reflect on the committee’s Fischer Legacy history by inviting previous members and chairs to discuss their Sarah Myers work with the CWA, as well as collaborations with other affiliate The narrowness with which conceptual art was defined in its committees and groups, such as the Women’s Caucus for Art, early years by German male critics, artists, gallerists, and The Feminist Art Project, the Queer Caucus, and many more. In historians systematically excluded art made by female artists addition to assessing CWA’s past contributions, the panel will engaging in dialogue with the burgeoning second wave of engage in a conversation of what work remains to be done. feminism. Dorothee Fischer, who assumed the role of Director of the Konrad Fischer Galerie after her husband Konrad’s death in 1996, transformed the Düsseldorf-based gallery into a 50 Years of Feminist Art at CAA more successful and diverse exhibition space. Her mode of Judith K. Brodsky curation, based on collaboration and nurturing of artists broke down the barriers of elitism and sexism erected in the early Panelist 2 conceptual art world. This paper will explore a 1999 iteration Ferris Olin, Rutgers University of the exhibition series Dorothee launched entitled Fischers Frische Fische, which created a space for new, non- Panelist 3 traditionally conceptual, socially engaged art to enter the Midori Yoshimoto, New Jersey City University Konrad Fischer Galerie. Drawing upon Mierle Laderman Ukeles conception of “developmental” and “maintenance Panelist 4 work” and Lucy Lippard’s theorization of the “art worker,” this Carron P Little paper will investigate the contributions of Dorothee as assessed through gender-based paradigms. Secondary Panelist 5 literature on Konrad Fischer mythologizes the gallerist’s role in Kalliopi Minioudaki, Independent Scholar and Curator the history of art dealing and conceptual art while also suggesting that his larger-than-life legacy comes at an Panelist 6 expense. Since the Kunstsammlung Nordrhein Westfalen in Zoë Charlton, American University Düsseldorf acquired the Konrad and Dorothee Fischer Collection and Archive in 2013, an opportunity has emerged for art historians to investigate and complicate the legacy of the iconic gallery. By exposing the established structures that Dorothee actively worked against, this paper contributes to the ongoing project of rebuilding a more inclusive history of conceptualism. 03/22/2022 https://www.collegeart.org Page 4 of 234 110th CAA Annual Conference By focusing on the blindfold, kore explores the eye as A Roundtable: Intersectionality and the Video purveyor of desire, sexual fear, and the fantasy of blindness. Art of Asian American Women Artists An alternative sexuality is founded in touch-based (feminine?) pleasure as opposed to a vision-based (masculine?) pleasure. Chair: Liz Kim, Texas A&M University-Kingsville An examination of institutional blindspots towards women, and Discussant: Midori Yoshimoto, New Jersey City people of color, concerning AIDS expands on the issue of University vision, visibility and the disease. (https://www.vdb.org/titles /kore) Asian American women’s contributions to intersectional feminism have been well-documented, with key critical texts such as Nellie Janice Tanaka's Beaver Valley (1980) and No Hop Sing, Wong and Mitsuye Yamada’s in This Bridge Called My Back No Bruce Lee (1998) (1983), edited by Cherríe Moraga and Gloria E. Anzaldúa. Yet, Janice Tanaka, California Institute of the Arts Asian American women artists’ contributions toward the Beaver Valley (1980): In this angry answer to the expectations movement have been underexamined in art history. This panel advertising culture places on women and their bodies, Tanaka aims to highlight works that worked across cultural boundaries to deftly edits commercial images and sound-bite slogans to address the poetics of connectivity and solidarity. Helena underscore the message such images carry: that women exist Shaskevich will present on Shigeko Kubota's early video-based to please men, as wives, mothers, and lovers. Tanaka interests on the cross-cultural intersections in the ordinary lives balances such mainstream images with black and white of women. Janice Tanaka took on gender and racial stereotypes footage of herself lying naked next to her own doubled image, in works like Beaver Valley (1980), and No Hop Sing, No Bruce rejecting the mainstream model of female sexuality that Lee (1998). Tran, T. Kim-Trang's kore (1994) grappled with the regularly consists of seductive glances and suggestive poses AIDS crisis, erasure and presence along the lines of ethnicity, arranged and pre-ordained for the male gaze of the spectator. sex, and media. Overall, this roundtable aims to retrace these The video reveals the commodification of women and their dialogs for their impact on contemporary intersectional desire. (https://www.vdb.org/titles/beaver-valley) No Hop Sing, feminisms, illustrating how Asian American women artists No Bruce Lee (1998): The popular images of Asian American created video works that dealt with issues of race, gender and males, historically propagated in the mass media, range from sexuality to bridge differences within American cultural politics. "silent, sex-less, obedient houseboy" to "mystic martial arts master". Invisibility has been a core element in the public’s Shigeko Kubota's Video Girls and Video Songs for Navajo perceptions, and is reflected in the one-dimensional Sky (1973) representation of Asian men. This is a program by and about Helena Shaskevich, Graduate Center, City University of Asian-American men. Through their experiences and voices New York we become privy to the peculiar and insidious ways in which Made in 1973, Shigeko Kubota’s Video Girls and Video Songs racism affects their evolving self-identities. for Navajo Sky is a swish, technicolor homage to Kubota’s (https://www.vdb.org/titles/no-hop-sing-no-bruce-lee) blossoming familial bond with Cecilia Sandoval and the Navajo people. One of the earliest “chapters” in Kubota’s 12- part autobiographical project, Broken Diary, the piece depicts Kubota’s month-long stay on a reservation in Chinle, Arizona in the form of a densely layered collage of documentary and electronically-manipulated imagery. Situating the piece within an intense period of thinking about collective belonging in Kubota’s oeuvre on the one hand, and in opposition to Nam June Paik’s simultaneously developing notion of the “video common market” on the other, I argue that Video Girls and Video Songs for Navajo Sky represents Kubota’s burgeoning intersectional feminist thinking. Emphasizing an embodied video-making practice, which resists the homogenizing effects of a seemingly borderless video-space, Kubota insists on representing the specificity of Sandoval’s life on the reservation – its beauty, its complexity, but especially its material hardships. Refusing to allow Sandoval’s performances to be tokenized within a sea of swirling televisual electrons, Kubota conceptualizes the video itself as a rain dance, imagining Video Girls and Video Songs for Navajo Sky as an offering meant to confer blessings on the Navajo people. Tran, T. Kim-Trang's kore (1994) Kim-Trang T. Tran, Scripps College 03/22/2022 https://www.collegeart.org Page 5 of 234 110th CAA Annual Conference sarcastically represents a southern planter’s parlor within Abolitionist Aesthetics which a young white boy and girl take turns violently flogging a black doll. This shocking and powerful work is reflective of the Chair: Eva McGraw, CUNY Graduate Center ways that the visual culture of abolition had evolved in the The late eighteenth century witnessed the emergence of a years immediately preceding the Civil War. Anti-slavery burgeoning abolitionist visual culture as anti-slavery activists on activists had begun fully invoking the violence of slavery in both sides of the Atlantic seized upon images as a powerful both word and image, and here Johnston took it a step further weapon in their crusade against human bondage. With Britain’s by extending that violence beyond the field, into the parlor, withdrawal from the international slave trade in 1807 and the and within the hands of the next generation of enslavers. abolition of slavery in the British Empire in 1833, abolitionist Using this work as a case study to illustrate the state of images increasingly focused on domestic American slavery. abolitionist culture on the eve of the Civil War, my paper will Utilizing various media, black and white activists employed examine both the unique nature of this watercolor as well as images as potent tools for moral suasion, illustrating the the more widespread invocation of the violence of essential humanity of enslaved people and exposing the cruelty enslavement by abolitionists. Ultimately Johnston never of the peculiar institution. While the most iconic abolitionist produced this work as a print, instead keeping abolitionist images—including that of the slave ship Brookes and the printmaking squarely focused on the adults who enslaved illustrations for Harriet Beecher Stowe’s Uncle Tom’s Cabin— people in the South. Despite its singular nature, Johnston’s have been frequently considered, scholars have yet to examine watercolor speaks to the great lengths to which abolitionists the full range of abolitionist imagery. This panel seeks new were going and the urgency of their proposition by 1859. approaches to the study of anti-slavery imagery across national contexts from the eighteenth century to the present day. An Ocean of Resistance: Seascapes in the Art Collections Submissions may address but are not limited to the following of Black Abolitionists in the United States, 1861-1865 questions: What visual strategies did abolitionists use to further Rachel Hooper, Savannah College of Art and Design their cause, and how did the particularities of media impact their Two celebrated seascapes currently in United States productions? How did abolitionist image-makers combat museums, J.M.W. Turner’s “Slave Ship” and Édouard Manet’s censorship? What sorts of patronage networks existed for the “The Battle of the USS Kearsarge and the CSS Alabama," creation and dissemination of abolitionist art? How did the entered public collections in Boston and Philadelphia through contributions of black abolitionists impact anti-slavery imagery? the generosity of art collectors affiliated with the anti-slavery Finally, does the history of abolitionist aesthetics inform present- cause. Yet, the significance of canvas paintings of ocean day efforts to memorialize abolitionists and/or resonate with scenes within the anti-slavery imagination has yet to be renewed efforts to achieve racial justice in America, including comprehensively examined. An Ocean of Resistance will trace Black Lives Matter and the Prison-abolition Movement? the intimate connections between the sea and the battle against the institution of slavery from the starting point of the "'Incendiary Pictures': the Radical Visual Rhetoric of perspective of Black art collectors in the northeast United American Abolition" States during the nineteenth century. According to articles in Phillip Troutman, George Washington University African American newspapers, Black academics and "'Incendiary Pictures': the Radical Visual Rhetoric of American entrepreneurs prominently displayed seascapes in the parlors Abolition," previews my book project by the same title. Looking of their luxurious homes during the Civil War era. In most closely at images produced by the American Anti-Slavery cases, these paintings, once owned by free, Black elites, were Society in the 1830s, I argue that in this formative decade, crucial to the semi-public domestic spaces where they were their editors (Elizur Wright, Jr., and Lewis Tappan, who were displayed and discussed with people dedicated to the anti- white) and engravers (including Patrick Henry Reason, the slavery cause. However, many of the seascapes owned by first known African American engraver in New York City) Black art collectors never entered public collections and now articulated a vision of civic equality, evangelical interracialism, are lost. Nonetheless, textual accounts of the display of ocean and African American activism--even violent resistance. scenes in the parlors of Black elites and the purchase of these Abolitionists also produced images of Black trauma and artworks in anti-slavery fairs offers insights into the importance passivity, the focus of most prior scholarship, but this paper of the genre for Black art collectors as an emblem of the argues that we need to understand the full spectrum of image- international relationships that were essential to the success making in its historical context and with particular attention to of the anti-slavery movement. the ideologies and approaches of individual image-makers. Temporalities of Emancipation: Vincent Colyer’s Sarcasm, Childhood, and Abolitionist Print Culture in the “Contraband” Work of David Claypoole Johnston Vanessa Meikle Schulman, George Mason University Rachel E. Stephens In spring 1863, Vincent Colyer displayed the painting "The Buried in storage at the American Antiquarian society, a small Loyal Refugee” at the National Academy of Design, the 1859 watercolor by David Claypoole Johnston explores a little premier exhibition venue for nineteenth-century American examined subject of abolitionist visual culture, that is the artists. The image shows a young Black male refugee peering invocation of children to encourage an emotional response anxiously into a Union camp, visually fixed in an ever-vivid against slavery. Entitled Southern Chivalry, this work present. Unlike other images of emancipated Black Americans, who are often presented as recipients of 03/22/2022 https://www.collegeart.org Page 6 of 234 110th CAA Annual Conference presidential largesse, this young man serves an active role in addressing topics of identity, cultural memory, and political his own ongoing quest for freedom. This painting was made in activism excluded from the mainstream institutional life in the the aftermath of Colyer’s wartime work in New Bern, North country. This program started the conversation about the Carolina, where he had established a temporary school to erasure of people and events from an internationalized educate hundreds of displaced, formerly enslaved people. In narrative of Cuban art that avoids the political contradictions light of his administrative experience serving and supporting a inherent to the Cuban context. The curatorial activism of freed population, Colyer seems cognizant that the concept of Sandra Ceballos has influenced a young generation of Cuban freedom is messy and ongoing. The painting’s presentation of independent curators like Solveig Font and Yanelis Núñez. emancipation as a process that unfolds in a constant state of Although this paper centers on “Malditos de la Posguerra,” it present-ness contrasts with structures of progress and will also connect Ceballos curatorial practice to Font’s Gallery recapitulation presented by both scientific racists and Avecez Art Space and Núñez’s curatorial work in the San abolitionists in the nineteenth-century United States. The Isidro Movement, specifically the #00Bienal. This paper recent rediscovery of Colyer’s painting, acquired by the New- intends to shift our gaze from state-run institutions to the York Historical Society in 2020 and now titled “The independent cultural life on the island. Ceballos, Font, and Contraband,” has occurred in a precarious moment, in which Núñez represent the development of a cultural movement art historians are questioning the temporalities of an within the borders of the strict control of the state. Their unfinished emancipatory process. This paper will use Colyer’s curatorial practice involves challenging state ideological painting as a starting point to argue that nineteenth-century censorship, class differentiation among professionals and self- visual responses to emancipation help twenty-first century art taught artists, and the racial divide that excludes particular historians uncover and understand white artists’ and viewers’ poetics from mainstream institutions. Inclusion, diversity, and assumptions about progress, freedom, and self-reliance, collaboration are central principles of their curatorial activism. attitudes that continue to shape American race relations. A Web of Women: Collaboration and Care in Sophie Calle’s Prenez soin de vous Activist Exhibitions Jezebel Mansell Chair: Rebecca J. DeRoo, Rochester Institute of A Web of Women: Collaboration and Care in Sophie Calle’s Technology Prenez soin de vous ‘Je suis une femme mais je suis aussi toutes les femmes’ (Agnes Varda, Varda tous courts, 2007) Activist Exhibitions This panel considers women’s activist Prenez soin de vous, first exhibited at the 52nd Venice exhibitions from the 1960s and 70s (when they arose within Biennale in 2007, has since travelled the world. The project larger social movements of the time) up to the present. comprises the work of 107 women whom Sophie Calle asked Specifically, this panel seeks papers that analyze: 1) how women to respond in her stead to a breakup email that she had and nonbinary artists and curators have created activist received, the last line of which gives the project its name. exhibitions to challenge museum narratives or Responses from, among others, novelists, songwriters, underrepresentation, or 2) how they have cultivated alternative psychoanalysts and cruciverbalists provide a polyphonous venues and display practices as forms of aesthetic expression, response to Calle’s experience of a break-up. In 2008, Prenez political practice, and social engagement. The panel solicits soin de vous was featured at the Bibliothèque nationale de papers from art historians, artists, and curators on both historical France, where it spoke to the power of reading as a means to and contemporary exhibition case studies, focused on any open expansive and compassionate connections with others – geographic location. It welcomes papers that take intersectional particularly fellow women readers. Rather than holding space approaches to gender identity. The panel also invites papers for the experience of the monogamous relationship, the analyzing recent curatorial efforts to re-present artists’ exhibits project privileges the relationships and possible similarities and activism (such as the exhibition We Wanted A Revolution: between Calle and her large network of women professionals Black Radical Women 1965-85); major reinstallations of museum and creatives. This paper considers the exhibition principally collections to feature women artists; and contemporary curatorial within its context at the French national library, where images efforts and collaborations, such as the Feminist Art Coalition, of the collaborators reading the letter in quiet, private settings which are committed to social justice and structural change. are juxtaposed with a public narrative of an intimate event. With reference to Adriana Cavarero and Rosi Braidotti’s Malditas/Damned: Independent Curatorial Practice and respective works on narrative, and countermemory and Women Curators in Cuba genealogies of women’s voices, the paper will examine the Maria de Lourdes Marino, Temple University feminist potential (and limitations) of a narrative that is The Cuban artist and curator Sandra Ceballos is an icon of the entrusted to those who surround us. independent curatorial practice in contemporary Cuba. Her independent gallery Espacio Aglutinador (Agglutinant Space), The Women's Workshop: Exhibitions and Activism founded in 1994, has developed for more than 20 years Rebecca J. DeRoo, Rochester Institute of Technology extraordinary projects that challenge the exclusionary policies This presentation analyzes the exhibits and political of state-run institutions in Cuba. This presentation will be engagement of the London-based Women’s Workshop of the centered around “Malditos de la Posguerra” (Postwar early 1970s. The workshop formed part of the recently Damned), a program of six exhibitions between 2016 to 2018 constituted British Artists’ Union, where Mary Kelly served as the first chair. Building upon recent scholarship and excavating 03/22/2022 https://www.collegeart.org Page 7 of 234 110th CAA Annual Conference new archival material, this paper considers how the Women’s Workshop pursued collaborative exhibits, projects, and social AI Art Manifesto actions directed toward central aims: to join in solidarity with NEW MEDIA CAUCUS women workers in other industries, to support efforts to Chair: Natalia Fuchs, ARTYPICAL organize labor, and to pursue equal pay. Specifically, the paper examines the workshop’s community-based Discussant: Peter Kirn, Independent Artist; Chris Salter, collaborations, pioneering exhibition practices, and political Concordia University; Emilio Vavarella, Independent activism within the wider context of the 1970s Women’s Artist Liberation Movement. In a course of contemporaneity exploration, Artificial Intelligence becomes a means of expandingself-awareness, criticism, More Than Mere Visibility: How Feminist Art Has Shaped creativity, and possibility, rather than confinement of our notions Contemporary Art Practice ofhumanity and the mind. AI Art Manifesto was created by the Judith K. Brodsky and Ferris Olin, Rutgers University artistic collective of Natalia Fuchs, Peter Kirn, Chris Salter,Emilio Rutgers University has a long history featuring women- Vavarella and Moises Horta Valenzuela dedicated to the identifying and non-binary artists. The Dana Women Artists progressive art & science during "APostcard from the Future" Series was created in 1971 by feminist artist Joan Snyder to online-residency at the Futurological Congress of Transart provide a space for women artists. On becoming the curators, Festival2020 in Bolzano, Italy. AI Art Manifesto is the 30 years ago, we realized that visibility was not enough. Our collaborative effort to maintain continuousexploration of what’s goal was to overturn patriarchal museum narratives privileging next for AI and Art/Culture. In the panel discussion artists, the white heteronormative tradition and show fluid concepts of researchers and co-authors of AI Art Manifesto - Natalia identity created by women-identifying, BIPOC, and non-binary Fuchs(Russia), Peter Kirn (USA/Germany), Chris Salter artists. We organized How American Women Artists Invented (Canada), Emilio Vavarella (Italy/USA), MoisesHorta Valenzuela Post-Modernism, 1970-75, showing how feminist pioneering (Mexico/Germany) - will present current developments in the AI artists transformed art practice forever through innovations of Art field andtheir current AI Art projects keeping up with the style and content. In 2021, recognizing that art was shifting questions of the ethical use of AI, building trustand instilling from white cities like New York and London, we mounted The human values in AI. Fertile Crescent, featuring Middle East radical women artists exposing gender and power issues through photography, installation, and video. We mounted one of the first exhibitions Independent Artist to look at the content and innovations of trans artists, including Moises Horta Valenzuela, Independent Artist artists like Zach Blas who questions the binary basis of the Moisés Horta Valenzuela aka Hexorcismos is a Berlin based heteronormative society through critique of “male plugs” and artist originally from the border cities of Tijuana, México and “female outlets.” An exhibition on the body included Renee San Diego (US). He’s a creative technologist, sound artist and Cox, US, and Bernie Searle, South Africa, who create iconic electronic musician. His project Hexorcismos explores images of BIPOC women with their own aesthetics rather than Cybernetic and Neuronal Intelligences, creating borderless the aesthetics of the white nude. By presenting our curatorial A/V based realities deployed via AI/ML, XR and Spatial work of the last 30 years, we attest to how feminist curators Sound; approaching these technologies from a decolonial have been questioning the binary of the patriarchal society for theory perspective by the creation of conceptual tension a long time building a base for contemporary exhibitions like between sci-fi utopian and dystopian narratives. Performances New Time at BAMPFA. and artworks have been presented at MUTEK AI Art Lab Montréal (2020), Monom 4D Sound Berlin (2019), CTM Festival Music Makers Hacklab Berlin (2018), Rum/Klang Galerie Denmark (2018) and ElektronMusikStudion Stockholm (2017). AI Art Manifesto Natalia Fuchs, ARTYPICAL In a course of contemporaneity exploration, Artificial Intelligence becomes a means of expandingself-awareness, criticism, creativity, and possibility, rather than confinement of our notions ofhumanity and the mind. AI Art Manifesto was created by the artistic collective of Natalia Fuchs, Peter Kirn, Chris Salter,Emilio Vavarella and Moises Horta Valenzuela dedicated to the progressive art & science during "APostcard from the Future" online-residency at the Futurological Congress of Transart Festival2020 in Bolzano, Italy. AI Art Manifesto is the collaborative effort to maintain continuousexploration of what’s next for AI and Art/Culture. 03/22/2022 https://www.collegeart.org Page 8 of 234 110th CAA Annual Conference these relations opaque to modern scholars. Using Analogous Matter: Skeuomorphism as skeuomorphic methodologies – that is, looking beyond notions Method of imitation and replication towards relational and functional commonality across media – this paper will examine how Chair: Susan Eberhard medium-specific affordances influenced shifts in magical Discussant: Carl Knappett, University of Toronto function between the lost, invisible clay figurine and the ever- present stone amulet. In doing so, this talk also investigates What is transferred, lost, or gained when a form in one material issues of temporality with respect to particular fabrication is recreated in another? How does a change in material shape techniques and material, and further illuminates the the perception of the same form within a given cultural context? relationship between social status and types of magical This panel investigates the possibilities (and constraints) of objects. material and metaphorical reference through morphological replication, a relationship between objects known as “Five-Colored Jades”: Glass Bi Disc in Early China skeuomorphism. First used in the nineteenth-century Ziliang Liu archaeological context, a “skeuomorph” mimics a prototype Glass artisans in China began manufacturing glass discs made in a different material, such as ceramic containers during the Warring States period (475–221 BCE). Faithfully modeled after vessels made in precious metals. Skeuomorphs replicating the appearance of jade bi discs, a quintessential are often discussed in terms of emulation across material type of sacrificial implement in ancient China, these glass hierarchies, though recent developments in material culture discs have been regarded as low-cost substitutes for the jade studies have opened up a range of new approaches, providing a discs. This “imitation” narrative, however, obscures a key rich foundation for further exploration. Scholars have difference between the two: whereas jade discs are bound to distinguished between skeuomorphism in production and natural colorations of the nephrite, glass discs were crafted in reception, as well as aspiration and preservation; theorized the lush colors beyond the spectrum of jadestone. The chromatic relationship in terms of the direction of mimicry; nuanced it in dissonance thus calls for a re-assessment of the glass discs’ terms of semiotics; and even argued for skeuomorphs as material specificity. The colorful glass discs, I contend, reflect chimeras, or creative composites of mimicked forms. This panel the unique conceptualization of glass in early China. Based on further develops this set of methodological tools, grounded in examination of textual evidences and scientific studies on object-based analysis of case studies. Specifically, it aims to use glass, I reveal a parallel between the principles of lead-barium the rigorous framework of skeuomorphism to bridge the glassmaking, the technology used to produce glass discs, and fundamental art-historical method of formalism with robust new early Chinese alchemical theory. Building on the alchemical understandings of materiality. Through the dynamics of root of glassmaking, I further explore the medicinal potency of skeuomorphism, form becomes a medium, against which glass in context of early Chinese medical literature. In doing material value can be transmitted and compared. Panelists so, I highlight the core concept of “Five-Colored Stones” probe questions including the efficacy of artificial materials, the shared across glass technology, alchemy, and submersion of enslaved labor through replication, the animate pharmacological theory in early China, which profoundly and sensory qualities of natural materials, and notions of shaped the understanding of glass and mandated the colors of temporality in production. the glass discs. Ultimately, I argue that the formal consistency between glass and jade bi discs should not be taken as proof Visible and Invisible Material Transformation in of cost-driven imitation, but indicative of the recognition of Mesopotamian Lamaštu Amulets glass as a new, artificial matter imbued with potencies worthy Miriam Said, Tufts University of assuming the sacred form of the bi disc. The Mesopotamian demon, Lamaštu, was feared for her predilection for attacking infants and killing young and “Een bloempoth van parlemoer”: Painting Life in Dirck van expectant mothers. Her outer appearance suitably matched Rijswijck’s Mother-of-Pearl Floral Panels her terror-invoking abilities; she was a chimerical figure Cynthia Kok composed of various animal parts, with the head of a lion, In the late seventeenth century, Dirck van Rijswijck scaly breasts, hairy flesh, and the talons of a bird-of-prey. (1596-1679) painted flower still lifes not with pigment, but with Well-known in Mesopotamia up until the end of the first fragments of mother-of-pearl, or iridescent shell. Made at the millennium BCE, ritual strategies and apotropaic amulets were height of Dutch East India Company (VOC) trade with Asia, conceived to ward against her attentions. In the arena of Van Rijswijck’s still lifes have primarily been defined in performance, priests prescribed the creation of figurines of comparison to exotic crafts like Japanese lacquer. Yet his work Lamaštu from clay that were subsequently drowned, burned, bore little resemblance to imported lacquer; instead, or buried. Material culture, on the other hand, consisted of inventories often referred to them as “painting[s] of mother-of- small amulets, typically made from stone, featuring an image pearl.”[1] This paper moves away from narratives of cross- of the demon enfolded in a ritual or with ritual paraphernalia. cultural craft imitation or translation to examine how Van These amulets were clearly made to be worn on the body or Rijswijck “painted” with mother-of-pearl. My analysis considers displayed in homes. There is a basic assumption that magical how the artist manipulated the shell’s hue and texture to ritual and material objects were intertwined traditions in animate the flying insects and exuberant blooms, enlivening Mesopotamia, although a lack of textual evidence makes them with shimmering color. An examination of Van Rijswijck’s inlaid panels demonstrates the importance of haptic and 03/22/2022 https://www.collegeart.org Page 9 of 234 110th CAA Annual Conference sensory competency to the work of painting and challenges the artificial divide between painting and craft. With expanded Appraising Your Research as Data: access to unprocessed mother-of-pearl, Van Rijswijck situates Managing, Visualizing, and Preserving Your his work in dialogue with Dutch print and paint culture, Scholarship asserting their artistry to a local community. His work engaged with transregional materials and ideas—not imitating the ART LIBRARIES SOCIETY OF NORTH AMERICA foreign but rather refiguring it—and reveals the complexity of Chairs: Kim Collins, Emory University; Kate painting as a category of art in the early modern. [1] Cunningham, University at Buffalo “Schilderitje van parlemoer,” Maria Koerten, 2408 fol. 1-24, film 2550, Stadsarchief Amsterdam; Antony de Brul, 1812, fol. The scholarship used and produced by art historians and visual 705-711, film no. 2079, Stadsarchief Amsterdam; Montias artists is no longer limited to journal articles, research notes, and Database. works of art. Today, new approaches to art historical research and visual arts practice utilize media-rich and technology-robust Material Masquerade: Sugar and Marble on the sources of data such as GIS coordinates, 3D scans and prints, Eighteenth-Century Dining Table video games, Twitter feeds, Instagram images, and virtual and Alicia Caticha, Northwestern University augmented reality tools. Research data management, data In a detail of Martin van Meyten’s rendering of a wedding visualization, and data preservation play increasingly important banquet at the Hapsburg court (1760), we are treated to a roles in the evolving landscape of scholarly endeavors; and, vision of swirling parterres and white figural sculptures atop a academic libraries are expanding their services, creating new mirrored platform. One of the few painted examples of an spaces, and developing frameworks to support new fields of eighteenth-century dessert course in the French style, these inquiry by art history practitioners. Moreover, academic statuettes correspond to contemporaneous ephemeral sugar administrations are establishing institutional repository standards sculptures by notable confiseurs such as Joseph Gilliers and for all disciplines, and grant-funding agencies are requiring data Menon. Transforming the tablescapes of eighteenth-century management plans. Innovative faculty and students partner with Europe into lavish French formal gardens, sugar sculptors librarians and library specialists for guidance on the discovery, exploited the crystalline whiteness of refined sugar to fashion use, and maintenance of diverse data formats. This panel will the main centerpieces of these multi-media surtout de tables, address useful research management practices, skills and white statuettes evoking marble garden sculpture. This methods to visually represent research, and processes and tools replication of whiteness—the primary characteristic to archive and preserve data in all phases of the research aesthetically linking sugar and marble—has been read as lifecycle. evidence of the prevailing importance of Academic sculpture and the explicit antique connotations of marble. However, the Managing the Complexity of a Collaborative Generative violent conditions of sugar’s production—which relied on Art Practice France’s active participation in the Atlantic slave trade—must Jennifer Lyn Karson be placed in dialogue with the white classical forms adorning The UVM Art + Artificial Intelligence (AI) Research Group is the dining tables of the aristocratic elite. In doing so, this paper engaged in an ethnographic study of artificial intelligence. The proposes a skeuomorphic model to understand the aesthetic group’s collaborative research and art practice interrogates AI replication and mimicry at work in this marble-sugar tools and is interested in the cartographies of its social and relationship: “material masquerade.” By evoking the computational space. Under the direction of artist Jenn eighteenth-century experience of the masquerade, a site Karson, a faculty member in the Department of Art and Art where the foreign could be mediated in a controlled and History, the group has developed strategic methods to both markedly European social environment, the intermediality of manage its ability to produce tremendously large image marble and sugar provides a case study through which to datasets (thousands of files) alongside managing the storage understand the rise of the classical marble ideal and its long- and sharing of large image datasets. The University has term aesthetic and racial implications. supported the group’s research by providing access to the Vermont Advanced Computing Core, providing terabytes of storage and customized trainings. Undergraduate and graduate research opportunities are supported by departmental funds and independent research credits as well as funding from the Northeast Cyberteam. The interdisciplinary and collaborative nature of this research that bridges the arts with high performance computing has required the group to customize research management practices such as how to identify, label, share and store visual data sets; how to manage collaborative coding; and how to name, distinguish, exhibit, share and archive visual datasets that have gone through multiple conversions such as analog- to-digital and digital-to-analog. 03/22/2022 https://www.collegeart.org Page 10 of 234 110th CAA Annual Conference Visualizing Exhibition Catalog Data in a Digital Art History Project Archival Imaginaries and Futurities in Miranda Siler, Pratt Institute Contemporary Art from SWANA Beyond the Fountain will create a new entrypoint into the Chairs: Lara Fresko Madra, Cornell University; Kareem history of the Society of Independent Artists by utilizing data Estefan, Brown University from the first exhibition catalogue. The digital humanities project seeks to align with the original democratic spirit of the Discussant: Lara Fresko Madra, Cornell University show, giving each artist an equal opportunity to be discovered Modern histories of imperialist and ethnonationalist violence in through an interactive map. At the back of the 1917 catalogue the Southwest Asia and North Africa (SWANA) have compelled is a list of names and addresses belonging to society contemporary artists from the region to engage with archives not members. A map created from this data will function as an only to provide documentary evidence of dispossession, but also entrypoint for further research. Possible lines of inquiry include to orient viewers toward futurist imaginaries that unsettle the finding clusters, thereby exposing hyper-local artist epistemologies and ideologies underlying such violence. communities; searching for artists from a particular location; or Listening to the silences of state archives, artists of the region looking for outliers and researching how they learned of the (SWANA) and its diasporas have excavated counter-hegemonic Society of Independent Artists. Overall, the goal of Beyond the histories, “histories without documents” (El-Shakry 2015), while Fountain is to explore the Society of Independent Artists in a also creating heterodox archives that challenge the “archival new way, with an emphasis on bringing lesser-known artists to regime” of classification (Azoulay 2019). This panel examines light. As the exhibition displayed the artists’ work in a non- the work of artists who are both drawing from and generating hierarchical order, so will the map, using coordinates instead new archives, as they contest official histories and narratives of of the alphabet. Keeping with the spirit of “no jury, no prizes,” progress, unravel the linear temporality of nation-state this map can help to disrupt the narrative that a “homogenous imaginaries, and mobilize the materialities and opacities of group of men” was responsible for the modern art movement embodied performance and digital media to question ideologies in America. The hope is that Beyond the Fountain will spark of transparency and neutrality.In analyzing such artistic new discussions, research, and points of view relating not only practices, we will ask: how do archives, in content and form, not to the exhibition itself, but twentieth century American art more only selectively record historical events but also structure future broadly. possibilities? How might turns toward personal, local, or minor histories in archives generated by artists challenge grand Enhancing Digital Visibility for Black Art, History, and narratives and globalizing theories? In what ways do strategies Culture through Linked Open Data of parody, mimicry, parafiction, or speculation undermine the Synatra Smith, Philadelphia Museum of Art authority of mainstream historical knowledge? How does opacity The Philadelphia Museum of Art Library and Archives has coexist with transparency in digital archives, and what are the developed a collaborative linked open data project to tensions between data and knowledge? What are the promises document the rich history of Black art in Philadelphia by of counter-hegemonic archives and how might futurisms critique developing a workflow to augment Wikidata records, gain an and inform our historiographical imaginaries? understanding of the limitations of Wikidata, and develop SPARQL queries and Python scripts to analyze and visualize the available data. Alongside this project, the Library and Sink the Sea! Archives has been working on the Art Information Commons, Pooja Sen a collaborative, museum-wide initiative to analyze and In this paper, I examine two proposals for transforming the document how the museum’s art information data is created, Mediterranean region. The first is the Atlantropa Project, which used, and stored. The primary use case for the initiative was proposed by German architect and engineer Herman evaluates the contextual data and art historical information Sörgel. Between 1927 and 1952, Sörgel argued for draining around Black artists, histories, and representation within the the Mediterranean Sea and using new dams, tunnels, bridges, museum’s collections. Taken together, these projects provide and hydroelectric infrastructure to connect Europe and Africa an avenue for the museum to prioritize preserving and into a supercontinent. Sörgel believed that the colonization of managing data related to Black art for future scholarship. This Africa and the establishment of a continent-spanning presentation will provide tips, tools, and challenges to develop electricity network would be the solution to interwar Europe’s such a project and demonstrate the way it can be integrated problems. The second proposal is Operation Sunken Sea into other digital humanities projects, including a cultural (2018–ongoing), in which Egyptian artist Heba Y. Amin adapts heritage virtual reality project that curates three-dimensional Sörgel’s proposal and calls for colonizing Europe from Africa models and associated contextual data within a model of a instead. For Amin, the central claims of the Atlantropa Project Black woman-owned independent bookstore. become an opportunity to use parody and mimicry to wonder what happens when historical events take a different turn. Sörgel and Amin both rely on maps, illustrations, photographs, and video to make visually concrete the future of colonialism and the future of the environment. In this paper, I discuss Sörgel’s plans for electrifying Europe, Amin’s performance of authoritarianism and her parodic reversals of the logic of 03/22/2022 https://www.collegeart.org Page 11 of 234 110th CAA Annual Conference coloniality, and how visual strategies of doubling and the use Israeli apartheid, and considered the importance of SWANA in of algorithms may help shake loose the inherited histories of contemporary climate change politics, I argue these projects colonialism and capitalism. form an aggregate kind of archival index that both records varied forms of historical violence and gains new meanings as Predictive Models for Future Diasporans such aggressions persist. Mashinka Firunts Hakopian, University of Pennsylvania The cartographies of futures planning in their various forms Opaque Witnesses and Future Returns: Figures of often render Southwest Asia and North Africa a blank spot. In Palestinian Fugitivity in Basel Abbas & Ruanne Abou- one crucial example, algorithmically-driven digital platforms Rahme’s Video Installations deprioritize infrastructure for languages spoken in the SWANA Kareem Estefan, Brown University region — omitting them from forecasts that map sites of future Examining videos by Palestinian artist duo Basel Abbas and meaning, and the list of languages through which future Ruanne Abourahme, this paper analyzes refusals of meanings will be made. These omissive predictive models humanitarian documentary modes of representing generate futures and future archives in which SWANA peoples Palestinians, and more broadly, so-called “refugee crises” or appear as an absence. Confronting absences in archives “conflicts in the Middle East.” Abbas and Abourahme’s videos extant and yet to come, Armenian diasporan artists have resist legible gestures of humanization expected of Palestinian engaged historical practices drawn from Indigenous West and Arab moving-image works, challenging a representational Asian pasts to forecast alternative models of futurity. In the politics of visibility, even as they use documentary images as series Tasseography, Ali Cat Leeds invokes the Armenian sources. Their 2019 video At Those Terrifying Frontiers... matrilineal ritual of coffee ground reading to foresee emerges from the visual archive of cellphone videos and decolonization and self-determination, queer liberation, and photos of protesters during Gaza's 2018 "Great March of “the return of the trees, salmon, wolves, and bees.” In Return." However, using software to generate anonymous Ensouled, Kamee Abrahamian imagines plant life as a conduit avatars from this footage, the artists abstract images typically for transmitting ancestral archives of resistance from Ottoman circulated as icons of resistance or suffering into ethereal Turkey to the present. In Which Yesterday is Tomorrow, Dahlia human figures, which, through the technique of layering still Elsayed & Andrew Demirjian activate archives of cohabitation images above digital video, they “transport” into Palestinian and co-creation in the Ottoman region to design “a rest stop landscapes beyond the lethal border fence. Quoting from for the future based on the past.” Examining projects by Edward Said’s After the Last Sky for the soundtrack and on- Armenian diasporan practitioners, I surface the ways in which screen text, the artists perform a mournful song that appears they draw on archival histories to code predictive models for as if sung by the avatars, creating a virtual, transhistorical forecasting collective liberation. collective that reflects on being labeled “illegal” and dreaming of returning home. I label these avatars and other fugitive Disappearing Landscapes, Herbicidal Warfare, and figures in Abbas and Abourahme’s works “opaque witnesses,” Heirloom Seeds: Archiving Agriculture in Palestine Amid personae that register ongoing dispossession while refusing Ecological Apartheid assimilation into human-rights frameworks of victimhood. The Aaron Katzeman opacity of Abbas and Abou-Rahme’s figures challenges This paper compares the following three contemporary works viewers to participate in a relational mode of witnessing, that collectively offer distinct methods of archiving Palestinian soliciting their solidarity with subjects who refuse both the forms of agriculture under threat by the state of Israel: Nida settler-colonial desire that they disappear and the neocolonial Sinnokrot’s 2005 documentary Palestine Blues (described by demand that they appear only as victims. the artist as a “disappearing landscape film”), Forensic Architecture’s investigative study Herbicidal Warfare in Gaza (2014-present), and Vivien Sansour’s community engaged Palestine Heirloom Seed Library (2014-present). These disparate projects survey the social, cultural, and environmental impacts imposed by the West Bank separation wall’s systematic dismantling and seizing of Palestinian farmland, the weaponization of a product of the so-called “green” revolution as a means to poison and damage crops on the Palestinian side of the Gaza border, and the speculative possibility of a renewed farming society based upon ancestral Indigenous plant knowledge, respectively. These works activate different archival registers of documenting forms of ecological apartheid, be they filmic, virtual, or social. Simultaneously, all operate toward a similar objective, that being the future restoration and flourishing of Palestinian life and land despite decades of imperialism and settler colonialism. Building upon diverse scholarship that has linked the revolutionary character of Palestinian national liberation to its peasant origins, revealed the environmental impacts of 03/22/2022 https://www.collegeart.org Page 12 of 234 110th CAA Annual Conference using digital research to counteract patriarchal semiotics. Archive, Object, Image: Reading Against the Illustrated with three women as study cases, this paper Grain in the Dutch and Spanish “Golden demonstrates that studying women may require a creative approach but will result in a more inclusive narrative. Ages” HISTORIANS OF NETHERLANDISH ART “Favoured Black Attendants” in “Splendid State Portraits”? Chairs: Carrie J. Anderson, Middlebury College; Genoese merchants, Flemish painters, and the Spanish Marsely L. Kehoe Atlantic Slave Trade Ana Cristina Howie, University of Cambridge The artistic flourishing of the so-called Dutch and Spanish “Golden Ages” was built upon the labor and suffering of people Newsprint and Tortoiseshell: The Ter Borch Family across global empires, which extended from Europe to Asia, Albums as Colonial Archive Africa, and the Americas. Not just vestiges of the past, these Adam Eaker issues are indeed quite urgent, as they underpin contemporary dialogues around race, violence, and representation. As scholars Gerrit Mossopatam and the Brahman Kieka, of the early modern period, we have an opportunity and an Acknowledging the Sources for 1672 Dutch Publications obligation to center long-suppressed voices, redress historical Margaret E Mansfield, University of California, Santa imbalances, and challenge racist narratives that persist to this Barbara day. But how can we present a more balanced version of the In 1672 minister Philip Baldaeus and armchair traveler Olfert past when we are dependent upon archives, texts, objects, and Dapper published illustrated accounts of India featuring images that are both byproducts of and mechanisms for images of the Ten Avatars of Vishnu. Conversations of these systemic oppression? This panel seeks methodologically two texts and their impact on European understanding of innovative projects that challenge or disrupt the narratives that Hindu belief often omit the indigenous informants and their attach to early modern Dutch, Hispano-Flemish, and Spanish role in the transfer and production of knowledge. Two archives, texts, objects, and images. Proposals may include, but individuals, Gerrit Mossopotam and the brahman Kieka, have are not limited to, the following: studies that prioritize voices and been linked to Baldaeus and Dapper respectively. What identities that are absent--or purposefully excluded--from the contributions of theirs appear in the archive? What can be textual, archival, or pictorial record; research that gleaned about them by reading against the archival grain? recontextualizes and/or localizes the commodities of global When citing the manuscript Leven der heidense Benjanen (c. trade; data-driven projects that challenge the semantic structures 1625), Dapper includes the reference to Kieka as a source for of the early modern archive; studies that decenter imperial understanding the worship of Krishna. Kieka is later erased in narratives or examine productive failures in research, a mansuscript copy by Philip Angel (1658) and subsequently scholarship, and teaching. in a published copy by Baladeus (1672). A Ceylonese man, Gerrit Mossopatam accompanied Baldaeus on his return to The Invisibility Myth. Women, Art and Household the Netherlands in 1666. How much of Baldaeus’ published Consumption in the Dutch Republic work should be attributed to Mossopatam? There is no extant Judith Noorman, University of Amsterdam evidence of Baldaeus bringing Indian miniatures or sketches The Female Impact-project aims to map, measure and with him. The disconnect between his and Dapper’s versions analyze the impact of women on the Dutch art market in the point to Baldaeus having consulted Angel’s (1658) manuscript seventeenth century by studying the household as an in the East and Dapper having access to the 1625 manuscript economic site. Dutch art was unique during this period, in Amsterdam. Baldaeus died the year before his text was because paintings were bought by private citizens to decorate published. I advocate for Mossopatam as a probable private homes, not just by the Church or State. Although these consultant for engraver Coenraet Decker, as his images align private households were run by women, art historians have closely with Hindu mythological and cosmographical belief. never studied women as a group of potential consumers, the Only a generation later, Bernard Picart (1728) cites Dapper assumption being that only men are visible in the archives. and Baldaeus as authorities on India, erasing the indigenous Debunking the myth of the art market as a man’s world and informants. Discussion of the erasure of individuals like Kieka the ‘Golden’ age as a male-dominated narrative, this project and Mossopatam highlights the way Europeans systematically collects and analyzes diverse archival documents bearing removed individuals from their own cultures in the process of witness to women’s household possessions and purchasing colonization. power. In doing so, we have had to ask the question at the heart of this session: How can we present a more balanced version of the past when we are dependent upon archives that are both byproducts of and mechanisms for systemic oppression? Our solution is to read against the grain, specifically: 1) by studying legal inequality and the ways in which women attempted to protect their possessions, 2) by concentrating on domesticity and household consumption, realms in which women had the strongest impact, and 3) by 03/22/2022 https://www.collegeart.org Page 13 of 234 110th CAA Annual Conference ecological literacy and sustainability, ecosystem restoration, Are we there yet? Resilience and and ecological science communication through the works of Transdisciplinarity in Ecoart Since 1999 US-based, eco-artists and ecologists/ecological engineers. Examples demonstrated how the incorporation of art and Chair: Aviva A. Rahmani, INSTAAR University of collaborating with artists in ecosystem restoration enabled the Colorado at Boulder integration of cultural, social, historical, and geographic Discussant: Amara Geffen, Allegheny College contexts and facilitated the much-needed engagement and participation of local communities that are often left out. The Has transdisciplinary ecoart changed mainstream thinking or presenter will share a bit of history of his journey as a scientist public policy? When founding members of the ecoart list serve of working with eco-artists over the years with some thoughts presented the historic 1999 CAA panel, “OFF THE on the necessary next steps to incorporate art into MAINSTREAM, INTO THE MAINSTREAM,”: The State of the Art educational, scientific and restoration activities. of Environmental Art,” we were optimistically defiant about how transdisciplinary approaches to environmental challenges might Out of the gallery and into the site overcome ecological difficulties. We were not yet immersed in Stacy Levy, Water Land Art the raging politicization of climate change nor prepared for that This is the new work for artists: to take their practices out of battle. However, we did identify the task of leveraging writings on the studio and the gallery— and into the site. Though this kind topic. Twenty-three years later, the Ecoart Network list serv has of work has been evolving for decades, it is still peripheral in grown to hundreds of invited practitioners from many disciplines the art world and may be more readily acceptable to the other and the book, “EcoArt in Action: Activities, Case Studies, and trades like landscape architecture and engineering. It is time Provocations in Classrooms and Communities,” will be published to collaborate, instead of being heroically solo in the old before the conference as a guide to ecoart pedagogy and method of art making. But the traditional art worlds have practice. Financial support for ecoart, however has lagged trouble with collaborative processes, where invention is behind the needed scale of engagement we foresaw would be considered the work of one person. Due to the cold shoulder required and this hurts the field and what progress might be from the established art world of commerce, this cross- accomplished. And yet, scientists are increasingly willing to see disciplinary work relies on non-traditional funding sources and artists as equal partners, rather than illustrators, are more aware rare champions in art institutions. As eco artists, we are driven of the gaping wealth gaps in support and projects are advancing. to work out ways to address and repair environmental What are the most significant triumphs despite obstacles? What damage. We collaborate with other disciplines like engineering value in claiming a distinct identity for ecoart? Have best and ecology, to make a project that solves problems and practices emerged? What’s missing? The four presenters will celebrates the natural processes at work on the site. Solving present the experiences and insights from their practices to site issues is an essential drive for many artists but not one answer these questions and raise others from varied points of embraced by galleries and museums. It requires an almost view: Ahn, a scientist, Watts, a curator, Naidus a social practice outsider stance to making artworks that defy the old adage, “if artist and Levy, a site remediator. it functions it cannot be art.” Maybe eco art needs to ally itself with landscape architecture and building architecture to find a Collaboration between ecosystem science and eco-art to more supportive home-base? And we need to introduce new improve ecological research and ecosystem restoration ways for scientists to actively recruit artists to their labs and practice - a case of an interdisciplinary symposium in research teams, not in the role of project decorator, but as a INTECOL 2017 collaborator and concept translator. Changwoo Ahn, George Mason University The collaborations between ecosystem restoration and art Ecoart to Transform our Relationship to the Ecocide practices was epitomized by the eco-artist Jackie Brookner Beverly E. Naidus who said: “it is not a matter of the scientists providing the Many years ago I was introduced to the term “ecoart” by one hard-core research and artists the soft outreach; rather, the of my students. The name for this new genre intrigued me. I dynamics engendered in the space between disciplines is full had been teaching summer sessions at the Institute for Social of information necessary to solve complex problems at the Ecology for several years and the projects students were systemic level”. My talk summaries the goals, activities, and creating in response to ecocide were designed to help the lessons learned from a special symposium that addresses public wake up to their inner activist and encouraged these too-rare collaborations. The symposium was held at the audiences to re-envision the future that could emerge from the 12th INTECOL (International Congress of Ecology) collapse of capitalism. Just a few years later, I was invited to conference in Beijing, China, August 21 through 25, 2017, share my digital series, CANARY NOTES: The Personal where about 3000 people attended from 70 countries. The Politics of Environmental Illness on a CAA panel about ecoart. theme of the Congress was “Ecology and Civilization in a The panelists online conversation gave birth to an Changing World”, and focused on harmonious and sustainable international online network that continues to this day. The development among people, nature, and society within the ecoart listserve of artists, curators, writers, and scientists context of global change. The background and the rationale became an inspiration for my teaching, my writings about the for the symposium will be explained. The symposium latter, as well as my practice of ecoart. My interactions with showcased collaborations between art and science on this group gave me the courage to take new risks with my practice, stirred up my rage about the ways we’ve been 03/22/2022 https://www.collegeart.org Page 14 of 234 110th CAA Annual Conference colonized by systemic oppressions, and expanded my narrate and at times critique aspects of Persian art and understanding of my work in relation to the collective history. This paper inquires into the unique history of the challenges we face. From my training in permaculture design Nasta'liq script, and its present framework in art, design, and to help shape my project, Eden Reframed, on Vashon Island, commerce within Iran, and its diaspora across the world. How to my more recent activist project, Extreme Makeover: can an ancient script rise to such significance? In an age of Reimagining the Port of Tacoma Free of Fossil Fuels, the eco- digital media and commerce how does a script originated in a art community has helped me reimagine an art practice that is centuries old calligraphic culture, maintain its prominence? less about participating in the world of galleries and museums, What aspects of nastaʿlīq lend it carry the weight and and more about collaborating with activist groups and depiction of a national identity? neighbors. Excluded Objects - Aporia of Identity: The Installations of Are Artists the New Anthropologists? Three Chinese Female Artists in the Diaspora Patricia Lea Watts, Ecoartspace Yiyi Liang Anthropologists study the anthropogenic influences driving In the 1990s, Contemporary Chinese art entered the climate change, the governance systems for dealing with international scene with visually provocative representations of climate change mitigation and adaptation, and the human post-socialist politics and conceptualizations of Chinese impacts and ramifications of global climate change. In the last culture. However, these categories presume a male-defined thirty years, artists have also studied the environmental effects canon which largely excluded female Chinese artists. While of climate change and systems for adaptation while engaging male artists were able to first establish themselves in the late the general public through aesthetic inquiries and community 1980s, female artists emerged later. A group of them engagements, as well as on the ground restorations. Like emigrated aboard in the late 1980s and developed a mature ethnographers, artists train their eyes to see things that are artistic language in the 1990s. This article examines the not obvious and are critical from a cultural and societal installations of three Chinese female artists in the diaspora perspective. And, like scientists, artists do research that completed in the 1990s: Qiu Ping‘s Chinese Gate (Berlin), involves careful observations while applying rigorous Shen Yuan’s Losing One’s Saliva (Paris), and Hu Bing’s The skepticism about what they observe. Artists engage their Pregnant and the Aborted (New York). The article aims to conceptual skills to visualize the invisible structures or make two points. First, it offers an alternative genealogy of elements of science, while also using the imagination to contemporary Chinese art by incorporating female artists’ envision alternative outcomes and innovations yet to be diasporic trajectory to discovery. Second, it positions these realized. Applying aesthetic sensibilities and enacting artists’ work within the established category of feminist art. It embodied forms of knowledge is the role artists are playing in investigates the female subject-position of their works by a world today where at least 60% of the population are visual analyzing the materiality, temporality, and cultural codes in learners. The days of Margaret Mead and Franz Boas, their representation of the body and sexuality, arguing for a educating the populace of primitive societies are behind us. different subject-position than that of Western feminist artist We live in a global commons where information is shared far that is constructed by the society from which these Chinese and wide, and where communities are in need of visionary artists emerge. With a comparison to the first generation of visual leaders to integrate indigenous wisdom with scientific Euro-American feminist artists including Louise Bourgeois and knowledge to develop solutions to climate change. In this Eva Hesse, this article investigates Chinese artists’ dialectical paper, I will give four examples of artists who are the new reflection of “yin” and “yang” and regards this relationship as anthropologists, inviting a broad and diverse audience in a an alternative to the critique of “the phallic gaze” by Western dialogue that is immensely critical for human survival. feminist artists, who insist on the fundamental difference of woman from man. Art and Community within Diaspora Aestheticizing the Ecologies of the Syrian Refugee Crisis Chair: Laura Earle Rachel Winter, University of California Santa Barbara Through the work of Issam Kourbaj (b. 1963, Syria) and Halil Beyond Ink & Pixels : Metamorphosis of the Nasta'liq Altindere (b. 1971, Turkey), this paper explores the way script ecological elements of Islamic art act as conduits for Pouya Jahanshahi, Oklahoma State University contemporary artists from the Middle East to interrogate the Nastaʿlīq is a traditional calligraphic script that has long been Syrian Refugee Crisis. Through an eco-critical reading, I identified as the most aesthetic of Perso-Arabic based scripts. examine the way works by Kourbaj and Altindere draw Its' prominence is seen in historic manuscripts and artifacts attention to the socio-political dimensions of displacement, treasured by arts and cultural institutions across the globe. and the environmental shifts impacting refugee migration. However beyond a writing script, nastaʿlīq is considered one Through fire and water, Kourbaj’s Dark Water, Burning World that embodies the national identity of Iranians and Persian (2017) visualizes the trauma of migrating by sea while culture for centuries. Starting in the later half of the Twentieth transforming water’s very meaning. No longer solely a life- Century, artists and designers have used this traditionally giving source, or a metaphor for paradise, water becomes a utilitarian script in their works across a broad spectrum of liminal space between a new life and a place where life is lost. media, ranging from paintings to multimedia installations, to Altindere’s astronomical installation Space Refugee (2016-2018) suggests earth is no longer habitable or capable 03/22/2022 https://www.collegeart.org Page 15 of 234 110th CAA Annual Conference of sustaining humans, satirically proposing refugees living on Mars as a solution to the ongoing crisis. Kourbaj and Art History and Social Justice in Practice Altindere’s installations reveal the way the eco-conscious ART HISTORIANS OF SOUTHERN CALIFORNIA ethos of Islamic art is transformed by modernity and climate Chair: Meggie Morris, Art Historians of Southern change to take on new meanings in contemporary forms to California promote questions about migrant interactions with the environment, and the ways climate change might impact The Art Historians of Southern California (AHSC) welcomes a migration. conversation in community with artists, art historians, curators, and other arts professionals who have found ways to advance Iranian Graphic Design In Exile forms of social justice in their work and encourage the abolition Mehrdad Sedaghat Baghbani, Florida Atlantic University of longstanding injustice, such as pigmentocracy and and Setareh Ghoreishi, Oakland University heteronormativity, within the art world. We seek to bring together After the Islamic Revolution in Iran (1976), many people have panelists with diverse perspectives and practices to discuss a emigrated to Western countries. Iranian graphic design, as a range of strategies and tools aimed at decentering traditional visual tool for communication and interaction with the host frameworks of art history that are rooted in colonialism and communities and other Iranians in exile, has spread rapidly, as coloniality. From the classroom to the museum to the studio and well. In this way, through graphic design, Iranian culture has beyond, we invite meditations on the inclusion of non-traditional persevered together with its people out of Iran, and it has also content, interdisciplinary research, critical race theory, notions of evolved in response to economic and political motivations. In collectivity, and ancestral knowledge in our scholarship, and this presentation, we will examine the position of Iranian discussions of actionable steps to produce tangible graphic design in various sociocultural contexts in North improvements within our field and in society at large. We wish to America, as well as the challenges and opportunities it has create a safe and open space to highlight the diverse social faced in multicultural societies. Challenges and opportunities justice arts practitioners already active across Southern include issues regarding freedom from governmental California to learn in community and inspire new models to limitations in using the images of women and the female body. challenge racial, social, and economic inequality. In addition to investigating the challenge of designing for multiple languages and cultures, in this presentation we will Art History and Social Justice in Practice talk about visual and cultural exchanges with the host Meggie Morris, Art Historians of Southern California,Amy community and compare them with examples in Iran. We will J. Lyford, Occidental College and Annie Buckley, San study the role of existing demands from the host community in Diego State University shaping the design process, as well as the impact of the lack The Art Historians of Southern California (AHSC) welcomes a of a competitive environment in western market on the quality conversation in community with artists, art historians, curators, of these visual products. Due to the globalization resulting and other arts professionals who have found ways to advance from the advancement of technology and the Internet, as well forms of social justice in their work and encourage the as the emergence of multicultural societies, we are confronted abolition of longstanding injustice, such as pigmentocracy and daily with visual subcultures. Understanding different visual heteronormativity, within the art world. We seek to bring cultures, their challenges and opportunities adds new together panelists with diverse perspectives and practices to dimensions and perspectives for artists, designers, and discuss a range of strategies and tools aimed at decentering researchers, as the interact and produce work in emerging traditional frameworks of art history that are rooted in multicultural societies. colonialism and coloniality. From the classroom to the museum to the studio and beyond, we invite meditations on the inclusion of non-traditional content, interdisciplinary research, critical race theory, notions of collectivity, and ancestral knowledge in our scholarship, and discussions of actionable steps to produce tangible improvements within our field and in society at large. We wish to create a safe and open space to highlight the diverse social justice arts practitioners already active across Southern California to learn in community and inspire new models to challenge racial, social, and economic inequality. 03/22/2022 https://www.collegeart.org Page 16 of 234 110th CAA Annual Conference with contemporary theories of speculative realism, we can Art, Mysticism and a New Apophasis reimagine Smithson’s art as a form of apophasis that ASSOCIATION OF SCHOLARS OF CHRISTIANITY IN THE foregrounds the ineluctable failure of language and HISTORY OF ART representation as a means of ultimately attuning us to the otherness of the reality that lies outside them. Chairs: Ronald R. Bernier; Jonathan Anderson, Duke University 'Visio Dei sicuti est': Insular Gospel Decoration in It is in the presence of the Mystical that we witness a straining of Medieval Ireland as Depictions Approaching the Infinite the mind at the edges of itself, prompting a mode of reverence Laura McCloskey Wolfe for that which is unutterable, inaccessible to intellect. This My paper endeavors to connect the philosophical and experience of disconnect between the mind’s ordering power theological late antique and early medieval writings on the and an ungraspable complexity serves as an analogue of nature of sight, spirituality, and the divine with the decorations something “other” – the infinite, the Absolute – and the found in the Book of Durrow and the Book of Kells. Each consolations of transcendence. This found expression in the manuscript features an abundance of interlace and symbolic ancient traditions of Christian mysticism and, more specifically, in geometric designs that linked concepts such as the Logos with apophatic, or negative theology – the idea that God, or the the practice of meditatio and memoria. The pairing of carpet divine, or the unsayable is best identified in terms of “absence,” page or heavily decorated text and the start of a gospel “otherness,” or “silence,” and “difference.” The sources of repeats throughout the manuscripts, underscoring the negative theology are found in late antiquity and the early importance of the pages acting in unison. This symbiotic Christian period, with yet more radical representations found relationship between text and image was made possible among the mystics of the late Middle Ages. In the modern era, through contemplating the words of the Bible, but brought to contemporary art – abstract art, in particular, which for Jean- life by the human hand of the artist-scribe. Illuminated gospels Francois Lyotard represents a new apophaticism – can give new were tangible objects that could reflect the invisible power of form to the “negative presentation” of the unrepresentable; it can God’s word. These sacred objects connected the reader with make “ungraspable allusions to the invisible within the visible,” to the divine and facilitated the processes of meditatio and that which exceeds presentation. Once again, we encounter a memoria that combined to reflect the Holy word: “human denial and collapse of the Logos, and “presence” is negative. beings can put a question so that the invisible things of God This session invites presentations that will investigate the notions are understood and seen through the things which are made” of apophatic transcendence as that new “dark night of the soul,” (Rom. 1: 20). Building on the works of Timaeus, Gregory of as it was vividly described in the art and mystical musings of Tours, Isidore of Seville, and Saint Augustine, my research artists across historical periods and religious traditions. argues for decoration as an expression of apophatic transcendence for the devout. Mediating the Abyss: Robert Smithson and the Art of Geological Mysticism 'The way a lion watches a fly': Agnosia in the Art & Poetry Rory J. O'Dea of 1950s San Francisco Elizabeth A. Ferrell, Arcadia University In 1962, Robert Smithson pronounced that, “Informed external In the poem “Dark Contemplation” (1989), the Beat writer minds are armed against hidden impossibilities.” Smithson Michael McClure (1932-2020) uses natural imagery to was targeting Clement Greenberg, whose theory of medium describe the state of agnosia or “knowing through not specificity reduced art to a correlate of the positivist mind that knowing.” McClure adapted the concept from early Christian could be perceived by eyesight alone. In opposition to this aesthetics of disenchantment, Smithson’s art intimated a mystics, who used it to describe the state of engaged passivity transcendent realm “free from the existence of sense and needed to open oneself to divine knowledge. McClure dimension.” Though Smithson abandoned the Christian identified agnosia as key to the process he used to write his iconography of his early work, his inquiry into the numinous oracular poetry and the process that his friend Jay DeFeo continued in his later nonsites and earthworks, within which (1929-89) used to create her abstract paintings. He recalled the transcendental absolute metamorphosized into an oceanic that during his visits to DeFeo’s studio, “sometimes she would state of material immersion. Smithson strove to dissolve the just sit on this stool, just contemplate, silently and quietly, and boundaries between the self and non-self by deconstructing not paying attention to anything else. Kind of the way a lion anthropomorphic representations of reality, thus opening one watches a fly.” He attributed to DeFeo the tranquil-but-alert, to the abyss of the non-objective world. Though he privileged animal-like receptivity that exemplified McClure’s the immediacy of this experience of nothingness, his art is understanding of agnosia as a way of inhabiting the world that defined by the necessity of always mediating it. Nothing must was both spiritual and instinctual. This paper examines become something. But rather than confirming the prison McClure’s application of the concept of agnosia to the somatic house of language from which there is no outside, Smithson’s processes of painting and poetic composition that developed negation of what he called infraphysical reality through his in postwar San Francisco. McClure’s attribution of the representations of it reveals the necessity of mediation to intuitiveness, quietude, and dialogical openness that typify grasp these radically different orders of experience. By agnosia to his writing process and DeFeo’s painting process considering the influence of St. John the Divine, Meister complicates the standard expressionist model of the creative Eckhart, Jacob Boehme, and Samuel Beckett in connection act. Instead of a unilateral projection from the inside out, McClure’s agnosia-influenced understanding of the creative 03/22/2022 https://www.collegeart.org Page 17 of 234 110th CAA Annual Conference act underscores the contingency of somatic expression The Path to Promotion and Tenure for an Art Historian at a —asserting that intuitive, corporeal production involves ceding Research University: A Chair’s Perspective rational control not only to the repressed parts of oneself, but David C. Cateforis, University of Kansas also to one’s environment and fellow creators. Professor David Cateforis is Chair of the Kress Foundation Department of Art History at the University of Kansas. He received his Ph.D. in art history from Stanford University and Artists & Art Historians: Navigating the his B.A. from Swarthmore College. Cateforis teaches courses Tenure Track in modern, contemporary, and global art. He has published work on Albert Bloch, Andrew Wyeth, Willem de Kooning, Chair: Michael L. Aurbach, Vanderbilt University Robert Motherwell, Elizabeth Murray and Wanda Gu. He is co- This professional development workshop will work best in a editor of Hybrid Practices: Art in Collaboration with Science classroom type of setting. I will provide handouts so no and Technology in the Long 1960’s (University of California projection system will be required. It would help to have a Press, 2018) and editor of Rethinking Andrew Wyeth microphone. As workshop leader I will go over the handout(s) for (University of California Press, 2014). His new textbook, the first half of the event and leave the remaining time for Modern Art, will be published by Oxford University Press. questions. Following the workshop I would be happy to address Cateforis is the recipient of numerous teaching awards and additional questions by phone or email. has lectured widely throughout the United States. What a Long Strange Trip It’s Been The Long Game:Charting a Path for Tenure and Michael L. Aurbach, Vanderbilt University Promotion in the Studio Arts Michael Aurbach, Professor of Art, Emeritus and past CAA John D. Powers, University of Tennessee School of Art president retired from Vanderbilt University in 2016. The John D. Powers is a Professor of Sculpture and Time-Based Bernice Steinbaum Gallery in NYC, the Delaware Art at the University of Tennessee. He received his M.F.A. in Contemporary, the Museum of Contemporary Art Jacksonville, sculpture at the University of Georgia and his B.A. in art the Wichita Art Museum, and the Indianapolis Art Center are history from Vanderbilt University. He is the recipient of a among the venues that have hosted solo shows of his Guggenheim Fellowship, the Virginia A. Groot Foundation installations. Following a national competition Aurbach’s work Award, a Joan Mitchell Foundation MFA Grant, and the was selected for the inaugural contemporary show at the Frist Southeastern College Art Conference Individual Artist Art Museum in Nashville. He has been the recipient of grants Fellowship. His work has been featured in The New York from the National Endowment for the Arts, the Southern Arts Times, World Sculpture News, Sculpture Magazine, Art Federation, the Tennessee Arts Commission, the Puffin Forum, Art in America, and on CBS News Sunday Morning. In Foundation, and Art Matters Inc. His creative works have been regard to his creative work Powers claims that he is “engaged featured in Sculpture Magazine, World Sculpture News, in an investigation of what lies at the intersection of cinema, Leonardo, Metalsmith, and Art Papers. His educational computation, music, and physical space. By employing motion background includes the MFA in sculpture from Southern and sound in my work, I incorporate the passage of time as a Methodist University and the MA in art history from the compositional element in an attempt to more closely examine University of Kansas. abstract and often intangible topics such as memory, thought, emotion, language and the essence of self.” Succeeding in a Liberal Arts Setting: Perspectives of an Asian Art Historian Karil Kucera, St. Olaf College Karil Kucera is Professor of Asian Visual Culture and the Associate Dean of Interdisciplinary and General Studies at St. Olaf College. She is also a past chair of St. Olaf’s Asian Studies Department. Kucera earned her Ph.D. in East Asian Art at the University of Kansas, her M.A. in Chinese Art at the University of Oregon, and her B.A. at the University of Wisconsin – Madison. Her research interests include the study of sacred sites, religious sculpture of various traditions, and digital pedagogy. She is the author of Ritual and Representation at a Chinese Buddhist Site: Visualizing Enlightenment at Baodingshan from the 12th to the 21st Centuries (Amherst, NY: Cambria 2016). Given her interest in digital pedagogy, she is currently working on an e-textbook on sacred sites of Asia. She has been very successful at securing grants for various activities related to pedagogy, website development, and programming through external sources such as the Andrew Mellon Foundation. 03/22/2022 https://www.collegeart.org Page 18 of 234 110th CAA Annual Conference Bay Area Women Artists’ Legacy Project: A Beyond In/visibility: the Politics of Asian Model for a Cultural and Historical Record American Representation in American Art Chair: Jan Wurm, Berkeley Art Project History ASSOCIATION OF HISTORIANS OF AMERICAN ART For women who had been making art in the San Francisco Bay Area for several decades, there were some very clear common Chairs: Grace Sayuri Yasumura, Smithsonian American observations: their work generally was not represented in Art Museum; Z. Serena Qiu, University of Pennsylvania museum collections throughout the United States, to a disturbing What are the consequences of asking for greater Asian number their work was not even significantly represented in local American visibility in art history? We are reckoning anew with our museums, their decades of exhibitions were not critically discipline’s intellectual and material priorities which catalogued, and their significant teaching, curating, and haveenforced racial-class-gender hierarchies and American organizing were not systematically archived. These women had imperialist and exceptionalist ideologies.Across museums and been a creative force in many institutions throughout the universities, immediate solutions call for increased inclusion community and yet their contributions to the unique culture of andrepresentation of marginalized peoples into existing historical Northern California might fade, be forgotten, or even lost. Late canons. What are the limits ofthese correctives for peoples who career provides an overview clarifying the artist’s legacy. have been dehumanized through aestheticization Securing that legacy was a common concern that brought this andsurveillance throughout American history, and endangered group of women together to join forces in documenting their because of their hypervisibility ineveryday life? Now over 50 histories and the changing times through which they had years since the term “Asian American” emerged as a persevered. An initial meeting of eleven women in 2015 focused disciplinaryand political category, we must reflect on ways to on stewardship of artwork and establishing a working group of 30 narrate the specificities of the Asian diasporawithin American that could be replicated in neighboring areas. Digital resources academies and museums beyond the binaries of visible/invisible, enabled BAWALP to create a website featuring each artist’s work inclusion/exclusion. This panel invites ongoing research, and statement, publish a survey book with introduction by curatorial case studies, and experimental methodologies historian Terri Cohn, record artists’ interviews for the website, thatengage with issues such as: How has “Asian American” been and create a YouTube channel. A new book focusing on the a useful and limiting category forresearch, curation, and museum 1970’s with introduction by critic Maria Porges paves the way for interpretation? What are strategies to present the future volumes documenting following decades. This model historicalabsence or loss of Asian American subjects in archives allows expansion and serves as a directory for deeper and permanent collections? Are thereways to identify scholarship contextualizing artists working across painting, unconventional presence through creative citation or display sculpture, glass, textiles, photography, and film. practices? Howmight Asian American art histories attend to moments of solidarity and failure with respect toBlack, Latinx, Indigenous and Pacific Islander communities and objects? How can AsianAmerican art histories counter existing disciplinary priorities to aestheticize, visibly represent,visually clarify, expose, access, and possess its subjects—for example, through opacity,obscuration, dis-orientation, mistranslation, protective veiling? Envisioning Diasporic Entanglements: Speculative Methodologies and Asian American Built Environments Lisa Beyeler-Yvarra Inspired by the multisensory, transdisciplinary, and collaborative work of architect Sumayya Vally and sociologist Denise Lim, this project utilizes speculative mapping strategies to visualize the “diasporic entanglements” of the past in order to excavate the spatial networks that haunt our present and imagine potential futures of solidarity. Shifting from the local and the micro-sensorial to national and regional scales, these cartographic visualizations situate Asian American spaces as crucibles within a palimpsest of cultural networks; from the formal spatial arrangements that exclude, conceal, and assimilate to the fugitive spatial constellations of gathering, belonging, and re existing. For this presentation, I will focus on Yuri Kochiyama’s kitchen table as an Asian American “countersite” (Lowe) within and in resistance to the hegemony of U.S. settler memory and national culture. My 03/22/2022 https://www.collegeart.org Page 19 of 234 110th CAA Annual Conference project visualizes the entanglements between the everyday infiltration, collaboration, queering, and citation in countering artifacts that make up Kochiyama’s kitchen table—letters to the various impositions placed on the South Asian American political prisoners, flyers for protests and organizing (and more broadly Asian American) body: from persistent campaigns, instant noodle packages, origami paper cranes, invisibility, to the dangers of being packaged as the “exotic newspaper clippings, and family photographs—and the larger export,” to being subject to constant surveillance and spatial systems of racially discriminatory housing policies suspicion, and perhaps most especially, the long history of within the Manhattanville Houses, West Harlem, and U.S. anthropological displays of looted objects and materials from metropolises more broadly. In this way, I argue that Asian South Asia in encyclopedic museums. American built environments are not reductive spaces of exclusion, internment, and foreign deviation, but are complex, Inscrutability as Queer Modes of Asian American Life entangled spaces that are always co-constructed with and Vivian Huang, Williams College responsible to Black, Indigenous, Latinx, and Pacific Islander I propose to share an overview of my work on inscrutability as histories, communities, and futures. a queer form of Asian American appearance. My interdisciplinary research, forthcoming in my book Surface Convoluted and Labyrinthine: Carlos Villa’s Radical Relations: Queer Forms of Asian American Inscrutability, Approach to Identity draws from performance and visual studies, gender and Chaeeun Lee, Graduate Center, CUNY sexuality studies, and Asian American studies, and engages In Carlos Villa’s 1970 piece My Roots, an unstretched canvas the central question of this panel: “What are the bearing convoluted patterns of coil-like forms is adorned with consequences of asking for greater Asian American visibility in dark brown feathers arranged in a similarly labyrinthine shape. art history?” In turn, I ask: What have aesthetic and affective Its title, “My Roots,” unambiguously points to the concern for discourses of Asian American invisibility in fact produced? self-identity that Villa, as a Filipino American from San How do we scholars of visual and performance arts create Francisco, grappled with during the formative years of his space and language to engage what I call minoritarian career in the 1960s and the 1970s. However, the formalist aesthetics of obfuscation? To focus my presentation, I will treatment of the lines and shapes obscures easy identification consider Baseera Khan’s performance work Acoustic Sound of his origins and instead vaguely invokes a range of Blankets and their use of brown, Muslim, femme aesthetics – associations from indigenous Polynesian culture to Abstract most prominently, veiling – to shield, invite, and negotiate Expressionism. Indeed, Villa’s work from the 1970s—including engagement with audience members. In these interactive his curatorial work Other Sources: An American Essay performances, the artist is cloaked beneath a quilted black organized around the concept of “third world art” as well as his sound panel, embroidered in gold thread, equipped with a mixed-media paintings like My Roots—invites an exploration microphone to speak from and solicit pointed interactions with of the hybridity and interrelatedness of diverse peoples and select audience members. Khan’s art-making allows us to ask cultures, rendering porous—if not altogether invalid—the not only about the foreclosure of orientalist projections onto established categories of race and ethnicity. My paper shows Asian diasporic and femme bodies but also how Asian how Villa’s radical approach to identity was inspired by both diasporic and femme artists scramble these historic gestures the syncretic history of the Philippines and the interracial to facilitate and experiment with social practices. In these conversations that underpinned various identity rights (e.g., ways, a racial aesthetic of inscrutable with-holding becomes a Black, Chicano, and Asian American) and Third World strategy for queer relation. movements in the U.S. In doing so, I aim to complicate Asian American art history of the 1960s-1970s beyond that which is narrowly marked by the rise of Asian American movement, and propose to rethink Asian American art and identity in relational terms, convoluted and labyrinthine as Villa’s work demonstrates. From Art Collectives to Institutions: Complicating South Asian American Art Ambika Trasi, Independent Considering the prolonged omission of South Asian American subjectivity within art institutions in the United States, this lecture-performance will unpack the complex consequences of making South Asian American art visible through my personal experiences working in various spaces in the field—from collaborative platforms like Asia Contemporary Art Week, to queer, feminist art collectives like the South Asian Womxn’s Creative Collective, to co-curating Salman Toor: How Will I Know at the Whitney Museum of American Art, and curating in virtual spaces like the South Asian Institute’s recent Diasporic Rhizome exhibition. In relaying my experiences, I will dissect and question the successes and failures of strategies such as: 03/22/2022 https://www.collegeart.org Page 20 of 234 110th CAA Annual Conference steppe nomads deserted cities, ultimately returning to the Beyond the Silk Road portable luxury of earlier steppe cultures. Chair: Di Luo, Connecticut College Diplomatic Exchanges and Architectural Inventions along Scholars have often evoked the Silk Road as a readymade the Silk Road: The Case of Soltaniyeh and Santa Maria model to validate long-distance interactions in their attempt to del Fiore present a cross-cultural history of architecture. In Alexander Lorenzo Vigotti, Kunsthistorisches Institut in Florenz Soper's investigation of the Dome of Heaven in Asia, the Silk This study explores the transmission of architectural Road provided the necessary means to historicize the knowledge across the Silk Road during the fourteenth century, connections between the ceilings of Rome, India, and China. But focusing on the construction of double-shell brick domes in Soper's approach has since received criticisms for the Seljuk and Ilkhanid Persia and Italy, based on the preliminary Eurocentric, perhaps Orientalist, view of the diffusion of work of Italian restorers in Iranian medieval domes during the architecture from the West to the East, and for ignoring unique 1960s-70s and abruptly interrupted by the revolution in 1979. cultural contexts that bestowed Asian domes with disparate The technology of building double-shell brick domes was purposes and meanings. This session explores new approaches uniquely employed in Iran starting from the 11th century, to the study of the global history of architecture. How might we progressing from simple tomb towers to large mausoleums in investigate the transmission of architectural knowledge across the 14th century. The largest among those domes, the long distances in the past, and how do we build toward an Mausoleum of Oljaitü in Soltaniyeh (1302 CE) was the object unbiased discourse of global history that reveals not unilateral of an initial study by Italian conservator Piero Sanpaolesi "influences," but multi-lateral interactions between architectures during the 1960s-70s, who compared the materials and the of the world? How might alternative models and theories suggest structural solutions to the dome of the Florentine cathedral new routes and patterns of human movement and built by Brunelleschi in early 15th century. Sanpaolesi realized communication not already mapped on the existing Silk Road? that double-shell structures or self-supporting brickworks had This session welcomes papers that explore long-distance no precedents in the European context, but they were widely exchanges in architecture that challenge, supplement, revise, or used in medieval Iran. Recent published scholarship written subvert the Silk Road model, broadly defined. All cultures and on the intense commercial and diplomatic exchanges between periods are welcome. Papers may introduce new models or Iran and Italy during the Middle Ages and on-site visits in local methods, reveal new materials, provide case studies, or present archives and monuments in Iran support the idea of a works in progress. circulation of technical knowledge between Persia and Italy along the Silk Road. This study is part of a larger project that Alternative Routes: Toward a “Steppe City” in the Mongol includes Italian and Iranian scholars with the aim of revealing Empire’s Northwest the global dimension of an interconnected early modern world, Petya Andreeva, Parsons, The New School which included both Europe and the Mongol Empire, and the After the division of the Mongol empire, its northwestern circulation of craftmanship that animated its material life. portion, the Golden Horde, played a pivotal role in the Mongols’ rise as a strategic player in global politics and trade. "The city is but a dreamscape": Liu Yujia's "Black Ocean," During the late 13th and early 14th century, the Mongols a Silk Road Oasis redrew the map of the Silk Roads, establishing additional axes Ellen Larson to already existing Eurasian routes, namely the Black Sea In 2016, artist Liu Yujia produced Black Ocean, a film which route (Urgench-Sarai-Caffa) and Spice route through the documents the daily operations of an oil refinery, situated Islamic lands of the Ilkhanate. The present study focuses on along the historic Silk Road within what is now China’s Gobi the former and explores how the trade route through the Desert. The film observes an architectural spectacle created Golden Horde changed the migratory patterns, artistic through the extraction of oil and other natural resources. This production and demand for certain objects amongst the region, located in Xinjiang Province, provides energy for Mongol and Turkic nomadic elite. The paper will account for domestic consumption, supporting the rapid transformation of phenomena specific to the Golden Horde society: the creation Eastern China’s urban spaces. Oil is also exported to of “steppe cities” and the forced sedentization and bordering nations as part of President Xi Jinping’s Belt and Islamification of a traditionally nomadic cultural sphere. Road Initiative. Presenting Black Ocean as a case study, Liu Indeed, pastoral nomadic populations, including members of treats this built environment as a medium which activates non- the elite nucleus, were gradually resettled into newly linear atemporal movement from one imagined community to established urban centers on the Golden horde’s steppe core another, while simultaneously uncovering “natural histories” along the Volga River. This study will observe to what extent which exist across space and time. The video is accompanied this newly embraced transition toward sedentism was by text drawn from Italo Calvino’s 1972 novel Invisible Cities, successfully implemented in the Golden Horde, and how it which describes the travels of Venetian explorer Marco Polo, impacted the traditional arts and crafts of steppe nomads. along with Polo’s descriptions of cosmopolitan centers dotting Finally, the paper investigates the consequent reinvigoration of the Silk Road. Black Ocean not only re-imagines “invisible centuries-old decorative traditions among the Eurasian cities” within the context of Calvino’s text, but also nomads in response to the first waves of the plague. In the contemporary metropolitan centers who depend on natural wake of the Black Death which ravaged the Golden Horde, resources extracted within this periphery. Yet, here, time is demarcated through slow, cyclical movements of machines 03/22/2022 https://www.collegeart.org Page 21 of 234 110th CAA Annual Conference and other human-made structures. Thus, Black Ocean evokes necessarily call to question the traditional dating of paintings in coeval notions of time and multilateral exchange in the narthex as they appear to be a reworking of earlier relationship to the built environment, nodding to historic, frescoes destroyed in an earthquake. Reading the frescoes in religious, and fictitious Silk Road architecture of the past, while the narthex as a product of the Desiderian creative culture simultaneously making a great leap forward into the future, allows us to release their interpretative potential in a new way. with viewers meandering somewhere in between. More than that, it offers us hints how the Cassinese monks of the abbey’s Golden Era were taught to look at images; what did they see when they saw an image on a wall? Apart from Beyond Transfer and Revival: Narrative purely visual questions, dating the frescoes in the narthex to Creativity in Medieval Italian Mural the late 11th century also connects them more directly with the Decoration (11th–13th c.) intellectual and literary currents of the abbey at its height. The frescoes participate in the re-evaluation of the Classical past ITALIAN ART SOCIETY in the monastery at that time and they shed light to the Chair: Armin Bergmeier, Leipzig University mentality behind the changes in the Cassinese liturgical calendar and liturgical readings under Abbot Desiderius. Discussant: Alison Locke Perchuk, California State University Channel Islands Saint John at Porta Latina: An Innovative Roman Bible The period 1000–1250 saw vibrant artistic and intellectual Chiara Paniccia, Università degli Studi "Gabriele creativity in medieval Italian wall paintings and mosaics. Large- D'Annunzio" di Chieti-Pescara format narrative sequences were deployed in new ways to At the end of the 12th century, the iconographic tradition of the elevate viewers spiritually, perform exegesis, shape communal Roman Bible, painted on the walls of churches in imitation of identity, teach history and theology, and display power. Authors the models of the Roman apostolic basilicas, reached the and artists offered sophisticated theorizations of the aesthetic, height of its fortunes and at the same time came to an end. affective, and communicative capacities of images. While some The basilica of Saint John at Porta Latina was probably sequences drew on existing models, notably the paintings and renovated during the pontificate of Pope Celestine III mosaics that accrued to Old St. Peter’s, many more were ad hoc (1191-1198). Unlike the traditional biblical cycles, the Porta creations, mixing old and new motifs, styles, and artistic Latina paintings have a particular narrative development due strategies to generate distinctive compositions intended for to their arrangement in the space of the church and the specific spaces, sites, and purposes. The historical and selection of biblical episodes. The number of episodes is conceptual weight of Rome (then as now) and the natural smaller than traditional and the narrative sequence does not coherence of pictorial recensions versus the heterogeneity of provide for a typological relationship between the Old and unaffiliated narrative sequences has resulted in a New Testaments arranged on the two walls but, as customary historiographical privileging of passive transfers and revivals in the Italo-Southern area, the episodes follow a ring direction. over discrete acts of artistic and patronal creative agency. This Unlike the Italian-southern model, however, the biblical stories panel seeks to reset that balance. Narrative creativity played out only concern the nave. There are no iconographic in the development of new iconographies, narrative structures, comparisons for the narration of both the presbytery and the and framing systems, and in the reimagining and repurposing of counter-façade: in St John's the Last Judgement is related to old ones. New pictorial strategies were generated for new some Old Testament episodes painted in the upper part of the architectural forms and spatio-liturgical arrangements; Byzantine wall. So far, not enough attention has been paid to the novelty decorative practices were integrated with Latin architecture and of this cycle with respect to tradition. The paper intends to vice versa. Collective analyses generally cluster by iconography, reflect on the way the iconographic programme of Porta Latina region, or artisans; we seek instead to bring together papers is organised in relation to the physical space of the church and underscoring how creativity manifested itself in discrete the figurative interaction of the images. We therefore question monuments, whether well-known, like Santa Maria in Cosmedin the relationship with the models and the creative intentions of or Sant’Angelo in Formis, or deserving of greater fame, like San a concepteur who made unique the figurative programme. Tommaso ad Acquanegra sul Chiese or San Calocero in Civate. Narrative Creativity and Acts of Imitation on the Vercelli The Frescoes in the Narthex of Sant’Angelo in Formis Rotolus Teemu Immonen, University of Turku Evan A. Gatti, Elon University Narrative Creativity and Acts of Imitation on the Vercelli The Frescoes in the Narthex of Sant’Angelo in Formis In the Rotolus Scholars of medieval Italian wall painting are likely present paper, I discuss the relation between the frescoes in familiar with the 13th-century Vercelli Rotolus (Archivio the narthex of Sant’Angelo in Formis and the biblical fresco Capitolare Vercelli, #5) as an exemplum (or model book) that program inside the church. The program inside comes from preserved frescoes purported to have decorated the nave of the time of Abbot Desiderius while the frescoes in the narthex the Cathedral of San Eusebius in Vercelli.1 The rotolus, which are usually dated to the late 12th century. Analysing the is comprised of three sheets of vellum glued together and interplay between the frescoes within and without the entrance organized into two rows, is divided into 9 sections, depicting wall, I argue that they form a thematical whole and function as 18 vignettes from the Acts of the Apostles (Acts 2-21). parts of a single program, originally composed by the learned According to a 17th-century description of the Cathedral, the Cassinese elites of the Desiderian era. This does not main nave of the church was divided into nine bays, as 03/22/2022 https://www.collegeart.org Page 22 of 234 110th CAA Annual Conference reflected in the drawing, and was painted with scenes from language that defile heritage, lineage, and spirituality. I Acts. As compelling as these alignments are, the Vercelli highlight the significance of Amaki’s usage of unorthodox Rotolus (hereafter VR) has more to offer scholars than what it materials such as buttons, vintage photographs, postcards, once was. As has been argued by Enrica Pagella, the VR church fans, and other found objects to tell stories of Black offers insight into the processes and mindsets of transmission Americans to challenge the historical narrative portrayed in and influence.2 I will contend that the material and formal Eurocentric art. The scarcity of Black women collage artists’ aspects of the VR itself—the thing as it is and not just a visibility in art disconnects the historical, gendered, and lived referent for what once was--should be seen as a meaningful experiences of Black women. This presentation highlights model for inquiry.3 In this paper, I will argue that the order and Amaki’s artistic processes, the meaning behind her collages, visual arrangement of imagery preserved on the VR raises influences of her mother, living in the south, and how her important questions about medieval narratives and fascination with buttons became an artform through an iconography. As part of a larger project, I will discuss the interview. As a result, the audience will observe the boldness development of a facsimile of the VR (to be produced by and fearlessness of Amaki’s collages and her relationship with Facsimile Finder) as well as an academic commentary, and a spirituality, ancestry, and agency. In considering the teaching guide for using the VR in a general studies significance of the Black Collage, I identify how race and classroom. (250 words) gender shaped Amaki’s actions and values reflected in her collages. Black Collage Un-Becoming: Deborah Roberts on Black Girlhood Chair: Julie L. McGee, University of Delaware Kéla Briana Jackson In her text In the Wake: On Blackness and Being, Christina Black Collage, before and beyond Romare Bearden, respects Sharpe delineates “anagrammatical blackness” as “...we can the multivalent nature inherent to Black and Collage. How have see the moments when blackness opens up into the and do artists and scholars participate in the un-doing of anagrammatical in the literal sense as when, ‘a word, a modernist tropes associated with a history of collage that phrase, or a name is formed by rearranging the letters of displaced Black subjectivity and agency? Black collage may another,” then again in the “metaphorical sense in how, adhere to a practice of coller, in reference to the French verb regarding blackness, grammatical blackness falls away and which means to paste or glue, but in ways that don’t inherently new meanings proliferate...” Deborah Roberts’s collage, bind this practice to European Modernism, Pablo Picasso or "Political Lambs in a Wolf’s World," examines the limits of Georges Braque. Suppose coller hews more to adhesive than visual language that make legible beauty, girlhood, and metaphor--that Black collage transcends pieces for blackness through a figuring and refiguring of the Black girl compositional uniqueness, a symphony's manuscript. Black child which parallels the breaking down and building up American artists used collage before Bearden, yet there is no encompassed within anagrammatical blackness. Through her denying the centrality of his work to this conversation. Indeed, amalgamated figures comprised of images sourced from Bearden’s significance calls us to think deeply about the popular culture, history, and embellished with her painting and extended practice and importance of collage and Black artists. drawing, Roberts constructs a vision of freedom that requires Among the many who have are Ralph Ellison, Kobena Mercer, an undisciplined gaze—a counter-practice of reading and Patricia Hills, James Smalls, Jacqueline Francis, Ruth Fine, and seeing the body, specifically the bodies of Black girls. Brent Hayes Edwards. In early 1961, while living in Stockholm, Therefore, I read Political Lambs in a Wolf’s World as Sam Middleton completed a treatise on collage that placed his Roberts’s provocation of the possibilities of reconfiguring the own work in a direct line of inheritance from Picasso and Cubism categories of beauty, girlhood, and blackness to honor the to Surrealism and Dada—for its radical aesthetic refusals and specific intricacies of Black girlhood. To that end, this paper nowness. Appropriating Shahn, Middleton wrote, “Art always has considers Political Lambs in a Wolf’s World as a product of its ingredients of impudence, its rejection of established order so critical visual fabulation, through which Roberts reconfigures that it may substitute its own fresh and contemporary authority images of Black girls, while simultaneously offering models of and its own enlightenment.” This session invites contributions being and knowing otherwise. related to Black collage, audacity and enlightenment. Considerations of history, theory, conservation, and artistic Black and Queer, Queer and Black: The Collage of practice are welcome. Jonathan Lyndon Chase Peter Murphy De-Racing Black American Art Campaign: The Collages of This paper examines how recent work by Jonathan Lyndon Amalia Amaki Chase (b. 1989, United States) conceives of Blackness and Indira Bailey queerness as capacious identities that can coexist rather than Black American artists create black collages to express their oppose or overtake one another. They achieve this, I argue, culture, history, and spirituality. For many artists, collages by using holding as a motif in depictions of intimacy between represent lived experiences and memories. This presentation Black gay men and as a technique in the form of collage. The explores contemporary artist Amalia Amaki’s collages that representation of Blackness and queerness is clear in scenes highlight what she calls the De-racing Black American art of men having sex, all of which are rendered in an expressive campaign to provide agency by removing racial barriers and manner that features exuberant lines and visceral colors. How these two identities can inform one another without 03/22/2022 https://www.collegeart.org Page 23 of 234 110th CAA Annual Conference superseding the other, however, is not as straightforward. Through maps and census records, this paper reconstructs Drawing upon scholarship by Jennifer Nash and Darieck Scott the social world of the artist’s backyard scene, and recovers that argues that the anus is both racialized and queered in the Tenderloin, particularly its Black residents, as a critical representations of the Black body, this paper will demonstrate component of Sloan’s oeuvre—without which we cannot fully how Chase explores race and queerness evenly with no single understand his city scenes. Scholars have emphasized the identity holding more weight than the other by using collage to importance of Sloan’s everyday setting to his art, but the form the Black anus. I will analyze how the artist makes the Tenderloin has escaped scrutiny—or, been conflated with anus a material and tangible subject in their work by Chelsea. Broadly, racist real estate practices led to the constructing it through impasto and/or pasting images from segregation of New York’s neighborhoods; the Tenderloin was Black gay pornography. By bringing these sexual signs of one of few areas where Black New Yorkers could rent. The Black men to the surface of their work, Chase asks us to shared spaces featured in Sloan’s paintings would have been recognize the distinctness of race and sexuality and their places of encounter for people of different racial backgrounds complex relationship. Like the men holding each other or (as they were for Sloan)—however, he chose to depict only themselves in the works, the collaged signs act as the white or white-passing neighbors in these spaces. Although conjunction between race and sexuality that are resolutely works like Movies, Five Cents (1907) indicate his awareness Black and queer, queer and Black. of interracial dynamics, Sloan avoided those relations when portraying scenes glimpsed from his home—bringing, instead, his own racism into view. By concentrating on what is not Blackness and the Ashcan School shown—Sloan’s Black neighbors—this paper confronts art Chairs: Jordana Moore Saggese, University of historical narratives that have interpreted Ashcan art as an Maryland, College Park; Gwendolyn D. Shaw “honest” portrayal of urban life, sidestepping its racist underpinnings. Ultimately, it argues that Sloan’s urban vision Discussant: Alexis L. Boylan, University of Connecticut paralleled broader Progressive Era reformers’ attention to In the century since the American Ashcan School rose to critical white foreign-born populations at the expense of Black acclaim, a predominant narrative has shaped these white male residents. artists— George Bellows, George Luks, Robert Henri, and John Sloan —as honest painters of urban life. Most early scholars Willie Gee and Robert Henri’s Black Portraiture either did not recognize, or purposefully choose to ignore, the Margarita Karasoulas, Bruce Museum many problematic aspects of the group's shared obsession with In Robert Henri’s arresting painting Willie Gee (1904), a young observing the slums of lower Manhattan, then populated with Black child looks out at the viewer with a direct, penetrating newly-immigrated poor Europeans and African American gaze. Identified by name, Gee was a newsboy, the son of a migrants from the postbellum South. Much of the historiography formerly enslaved woman from Virginia who delivered the propagates narratives about Ashcan artists and their work as paper to Henri’s home at the Sherwood Studio Building on being focused on “the real” and made with a commitment to the West 57th Street and Sixth Avenue, then located just east of celebration of the humanity they encountered in the metropolis, the predominantly African American neighborhood of San subsequently inculcating ideals of white, heteronormative Juan Hill. Long understood by scholars as an empathetic and masculinity and mastery within the history of American sensitively rendered portrayal of a Black child, the portrait is modernism. Regrettably, these engagements failed to one of only five depictions of Black subjects throughout contextualize Ashcan within the dominant Jim Crow-era Henri’s prolific career, including Eva Green (1907) and three preoccupations of denigrating and classifying racial and ethnic portraits of another newsboy named Sylvester, painted in La types, which dominated the broader culture and the urban Jolla, California in 1914. This paper will address Henri’s environment within which they were working. The presentations portraits of Black children and his complex and evolving included in "Ashcan and Blackness," examine these artists's engagement with race. While scholars have addressed Henri’s personal beliefs about racial difference and social hierarchies; career-long interest in depicting children of different races and their open participation in racially-denigrating cultural practices, nationalities, less attention has been paid to Henri’s including personally donning and performing in blackface; and engagement with minstrelsy and his own personal attitudes their near-exclusive focus on picturing white figures, even in toward Black individuals he encountered in Philadelphia and distinctively urban settings where interracial and interethnic New York. How might we reconcile Henri’s seemingly contact was a part of daily life. By re-linking Ashcan to the world “humanist” views with his deeply held racist ideologies? To of burnt cork in which it was forged, they make an intervention what extent can we trace his interest in the Black subject into a previously limited understanding of Ashcan's deep across his career and what does it mean that he limited such immersion within painful racist histories. representations to children? Attending closely to the archival record and to the circumstances of the portraits’ creation allows for a deeper understanding of the ways in which Locating Blackness in John Sloan’s Backyard Scene Blackness operates in Henri’s oeuvre. Lee Ann Custer, University of Arizona In 1904, John Sloan moved to New York and took up Bellows’s Boxers: Race and Manhood in the Gilded Age residence at the edge of the Tenderloin district. This location Jordana Moore Saggese, University of Maryland, served as inspiration for him over the next six years, as College Park exemplified by Three A.M. (1909) and Pigeons (1910). This paper takes up the story of George Bellows’s 1909 03/22/2022 https://www.collegeart.org Page 24 of 234 110th CAA Annual Conference painting Both Members of this Club and what it might tell us about the relationship between the fine arts, sports, and race Botanical Intimacies: Colonialism, Decolonial in the early twentieth century. In the century that has passed Practice, and Queered Ecologies between then and now, historians and critics have continued the narrative of Bellows as a painter of the raw views of urban Chair: Gwyneth Jane Shanks, Colby College life and as a symbol of the emerging discourses around This roundtable questions how plant life during the long and manhood at the turn of the twentieth century. Moreover, ongoing colonial project can be articulated through registers of Bellows’s painting of an interracial boxing match has been racialized power, queered desire, and the body. The roundtable specifically praised for its progressive views around racial takes up a dialectic between the historic violences and trauma of equality, its mobilization of a classical bodily ideal, and its colonization and the pleasure and desire engendered through “realism.” But I would like to tell a different story about this plants. The conversation will question how artistic projects painting, one that considers the wider implications of sporting focused on botanical and ecological materiality can reveal the imagery in fine art and popular visual culture, one that ongoing afterlives of colonial conquest. How can botany, highlights the complications of the artist’s direct engagement ecologies, or imagined landscapes help reveal and dismantle with race, and one that argues for this painting as an colonial histories and ongoing material effects? We pay particular illustration of a wider anxiety surrounding Black bodies in the attention to embodiment, materiality, and affect to ask, “how do public sphere. I want to show how debates around masculinity the qualities of specific plants inform the kinds of relationships –that is the dominant frame of analysis for Bellows’s boxing that emerge around them?” The roundtable attempts, following paintings from the very start –are always racialized as well. May Joseph “[to] piece together...[an] assemblage of And, further, I want to show how the widespread racial multidirectional memory,” from the remains and afterlives of tensions following Emancipation and Reconstruction in the maritime travel, horticultural husbandry, and political economies United States played out between white and Black opponents and to read intimately for queered relationalities. While existing both in the boxing ring and in the frame. art historical literature on colonial expansion and botany attest to how our economic, political, and symbolic relationships with A Piece of Cake: Race, Caricature, and Performance in plants evidence colonial power, we draw on our collective George Luks’s 'Cake Walk' training in queer theory, black feminisms, critical indigenous Meaghan Walsh, University of Virginia studies, performance studies, and artistic practice to unearth and This paper provides a critical reading of Ashcan artist George imagine the variegated qualities of these relationships. How does Luks’s monotype, Cake Walk (1907) and positions the work in this focus queer the way we think about colonial relations dialogue with representations of African Americans circulating forming amongst humans or between geopolitical entities? The in popular culture at the turn of the twentieth century, including proposed roundtable would begin with 5-minute presentations of minstrel shows and Luks’s own illustrations for the New York single artworks or performances, followed by group discussion of World. By examining the role of vaudeville and print media in a set of core questions prepared in dialogue with the panelists. the duplication, replication, and circulation of racial stereotypes in visual culture, I show how Luks’s training in Todd Ayoung will be part of this roundtable these media influenced his “realist” representations of African Todd M Ayoung Americans in New York City. I contend that in Cake Walk and Originally born in Trinidad and Tobago, W.I., and educated in his cartoons, Luks leverages the visual vocabularies he first the United States, Todd Ayoung is a multi-media visual artist developed as a blackface minstrel performer to allow for specializing in two and three-dimensional design. His artistic multiple readings of his works by diverse audiences. Further, I practice focuses on the relationships among decoloniality, consider how the cakewalk dance offers a complex anti-racism, migration, “imaginary landscapes,” “natural” understanding of racial humor and identity formation in the disasters, and political art collective interventionist practices. early 1900s. A dance originated by enslaved African His current work focuses on how modernity and coloniality are Americans to poke fun at white slaveholders’ customs, the nested in capitalist productions/reproductions, and imagines cakewalk was later adopted by white minstrels to mock Black ways of dismantling capitalism through an embrace of traditions. This complex web of caricaturization through indigeneity and ecosocialism. Ayoung has exhibited in performance and mimicry results in a double satirization of museums and galleries in Denmark, Austria, Belgium, Black and white audiences alike, which, I argue, Luks England, Holland, Colombia, Costa Rica, and throughout the unwittingly explores in his 1907 monotype. In returning the United States. His artwork has been published in THIRD history of racial humor in vaudeville to Luks’s artistic practice, I TEXT, Front 3, Fredag, New York Talk, DOCUMENTS, Bomb demonstrate how this image can be read as “funny” by Black Magazine, Kyoto Journal, Semiotext(e), Found Object, Art viewers, as well as white audiences who expressed concern Journal, New Observations, Social Text, ARTBAR, Artworld about the rapidly-changing racial demographics of the city. Digest Magazine and Shifter Magazine. Ayoung is an Adjunct Assistant Professor at Pratt Institute, and a visiting instructor at NYU’s Tisch School of Art and Public Policy. [NOTE: In light of the roundtable format, proposed participants are not submitting abstracts. Instead, I have included biographies indicative of their scholarship, artistic practice, and fit for the roundtable's theme.] 03/22/2022 https://www.collegeart.org Page 25 of 234 110th CAA Annual Conference Shanks will be a part of this roundtable place and time and how embodied and material engagements Gwyneth Jane Shanks might rearrange these modes of being and belonging. Gwyneth Shanks is an Assistant Professor at Colby College, Browns’s research interrogates queerness and queer and serves on the Museum Committee for CAA. Her research performance in transnational decolonial histories and addresses several overlapping sets of concerns: how histories movements. They explore “unbelonging,” a term, which of colonization and racial capitalism impact contemporary art; simultaneously indexes and intervenes upon the transnational the political and material implications of collecting and asylum system, geopolitical histories of migration and exhibiting performance-based art; and modes of museum sexuality within sub-Saharan Africa and in Diaspora, and reimagining. She held curatorial positions at the Walker Art popular media representations that position Queer African Center in Minneapolis, Minnesota and at the Whitney Museum refugees as always already out-of-place. A second project, of American Art through the Independent Study Program. Her undertaken collaboratively with Gwyneth Shanks, focuses on book manuscript in progress, The Museum on the Move: plants, their circulation during the European colonial era, and Colonial Histories, Museum Structures, and Contemporary Art, the ways such circulations impact contemporary art. The focuses on contemporary artists whose work proposes manuscript analyzes these histories through contemporary strategies that reimagine the contemporary art museum and artists of color who triangulate botany, desire, and colonization dismantle colonial histories of representation. A second in their work: Beatrice Glow, Beatriz Cortéz, and Harmattan project, undertaken with AB Brown, focuses on plants, their Theater, founded by May Joseph. Colonial Intimacies circulation during the European colonial era, and the ways ultimately emphasizes the consequential impact of such circulations impact contemporary art. The manuscript interspecies relationships and how colonial botanical practices analyzes these histories through contemporary artists of color forge queer and collaborative bonds. Their writing has who triangulate botany, desire, and colonization in their work: appeared in The Brooklyn Rail, Women & Performance: a Beatrice Glow, Beatriz Cortéz, and Harmattan Theater, journal of feminist theory, Theatre Survey, Theatre Research founded by May Joseph. While their work privileges oft- International, Performing Arts Resources, and the Portland overlooked botanical and ecological colonial histories, they do Institute of Contemporary Art Blog. Brown received their PhD so through aesthetic strategies that depend upon intimate in Performance Studies at Northwestern University with exchanges with viewers, revealing the ongoing afterlives of cognates in Women, Gender, and Sexuality Studies as well as colonial conquest. Colonial Intimacies ultimately emphasizes Postcolonial Theory. [NOTE: Because of the roundtable the consequential impact of interspecies relationships and format, each presenter is represented with a biography rather how colonial botanical practices forge queer and collaborative than a paper abstract.] bonds. [NOTE: In light of the roundtable format, proposed participants are not submitting abstracts. Instead, I have Lewis-Cappellari will present on roundtable included biographies indicative of their scholarship, artistic Sarah Lewis-Cappellari practice, and fit for the roundtable's theme.] Sarah Lewis-Cappellari is a Ph.D. candidate at UCLA, whose work engages the interface of contemporary art, colonial presenter will serve on roundtable visual economies, and Black Studies. Lewis-Cappellari was May Joseph based in Berlin for several years where she received her MFA May Joseph is Professor of Global Studies in the Department at the University of Arts Berlin in the "Art in Context" program of Social Science and Cultural Studies at Pratt Institute, New and worked with the art & science collective Mobile Academy York and the founder of Harmattan Theater, Inc., an Berlin as the collective’s primary curator and researcher. Her environmental performance-based collective based in New current research intersects concepts of “the marvelous real,” York City. Her scholarly research combines contemporary art, contemporary art, critical race and Caribbean studies to look critical cultural theory, and environmental practice; she has at the symbolic and material resonance of how sugar and written on globalization, urbanism, performance and visual sugar cane plantations have come to dictate tastes while culture. Her books include Sea Log: Indian Ocean to New York exploring potentialities of consuming this seemingly banal (Routledge, 2019); Fluid New York: Cosmopolitan Urbanism ingredient differently through visual, curatorial, and and the Green Imagination (Duke University Press, 2013); and performance-based projects. [NOTE: As this proposal is for a Nomadic Identities: The Performance of Citizenship roundtable, I have include biographers for each roundtable (Minnesota, 1999). Since 2009, she has created community participant, rather than a paper abstract.] based, site specific performances addressing water issues along river and ocean cities around the maritime world Mtshali will serve on rountable including Istanbul, Venice, Amsterdam, Cochin, Delhi, Cape Mbongeni Mtshali Town, Lisbon, New York. Mbongeni Mtshali is an Assistant Professor at the University of Cape Town. As a multimedia artist and scholar his work Brown will serve on roundtable focuses on black queer and feminist contemporary art in post- AB Brown apartheid South Africa. Mtshali’s current research coins the AB Brown is an Assistant Professor at Colby College, and term post-Atlantic futures to explore practices of queer, Black, they are a transdisciplinary performance artist, writer, and femme belonging that decenter the Middle Passage as a performance studies scholar. Brown’s research-based practice primary analytic for framing Black diasporas. The project looks at how transness, disability, and colonialism orient us to specifically draws together contemporary art and particular histories of piracy off the coast of what is now South Africa. A 03/22/2022 https://www.collegeart.org Page 26 of 234 110th CAA Annual Conference second research project explores Sub-Saharan rituals of of the United Kingdom of Great Britain and Ireland, painted in queer belonging by historicizing the ways in which certain the years before the Easter Rising, Western Wedding plants are prepared and used in these rituals. The project links advocates a strain of Irish modernism grounded in dual these ritual botanical usages to the ways contemporary South strategies of irreverence and aesthetic badinage. Rejecting African artists are centering plants in their work to, likewise, nostalgia and iconoclasm alike as modes of nationalist cultural frame certain queer politics and possibilities. He is a Fulbright articulation, Orpen’s work instead layers questions of national Scholar and completed his doctorate in Performance Studies distinction and belonging over investigations into the at Northwestern University. [NOTE: I have included a discursive possibilities of canonical allusion. Drawing on the biography as opposed to a paper abstract, as this proposal is avant-garde theater of playwright J.M. Synge, Orpen’s tenure for a roundtable.] at the Dublin Metropolitan School, and his visibility in international exhibitions of Irish art, this paper contextualizes Orpen’s nuanced evocation of an art that looks simultaneously Britain in (and out of) Europe: Unity, back to Ireland’s past, west to Ireland’s rural community, and Separation and the Arts of Leave-Taking internationality to the possibilities of cosmopolitan pluralism. In HISTORIANS OF BRITISH ART doing so, it showcases a vision of a radical, nonsectarian Irish modernism specific to the cultural milieu immediately Chairs: Marcia Pointon; Keren Rosa Hammerschlag, preceding the Easter Rising. Australian National University The 2016 referendum and eventual withdrawal of Britain from the Turner’s Napoleon: Nation and Exile in the British Empire European Union in 2020 has brought about a protracted and Ariel Kline, Princeton University painful repositioning of Britain in relation to the rest of Europe. As This paper analyzes the ways in which J.M.W. Turner’s existing partnerships are dissolved and new partnerships sought, pendant paintings, Peace–Burial at Sea and War–The Exile Brexit has also revived interest in the British Commonwealth, and the Rock Limpet (1842), struggle to articulate the body of Britain’s alliance with America, and its role as a global middle- the national hero and its relationship to British nationalism. power. This panel will consider artistic and cultural responses to Turner’s depiction of the disgraced French emperor, in Brexit and the political, economic and social rupture it particular, is a potent view of St. Helena as a layered represents. It also seeks more generally to re-examine historical geography of British empire: 1840 was both the year that and contemporary artistic and material reflections on the Napoleon’s remains were exhumed from St. Helena and relationship of Britain to Europe. For many, Brexit was brought back to France, and when the British West African experienced as an enforced separation—a one-sided divorce. Squadron occupied the island and, in turn, made it a From maritime subjects and migration imagery to genre paintings waystation for the thousands of Africans whose forced and deathbed scenes, Britain has long-standing pictorial journeys along the Middle Passage had only recently been traditions representing leave-taking of a variety of sorts. The arts proscribed in British law. This paper, then, parses the of leave-taking, divorce and separation speak to the movement overlapping histories of Britain’s empire and its relations with of people, goods and capital, and reflect on the passage of time continental Europe, tracing a shift in modern international and nature of death. This panel will consider all media from any policy that coincided with a newly ambivalent heroism. It asks period that grapples with these themes in British art, visual and to what degree Turner’s pendant paintings, both of which material culture. (British art here includes art produced in and depict the hero’s leave-taking, express these national and about the former British Empire.) Examinations of the visual imperial histories. cultures of mourning, migration, deportation and resistance to enforced separations, especially in the context of Brexit and other recent political crises, are encouraged. We welcome proposals that are broad and creative in their interpretation of the theme. Britain, Brexit, Berlin: Kasia Fudakowski and the Art of Separation Marsha McCoy Ireland’s Leave-Taking and the Aesthetics of Disunion: William Orpen's Western Wedding (1914) Judith M Stapleton This paper examines William Orpen’s allegorical painting Western Wedding. Produced in 1914 in the context of increasing agitation for Irish independence, Orpen’s work is nominally a depiction of union. But just as the bride and groom lean subtlety away from each other under the watchful eye of their witnesses, Orpen’s scene speaks to the farce, and not the reality, of social accord. As an allegory of the disseverance 03/22/2022 https://www.collegeart.org Page 27 of 234 110th CAA Annual Conference illustrators of travelogues and topographical collections -- Buildings on the Move: Architecture and ranging in time from the Peregrinatio in Terram Sanctum Travel Across the Pre-Modern World (1486) to William Lodge's Book of Divers Prospects (ca.1685) RENAISSANCE SOCIETY OF AMERICA -- encountered Gothic sites, the paradigms they applied when recording textual and visual data, and how the resulting Chairs: Elisabeth Dawn Narkin, National Gallery of Art; images and their dissemination perpetuated new meanings of Kyle G. Sweeney, Winthrop University Gothic. Contemporary discussions of the impact of globalization and Migrating Inventions. Brunelleschi’s Dome and the East. digital processes on the practice of architecture often overlook Dario Donetti, University of Chicago the fact that the transmission and adaptation of architectural concepts has a long history. Since the pre-modern age, the In 1971, the Italian conservator Piero Sanpaolesi presented an movement of people, materials, techniques, and ideas has ambitious research hypothesis that challenged traditional informed architectural theory and practice. Architectural Western-centered narratives of the architecture of the Italian drawings, treatises, painted cityscapes, maps, travelogs, and Renaissance at their very heart: Brunelleschi’s design for the other records suggest that the human and informational dome of the Florentine cathedral. Sanpaolesi, in particular, networks that undergirded this interchange were multi-directional addressed an outstanding comparison with the mausoleum of and, ever-increasingly, geographically vast and that the Oljaitü in Soltaniyeh, an Iranian domed building of the late implications for architecture were profound. The mingling of 13th century, surprisingly similar in its constructive technique indigenous knowledge and local materials in the colonial and typology. After almost fifty years, the critical potential of Americas is well-known, as is the diffusion and adaptation of this critical intuition still awaits to be unlocked and gains new Italian Renaissance forms across Europe. But recent scholarship credibility within a global and comparative approach, as the and collaborative digital projects have begun to further unravel groundbreaking hypothesis for a study on the evolving history the complex modalities of pre-modern travel and its influence on of domed structures along the Silk Road. Rather than architectural practices. This panel interrogates the role travel proposing a study on the evolution of forms, our paper will played in the circulation of people, architectural knowledge, build on this premise to pursue an architectural history of materials, and techniques across the globe and examines the materials that aims to expand the traditional boundaries of the influences of travel and cultural exchange in the shaping of pre- discipline by drawing attention to the circulation of technical modern spaces. This panel seeks papers focused on knowledge. The uniqueness of Brunelleschi’s dome is, in fact, representations of the built environment, historical itinerancies, a material one: its technological innovation lies in the double- travel narratives, networks of architectural knowledge and shell structure of self-supporting brickwork, which had no publication, and the applications of geospatial technologies for precedents in the Western context. Only in these terms, one architectural history. Questions to be explored include how styles can understand the outstanding familiarity of Santa Maria del and forms acted as agents of cultural identity, how architectural Fiore with the tradition of Iranian brick-domes: the material knowledge was transmitted across space and time, and what composition of Oljaitü’s mausoleum, built more than a century travelogs and related documentation might reveal about the pre- earlier, thus speaks to a theory of the circulation of modern understanding of architecture that might otherwise be craftsmanship and building techniques in a global, early obscured. modern world that included both Europe and the Mongol Empire. Encountering Gothic in Early Modern Travel Literature The Piazza and the Maydan: Convergences and Sarah E. Thompson, Rochester Institute of Technology Exchange between Early Modern Venice and Isfahan In the sixteenth and seventeenth centuries, the Gothic style Farshid Emami, Rice University made few appearances in European architectural treatises, This presentation explores the affinities between two urban and in an era when the reproductive print—a print squares of the early modern world: The Piazza San Marco in representing a work of of art for reference or collection—was Venice and the Maydan-i Naqsh-i Jahan (Image-of-the-world at its height, Gothic buildings were rarely noted as worthy of Square) in Isfahan, the capital of the Safavid dynasty in imitation. However, even if not preferred by an academic elite, seventeenth-century Iran. Surrounded by uniform arcades, the Gothic continued in use, and was a visible, enduring presence urban form of the Maydan-i Naqsh-i Jahan is akin to the in the urban landscape; authors of travelogues or Piazza San Marco, whose arcaded porticos topped by topographical studies could not avoid Gothic structures as part apartments had just been completed when Isfahan’s new of their observation of the built environment and had to maydan was planned in the 1590s. Moreover, the Maydan-i grapple with the description of a style often dismissed as Naqsh-i Jahan featured a clock tower whose form, decoration, without rules or order. Travel literature thus became one of the and urban configuration closely resembled the Torre only genres in which Gothic was significantly visible. Images dell'Orologio, erected on the piazza in 1499. The other shared relating to this genre record not only information about the component of the two squares was the coffeehouse, the appearance of Gothic buildings, but social attitudes about quintessential social institution of the early modern world. Gothic and its meanings—meanings that seem to accumulate While the maydan featured a row of coffeehouses from the and shift rapidly in the aftermath of the Middle Ages, when the outset, in 1720 Caffè Florian was opened in Procuratie Nuove recognition and discussion of artistic style became a on the south side of the piazza. I argue that these formal preoccupation. This paper addresses how authors and affinities and shared elements were not coincidental but rather 03/22/2022 https://www.collegeart.org Page 28 of 234 110th CAA Annual Conference arose from the flow of information and materials through the movement of travelers, materials, and printed images. Printed Can Art History Be Affective? Empathy, representations of Venice appear to have been available in Emotion and the Art Historian Isfahan and Renaissance architectural plans were known to CAA-GETTY INTERNATIONAL PROGRAM local Safavid architects. As the primary models for an urban square in their respective contexts, the maydan and the Chairs: Cristian Emil Nae; Nóra Veszprémi, Masaryk piazza may have had different pedigrees but in the early University, Brno modern period they became intimately akin through the multi- What is the role of empathy and affect in art historical research directional circulation of images, commodities, and humans. and interpretation? When art historians encounter an artwork, they have at their disposal a range of tried and tested Travelers, Urban Mobility, and Understanding of the Three methodologies to guide their scholarly investigations. Yet, the art Ecologies of Early Modern Rome historian is also a subjective being, whose personal response to Susanna Caviglia, Duke University and Niall S. the artwork might precede and influence this regulated art Atkinson, University of Chicago historical enquiry. Empathy is recognised as a prerequisite for an Visitors to early modern Rome arrived in the city with various art historian’s understanding of otherness, but many other affects kinds of images, expectations, and ideas about the Eternal that might be mobilised – anger, shame, pride, desire, grief, City that was then undergoing a haphazard, sometimes delight, disgust – tend to remain unacknowledged. This session tumultuous, often gradual series of transformations. The long seeks to examine the interplay of personal affects and re-development of its urban fabric, the complex realignment of professional methodologies in art historical enquiry. How have its social relations, and the economic transformation of its art historians sought to integrate empathy and affect into their environmental legacy constituted composite interactive forces practice? How do affects, combined with art historians’ personal not fully understood by inhabitants, visitors or even modern histories, influence their choice of research topics? How do they scholars. While many plans, projects, and policies competed accompany projects dealing with social and political issues such in the contested domains of secular and ecclesiastical as inclusiveness or structural racism? How does all this relate to institutions, little attention has been given to the role of the the duality of personal and political? How important are real-life foreigner in the construction of the modern understanding of encounters with artworks, artists and colleagues in creating Rome as a real and imagined city. Perhaps unlike any other, affect, and how has the experience of isolation during the Rome existed as an amalgam of texts –letters, memories, pandemic changed our notion of what constitutes an encounter? guidebooks, theatrical and literary writings– and images We invite papers exploring these and similar questions through –illustrated compendia, printed vedute, maps and on-site case studies, taken either from the history of art history or from drawings– which were the products of an engaged physical the alumni’s own practice. experience with the city. These urban itineraries, the traces of bodies in motion, engaging with objects, buildings, topography, and memory, were an important part of the Female Artist, Male Art Historian: Affective Interaction in construction of Rome’s modern image and its meaning as an Bohdan Horyn’s Love and Creativity of Sofia Karaffa- urban palimpsest. This paper proposes that mapping travelers’ Korbut itineraries, following their journeys in an around Rome’s Halyna Kohut, Ivan Franko National University of Liviv. ancient ruins and newly-constructed squares, can bring to light Ukraine how the foreigner's perspective contributed to the What if a male art historian would write a book about a female representation of Rome’s material (architecture), social artist, who is in love with him? And what if his affective (people), and natural (landscapes) ecologies. In this paper we response to her passion would be disgust rather than love? propose that mapping urban itineraries, both verbal and visual, How such affective interaction would influence the art allows us to spatialize the creative and cognitive acts that historical writing about the artist? This paper addresses these formed an important part of Rome’s transformation into a questions by examining a case of art historian Bohdan Horyn modern city. (b.1936) and graphic artist Sofia Karaffa-Korbut (1924-1996) who were involved in a complicated personal relationship, living in Lviv, a major cultural center of Soviet Ukraine, in the early 1960s. Fifty years later, Horyn published a book Love and Creativity of Sofia Karaffa-Korbut, aiming, according to his statement, to offer an objective documentary account of the artist's life and to refute the myth that she preferred artistic pursuit over a romantic relationship. Employing deconstruction as a method, I argue that despite the author`s declared intentions, his text shifts the focus from the figure of the artist to the figure of the art historian becausethe latter attempted to justify his behavior in the toxic affective interaction that being emotionally damaging for the artist benefited his career. Choosing the genre of a collage novel, Horyn not only explicitly inscribes himself into its plot as a disproportionately major actor, but also implicitly as a story narrator takes control 03/22/2022 https://www.collegeart.org Page 29 of 234 110th CAA Annual Conference over Karaffa-Korbut’s personality, endowing it with his own Art History Revised by Artists: Transforming the Discipline thoughts and embodied experiences. Ultimately, while by Affection extensively citing Karaffa-Korbut’s personal letters through the Ana Mannarino text, Horyn fails to acknowledge her as his co-author. Whenartworksaffectother artists, leadingthem to produce new works that are interpretations, translations or revisionsof Hans Tietze: The Empathic Idiom of Art History previous pieces, artistsconstructnarratives and new Irena Kossowska, Nicolaus Copernicus University Polish readingsthat can be considereda way of making Art Academy of Sciences History.The role played by artists in the selection and The proposed paper focuses on the art theory propounded by valorization of works of the past, as well as in conducting the Hans Tietze (1880-1954), a significant, albeit nowadays understandingofthese same works, is comparable to that of neglected, exponent of the Wiener Schule der the art historian, either through the creation of new works or Kunstgeschichte, who in the early twentieth century aimed to through the production of critical texts about the works that interrelate an objectivist methodological approach with affect them.They often have different viewpoints from that of subjective evaluation and empathic interpretation of an the historian, anthropologist or ethnographer. artwork. Born and bred in Prague in the family of a Jewish Artistsmainlyfollow subjectivecriteria as the methodologyfor lawyer, he moved to Vienna in 1893. In the years 1900-1903 their choices and interpretations, such as sensibility, empathy he studied art history under the supervision of Franz Wickhoff and affections.We will explorecase studies in which and Aloïs Riegl. Yet, in his treatise Die Methode der contemporary Brazilian artists revisita traumatic pastthrough Kunstgeschichte published in 1913 he revised the theoretical their art, makingnew comprehensionsof itpossible. They models promulgated by his mentors. Discussing their produce a visual discourse that proposes new approaches approach to the analysis of form, he criticized the far-reaching toother artworksand its history: Adriana Varejão and Brazilian dependence on psychophysiology, genetic formalism and Colonial Art; Rosana Paulino and Jaime Lauriano, and the taxonomic procedures. Instead he postulated a deeper revisionof images linked to a slaverypast.Considering the integration of art historical enquiry with the cultural and social words by thewriter and artist Abdias do Nascimento, who context relevant to the work under investigation. Contrary to defines art as "an act of love", and love as "solidarity in a living the young Max Dvořák though, he paid special attention to the commitment", we understand the expressionof Art History individual artist seen as the main driving force of stylistic through art itself, from an affective viewpoint, as a possible evolution in art. Drawing on Wilhelm Diltey’s ‘descriptive way to reverse the colonialist origins of the discipline. psychology’, Tietze postulated to grasp the psychic core of the artwork in order to fully comprehend its content. Inherent in a culturally and socially shaped mind of the artist, the psychic processes became the focal point of his theory. He considered the intuitive and emphatic study of the artist’s psyche to be an indispensable tool of the art historical research apparatus. From Ludhiana to Lahore: Enmity Intercepted by Affect & Empathy Nadhra Shahbaz Khan My art historical journey of studying Sikh-period monuments started with an enmity towards the Sikhs. This was rooted in horrifying memories of atrocities committed against Muslims migrating from Ludhaian (Indian Punjab) headed for Lahore (Pakistani Punjab) during the 1947 partition, witnessed by my mother as a young girl. Quite naturally, it was not just memories that were passed down—they came complete with the horror and anxiety my mother had experienced, fused with very strong emotions against the perpetrators of those offences. These sentiments were reinforced by colonial historiography woven around the plunder and pillage of Mughal monuments at the hands of the Sikhs during their ascendancy over Punjab in the eighteenth and nineteenth centuries. It was no wonder that each semiprecious stone I saw gouged out of a surface, every brick structure denuded of its red sandstone or marble veneer, and all dilapidated mosques and tombs in Lahore morphed into human bodies in my handed-down imagination where each bruise appeared as a calculated act of violence. 03/22/2022 https://www.collegeart.org Page 30 of 234 110th CAA Annual Conference CANCELLED: Women in Architecture: The CANONIZING THE INTANGIBLE: AROMATIC African Exchange STRATEGIES IN THE MAKING OF THE Chair: Elisa Dainese U.A.E.’S NATIONAL IDENTITY In recent years there has been an international resurgence of Chair: Francesca Bacci, Zayed University interest in modern architecture and urban design in Africa, This session explores how the perfumery, bukhoor burning, especially the work of male designers in the African regions. On ghawa and spices have influenced the design and use of spaces the other hand, the African legacy of women in architecture and – whether architectural, artistic, visual, virtual or conceptual – in related overseas exchanges have largely been ignored or the context of U.A.E.'s culture. With solid archaeological relegated to be a minor topic by mainstream historiography. evidence of incense burners from ancient Yemen and South While examples on Jane Drew’s housing in Ghana and Denise Arabia, and the first archeological records of perfumery in Scott Brown’s “African view of Las Vegas” are known, more bordering Mesopotamia and Egypt dating back to 3000 B.C., the recent scholarship, for example on Ute Baumbach’s involvement extent to which these historical, rich yet volatile presences have in Ethiopia and Erica Mann’s master plan for Nairobi, have only characterized the culture of the Gulf is still under-investigated. initiated the exploration of a subject that deserves consideration Today’s use of scents ranges widely, from serving as spiritual in its own right. This session wishes to fill the lacuna. By applying medium in Islamic worship to marking exact moments in time, an intersectional lens, it proposes to investigate the role of such as al mukhamaria used only on a woman’s wedding day, women architects, their individual motivations within African and even as a medium in contemporary art. Yet this ubiquitous specificities, and the embedding in original or existing networks element of Gulf life is just beginning to be acknowledged in its connecting Africa, North-America and Europe. Papers should cultural significance, and consequently institutionally recognized cover a key period in women’s history, from the 1960s to the in canonical ways - for example, the rituals associated with the ‘80s–from when feminist debate emerged prominently in iconic consumption of Arabic coffee have been included in the architecture schools to the end of the second wave of UNESCO Lists of Intangible Cultural Heritage. This session feminism—but earlier examples could also be discussed. Papers invites to explore the historical, visual and sensual expressions are welcome that explore hidden histories of women in design of these scents from within their original cultural context, and their experience of migration to and from Africa. Topics focusing on how they contribute to shape public and private might include, but are not limited to, the diaspora of women’s spaces, artistic practices, aesthetic and linguistic choices, social architectural ideas, the surging interest in women’s work in interactions, religious worship as well as national and personal publications and conferences, the role of women in African representations. Through case studies, artistic experimentations, schools or their relations with overseas institutes. historical and theoretical investigations, these contributions immortalize the invisible, thus elusive, presence of scents as a foundational element of Khaleeji identity. A FRAGRANT SPIRITUAL HERITAGE: THE USE OF PERFUMES IN QUR'AN AND SUNNA AND IN THE ISLAMIC YET FUTURE-ORIENTED U.A.E. Ida Zilio-Grandi, Ca' Foscari University Venice This contribution will present an analysis of specific passages of the Islamic sources in relation to the sensory and spiritual qualities of scents. The presence of perfume is discreet yet persistent in in these texts. For example, some report that Prophet Muhammad's wife, Aisha, used to shower him with his favorite perfume every time he went out for prayer or meet his companions (“I would put a lot of fragrance on the Messenger of Allah, peace be upon him, to the extent that you could see the shine on his blessed forehead and blessed beard”). Many hadiths (narration of the sayings of Muhammad) highlight the Prophet’s love for fragrances and good scents like musk, oud and ambergris.In modern-day United Arab Emirates, perfume remain at the heart of daily rituals. Its importance as “intangible cultural patrimony” is increasingly more recognized by museums showcasing the nation’s history (for example, in the Perfume House at Al Shindaga Museum, Dubai). Moreover, one of the six priorities in the national agenda is “cohesive society and preserved identity”, in order to ensure that “the UAE’s distinct culture will remain founded on progressive and moderate Islamic values (...) to proudly celebrate Emirati traditions and heritage while 03/22/2022 https://www.collegeart.org Page 31 of 234 110th CAA Annual Conference reinforcing national identity”. By considering the words used to patrimony perfectly conveys its national identity in an describe the characteristics of fragrances in the Qur'an, this interesting and accessible way. UAE’s museums can connect study will offer some insights about the nature of perfume as the viewers with the memory, history, and heritage of a an important symbol of spiritual cleanliness, and consequently community, and of its nation through the elaborate storytelling as a foundational element in the establishing of UAE’s national afforded by programs that celebrate the senses. Islamic identity. MAKING SPACE FOR SMELLS: CONSIDERATIONS ON PERFUMES FROM ARABIA: A BRIEF HISTORY OF EXHIBITING THE INTANGIBLE IN U.A.E. MUSEUMS INCENSE AND FRAGRANCES IN EASTERN ARABIA Francesca Bacci, Zayed University FROM ANTIQUITY TO THE PRE-MODERN PERIOD As cultural initiatives from the Persian Gulf are increasingly Sterenn Le Maguer-Gillon, CEFREPA featured within the international museum world, the sense of Arabia is the land of incense and perfumes par excellence. opacity that used to characterize this part of the world in Indeed, frankincense and myrrh, the most coveted resins in previous decades is finally, if slowly, dissipating. Globalization Antiquity, come from the south of Arabia. The quest for these breeds familiarity, and the aura of “otherness” - this layer of resins led to the development of trade, both on land and sea. further meaning conventionally embedded in the Western The incense trade placed the Arabian Peninsula at the gaze - is dispersing, as decolonizing strategies are finally at crossroads between civilizations from the Far East to the the forefront of the work of museographers and scholars alike. Mediterranean world, and fragrant substances such as oud Yet there are some “cultural intangibles” within the current were and are still imported from southeast Asia. A refined art practices of meaning-making in the Gulf that have yet to be of perfumery developed in Arabia, based on the manufacture addressed. Among these, the codification of perfumes as an of scented oils and distilled fragrant water. This paper aims to element connected to local tradition and national identity is briefly retrace this history and to focus more specifically on the increasingly solidifying through exhibitions and dedicated evidence of the use and trade of incense and perfumes in museum displays. This paper considers how perfume Eastern Arabia from Antiquity to the late Medieval period. exhibition design constructs the physical and conceptual Indeed, several sites in the Emirates such as Mleiha or ed-Dur space of museum architecture and its environment, in order to yielded incense altars testifying to the use of incense in a feature a consistent representation of the U.A.E.’s cultural religious context. Perfume bottles were also found, offering a heritage. It presents, as case studies, the exhibition Lest We glimpse of the refinement of the civilisations that inhabited this Forget (2007, Warehouse421, Abu Dhabi), the Perfume area. During the Islamic period, Arab geographers also House (opened in 2019, Al Shindagha Museum, Dubai), as described this region as a hub for the trade between well as a small selection of public performances and museum Mesopotamia and China. Looking at archaeological and installations, discussing issues of public versus private historical evidence, this paper will show how the use and construction of space, spectacle, relational engagement and manufacture of incense and perfumes is deeply rooted in the educational storytelling. Finally, this paper argues that the Emirati society. U.A.E.’s spiritual roots in Islamic tradition, its historical shared cultural heritage with other Khaleeji nations, and its current MEMORIES THROUGH SCENT: CURATING HERITAGE national aspiration of being recognized as the “land of AND HISTORY IN ABU DHABI tolerance” are all symbolized by the story and use of its most Ayisha Hassan Khansaheb, Department of Culture and ephemeral and fragrant patrimony. Tourism, Abu Dhabi What can a bottle of mixed perfume tell us? Not just any ESCAPING THE GAZE: SENSORY TACTICS IN perfume, but one mixed by an artisanal perfume maker. By CONTEMPORARY ART IN THE U.A.E. examining fragrance in the context of Emirati Cultural Identity, Maya Allison, New York University Abu Dhabi from the history of perfumes in the region to the ways Today in the U.A.E., artists emerge under extreme pressures perfumery and perfume-making is symbolically used to from multiple directions. From conflicting cultural demands represent culture in Abu Dhabi, this paper seeks to answer reverberating from the shock of rapid industrialization, to the this question. The paper highlights present and future heat of the international spotlight on the U.A.E.’s ambitious initiatives, fueled by strategies fostered by the Cultural Sector cultural vision, art made here is most often (mis)read, by of the Department of Culture and Tourism in Abu Dhabi, viewers from abroad, almost exclusively through the lens of specifically developed by the Qasr Al Hosn curatorial and identity and socio-political issues.How, then, to make work that programming teams. Curatorially, fragrance has been used in sidesteps this over-interpretation, this sometimes-orentalizing, cultural and historic sites, such as the Qasr al Hosn (Palace too-often under-informed gaze? This project looks at Fort) and the House of Artisan in Abu Dhabi, in different ways. contemporary artists based in the U.A.E. who have found From showcasing a customized scent to represent an iconic distinct and specific voices, working against the grain of historic figure, to displaying various ingredients that showcase cliches so often layered onto readings of art from the region. the methodology of mixing perfumes, the inclusion of Their tactics often turn to the senses, to art you cannot see fragrance in exhibits highlights the power of scent and (and therefore deprive the viewer of the gaze). This ranges fragrance mixing as its own art form. The experience of Qasr from the biological, to nostalgia, and to spectacle. When a Al Hosn demonstrates the idea that fragrance is a powerful viewer is asked to consider what a work evokes in its scent, tool to the understanding of the UAE’s current culture and past do the cliches fall away more readily? Are we less likely to history. This elusive element of UAE’s intangible cultural orientalize one another when it comes to the olfactory? Can 03/22/2022 https://www.collegeart.org Page 32 of 234 110th CAA Annual Conference even cliches of incense and the Middle East fall away or be venture was initially intended as an alternate source of income meaningfully engaged in contemporary art? during graduate school; however, it gradually grew into a full- time commitment as the inflexibility of the job market and familial obligations limited my ability to accept academic Careers for Creatives: Beyond Academic positions. What began as a solo entrepreneurial venture has Jobs since shifted to, most recently, an editorial agency with a PROFESSIONAL PRACTICES COMMITTEE roster of editors—most of whom are current or former academics—specializing in application materials, book Chair: Martha M. Schloetzer, National Gallery of Art proposals, artists’ writings, and academic translation, in Workers in the arts and cultural industries experienced addition to basic copy and content editing. In this presentation, significant economic setbacks from COVID-19. At the 2021 CAA I will discuss my journey from academia into a successful Annual Meeting, employment concerns were on the minds of alt-/post-ac career, detailing how scholars and artists can many members. More than ever, the traditional professional path identify and capitalize on skill sets developed during graduate for art historians and artists seems out of reach, but the good training, as well as my advice for transitioning out of the news is art careers come in all shapes and sizes. This session academic “cult,” both mentally and practically, including seeks positive approaches to finding fulfilling employment that professional development and networking opportunities pays the bills. Topics may include: developing a second career or outside of the academy, building a client roster and healthy dual career, maintaining an artistic practice while working in an financial and legal structures, and marketing yourself and your adjacent field, and strategies for successful entrepreneurship. business. This session will benefit from a variety of perspectives in the arts. Emerging, mid-career and senior-level professionals are Professional Practice: Hard and Soft Skills encouraged to submit proposals. Austin Shaw, Western Washington University A multitude of opportunities await creatives beyond academic jobs. Every economic sector needs creative professionals. Contemporary Models for Living and Sustaining a Creative Creative teams at corporations, brands, or agencies provide Life in-house or remote employment. Alternatively, creatives work Sharon M. Louden, Chautauqua Visual Arts at successfully as freelance artists or entrepreneurs. The Chautauqua Institution development of both hard and soft skills lays the foundation to The traditional career paths for academic professionals in the success in any field. Hard skills include a creative’s ability to visual arts - artists, professors, art historians, curators, etc. - produce work and their fluency with industry standard tools. are shrinking more and more with each passing decade. Hard skills are demonstrated through a portfolio, whereas soft Subsequently, the need for outside-the-box thinking about how skills are the interpersonal etiquette that creatives need to one sustains a creative life is increasing. But this is not a bad navigate and sustain a professional practice. Soft skills thing. As an artist and the editor of the "Living and Sustaining influence professional outreach, networking, negotiation, and a Creative Life" series of books, I produced two book tours studio culture. From getting your foot in the door to steering between 2013-2018 at over 150 stops across the country and career growth, both hard and soft skills are indispensable. abroad that has informed my knowledge base regarding With two decades of experience working as a creative grass-roots solutions to these problems. I am grateful to have professional, in addition to developing a dual vocation as an been able to meet and listen to thousands upon thousands of educator, I am examining the essential qualities that contribute artists applying their creative ideas and problem-solving to an adaptable, sustainable, and ultimately fulfilling career. techniques to this seemingly intractable conundrum and my This presentation will share strategies for maintaining a findings are truly optimistic. Artists and other arts professional commercial art practice, the importance of professionals are now taking ownership of their lives outside continuing personal / passion projects, and how to of academia and these models are being replicated in all successfully cultivate relationships with clients. corners of our arts communities across the country. They are creating new paths that integrate the arts more broadly in Curating Art in a Healthcare Environment society, thereby contributing to the well-being of others. It is Antonia Dapena-Tretter, Lucile Packard Children's my mission to share some of these examples and to discuss Hospital at Stanford the small steps arts professionals can take to make big leaps Presented by the hospital’s art curator, this talk will encourage in sustaining a life, with or without academia. audience members to consider less traditional professional paths, specifically those involving art collections curated in a From Gig Worker to Entrepreneur: Capitalizing on Your medical environment. The vision for Lucile Packard Children’s Skills to Build a Business in Art History Hospital—the pediatric teaching hospital at Stanford Cara M Jordan, CUNY Graduate Center University—has always been to heal humanity through In 2015, while completing my PhD in art history, I established science and compassion, one patient and family at a time. an editorial business specializing in academic art historical But, how can art be used to amplify this purpose, creating a and visual arts manuscript services for individual scholars and truly holistic approach to healing? According to a 2008 study artists, institutions, and publishers. Based on my years’ published in the Journal of Child Healthcare, “understanding experience as an artist’s studio manager and evaluating the types of art that have stress-reducing effects on children in manuscripts as both an adjunct and peer reviewer, this healthcare settings is important in improving their 03/22/2022 https://www.collegeart.org Page 33 of 234 110th CAA Annual Conference psychological and physiological well-being, and may play a role in the healing process.” Perhaps because of studies like Carlos Villa: Worlds in Collision these, the professional field of arts and health has expanded Chair: Thea Quiray Tagle, University of Massachusetts- significantly in the past few years and has recently been Boston recognized by the World Health Organization as one of many methods to approach healing through non-clinical methods. Carlos Villa: Worlds in Collision is the first museum retrospective This presentation will use LPCH as a case study to look at of iconic Filipino American artist Carlos Villa. It opens at the how an art collection can be integrated into a hospital Newark Museum of Art on February 8, 2022, then moves to a environment, how scientific research supports the importance joint exhibition at both the San Francisco Art Institute and Asian of aesthetic considerations for patients, and how this less Art Museum in August 2022. The full-color exhibition catalog is traditional approach to collection management and curation published by UC Press and will be released in Summer 2021, might open doors for conference attendees willing to think featuring essays by Margo Machida, Lucy Lippard, Patrick outside the academic box. Flores, and Theodore Gonzalves. A longtime San Francisco Art Institute (SFAI) faculty member, Villa (1936-2013) is a legend in Art as Service: Disability as a Catalyst for Hybrid Art artistic circles for his groundbreaking approaches and his Careers Models influence on countless artists, but remains little known to many Mario Gino Alberico, Gallery 119 Inc and Justus Harris, fans and scholars of modern and contemporary art. Villa was Out Loud Health, MedSculp inspired by the late 1960s Third World Liberation consciousness Before there was COVID-19, there were artists living with in the Bay Area and radically changed his approach to artmaking disabilities that had to maintain work in corporate to reflect non-western perspectives. The exhibition illuminates environments to maintain health insurance. The authors have the social and cultural roots, as well as the global importance, of a multiplicity of experiences such as Mario Alberico’s role as Villa’s art and teaching career as he sought to forge a new kind Managing Director at Accenture and Justus Harris, who is a of art-world inclusion that reflected his own experience, healthcare consultant who has worked with Stanford Medicine commitment to diversity, and boundary-bending imagination. For X and leading healthcare companies. Since Harris and this roundtable the following curators, scholars, and artists Alberico connected via their shared experience living with involved with Carlos Villa: Worlds in Collision will discuss the chronic illness four years ago, they have worked in an significance of the Villa’s multidisciplinary practice as an artist, intergenerational business partnership that is based on the curator, and educator: Lead curator Trisha Lagaso Goldberg, concept of Art as a Service. Art as a Service is both Smithsonian curator Theodore Gonzalves, Newark Art Museum conceptual and functional within projects they have executed American Art curator Tricia Laughlin Bloom, artists Paul Pfeiffer for corporate and civic clients including the John F. Kennedy and Michael Arcega, and transdisciplinary scholar and curator Center for the performing arts as well as Intermedia Projects Thea Quiray Tagle. Inc. Art as a Service co-opts the language of consulting and design-thinking that corporate entities have adopted to Curating Carlos Villa: Worlds in Collision effectively develop projects and leverages a desire for Trisha Lagaso Goldberg, She / Her / They / Them innovation that companies are increasingly looking to artists to Trisha Lagaso Goldberg is an artist, arts administrator, and create. While artists such as Andrea Fraser have pushed the curator who previously co-curated a project with Carlos Villa boundary of Art as a Service and transaction, we present entitled Sino Ka? Ano Ka?: San Francisco Babaylan for San concrete examples of where there are opportunities in Francisco State University and the Museo Ng Maynila in 1998. corporate environments to use an art-based process of Trisha Lagaso Goldberg is the lead curator, along with Mark consulting and commissions. While highlighting the necessity Johnson, of Carlos Villa: Worlds in Collision, opening at the of artists to have parallel professional experiences in our Asian Art Museum (San Francisco) and the San Francisco Art current economy, particularly for those with disabilities, we Institute in summer 2022. She will speak about curating equally provide a hopeful vision for the type of art that can be Carlos, as someone who was close with the artist during his made from living a hybrid life as consultants and artists. In this life and as a caretaker of his legacy since his passing. way, we believe that art can reach farther and be viable in ways not traditionally taught in arts education. Carlos Villa and Families of Resemblance Theodore Gonzalves, Smithsonian Institution Theodore S. Gonzalves is a scholar of comparative cultural studies, focusing on the experiences of Asian American / Filipino American communities. He has taught in the United States (California, the District of Columbia, Hawai'i, and Maryland), Spain, and the Philippines. Theo is Curator in the Division of Cultural and Community Life at the Smithsonian Institution's National Museum of American History. He is currently serving as Interim Director of the Smithsonian Asian Pacific American Center. Gonzalves's discussion on this panel will focus on contextualizing Villa’s life and career in the San Francisco Bay Area against global and imperial flows of 03/22/2022 https://www.collegeart.org Page 34 of 234 110th CAA Annual Conference Filipinx and U.S. histories, with additional attention to San samples and re-edits to expose an uncanny emptiness Francisco's arts/culture scenes of the 1990s that he helped to underneath. From the hyperreality of photo retouching and inform. digital erasure to the endless repetition of video loops, his mastery of postproduction allows him to magnify the surreal Making Filipino American Art in the 21st Century aspects of contemporary existence, where bodies become Michael Arcega, San Francisco State University sites of saturated observation, and violence-as-entertainment Michael Arcega is an interdisciplinary artist working primarily flirts with nationalism, religion, and ancient myth. While he in sculpture and installation. His research-based work revolves also experiments with the format and scale of his works, largely around language and sociopolitical dynamics. Directly immersive audiovisual installations often cohabit with portable informed by Historic narratives, material significance, and fetish objects in his exhibitions. Throughout his practice, geography, his subject matter deals with circumstances where Pfeiffer seeks to reflect and heighten the existential condition power relations are unbalanced. His investigation of cultural of the viewer as consumer by perversely blurring the boundary markers are embedded in objects, food, architecture, visual between voyeurism and contemplation. His work has been lexicons, and vernacular languages. Michael has a BFA from presented in solo and group exhibitions internationally, the San Francisco Art Institute and an MFA from Stanford including at the 49th Venice Biennale, the Whitney Museum of University, and a was a student of Carlos Villa at SFAI. A 2012 American Art, UCLA's Hammer Museum, the Barbican Arts Guggenheim Fellow in Fine Arts and current Associate Centre London, and the National Gallery of Victoria (AU). Professor of Art at San Francisco State University, Michael's Pfeiffer's work is featured in the San Francisco Asian Art work has been shown internationally at venues including the Museum presentation of Carlos Villa: Worlds In Collision. At Museum of Contemporary Art in San Diego, the de Young CAA, he will be speaking about his recent projects based in Museum in San Francisco, Yerba Buena Center for the Arts, the US and the Philippines in relation to Carlos Villa's body of the Orange County Museum of Art, The Contemporary work. Museum in Honolulu, the Museum of Fine Arts in Houston, Cue Arts Foundation, and the Asia Society in NY among many others. Michael's work is included in the San Francisco Carnival in Africa presentation of Carlos Villa: Worlds in Collision along with two ARTS COUNCIL OF THE AFRICAN STUDIES ASSOCIATION other contemporary artists who were also students and friends Chair: Courtnay Micots with Carlos: Jenifer K. Wofford and Paul Pfeiffer. For CAA, Michael will discuss the ways Villa's mentorship and friendship Discussant: Amanda B. Carlson, University of Hartford impacted his own art practice and his thoughts on Filipino Carnival is frequently differentiated from other performance and American contemporary art in the 21st century. masquerade events by virtue of expressed resistance to authority whereby dancers and musicians take to the streets Carlos Villa: American Artist “dressing up” and “acting out” in a form of play that both Tricia Laughlin Bloom celebrates and critiques society and culture. Black Atlantic How are the public, artists, and the history of art impacted Carnivals specifically target white hegemonies and those when Indigenous and non-Western collections remain in the continuing in their place. While much has been written about margins? Carlos Villa sensed these power structures, the Carnival in the Caribbean, the Americas, and in Europe; far less glaring hegemony of the cannon, and how to disrupt it all. His is known about Carnivals in Africa. In the 19th century groups of poly-cultural works and actions were and still are a powerful emancipated Afro-Brazilians, West Indian regiments, European antidote and force for change, speaking over centuries of sailors and soldiers, and many others traveled to port towns colonialism and racism. Should we speak of Villa as a global along the African continent due to complex colonial histories. contemporary artist or an American artist? Both but perhaps These peoples brought their carnivalesque performances and foremost as a quintessentially American artist. The field of music. Fancy Dress in Ghana is one example of a local American art remains a hotly contested space among appropriation of carnival during the colonial period to address academics and museum professionals, still defined through a tensions and modernity. Other African carnivals are newer Europhilic lens, strongly linked to foundational myths of inventions, like the Calabar Carnival, designed to promote identity and belonging. Villa brought stories of immigration into tourism on the Trinidad model, yet have become political the center of his practice and led the way for others towards vehicles for local issues. Research into the Guin-Mina Yeke Yeke today's artworld where themese of social justice and cultural festival in Togo reveals the use of festive events as opportunities difference are celebrated. to repurpose imported images and expose the “carnivalesque.” This panel seeks to explore not only how these traditions Contemporary Art in/of The Philippines returned to Africa but also how they began to mix with local Paul Pfeiffer African performances. From there, we hope to expand current Paul Pfeiffer (b. 1966 Honolulu, resides in New York, NY) discourses about global African cultures in ways that consider recasts the visual language of pop spectacle to investigate Africa not only as a point of origin, but also a place of return and how media images shape our perception of the world and reinvention. ourselves. Working in video, photography, sculpture, and sound, he is drawn to moments intended for mass audiences (live sports events, stadium concert tours, televised game shows, celebrity glamour shots), which he meticulously 03/22/2022 https://www.collegeart.org Page 35 of 234 110th CAA Annual Conference Migration and Emerging Identities in Africa: Textiles and engages with the politics of provenance more closely, looking Costumes at Carnival Calabar 2017 closely at carnival performance, the participation of people Umana Ginigeme Nnochiri, Cross River University of and forms of dissonance. The different forms of cultural Technology, Calabar performance, masquerades, street parades and floats, and Calabar Carnival, an annual international event in the South band competitions come to represent forms of cultural re- East city of Calabar, Nigeria, has birthed a platform where a adaptation and synergy: a meeting point of local traditions and cultural hybrid display becomes an avenue for using the past the global popular culture. The context of cultural re- and the present to proffer a solution for the future. This event adaptation, the notions of cultural authenticity and remaking came about because of histories of migration by both force will be examined. How has the festival been remade in relation and free-will. And, in 2017 the theme of Calabar Carnival was to what has been adapted from the Caribbean? This paper MIGRATION! The theme of migration was showcased as a interrogates this remade festival as a conceptual meeting visual metaphor through textiles, costumes, and props that point where the street becomes a contested territory between were performed along a twelve kilometer route, across major the revelers and the dissident residents. streets in town. Examples will be drawn from my experience as a costume designer for of Passion 4, the winning band of Altars in Motion: Carnivalesque Adornments in Guin-Mina the Carnival Calabar 2017. This paper, from the point of view Sacred Arts of a costume designer, will explain how the visual language of Elyan Jeanine Hill, Southern Methodist University Carnival is used to propose a solution to the current economic Guin-Mina people in Togo often use festive events as situation and how the conversation about migration helps to opportunities to repurpose imported images. This paper will understand the past, present, and future. examine the “carnivalesque” (Bakhtin 1984) qualities of the Yeke Yeke festival in Togo by attending to the excesses and Power and Play: Fancy Dress Carnival in Ghana overturning of social norms that occur within the space of the Courtnay Micots festivities. Small-scale exchanges between Guin-Mina Vodun Brightly-colored fabric costumes, whimsical masks, and practitioners and South Asian merchants will be analyzed accompanying musicians identify this carnivalesque through close attention to events for Mami Wata—pan-African masquerade known as Fancy Dress across southern Ghana. water spirits often depicted as mermaids and worshipped for Beyond entertainment, carnival organization, performance, their dominion over maritime trade. These performances may music, characters and costumes activate the public sphere as operate in similar ways to Black Atlantic Carnivals. This commentary on pop culture; social and cultural mores; and “carnival space” arises as a means of inviting wealth into local local, national and international politics. A vital creative communities through tourism and religious intervention. expression of the lower classes, Fancy Dress is both comedic Participants adorn their bodies as sites where multiple entertainment and a necessary regenerative force in debates, diasporas, and temporalities emerge. Performers Ghanaian culture. This carnival expresses, not a desire to express memories of trade with Indian merchants through imitate outside cultures, but rather the impulse of youth to performances that embody Hindu chromolithograph images as adapt traditional culture to the contemporary environment. depictions of local water spirits. By bringing dance studies into Although masqueraders embrace Western, Middle Eastern conversation with the work of art historians this study frames and Asian visual culture from contemporary sources, they do the body as an altar, a living archive. Troubled notions of so within a form that is inherently African. Commonalities gendered and racial fixity, interpretations of identity stylized between Fancy Dress and local religious, healing and asafo within Mami Wata performances will be examined. These practices are key to understanding some of the underlying carnivalesque embodiments illustrate the interplay of the cultural, social and political messages aligned with Ghanaian performers’ identities with the “lives” of the objects and images colonial and postcolonial history. Afro-Brazilian contributions through which they fashion transcultural dialogues. through organization, performance and characters forge a connection between descendants and Bahia, Brazil. Calabar Carnival: Visualizing Authenticity, the Remaking of Culture and the Paradigm of the Street Nsima Udo Calabar Carnival, inaugurated in 2004, has appropriated aspects of Calabar cultural festivals into the practices of carnival in the Caribbean, which is part of a tradition that stems from the second half of the 18th century. In 2004, these influences ‘returned’ to Africa and were remade at a time of political-economic change that demanded diversification and the creation of a tourist economy in Nigeria. Calabar Carnival has become an arena for sociocultural and political discourse, as well as an object of multifocal photographic practice. Relying on photographs and films held in both in public and private archives, as well as online repositories, this research 03/22/2022 https://www.collegeart.org Page 36 of 234 110th CAA Annual Conference Si de aqui, Si de alla: Migration Stories Centering Latina/x & Chicana/x Art Mark J Menjivar, Texas State University Pedagogies Borderland Mujeres: Performing Nepantla Chairs: Christen Garcia, University of Texas Rio Grande Elizabeth Corinne McCormack-Whittemore, The Valley; Leslie C Sotomayor, Edinboro University; Adetty University of Texas Rio Grande Valley,Katherine Grace Pérez de Miles, Texas State University Hoerth and Julie Vielma Corpus Latina/x and Chicana/x art, borderlands and decolonizing Our performance from our forthcoming book, Borderland theories are often excluded from art history, design, studio art, Mujeres, is a collaborative, bilingual conversation in poetry and art education canons. This panel focuses on approaches for and art depicting the everyday experiences of women living in decolonizing these art canons. Using Latina/x, Chicana/x, Latin the borderlands. It challenges rigid boundaries of languages, American art, and borderlands pedagogies, this panel centers genres, cultures, and nations. We are from the Rio Grande marginalized perspectives as valid through lived experiences Valley, and each of us has a different cultural identity and and in-between spaces of nepantla. We seek presentations that relationship to la frontera. We will share our artistic consider how Latinx art, decolonial, and borderlands theories collaboration to offer our collective vision of the cultural, produce new ways of thinking and action for higher education linguistic, and ecological landscape of our home. In Light in curricula and pedagogy. Questions to consider are: In terms of the Darkness, Anzaldua defines the concept of “Nepantla,” a canonical disciplinary delineations, what ruptures do Latinx art geographical, emotional, and metaphoric place of transitions and theories generate for educators, artists, and scholars? What and healing. On the border, we live in a literal Nepantla, a methodologies can be used to decolonize class curriculum, place of “multiple and conflictive worldviews” and everyday, its pedagogy, and/or artistic practice? How does one work to dispel citizens “learn how to integrate all these perspectives” (17). stereotypes that exist about Latinx art? How does teaching at an Nepantla is more than a physical border. It is the liminal space HSI, HBCU, or PWI influence or complicate the way that Latinx between binary identities. Borderland Mujeres embodies this theories in art are taught? How can borderlands and nepantla tension and visualizes it with color, revealing beauty to depict inform art education and teaching? How does the work of Gloria the everyday experience of living in, and celebrating, the Anzaldúa, Walter Mignolo, Gerardo Mosqueda, Coco Fusco, process of “conocimiento,” which involves self-respect, love, Silvia Rivera Cusicanqui, or other Latinx scholars influence passion, and contributing to the community (This Bridge We teaching, writing, and/or art practice? How do Latinx art Call Home, 540-541). We claim this borderland as a space of practices, borderlands theories, and decolonial practices empowerment; this abstract concept is (re)imagined as a influence course design? We invite voices from all disciplines. In bougainvillea flower flourishing in barbed wire. Our examining these questions, projects, papers, and performances performance will embody Anzaldua’s theory of nepantla. We will be given preference. will also discuss pedagogical possibilities, grounded in Chicanx and feminist theories, for collaboration across artistic Moving from a PWI to an HSI: A Latina's Perspective disciplines, languages, and cultures in the university Gina Gwen Palacios, The University of Texas Rio Grande classroom. Valley Gloria Anzaldua's Border Arte Philosophy Guides Fashion In August 2020, I moved from teaching Painting at one of the Drawing Lessons oldest and wealthiest, predominately white institutions (PWI) in Marie Karen Bravo Moix, Texas State University the country, Maryland Institute College of Art (MICA), to the Girls may feel disempowered by fashion images which often recently established University of Texas Rio Grande Valley showcase limited choices of self representation. While (UTRGV), a hispanic serving institution (HSI) in Brownsville, teaching a summer fashion course, with the goal of TX. From Baltimore, where MICA is located, I could take encouraging girls to create a unique self presentation through students to DC, Philly, or New York to see major museums fashion drawing, our class was not prepared for the topic of and engage with every type of art. The concerns of most colorism during a fashion drawing exercise. Only one student students were focused on social justice, creative problem colored in a skin tone and the rest of the class left the white solving, and becoming an Artist. UTRGV is considerably paper as the model's skin. After discussing our choices in the different. Access to major museums is difficult due to distance classroom and later interviewing the only girl who colored in a and while the concerns of students overlap with some of those skin tone, I found unsurprising results. Research shows that at MICA, as an educator, I must deeply consider course girls with lighter skin tones have privileges that girls with materials due to cost, transportation issues, K-12 education, cultural experiences/expectations, low self-confidence, darker skin tones do not. In searching for a solution to alter the school/work balance, and varied levels of college preparation. project, I found that a theory was needed to address structural For me, the goal was not how to lower the standards I had oppression when dealing with teaching art and design. originally set in my classes at MICA, but how I could improve, Following the work of Nancy Tuana and Charles Scott, I adjust, and rethink my teaching to better serve the new believe that Gloria Anzaldua's Border Arte philosophy can community I was in. In this presentation, I, a Latina artist also offer a useful framework, providing both a methodology and a from South Texas, will share my experiences and updated method. This can be useful for crafting a multicultural art and pedagogy teaching at an HSI in the Rio Grande Valley. design lesson plan for teaching community art classes as well as in a higher education space. Inspired by Border Arte 03/22/2022 https://www.collegeart.org Page 37 of 234 110th CAA Annual Conference philosophy, I believe that as an art educator, I can create labour, through other European powers and local populations. fashion drawing lesson plans that allow for students to draw Against many previous approaches, including from Jamaican themselves, and their unique multicultural identities, into self Maroons to French Saint-Domingue through British Antilles fashioning representations without resting on the constraints seems crucial for the understanding of the zone. More of established mainstream images. specifically, the building of fortifications is a good starting point to support this crossed perspective. For this reason, this presentation aims to demonstrate that Caribbean fortifications Centering the Caribbean: The Long have an inner coherence, apart from colonial powers, local Eighteenth Century, Hemispheric challenges, or even geographical contexts. To demonstrate Perspectives, and “American Art” this, most updated knowledge about these structures built by different kingdoms will be compared with contemporary Chairs: Marie-Stephanie M. Delamaire, Winterthur proposals for the Pacific or the Atlantic Oceans. New materials Museum; Katelyn D Crawford, Birmingham Museum of or techniques shared by different territories, such as coral Art stone or tabby concrete, will be used to support this shared history. At the same time, archival material about movements Discussant: Monica Dominguez, University of Delaware of slaves, artisans or engineers contributing to these works, How different does early American art look when viewed from will be taken into consideration. With this perspective, the Caribbean? Histories of colonial and vice-royal American art, eighteenth century Caribbean fortifications will be presented tend to privilege art produced in continental spaces as they came as a regional shared heritage, and not only as national to be organized as nation states, overlooking the monuments, or simple consequences of colonial imposition. interrelatedness of early Caribbean and continental colonies. Only from this point, these structures will be accepted by This interconnectedness had a profound impact on artistic current societies, rejecting contemporary misunderstanding creation in the early Americas. Artists like José Campeche, Peter and its fatal consequences for their preservation. Bentzon, John Greenwood, Josef Francisco Xavier de Salazar y Mendoza, and Agostino Brunias, worked outside and across borders; between social classes and races; and beyond sovereignties which historical narratives have organized for the eighteenth century. This panel centers the Caribbean region— hub of colonial, revolutionary, and hemispheric activity—a pivot for eighteenth-century visual culture that offers avenues to address art making beyond national paradigms and the continental weight of North American and Latin American art histories. At a time when a synthetic view of “American” art history seems no longer feasible nor desirable, the Caribbean region opens onto the importance of art making between American spaces. We seek papers that focus on works of art, artists, networks of exchange, patronage, collecting or destruction that emerged from or were driven by the Caribbean region. We welcome papers that address specific artists and works of art even if the visual record is missing or destroyed (such as José Antonio Aponte’s “libro de pinturas”), mis- catalogued (for instance the portrait formerly identified as Hercules Posey, the cook who George Washington enslaved), or displaced (such as John Smibert’s Bermuda Group). Difficult Love (What Scatters and Then Comes Back Together) Alexis Callender, Smith College Situating George Washington in Caribbean Waters Emily Clare Casey The Age of Seas: The Caribbean as International Theater of War Pedro Luengo, Universidad de Sevilla The eighteenth century has provided a solid base for the history of seas as a transnational tool. Among many options, the Caribbean played a key role in defensive and commercial strategies involving from Spanish viceroyalties to African force 03/22/2022 https://www.collegeart.org Page 38 of 234 110th CAA Annual Conference Repurposing Wood for Sacred Images in Kamakura Charred Wood, Fragmented Writing, and Period Sculpture Buddhist Bullets: Reuse and Recycling in Samuel C. Morse, Amherst College Japanese Visual and Material Culture Sculptors during the Kamakura period at times looked to unconventional sources for the material for their images and Chair: Halle O'Neal, University of Edinburgh other projects. In 1183 Unkei used fragments of wood from the destroyed Daibutsu-den for the rollers of a set of the Lotus Discussant: Paula R Curtis Sutra and in 1206 an anonymous sculptor used a piece of Tracing the afterlives of objects is now a common lens for charred wood, presumably from the Daibutsu-den for the right analyzing the multidimensional stories experienced by visual and shoulder of the memorial portrait of Shunjōbō Chōgen. Unkei’s material culture. Within this methodology, our panel argues for a father, Kōkei, employed wood from a sacred pillar beneath more targeted focus on the nature of reuse and recycling to one of the halls at Ise Shrine for a now-lost image of Dainichi understand how and why new lives come into being. Our papers installed in the Main Hall of Kōmyōbuji. Some thirty years later chart shifts in meaning, function, ownership, and agency as Chōkai, one of Kaikei’s disciples, used wood left over from his viewed through the practical and theoretical implications of an master’s statue of Eleven-headed Kannon at Hasedera for a object’s reuse. We believe it is important to interrogate the smaller statue of the same deity at Kōfukuji. Of particular assumptions around what it means for an object to be extant by interest are statues of Aizen Myōō and Jizō carved by the asking: What is retained? What is deactivated? What is Nara sculptor Kaijō in 1256. The inscriptions indicate that they dispersed and recycled? And of course, why? Fowler’s paper were commissioned by Jakuchō, for the Kedai-in, a temple investigates the recycling of temple bells for Pacific War located not far from Jōruriji. Both were carved from pillars from munitions by considering not only the practical implications of the destroyed Daibutsu-den. When preparing to carve the such a procedure but also how ritualistically and conceptually statue of Aizen, Kaijō and his two assistants, consecrated the such important Buddhist objects came to be transformed into wood, and they maintained the eight precepts while sculpting weapons of war. Morse’s talk explores the significance of the image. Through repurposed wood from structures and repurposed materiality in crafting Buddhist sculptures that images with potent connections to Japan’s religious history, allowed both sculptors and icons to access spiritual authority. dedicatory objects, and their own personal devotions Kaijō Through close analysis of Yale’s calligraphy album, Tekagamijō, and many other sculptors of the period embedded their works Kamens offers a sustained theoretical engagement on the into multiple networks of meaning that reinforced their spiritual meaning of fragmentation. O’Neal’s paper considers the authority well beyond their visual impact. transformation of handwritten letters into memorial palimpsests that reveal the paradox of deliberate retention through Reading Tekagamijō: Fragmentation and Re-integration in destruction. In order to demonstrate the widespread nature of a 17th-century Calligraphy Album repurposing, Curtis offers discussant comments on the panel’s Edward Kamens, Yale University broad range of objects that undergo the material transformations “Recycling and reuse” of materials indisputably characterizes of reuse, from Buddhist sculpture and bronze bells to waka, the genre of calligraphy albums known as tekagami (“mirrors epistles, and scriptures. of exemplary hands”), and this is of course true of the Beinecke Rare Book and Manuscript Library’s Tekagamijō, The Emotional Toll of Wartime Bell Deployment in Japan first assembled ca. 1670. It is indeed composed of dispersed Sherry D. Fowler, University of Kansas textual out-takes and fragments of many kinds (dating from Buddhist temple bells (bonshō) are a precious feature of the 8th CE to the 17th). Although these albums stabilize the almost every Japanese temple. These bells often have a condition of text fragments, their contents and structures often singular status within their environment with a strong aural and also remain fluid— and in fact, certain samples in the visual presence prominently positioned in their own structure. Tekagamijō were modified and replaced right up to the time of While most past studies of Buddhist bells have concentrated its acquisition for Yale in 1934. My studies of classical on their inscriptions, craftsmanship, technologies, or sound, Japanese poetry have also been concerned with “recycling this talk will focus on how approximately 45,000 of them and reuse” in the textual dimension: waka are made up of disappeared during the 1940s. During the Pacific War, as borrowings, of re-arranged and re-assembled fragments of metals grew scarce, temple bells became a resource for other poems in seemingly endless recycling chains. But so, in munition production. How were temples and shrines yet another sense, are anthologies of waka, which bring convinced to give up their bells that embodied the hopes and poems together from disparate points of origin and multiple vows of donors and parishioners? What was the process of contexts to create new arrangements that, in turn, allow for transformation from a religious instrument used to comfort the further re-cycling and reuse of their wholes and their parts as dead into an object that would destroy life? A few case they flow through space and time. This talk explores the studies, presented as object biographies of surviving bells resonance among these forms with a focus on examples of dating from the seventeenth to eighteenth centuries, will be waka poems, reproduced in whole or in part, in the examined to consider these questions, as well as how they Tekagamijō. managed to escape the fate of being melted down, and the international, national, and local ramifications of being reunited with their original temples. 03/22/2022 https://www.collegeart.org Page 39 of 234 110th CAA Annual Conference Marking Death: Stamped Buddhas and Embodied Writing Prison art is making its way into the mainstream art world and in a 13th Century Letter has seen prominent recognition through exhibits such as Halle O'Neal, University of Edinburgh "Marking Time" at MOMA PS1 and "How Art Changed the Despite its inherently ephemeral character, paper played Prison" at the Aldrich Contemporary Art Museum in significant roles in Buddhist rituals and private practices in Connecticut. How does this art compare to art by non- premodern Japan. Through a focused examination of a incarcerated artists? The global artwork is valued at $59 thirteenth-century letter by the monk Jōgyō (1186-1231) that billion, whereas the United States spends $80 billion a year on was stamped with Amida Buddha figures after his death and incarceration. However, few artists from the world of sealed within an Amida statue, this talk draws out the sacral incarceration receive deserved recognition. That validation importance of paper and handwriting alongside reuse and can provide confidence and self-worth to the artist and bring a recycling in Japanese Buddhist material culture. Examining level of awareness and multiplicity to art collectors. My the crux of these transformational moments tells us how presentation will discuss a fellowship that I am creating in mourners navigated loss, reveals the productive tension collaboration with Words Uncaged, a non-profit in Los Angeles between preservation and destruction, and exposes the that facilitates art, narrative therapy, and new media paradoxical importance of intentional invisibility in artistic workshops throughout California's state correctional system. culture. By reframing and layering Jōgyō’s letter with the Furthermore, Words Uncaged is creating a program that uses repeating rows of stamped Buddhas, this memorial practice art to facilitate mentorship between currently incarcerated creates a palimpsest of sorts. Paper, in its materiality, was individuals and youth working to extricate themselves from the therefore a key site of memory and commemoration. And by influence of gangs. I will discuss how art has provided healing, fragmenting, rearranging, and reusing left-behind letters, informing and assisted with bridging the carceral system's brushwork became embodied writing, marked and filtered gap. Artwork by current and formerly incarcerated individuals through the simple recurring figures. In these ways, this talk will be featured. argues that purposeful palimpsests offer an intimate view of the mourning process and of prayers for salvation. Eleven Emlékmű / Living Memorial: Sustained Occupation in Budapest Since 2014 Izabel Galliera, Susquehanna Univeristy Communities in Resistance Known for the myriad of personal objects and its iconic circle of white chairs in Budapest’s Liberty Square, Eleven Emlékmű Aural Resilience: Sonic Labor in Chen Ting-jung’s You Are / Living Memorial was initiated in May 2014 by a group of the Only One I Care About (Whisper) contemporary artist activists, art historians, curators and Pei-chun Hsieh, Binghamton University community members. It aimed to put a stop to the erection of In 2018, the artist Chen Ting-Jung (1985-) manufactured a a state memorial commemorating the 70th anniversary of the sound installation that reclaimed the Beishan Broadcast Wall Nazi occupation of Hungary. The Living Memorial movement in Kinmen, Taiwan. Constructed in 1967, after the First Taiwan continues to unfold in opposition to the official monument that Strait Crisis, this broadcast-wall aired political propaganda and communicates the government’s attempt to re-write history popular Taiwanese songs for three decades in an attempt to and erase the memory of many Hungarian Jewish citizens reach Chinese Communists. In recognition of the Cold War who were killed not only by German soldiers, but also by propaganda device’s sonic operation, Chen stripped down this fellow Hungarians. I will delineate the role art played within the fortress into its rudiments: a horizontal arc of speakers, Living Memorial’s varied dimensions and phases of operation playing ad nauseum a recording of two singers singing a that extend beyond considerations of past national traumas. I cappella one of Taiwanese cultural icon Teresa Teng’s famous argue that this initiative did not merely serve a symbolic role solo pieces. She titled the installation You Are the Only One I through its organizers’ temporary occupation of public space Care About(Whisper). How and why Chen came to reclaim the but also functioned as a discursive tool which embodies what Beishan Broadcast Wall is the story I want to explore here, Chantal Mouffe calls an “agonistic public sphere.” Carving out where the questions about the exploitation of female labor and an inclusive public sphere is all the more vital in a context the aestheticization of the female voice confront the aurality of dominated by far-right nationalism under Prime Minister Viktor the Cold War. I argue that the female voice became a specific Orbán’s draconic and discriminating legislation. The project site of production during the sonic combat between the countered the political manipulation of history and the Kuomintang regime and the Chinese Communists. I suggest suppression of non-violent opposition. Relying on archival that the operationalized female voice represents the crux of documentation and interviews with the organizers, I show how Chen’s artistic intervention. By a close examination of Chen’s Living Memorial’s use of participatory models of work, I trace the its multifaceted adjacencies to and communication and organization has sustained its resistance convergences with this history of sonic labor—a sensibility that over the last seven years. further migrated beyond the war zone to its recurrence in the neoliberal present. Most importantly, I investigate how Chen’s intervention is both a feminist critique and a form of sonic Complicated Relations in Contemporary Art resilience that opens up to different political possibilities. Chair: Patricia J Stout Using Carceral Art to Heal, Inform and Connect Discussant: Kristen Carter, Florida Southern College Tamara White, Union Institute and University 03/22/2022 https://www.collegeart.org Page 40 of 234 110th CAA Annual Conference Inside and Outside of “Queer”: Deborah Kass’s Feel Good world. Paintings for Feel Bad Times Theo Triandos, University at Buffalo - SUNY Organic creatures: Lasting legacies of Lygia Clark’s I have an issue with the word and category “queer” because I Bichos in contemporary Brazilian art think it obfuscates the material differences between men and Patricia J Stout, University of Texas at Dallas women, which are so huge, okay? That said, I might be the Brazilian artist Lygia Clark is well-known for incorporating the queerest artist I know. —Deborah Kass, Brooklyn Rail, 2010 spectator into her artworks. In the early 1960s, she created a Deborah Kass’s Feel Good Paintings for Feel Bad Times group of participatory sculptures that she named Bichos (2001-2012) operate inside and outside of “queer.” In Painting (Critters). Consisting of geometrically shaped aluminum with Balls (2005), Kass spells out Jasper Johns’s ironic parody panels hinged together, each sculpture remains incomplete of New York School machismo in his Painting with Two Balls without the interaction of the viewer. Clark is documented as (1960), replacing the mock-action painting of the original work referring to these works as organic creatures and suggesting with a single word, COJONES, repeated seven times. Kass’s that they have a mind of their own. The moment the viewer painting thus reiterates then-recent writings in the queer art interacts with one of Clark’s aluminum sculptures, making history, participating in that discourse by highlighting the gay even the smallest manipulation to its body, the individual is male sensibility of post-war American art repressed in most cast into a web of entanglement. Recognizing the delicate other accounts of the period. But like Kass’s double-sided nature of its structure, the viewer turned participant is thrust public sculpture, OY/YO (2015), which asserts a collective into a never-ending cycle in which the sculpture both relies on cultural (Jewish) identity when read from one side (oy) and the viewer for support and simultaneously pushes back. This individual selfhood from the other (yo), these paintings speak paper traces the lasting legacies of Clark’s Bichos in to two positions. As I read it, Painting with Balls also voices contemporary Brazilian visual art, arguing that while these lesbian criticality toward the queer art history. It addresses the artworks are commonly recognized as depicting a shift toward queer art history’s delayed reception to art by women by viewer participation in Latin American art during the 1960s, highlighting the discourse’s repeating focus on gay male they also metaphorically represent the ongoing social tension icons— painters with balls. Evoking Judith Butler’s description present within the city of Rio de Janeiro. As such, Clark’s of (dis)identification as the “uneasy sense of standing under a sculptures are intricately connected to the place of their origin sign to which one does and does not belong,” Kass’s Feel yet remain timeless. This reading of Clark’s Bichos links the Good Paintings for Feel Bad Times reveal the complexity of sculptures to an on-going call for social justice in Brazil. contemporary cultural politics, declaring dissent within “queer” Furthermore, it demonstrates how contemporary Brazilian coalition. filmmakers have reincorporated Clark’s artistic notion of o Bicho into the structure of their films centered on depicting Scaler Extremes: Anicka Yi’s Fermented Umwelts issues of social injustice in Brazilian society. Yani Kong, Simon Fraser University This presentation explores the experience of scale through the protean creations of Anicka Yi, a Korean-American artist who works with bacteria and microbiome as a medium in her large scale installations. Her works, Biologizing the Machine (terra incognita) and Biologizing the Machine (tentactular trouble), exhibited at the 58th Venice Biennale, develop a symbiosis between nature, bacteria, and Artificial Intelligence. In the former, gigantic chrysalis pods made from kelp leather hang in a swamp-like environment, enclosing the buzz of robotic insects. In the latter, Yi encases AI controlled soil and scent experiments that follow the life cycle of bacterial stasis, decay, and growth. Each work swells and swarms with active cellular assemblies that adapt with the bacteria in the galleries, indeed, altering to the presence of the viewer whose own biome mingles with the microorganisms in the room. Yi’s work demonstrates scaler extremes by exhibiting microbacteria in macro-installation form to ask how something as imperceptible as bacteria can proliferate to the degree that it both overwhelms and excites. In her use of medium, Yi reminds us of the microbial formations that are not only shared across living entities but blur the lines between animal, vegetable, and human. Just as Donna Haraway (2016) writes that life in our era is closer in form to a compost pile than anything resembling a post-human epoch, Yi imagines “a hotter compost pile,” fermented biospheres that allow the viewer to find themselves among an open, mixing, decomposing life 03/22/2022 https://www.collegeart.org Page 41 of 234 110th CAA Annual Conference motions, turning the musicians’ bodies and instruments into Conserving Performance, Performing material archives through which musical memory and history Conservation are actualised. From this, I draw conclusions for contemporary art conservation about the role of human and nonhuman Chairs: Hanna Barbara Holling, University College bodies in processes of conservation, conservation as a London; Jules Pelta Feldman, Bern University of the Arts transcorporeal effort, and the idea of who or what a How can a work of performance – ephemeral, site- and time- conservator can be. sensitive, possibly tied to the body of the artist – be conserved? This question has long been answered by recourse to The Future is Now: Digital Archives as Performance documentation and performance “relics,” the tangible, exhibitable Conservation at The Metropolitan Museum of Art and, above all, collectible remains of performances. Yet in the Megan Metcalf, The Metropolitan Museum of Art,Lauren past decade, museums have begun to acquire live artworks and Rosati, The Metropolitan Museum of Art and Limor restage historical ones, lending urgency to the practical as well Tomer as theoretical problems of conserving works of art long Last year, when the majority of live events around the world considered too ephemeral to be conservable. As contemporary were put on hold due to the coronavirus, producers adapted art has grown more demanding, conservation has also grown as quickly to organize performances for virtual spaces. What will a discipline, developing new discourses and practices that both be their legacy once this time of crisis is over? This revise and expand the conservator’s role. No longer confined presentation uses examples from the Metropolitan Museum of behind the scenes, conservators are now routinely asked to Art to explore the role of digital documentation in producing consult on acquisitions, direct complex installations, or even performances for virtual audiences and to speculate on what creatively partake in the reinstantiation of conceptual and the future holds for preserving these experiences. It argues performance works. Conservators accordingly have a new that, as these performances incorporate distribution and consciousness of their influence on the work of art and thus the documentation into their conception, they disrupt conventional course of art history. This panel, which has been organized thinking about conservation that characterizes it as something within a collaborative research initiative “Performance: after or outside the artwork—and places it at the heart of a Conservation, Materiality, Knowledge,” examines performance work’s creation. As such, these projects extend ideas about as the object of conservation, seeking contributions from documentation as critical to a performance’s ontology, scholars, conservators, archivists, and others who address introduced in the performance art of the 1960s and 70s, and theoretical and practical questions related to the ongoing life of give them new expression today in the digital sphere. The performance works in institutions and beyond, as well as demand for virtual events at the Met prompted its curators, explorations of the conservator’s role in bringing liveness into the artists, and digital producers to experiment with new ways of museum. thinking about “liveness,” which has implications for the collection and preservation of time-based media at the Met. This not only pressures the distinction between an artwork and Conservation as transcorporeal labour and play: An its documentation, the museum and the archive, but also ethnographic study on calibrating classical musical works distinctions between curatorial departments, museum in bodies protocols, and professional competencies. Finally, lost Denise Petzold performances from the Met’s history—both recent and in the In the last decades, contemporary art has become distant past—provide insights into the stakes of conserving the increasingly diverse and thus challenging to conservators. In productions of this unusual time. performance art, bodies – human as well as nonhuman ones – have come to play a key role in processes of conservation, for Conserving performance art: The materiality of the gesture example through practicing, rehearsing, and re-performing Paul Couillard, Toronto Performance Art Collective artworks. One place in which bodies have been trained for Performing arts traditions tend to treat works as texts—scores, centuries and still are trained to conserve artworks is the scripts, and choreographies—that endure by being music conservatoire. By understanding the conservatoire as a reinterpreted by new performers. Visual art traditions seek to place where musicians become expert maintainers of musical preserve objects crafted by their creators. Contemporary heritage, this paper turns to classical music to explore what performance art practices, however, tend to view the unique insights contemporary art conservators might gain from how temporal, spatial, material and relational conditions of a musicians learn to perform works. I show how students and performance's production as the very "flesh" of the work. teachers – rather than being mere ‘transmitters’ of artworks – Consequently, historical exhibitions of performance art tend to actively engage in a conservation practice in which human focus on material remains: objects, recordings and other bodies and nonhuman instruments intertwine in processes of documentation that both come out of and stand in for a body transcorporeal labour and play. Drawing on a year of of work. While Jones (1997, 2011), Auslander (2006) and ethnographic research (observations and qualitative others have argued that such documents are a vital part of interviews) of three violoncello classes at the Conservatorium performance art practice, and, indeed, are likely to transmit an Maastricht, I examine how in bodies and cellos together the artist's ideas to a much wider audience than any actual ambivalences and boundaries of the works’ identities are performance, it is little wonder that Phelan (1993) has argued negotiated. Thereby, musical works become engrained into that the ontology of a performance is to be found in its bodies as sets of individually choreographed, fine-calibrated disappearance. Exhibitions of remains often have a feeling of 03/22/2022 https://www.collegeart.org Page 42 of 234 110th CAA Annual Conference deadness or void despite the vitality of the performances they document. Yet performance art is rooted in action. I propose Creating Space: Equity and Inclusion for an alternate strategy for reanimating historical performance art Women-identifying and Non-Binary Artists in works that focuses on their underlying gestures. This paper Exhibition will focus on my current research project, Manifest Gestures—a retrospective of the work of Canadian Chair: Julia E. Marsh performance art duo Randy and Berenicci, who created an More than 50 years ago, Feminist Art changed everything for internationally recognized body of time-based live and digital female-identifying artists, while establishing multiple ground performative works between 1975 and 2005. This project breaking directions in American art. At the start of the feminist art offers both a theoretical and methodological framework for movement The Mary H. Dana Women Artists Series created a reanimating the "gestural" in performance art. rare space for emerging and established female-identifying artists to exhibit their work. These two proposed sessions will An Ecology of Worth: The "Rediscovery" of Charlotte focus on the impact of the Series on the careers of over 500 Posenenske, 2007–2019 artists and its legacy. Session 2: Connections: a round table Ian Wallace, Graduate Center, City University of New session moderated by Julia Marsh with 6-10 Series alum artists, York who span the generations from the Series’ early decades to the The questions raised by the acquisition and conservation of present day. The discussion will center on the conditions in Charlotte Posenenske’s Reliefs, Vierkantrohre (Square which we find ourselves after five+ decades of feminist Tubes), and Drehflügel (Revolving Vane)— all of which were artmaking, and the challenges we continue to face. This session conceived in the mid-1960s to be sold, in unlimited series, at will also be organized with the help of local students, who will the cost of their production—lie at the center of a greater shift select and introduce the artists, based on their own research, in museum acquisition policies whereby diverse materials and organize questions for the discussants. The involvement of have displaced the concept of an auratic, original object. While students is crucial for developing a next generation of curators many museums have acquired Posenenske’s work in the past and administrators with an understanding of the background and decade, there is wide variation in the material collected, from the challenges still facing female-identifying artists. sketches and early studies (MoMA, New York) to aged particleboard prototypes (Tate Modern, London) and new re- fabrications (MMK, Frankfurt). This paper tracks recent Panelist curatorial approaches to Posenenske’s work through three key wisdom baty, Founder, Wild Yams: Black Mothers Artists exhibitions that established what I call an “ecology of worth” Residency around her work. 2007’s Documenta 12 situated her among a coterie of roughly-contemporaneous, international practices Panelist and paving the way for its reintroduction to the market. A few Kale Serrato Doyen, University of Pittsburgh years later, a 2010 exhibition at New York’s Artists Space invited three contemporary artists to reconfigure Posenenske’s Panelist sculptures, retooling her emphasis on cooperation for the Meg Duguid, Columbia College Chicago production of social capital. Most recently, Dia Beacon’s 2019 exhibition “Work in Progress” applied new standards of dating Panelist to demarcate new categorical hierarchizations within Em Getsay, Georgia State University Posenenske’s oeuvre and to emphasize her works’ historical value. Through analyses of these exhibitions, I argue that the Panelist variable treatment of Posenenske’s work indicates a conflict isabella ko, Independent Curator between the artist’s intention of devaluation, the historical value of the performance “relic,” and art’s economic value as Panelist cultural property. Jody Servon, Appalachian State University 03/22/2022 https://www.collegeart.org Page 43 of 234 110th CAA Annual Conference A/r/tography: Conceptual Doings and Ordinary Tasks Part Creative Practice as Pedagogical Practice III III NATIONAL ART EDUCATION ASSOCIATION Daniel T Barney, Brigham Young University Daniel T. Barney, an art education professor from Brigham Chair: Amy Pfeiler-Wunder, NAEA Young University, explores the arts-based research How does creative practice using artistic inquiry, artist methodology a/r/tography as a pedagogical strategy that has methodologies, and interdisciplinary collaborations inform informed the author’s artistic practice and pedagogical pedagogical practices? We explore the essence of personal art experiments. The author tracks his own journey of entering practice as research—creative inquiry— and its link to into an a/r/trographic conversation where that entering has pedagogical practices. How does theory, practice, research and positioned him as an artist and educator. He then moves on to artmaking blur boundaries with pedagogical practices? Drawing speculate a possible arts education as his a/r/tography from narrative inquiry to deeply understand one’s experience contorts into conceptual doings. Ordinary tasks such as (Clandinin, 2013) our narrative stories interplay with art based baking, eating, walking, dressing, and teaching are thought of practice using multiple forms of artistic inquiry. Collage pedagogy as potentials for conceptual development or process methods illuminates the range of disparate images individuals are to incite more conceptual investigation and new forms of bombarded with daily reinscribing images in artmaking to understanding. This methodological framing gives rise to provided multiple perspectives necessary for critical engagement alternative pedagogical potential for students within art (Garoian & Gaudelius, 2008). Our practice as artists blends our departments. Professor Barney offers illustrative examples of work as theorist and practitioner where we theorize about our his curricular investigations using a/r/tography within the subject while also exploring and experimenting with how to frame courses he gives at his university with both undergraduate and our work conceptually (Marshall, 2014; Sullivan, 2005). We graduate students. Barney equates artistic concepts, like provide tools to foster creative thinking and conceptual skills walking as mentioned above, with theoretical and inherent in art-based inquiry. From school art as material, to philosophical arguments, assertions, and propositions. Even A/r/tography and doing ordinary tasks, and the stitching, binding, though scientific and social science research methodologies sewing and layering of artist books and research journals, we are systematic with precise and rigorous procedures to explore the interplay between making, teaching and learning. construct truth claims, artistic processes are equated here with systems of inquiry and knowing that are idiosyncratic. Barney School as Material and Teacher as Conceptual Artist Part suggests an art form can be understood in research terms as III a type of research product or creation, that can be an event, Jorge Rafael Lucero performance, or a continuation of these as write ups, The topics of this paper are “school as material” and “teacher exhibitions, or presentations, that are shared with the general as conceptual artist”. If school—conceptualized beyond or a particular public. schooling—can be thought of as material, how do artists who work as teachers (or through teaching) make that material Bind, Stitch, Layer and Sew: Bookmaking as Pedagogical pliable? How do they then practice with that material as Practice conceptual artists? First, a robust material literacy must Amy Pfeiler-Wunder, NAEA emerge. Artists’ working in this manner need to generatively How does creative practice using artistic inquiry, artist grapple with the materiality of school intending to find its methodologies, and interdisciplinary collaborations inform points of resistance, softness, and pliability. In a pedagogical practices? Specifically, the binding, stitching, dialogical/horizontalized setting the artist may need to learn sewing and layering in the creation of artist books focused on the mechanics and logistics of being within the learning topics of social action/justice? We explore the essence of community and engaging with its stakeholders. This material personal art practice as research—creative inquiry— and its learning happens alongside the artist performing a deep link to pedagogical practices. How does theory, practice, textual-review of the various fields that are at play in that research and artmaking blur boundaries with pedagogical particular artist’s inquiry (e.g. local school history, practices? Drawing from narrative inquiry to deeply contemporary art theory and practice, philosophy of education, understand one’s experience (Clandinin, 2013) our narrative etc.). The artist and the communities they become a part of— stories interplay with art based practice using multiple forms of as well intentioned as they may be—cannot afford to dabble in artistic inquiry. Collage pedagogy coupled with bookbinding bad pedagogy or bad art! All the while expertise and illuminates the range of disparate images individuals are concretization must be contested indefinitely as part of the bombarded with daily reinscribing images in artmaking to inherent dynamism of both art and learning. School as provided multiple perspectives necessary for critical material is a continuous project that requires the artist is engagement (Garoian & Gaudelius, 2008). Our practice as dedicated to the process for the de-spectacularized long-term. artists blends our work as theorist and practitioner where we As such, “school as material” and “teacher as conceptual theorize about our subject while also exploring and artist” begin to fall out of the socially engaged art paradigm experimenting with how to frame our work conceptually because over time these modes-of-operation decrease in (Marshall, 2014; Sullivan, 2005). We provide tools to foster visibility—and artworld cache—as the life/art lines truly creative thinking and conceptual skills inherent in art-based become blurred. inquiry. Two such tools are the research workbook and artist books. In education, they are sites for learning through visual 03/22/2022 https://www.collegeart.org Page 44 of 234 110th CAA Annual Conference and verbal exploration, experimentation and reflection. field of art history? In this presentation we explore methods to bridge the gap between reading queer theory and doing queer research in archives, databases, and collections. We will Critical Cataloging Conversations in elucidate several practical and practice-based questions: How Teaching, Research, and Practice do search terms function in queer research? And how might VISUAL RESOURCES ASSOCIATION (VRA) they falter, as gender expression and sexaully orientation are frequently not indexed? How do we come to rely on anecdotal Chair: Bridget Madden, University of Chicago knowledge and gossip when conducting queer research? And This session seeks to explore the ways in which increased what are the possibilities and limitations of this kind of access to digitized materials coincides with increasingly urgent knowledge? How can we account for absences, when queer conversations about social justice, cultural humility, and ethical content is missing or destroyed? How can we equip our stewardship. What are the ethical implications inherent in students to address such questions in their research? We metadata, cataloging, classification standards, practice, and conclude the presentation by reflecting on how these practical infrastructure in archives, libraries, museums, and visual concerns become fertile ground for scholarly interventions in resources collections? How have the fields of art history, the field of queer art history. museum practice, and studio practice as well as associated current curricula in these fields and in library science responded Pattern and Representation: Critical Cataloging for a New to the necessity for critical cataloging when describing visual art? Perspective on Campus History The speakers explore ways to mitigate hierarchies of oppression Megan E Macken, Oklahoma State University and Louise in descriptive metadata through a variety of perspectives on E. Siddons, Oklahoma State University critical and radical cataloging, including: assessments of these Prior to the fall of 2020, the historic record of art exhibitions fields of study; curricular opportunities in the arts and library held at Oklahoma State University (OSU) was available only in science; special topics of outsider art, race, gender, and incomplete, unprocessed archival materials. Students in the sexuality; and adapting to non-Western knowledge systems. The fall 2020 History of American Art course conducted research goal is to raise awareness about critical cataloging issues, to in the digitized student newspaper archive to begin incorporate marginalized communities’ language in order to give documenting OSU art exhibitions since 1960. The resulting voice to the historically underrepresented, and to discuss database was shared with the public and further developed in successful learning opportunities, projects, and workflows for Fall 2021 courses on Native and African American art history. change. Throughout the course of this project both students and faculty engaged in critical cataloging. Using the exhibition dataset they had created, students completed two analytical Describing Art on the Street: The Graffiti Art Community assignments: a traditional art history essay in which they Voice considered one exhibition closely, and a critical reflection Ann M. Graf, Simmons University prompting them to consider their new understanding of the In the field of information science, we strive to provide access university’s history based on the aggregation of exhibitions. As to information through the most efficient means possible. This gaps and surprises in representation appeared, students is often done through the use of controlled vocabularies for developed a more nuanced picture of institutional culture in description of subjects, and, in the case of art objects, for the the latter half of the 20th century. After the courses concluded, identification of styles, processes, materials, and types. My art history and library faculty standardized the student- research has examined the sufficiency of controlled generated data to share it on other platforms, including vocabularies such as the Art and Architecture Thesaurus Wikidata. Some artists who have exhibited at OSU also have (AAT) for description of graffiti art processes and products. interviews in the OSU oral history collections, and This research is evolving as the AAT is responding to warrant intersections between these projects and the questions raised for a broader set of terms to represent outsider art by surfacing this metadata were explored. In the process communities such as the graffiti art community. The methods issues emerged around artists’ preferred ways of identifying used to study terminological warrant by examining the themselves as well as the difficulties of achieving a balance language of the graffiti art community are helpful to give voice between increased representation of artists on the margins to artists who work outside the traditional art institution, and respect for the privacy of living artists. allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is Adapting to non-Western information workflows and hoped that this research will inspire others who design and protocols with Critical, Relational Metadata supplement controlled vocabularies for use in the arts to give Devon Murphy, University of Texas at Austin priority in descriptive practice to those who have been Critical cataloging is increasingly employed in cultural heritage historically underrepresented or made invisible by default use fields (museums, libraries, archives, etc.) to manage or of terminology that does not speak to their experiences. replace existing cataloging terms, including but not limited to art object records, finding aid contents, and artist files. Queer Work | Queer Archives Common metadata work tasks such as transforming Jennifer Sichel and Miriam Kienle, University of descriptive metadata and scraping data to enrich one’s own Kentucky records are often painted as reparative actions, with the goal How do we teach students to conduct queer research in the of improving search for users and representation of the artist, 03/22/2022 https://www.collegeart.org Page 45 of 234 110th CAA Annual Conference community, or cultural item. Yet, such actions do not fully research as an extension of Islamic art, using equitable address the Western assumptions built into cataloging community-centred dialogue within museums. Specifically, the processes nor its historical links to older cataloging methods ongoing interactions between Egyptian tentmakers and that were often purpose-built to control marginalized groups. American and Australian quiltmakers are a prominent case Without an accompanying critical lens into the colonial study in inclusive discourse through contemporary craft within structure of Western metadata workflows, institutions risk the and beyond the Islamic art museum. The manifestation of joie possibility of perpetuating harm. Utilizing the lens of de vivre can be absent from the formal presentation of Islamic knowledge organizational systems (KOs), as formulated by art in global museums. Yet the enjoyment of skilled labour Indigenous scholars Sandy Littletree, Miranda Belarde-Lewis, contributes to the production and consumption of craft objects. and Marisa Duarte and by settler academic Melissa Adler, this This extends beyond the appreciation of objects, as it includes presentation uncovers the historical residue left by United the processes that brought them into being, and an States colonial policy on art cataloging practice, using understanding of the people who made them. Through work/research accomplished at UNC Chapel Hill, the Getty opportunities created within and beyond the museum, ‘joy’ can Research Institute, and University of Texas at Austin as become a foundation for dialogue. Where museums create examples. The presenter aims to not promote a single space for contemporary skilled craft communities to meet, pathway but instead to highlight the myriad access points we building mutual respect between peer and patron, new and have to unsettle our systems and to build relationships with meaningful relationships can be fostered. These connect the non-Western art information and communities. joy of making and exuberance of craft with the respect and esteem of reverence accorded by museum practice. Curating Craft: Contemporary Making in “For Neither Fame nor Reputation”: A Story of Female Global Museums of Islamic Art Silversmithing in Oman Fahmida Suleman Chair: Leslee Michelsen Craft making in the Middle East as a form of economic This panel is inspired by the growing number of exhibitions, livelihood, from the medieval to modern periods, is usually publications, and artists’ residencies in global museums of represented in global museums and galleries of Islamic art as Islamic art - and departments of Islamic art within larger global a male-dominated career pursuit. For the medieval and pre- museums - which address concepts of contemporary craft and modern periods, these discussions are often based on the making. Interwoven within are larger questions on notions of evidence of artists’ signatures inscribed on ceramic and metal materiality, collaboration, participation, and performance. These vessels or through biographical dictionaries and other practices emphasize and enrich dialogue and learning, and have historical documents. For the modern period, we rely on the potential to expand communities as well as broaden descriptions by European travellers to these lands and 19th- conversations incorporating social justice. Whether these century postcards and photographs, which further attest to the projects have a lasting legacy on or within the museums which prominent role of male artisans. In stark contrast, craft making developed or hosted them will also be considered. The papers in the home is stereotypically understood as a female are cross-disciplinary, and address projects globally by five occupation, often focussed on embroidery for an individual’s panelists based in five separate countries - yet each is bridal dowry or for use as decoration in the marital home. connected to the richly heterogeneous context of contemporary These gendered roles are also apparent in the case of making in the Islamic world. A discipline which by its nature must jewellery making in the Middle East, another highly-skilled be expanded beyond the rigidly-defined concept of ‘fine art’, its male-dominated domain. This paper will bring to light the story specialists increasingly demonstrate the embrace of a fuller and of a unique tradition of twentieth-century female silversmithing more representative overview of the visual and material cultures in Dhofar, south-eastern Oman, through the personal of the Islamic world. How do craft-oriented practices connect to testimonies of two retired silversmiths in their 80s from the the global museum? How does the curation of making intersect towns of Taqah and Salalah. Presenting new findings from an with contemporary discussions of the arts of the Islamic world, all female-led collaborative research project carried out in and the display contexts available? These papers will think 2019, which will be the subject of a future exhibition at British through how object centred conversations bring together our Museum, it will explore the circumstances in which these many ways of knowing, and of sharing narratives. women chose to enter this male-dominated domain, how they earned a living from their trade in order to support their Between Joy and Reverence: Craft and Community families, and how one silversmith won official accolades for Exchange her work. Sam Bowker Amplifying “Flat Craft”: Contemporary Makers from the Regional vernacular craft practices are translated into different Islamic World at Shangri La cultural modes when presented in global museums. The key Leslee Michelsen to retaining value in this translation is engaging with Mary Callahan Baumstark’s self-described ‘cop-out, non- communities who understand the processes of 'making' in definition’ of ‘flat craft’ may have been born out of both both spaces. Through these targeted participants, extended frustration and bemusement at the seemingly endless craft vs audiences can achieve meaningful and sustained change. art debates. Yet in her call to put aside definitions and, This presentation is an argument for creative practice instead, “broaden, deepen, and challenge the field by uplifting 03/22/2022 https://www.collegeart.org Page 46 of 234 110th CAA Annual Conference the voices of makers who are doing craft, rather than defining it” she provides a key rejoinder that actions matter. The artist Curatorial Care: Feminist and Queer in residence program at Shangri La has been a key part of the Practices museum’s mission since 2006, and strives to amplify the work of makers from diverse disciplines. In exhibiting their extant Chair: Nomusa Makhubu, University of Cape Town work, supporting the creation of new work, and expanding This panel will explore the different ways in which care is public access to their processes of making, Shangri La is able configured within individual and collaborative curatorial praxis. to create opportunities for dialogue surrounding important We will explore how curatorial care can be used and mobilized facets of making - not merely materiality, but the frequently- within a transnational framework. Care has been theorised from reductive race, gender, and class based assumptions attached many perspectives, which demonstrates the need to think to craft and its reception in the museum world. Using case critically about how we use care. This panel will bring together studies from three recent residencies, this paper will consider insights into care within exhibition making processes and as well the presentation of production in the context of an Islamic arts as in our informal kinship networks as Black and women of museum, and how the ‘flat craft’ approach allows for a more colour practitioners. We will ask: What care practices can be expansive and nuanced understanding and celebration of used to progress women of color’s curatorial futures? What crafts, both for the museum as well as our audiences. forms of curatorial care can be employed? What is required of curatorial care? What kind of maintenance does curatorial care Building a Collection of Contemporary Middle Eastern require? Craft Mariam Rosser-Owen Curative Curation: Black Women's Curatorial Futures The V&A holds the UK’s national collections of decorative arts Portia Malatjie, University of Cape Town and design, including an internationally important collection of Black women’s curatorial practices are concerned with applied arts from the Islamic world. Within this are significant undoing past injustices by restaging, rethinking or re-enacting holdings of objects collected in the 19th and early 20th past exhibitions. This burden of history sees Black women centuries, when they were ‘contemporary’. Collecting during concerned with abolishing anti-Black violences of yesteryear. the 20th century was only occasional and focused on historical These practices are primarily concerned with ‘rewriting material – but the creation in 2002 of a team of specialist history’, ‘filling the gap’, ‘inserting Black women artists who curators for the Middle East and North Africa led to new have been written out of history’, or undoing problematic and strategic approaches to collecting. In 2015, Mariam Rosser- stereotypical representations of Blackness. In order to think Owen received a New Collecting Award from the Art Fund to differently and radically about curation, Black women curators support a research and acquisition project focussing on may find it mandatory to first address these damaging contemporary craft from North Africa. Looking for a way to historical narratives. With this burden of history in mind, the enhance the collection that was distinctively ‘V&A’ and did not paper explores the obligatory role of what I call curative duplicate pioneering collections being formed by other UK curation, where Black women curators adopt an agential role institutions, especially the British Museum, I focused my and become custodians and healers of exhibition history. It attention on craft, and on the media in which the V&A’s argues that Black women’s curatorial work is always already holdings are particularly strong – ceramics, textiles and activist work. This activism is collaborative and conversational, metalwork. Adopting a framework of ‘contemporary craft’ that where nurturing and pedagogic gatherings are potentiated is well-established in European and American cultural through women of colour communities and sister circles, contexts, I deliberately set out to challenge what ‘craft’ is whose unrecognised praxes falls outside the formal category thought to be when considered in a Middle Eastern or North of “co-curatorship”. Lastly, the paper speculates on a futurity African context. I also hoped to establish a methodology by for these practices, radically imagining the shape that non- which we could collect more broadly in a way that had an curative curatorial futures that are devoid of the perpetual institutional identity. The paper will discuss the project, still need for activism would take. ongoing, how I approached the research, the questions I asked of the works and artists I considered, and share some Mothering, Care and Unruly Archives of the significant outcomes. Chandra Frank, University of Cincinnati and Theo Tyson, Independent Curator Mothering, Care and Unruly Archives looks at questions of curatorial practice, forms of mothering, and care in the archive. In thinking through feminist and queer approaches to care, this presentation will draw on the London-based artist Barby Asante’s Declaration of Independence. This interactive ongoing project is a performative forum, which works with womxn of colour contributor-performers. The performances ask what it means for womxn of colour to tell their stories, and in which ways these stories intervene in existing archives. In this presentation, Asante’s work will be put into conversation with how care might manifest within collaborative art spaces. 03/22/2022 https://www.collegeart.org Page 47 of 234 110th CAA Annual Conference Practices of Care in Curating Sartorial Narratives Collecting as Collaboration: Making of the Hon. Henry Theo Tyson, Independent Curator Marsham Collection of Japanese Ceramics in Kyoto and As a curator, I use visual culture and accessible language to Maidstone, 1882–1908 offer sartorial narratives of marginalized and underrepresented Ai Fukunaga, Museum of Fine Arts, Boston identities. Storytelling is inherent in my curatorial practice and In the 1900s, Hon. Henry Marsham (1845–1908), a British sets the stage for varied interpretations and myriad collector and businessman intensively collected Japanese opportunities for community engagement and civil discourse. ceramics in Kyoto. His collection at the Maidstone Museum, This interactive presentation will focus on queer approaches Kent is one of the most important Japanese ceramics related to agency, visibility, sexuality, and identity through collections outside Japan for the variety and quality of photography and the archive. Specifically, I will focus on the domestic products from different kilns, featuring Kyoto ware. question of curatorial care in relationship to an exhibition I Marsham’s distance from London’s art circles and absence of curated on anti-suffrage for Boston's Apollo: Thomas Mckeller publication not only left him as a forgotten collector but also and John Singer Sargent at the Isabella Stewart Gardner obscured those who were involved with the creation of his Museum. The politics of care played a vital role in the collection. Based on archival and material research in Kyoto curriculum guide, and the catalogue including my work a pair and Maidstone, this paper reveals how local agents of the two of nineteenth-century photo albums owned by formerly cities, namely dealers, artists, temples, hotels, and the enslaved activist and abolitionist Harriet Hayden at the Boston provincial museum supported the development of the Athenæum. Marsham collection and knowledge of Japanese ceramics. While Kyoto and Maidstone are highlighted, this research also analyses how London and Boston’s collections and Decentering Collecting Histories scholarship had an impact on the formation of the provincial SOCIETY FOR THE HISTORY OF COLLECTING collection. Adopting Actor-Network Theory, this paper defines collecting as a result of communication among actors in a Chairs: Stacey J. Pierson; Adriana Turpin collecting network, locating a collector as one of the elements Recent research into the history of collecting has moved from of collecting. Giving what has been thought of as the concentrating on European and American collecting practices to peripheral equal attention to the central, this research aims to a more varied understanding of the global circulation and vocalize marginalized agents—regionally or art historically— appropriation of works of art. This approach has been enhanced as active players of collecting. by interest in contemporary collecting practices both in the West and in emerging markets throughout the world. However, the Decentering collecting histories by mapping transnational field has been slower to consider non-Western collectors, mobilities: French impressionism in Wales especially those beyond a restricted canon of examples. This Samuel Raybone session asks what it would mean to de-center the history of Collecting is a transnational practice of translation and collecting, whether by moving into unfamiliar geographies, transformation; this paper argues that by tracing the recovering the agency of overlooked (often non-European) international mobility of collectors and mapping the objects actors, or reflecting on alternative epistemologies, namely and ideas set in motion by their collecting, historians can work different ways of classifying and exhibiting works of art. What to decenter and decolonize collecting histories. Examining the methodologies and what sources are available to those scholars collection of impressionism in early-twentieth-century Wales – seeking to ‘decenter’ collecting history? How do de-centered a space marginalized by colonial art history and, many argue, approaches force us to rethink definitions about collecting as a itself colonized – this paper seeks to demonstrate that, by cultural activity? We invite proposals from scholars who see their situating collecting within a transnational frame of reference, research as lying beyond, and problematizing, more established we can disrupt colonial narratives, center-periphery topics in art history and the study of art markets. For instance, spatializations, and national hermeneutics by: recovering the whilst much existing research has been focused on the complexity of global circulations which connected so-called dynamism of collecting in capital cities, we welcome research peripheries and circumvented metropoles; revealing the that rethinks the relationship between core and periphery, or plurality, ambivalence, and hybridity of cultural practices considers the interplay between metropoles, provinces, and beyond the core which are suppressed by notions of influence spaces of colonial occupation. This panel seeks to showcase and imitation; thus reclaiming the plenitude and creativity of innovative work which, by interrogating topics often pushed to overlooked places. Gwendoline and Margaret Davies, of the margins of collecting history, also troubles assumptions Llandinam in rural mid Wales, amassed a collection that was, about what constitutes the ‘center’ of the field. at its zenith in 1924, “outstanding in Great Britain” (Ingamells) for its concentration of modern French paintings and Secret Acquisition Team: Hong Kong’s Role in the sculptures. Marginal to histories of the reception of Formation of the Palace Museum Collection impressionism in Britain that center on London, in Wales, Raphael Wong, Hong Kong Palace Museum where they are better known, the Davies sisters’ collecting is invariably understood as a facet of Welsh national becoming Competing Agendas between Colony and Metropole: The (as “what two sisters did for Wales,” Amgueddfa Cymru). Early Years of IFAN’s Museum Collections Neither framework fully accounts for the sisters’ agency as Yaëlle Biro collectors, nor their creative translation of impressionism, both 03/22/2022 https://www.collegeart.org Page 48 of 234 110th CAA Annual Conference of which, this paper argues, were shaped as much by the curatorial discipline and the criticality needed to identify ‘good particularities of Wales as the ties that bound it to a much design’. With this foundation in place, I work to stimulate wider world. student perspectives shaped by individualized cultural backgrounds and lived experiences. My lectures provoked analysis, where students simultaneously learned mine and Decolonial Design History Pedagogies developed their own unique points of view. Inviting more Chairs: Margaret Joan Schmitz, Milwaukee Institute of plurality to the pedagogical process fosters inclusivity as Art & Design; Chelsea Holton, Milwaukee Institute of Art students accept the role as content creators. This flat & Design pedagogy democratizes methods for establishing design history narratives, channels students’ important cultural Developments in decolonial theory and critical race theory have legacies, invites plurality and offsets bias. brought to light major ideological and contextual gaps in Eurocentric design history surveys. Such courses ignore the How should we teach the architectural history of US concerning interconnections between the histories of design and midcentury modernism? settler, extractive, and internal colonialisms. As we work to rectify Manuel Shvartzberg Carrió this issue in higher education, this practical session looks to This presentation will discuss the challenges involved in present new strategies for a global and decolonized design articulating a decolonial design pedagogy for the history of US history education as a means of both putting these correlations midcentury modernism in architecture. Different models of in higher relief and disrupting the status quo for design students pedagogy and criticism variously frame this history in terms of and ourselves. How might the histories of design be utilized to arts and crafts, genius, critical regionalism, the vernacular, critique imperial, settler states predicated on the exploitation of gender and sexuality, social histories, consumerism, race, people and natural resources, the theft/continued occupancy of suburbanization, technological change, and Cold War Indigenous land, and tools such as redlining and gentrification? hegemony, among other approaches. Yet, given that all What does designing a decolonial future look like? In addition to “modern” architecture in the US is historically tied to the the overarching queries above, this session aims to contend with settler-colonial project, how are we to relate our pedagogical a variety of deeper questions and themes. How do processes of models for midcentury modernism to the critical discourses of unlearning and relearning show up in our course development settler colonialism and Indigenous studies? Can the latter be and/or classroom? How can our classrooms incorporate (without assimilated as further additions to the canon—as so many committing cultural appropriation) models from Indigenous and new narratives on the usual menu—or do critical decolonial non-Western knowledge systems while dismantling the formal, methods applied to midcentury modernism necessarily conceptual, and ideological power dynamics at play in outmoded displace the discursive canon as such? Finally, can we Western design surveys? How has decolonization, as a mode of characterize the introduction of decolonial ideas into typical interpreting the histories of design, changed the way your history courses like lecture surveys as enacting a “decolonial students design and/or consider their practice? Presentations will design pedagogy,” or would this require a rethinking of modes involve the introduction of new teaching strategies, lesson plans, of pedagogy—as well as contents? This presentation will and case studies, which probe how we, as historians and design address these questions in relation to my experiences educators, teach these histories. teaching the midcentury modernist architecture of Palm Springs, California, which is built upon the homelands of the Flat Pedagogy Agua Caliente Band of Cahuilla Indians. Kristen H Coogan Graphic design history faces criticism as a narrative needing Designing Our Way Out less prejudice. Our student audiences are increasingly global Juan Carlos Rodriguez Rivera, California College of the and represent cultures that deserve acknowledgement. Arts Moreover, our students came of age when content creation Design and visual communication have a direct impact in the and consumption democratized. Everyone has something to creation and development of cultures. On the other hand, say and platform for broadcasting their message. Smart design methodologies and practices can disrupt colonial phones, Wikipedia, TikTok, Instagram, Twitter, Facebook, structures of power. Why is it that design has not formally Snapchat, self-publishing ventures that rendered the worked towards practices of decolonization? How can design authorship hierarchy flat aroused an appetite for storytelling. and visual communication formally engage with decolonial Can we inspire students to apply their storytelling impulse into methodologies and practices? How do we critically approach a design history narrative? Can we establish methods for eurocentric imperatives in knowledge production such as inclusion that yield more universal truths? What structure can graphic design, architecture, etc? During the panel, I will be a more nimble version of history embody? We can build on presenting learnings from two of my classes: Decolonization & core aspects of a graphic design history while also embracing Design and Designing Our Way Out taught at California more variation in process and outcomes. Educators illuminate College of the Arts. The courses studied decolonization in context—indicating the cycle of design from conceptual origin design communication, music and food with particular to pragmatic artifact, cultural reception and commercial emphasis in design practices and methodologies. As a leading mainstream. This pattern of thought provides students with a case study, this course study Puerto Rico's culture, history and structured method for expansion—and, equips students with a colonial status. We attempted to understand Puerto Rico's colonial context as space for thinking and envisioning the 03/22/2022 https://www.collegeart.org Page 49 of 234 110th CAA Annual Conference creation of new anti-oppressive futures. Puerto Rico continues to be a nation that, as mentioned in the session’s description, Decolonial Teaching Methodologies in Digital has been designed to be unsustainable, co-dependent, and Arts & Design exploited by US imperialism. The conditions that Puerto Ricans live everyday have been linked not only to design Chairs: shawné michaelain Holloway; Xin Xin decisions from the past but also from today. Presenting at the This session unpacks the legacy of European settler colonialism panel will allow me to share projects that were student-led and within the digital arts and design classroom. Through a incorporate equity-based tools on how to responsibly engage decolonial lens, participants are called to share teaching with different histories. The goal of the course is to connect methodologies and resources that re-envision research, creative designers with global design practices and methodologies process, and classroom critiques on works created in digital while understanding the responsibilities that designers have in mediums such as code, video, data visualization, the creation of cultures. virtual/augmented reality, physical computing, games and other playable media. Decoloniality in the context of this session not Nari Variable: Investigating patriarchal, colonised notions only refers to an active resistance towards the catastrophic of the neutral through means of a variable typeface. damages on Black, Indigenous, and POC subjectivities, but also Aasawari Suhas Kulkarni prioritizes Queer, Trans, Disabled, and Neurodivergent bodies Citation is a feminist theory, according to Sarah Ahmed (Living that have been continuously rendered invisible throughout the a feminist life). Authorship and citation in design have often established history of radical thoughts and actions. The session been given a backseat catering to the believed merits, and also welcomes proposals that (1) critically reflect on the teaching customs of anonymity in design; and the designer. Design profession – how lesson plans, classroom management, and propagates a culture on face value, being the vehicle of the evaluation are passed down through the professionalized history message; without ever becoming the message itself. This of networked technology, often favoring biased “best practices” seemingly ‘normal’ attribute in design theory breeds norms; and financial gain over the safety of the individuals and long-term and shuns any possibilities of investigating a) the kind of community enrichment. And (2) showcase examples of people involved in the design process, b) their design decolonial actions that have taken place within the classroom decisions, whether normative or distinct in form, and c) environment – exercises, assignments, tools, or resources that cantering the ‘other’ kind of practice, or people. The otherness center decolonial thoughts and practice within a general or in design comes from following, teaching, and practising specific digital arts & design field. norms, while alienating any body of work that doesn’t align to those notions. The notions of the neutral are a matter of habit, I Saw Your Light: Creative Activation of Museum Objects that was born with colonialism and bred through time. To truly for Educators and Students challenge these ideals, jargons must be celebrated as a Alexa Griffith Winton practice instead of being ‘otherised’, identities should be As museum educators seeking to acknowledge our centred in the creation of forms instead of being tokenised, institution’s colonialist origins and collections in our teaching, and expression in form–not just in meaning–should be we seek to equip students and educators with the tools to furthered instead of being ridiculed. Nari variable is one such engage with difficult objects and histories and to relate them to experiment in variable font technology that attempts at their own experiences. This proposal will present as a case answering the question, what would it mean for a typeface to study, I saw your light and it was shining, a new digital project be feminist; that drives away from patriarchal, and Eurocentric hosted on the Smithsonian Learning Lab, an open-source notions of letter design, is designed by a woman of colour, and digital teaching and learning platform. Named after the poem is anything but neutral. Through form, use, and process, and Rhinoceros Woman by Assata Shakur and featuring original annotation, Nari focuses on creating vehicle that is the artwork by Brooklyn-based artist and educator Oasa message itself. DuVerney, this resource guidies students to interpret and critique how design objects can be refigured through critical thought, storytelling, and creative world-building. DuVerney’s drawings of Cooper Hewitt collection objects re-interpret them into vibrant visuals of rest, power, and resistance and reject colonial frameworks. The themes range from the power of dreaming, as seen through a Nigerian indigo (adire) textile, to reclaiming space and identity, as seen through the reinterpretation of a set of racialized Meissen figures originally created to condense the multitude of cultures and people on the African continent into miniaturized luxury collectibles. With this project, we sought to open space for students as future world-builders to learn about the histories of institutions and collections such as ours, and to use their agency in framing and critiquing the works they encounter. The project also seeks to create opportunities for educators to bring storytelling and critical thinking into the classroom through this digital 03/22/2022 https://www.collegeart.org Page 50 of 234 110th CAA Annual Conference learning resource. surrounding issues such as the monopolized internet infrastructure, laboring bodies for electronic assembly, I Saw Your Light: Creative Activation of Museum Objects violence on content moderators, digital bodies and consentful for Educators and Students technology. In contrast to technological determinism, we Adriana Burkins recognize the agential actions of diverse groups and the As museum educators seeking to acknowledge our usage platforms in expected and unexpected ways. Students institution’s colonialist origins and collections in our teaching, generate creative subversions as digital resistance that works we seek to equip students and educators with the tools to within and from existing platforms, producing critiques and re- engage with difficult objects and histories and to relate them to imagining alternatives. their own experiences. This proposal will present as a case study, I saw your light and it was shining, a new digital project Performing User hosted on the Smithsonian Learning Lab, an open-source Lauren Lee McCarthy, UCLA digital teaching and learning platform. Named after the poem We have been cast as “users” by tech companies, rendered Rhinoceros Woman by Assata Shakur and featuring original passive and reactive, expected to click “accept” on their terms artwork by Brooklyn-based artist and educator Oasa of service that willfully disregard questions of privacy, ethics, DuVerney, this resource guidies students to interpret and and justice. But the underestimation of the user is our critique how design objects can be refigured through critical opportunity to hack, exploit, and subvert this role. We can thought, storytelling, and creative world-building. DuVerney’s reject the false premise of a generic hypothetical user. The drawings of Cooper Hewitt collection objects re-interpret them user has an identity. The user exists within a particular social into vibrant visuals of rest, power, and resistance and reject and cultural context. The user exists. We can ask: How do the colonial frameworks. The themes range from the power of technologies we use choreograph our actions, provoke us to dreaming, as seen through a Nigerian indigo (adire) textile, to perform, and open spaces for improvisation? How do we reclaiming space and identity, as seen through the break down the histories and biases upon which these reinterpretation of a set of racialized Meissen figures originally technologies (including the technology of design education) created to condense the multitude of cultures and people on are built? What are the user gestures that define new the African continent into miniaturized luxury collectibles. With paradigms for interacting with systems? This presentation is this project, we sought to open space for students as future framed as a score for performing user. It consists of a set of world-builders to learn about the histories of institutions and provocations, instructions, and scripts that can be collections such as ours, and to use their agency in framing collaboratively interpreted in different ways by students, and critiquing the works they encounter. The project also teachers, designers, and artists. seeks to create opportunities for educators to bring storytelling and critical thinking into the classroom through this digital learning resource. Unpacking and Reframing Platforms: Experiments in Design Classroom Xinyi Li Digital platform is the provider of software, sometimes hardware, and services that uses computational architecture to mediate social activities in a strategic way. The design of digital platforms encodes and reproduces larger systems of value, norm, and culture, often as an extension of the values of capitalist patriarchal modernity, in forms of digital colonialism. This paper presents my teaching practice and research developed for a studio class where students are prompted to dismantle the power structure present in platforms and the politics of digital artifacts. The class interrogates both the designed artifact and the effect of technology, foregrounding the co-constitutive nature of technologies and humans, that digital platforms remake the body, designate some as normative and legal while oppressing others. We question how platforms produce, support, and discipline meanings, interactions, cultural and social behaviors, and interpret observations through multiple lenses. The class introduces methodological toolkit and conceptual frameworks from adjacent fields, such as theories in science and technology studies, the black feminist concept of intersectionality, critical technocultural discourse analysis, and the walkthrough method. Through theory-based research and studio activities, students create mappings and advocacy 03/22/2022 https://www.collegeart.org Page 51 of 234 110th CAA Annual Conference results it yielded. Decolonizing Modern Design Histories COMMITTEE ON DESIGN Chile: Design Strategies Against Neoliberalism Rodrigo Alejandro Barreda Chairs: Grace Ong Yan, Thomas Jefferson University; This paper examines the political contexts in which three Yelena McLane, Florida State University/Department of distinct design proposals and aesthetic responses to Interior Architecture & Design Neoliberalism in Chile emerged, and how these may serve us First published in 2004, late professor and scholar David as the reflections of the necessary shift in approaches to Raizman’s landmark interdisciplinary design history book, History design and design strategy today. It focuses on popular art of Modern Design, explored the dynamic relationship between and design as vernacular practices that synthesize and design and manufacturing, and the technological, social, and expand the histories, demands and political aspirations of commercial contexts in which this relationship developed. The individuals and communities living in the margins of society, book discussed many disciplines of design from typography to under systemic oppression, ideological-polarization and the architecture, from seminal works to quotidian. Raizman imposition of neoliberal colonialism. The design proposals contextualized design within “a framework that acknowledges a discussed—The muralist movement of the 1960s, the No variety of perspectives through which it might be understood and Campaign of 1988 and street art during the 2019 uprising— appreciated, and that represent the dynamic interplay of multiple are presented both as practices that contest, interrupt and voices and forces within a given society and historical moment.” defy systemic oppression, while at the same time inform, This inclusive approach is prescient today as we actively create dialogue, and support the emergence of new ways of decolonize histories of modern design. Before his untimely knowing and being. New ways of doing are explored by passing, he was working on a third edition of this book. This incorporating concepts and frameworks from decolonizing session seeks papers that project and imagine the legacy of thought leaders, such as Chela Castellanos, Sylvia Rivera History of Modern Design and how race and gender shape Cusicanqui and James Tully. These ideas are suggested as a diverse, equitable, and inclusive scholarship on modern design lens through which prevailing practices in understanding, history. We are seeking papers that parse topics of modern conception and creation—in other words, in design—can be design that build upon and depart from themes of History of examined, critiqued and reconceived. Modern Design: 1) Art, Industry, and Utopias; 2) Modernism and Mass Culture after World War II; 2) Alternative Voices: Protest Interrogation by Design: Michael Pinsky's Pollution Pods and Design. Cynthia Haveson Veloric, University of the Arts How can an artist communicate the hyperobject of air pollution Reconsidering the Chaises Sandows: Materials, Makers, in a designed space? How can architecture provide a forum Industry, and Environments for topical discourse on the causes and effects of the climate Kiersten Thamm, University of Delaware crisis? Architect, urban planner and environmental activist Michael Pinsky (b. Scotland 1967) confronts the hyperobject in In the "Art, Industry, and Utopias" section of History of Modern Design, David Raizman introduced a chair designed by the a form that is inescapable in his traveling exhibition Pollution French decorator René Herbst (1891-1982) called the Chaise Pods (2018--). Visitors are enticed to enter five linked Sandows. The chair comprised a tubular steel frame and more transparent geodesic domes each of which represents a city— than two dozen rubber bungees that stretched across the rigid Tautra, Norway, London, São Paulo, Beijing, and New Delhi. frame to create a seat and back. Raizman writes a short The cities themselves are invisible, but visitors inhabit them paragraph about the parallels between this industrial chair and through their senses. Slowly, the dramatic and futuristic contemporary buildings composed of steel and glass, as well aesthetics of the Pods is replaced by a feeling of entrapment as the chair's lack of market success (179). My PhD thesis, in odorous cells. A simple iteration of Fuller’s dome becomes "The Revolutionary Life of the Chaises Sandows 1929-1937," laden with ironies that result in quite different ends. Climate grew from this text into a collection of investigations into its consciousness comes slowly through the “back door” rather material history, its embodiment of neo-Lamarckian ideas than through a grand entrance, by the clever sequencing of about human development, and its position within and for the rooms. Pods’ transparent walls and ringlike formation invites French steel industry. These investigations raise questions awareness and anticipation of other “cities.” This configuration about the role of colonialism and French colonies in the symbolically reinforces the idea of all corners of the globe Metropole, the work of women in the decorative arts, interwar being connected just as air pollution knows no boundaries. immigration, and environmental degradation. Using the The installation functions as a great equalizer of diverse methods of design studies, material culture studies, and groups as they collectively move through compromised business and technological histories, my thesis promotes a spaces. The increasingly uncomfortable cells force new repertoire of voices typically overlooked in conventional art sensory and cognitive understandings of pollutions’ global history studies. It works to correct the exaggerated position of implications. It has fostered communal conversations in the the individual designer in the history of French decorative arts pods themselves, in thousands of Twitter posts from around by highlighting the makers, materials, technology, and the world, videos posted on the internet, and hundreds of business practices that helped to produce the Chaise articles and reviews in print and digital magazines. Sandows. This paper presents an overview of this framework, the unconventional research it required, and the unexpected 03/22/2022 https://www.collegeart.org Page 52 of 234 110th CAA Annual Conference “What should we do with design?” A reading of narratives Pakistani TVCs: How Local Advertisers are Coding in socialist Romania in the 1970s and the 1980s: the case Messages for Young Consumers of Decebal Scriba Nida Ijaz Mirela Duculescu, National University of Arts Bucharest Advertisement is one of the major factors for a company to This presentation tackles the notions of the (Western) modern make it successful, unbeatable, and unforgettable. At the design history, Eastern European modernist socialism and same time advertisement can play this role completely their entangled official and alternative (macro/micro) histories contrary ailment and advertisers know how to sell the product. within the context of Romanian design (before and after the They attach the product to the emotions, bonding, and communist regime installed in Romania in 1945). One can happiness of a family or an individual. TVCs code messages look at: a local peripheral European design narrative that for consumers as it is essential to monitor the delivery of the deployed and moulded itself mirroring the non-inclusive coded message and what is the impact on the young canonical history of Western modern industrial design consumers after listening and seeing these advertisements, (mirroring the “Other” Europe while thriving to build a local which leads to devastating behavior in the lifestyle of young design identity not only in socialism but also before); individual consumers. The content analysis method has been used on destinies of design professionals who had limited dialogues of TVCs which has been on-air in the local channels effectiveness in a centralised economy of a totalitarian state of Pakistan. We surveyed those brands' advertisements that while manifesting a personal artistic narrative as a soft protest target children as their consumers to find what they feel about against the political regime. On one hand, I use the those advertisements and what message they perceived from macroscopic view: concepts such as modernization, modernity them. As a reference, we discussed the Lifebouy shampoo, and modernism, all linked to the Modern Movement. On the hand wash, and Horlicks advertisements as they are FMCG other hand, I use the microscopic perspective: in postwar and targets young consumers from the age of 4 to 11 years. In Romania, design (called industrial aesthetics by the official Pakistan, 66% of houses have at least one teenager as a bodies) was perceived theoretically as one equivalent of buyer and they cannot handle the increasing blitz of industrial modernisation. The notion of industrialization advertising. Young minds cannot understand the meaning of seemed to be a feature borrowed from the “objective” memory advertisements and can easily be manipulated. This research of modern design making. The socialist practice of design reveals that how showcasing the bully behavior and portraying graduates was honest but limited due to the weak economy negative messages can affect the child’s life. Moreover, how and backward industry. A BA design project of urban furniture impulsive exposure to advertisements is making them more and its result by Decebal Scriba (n. 1944) in Bucharest (1973) materialistic. and Buzău (1977) will be examined. At the same time, as a reaction to life under a totalitarian regime, Decebal Scriba Architecture and Design Students Envision the Post- engaged in experimental and conceptual art, as early as 1974. COVID Built Environment Denise Anderson,Craig Konyk,Kylie Mena and Varrianna Siryon DESIGN INCUBATION COLLOQUIUM 8.2: Humanity will call upon architects and designers to respond to RECENT RESEARCH IN COMMUNICATION the resulting modified human behaviors and built environment DESIGN in the post-COVID-19 world. These areas include the need for flexibility of public spaces and interior layouts, rethinking DESIGN INCUBATION product designs, and strategies for informational campaigns Chairs: Heather Snyder Quinn, DePaul University; and digital safety platforms using an integrated design Camila Afanador-Llach, Florida Atlantic University approach. In spring 2021, a team of interdisciplinary students and faculty at the Michael Graves College were awarded a Discussant: Jessica Barness, Kent State University grant to explore how designers can prepare for the next We invite abstract submissions on presentation topics relevant to pandemic by looking at it as a human-centered design Communication Design research. Submissions should fall into initiative. The objective was to utilize the expertise areas of one or more of the following areas: scholarly research, case Architecture, Graphic Design, Industrial Design, and Interior studies, creative practice, or design pedagogy. We welcome Design to research the pandemic's effects on public spaces proposals on a variety of topics across the field of and propose design strategies to improve communities. For communication design. Accepted researchers will be required to example, as part of a university-wide initiative on pandemic produce a 6-minute videotaped presentation that will be research, students proposed design solutions for the safe published on the Design Incubation channel. The CAA opening of Kean's childcare center. In the summer, as the conference session will consist of a moderated discussion of world managed and changed due to the Delta variant and the those presentations. Submit an abstract using the Design anti-vaccine movement, further investigations into two areas Incubation abstract submission form found here: hit hardest by the pandemic were explored: education and https://designincubation.com/call-for-submissions/ Submissions mental health. Extended research was conducted on special are double-blind peer-reviewed. Reviewers’ feedback will be needs children and the increased anxiety that led to panic returned. buying. The presentation will examine the interdisciplinary design thinking process and solutions for the childcare center. It will present methodology soliciting support in undergraduate 03/22/2022 https://www.collegeart.org Page 53 of 234 110th CAA Annual Conference and graduate courses to identify pandemic-related problems produced from Black creative practitioners working in the field and solutions. Furthermore, it will answer how design and today. This presentation will also share the collaborative architecture can help envision what communities need to process and methodologies undertaken by the editors to manage and thrive in a post-COVID-19 environment. compile and assemble this book for publication. Colored Bodies A Theory of Design Identity Aaron L. Fine, Truman State University Colette Gaiter, University of Delaware Racial and other identity connotations are essential in design Interdisciplinary Human-Centered Design Research for and visual communication analysis. Just as historical and Healthcare - Overcoming Practical Challenges Before and economic conditions contextualize designed objects, omitting During The Pandemic Time - A Pragmatic Approach to identities causes incomplete and biased design history. A Design Education and Practice socially-grounded history and analysis of The Black Panther Sam S Anvari, California State University Long Beach Party logo provides an example of historical events and This presentation proposal covers the practical approach and cultivated social connotations colliding in a symbol that various pedagogical measures taken to form a team of endures over decades. Generally, unless a visual fourteen students and two faculty from Graphic Design and communication product is clearly biased in its presentation Psychology to improve VA technology for veterans with spinal and intent, embedded social connotations are considered cord injuries. This multidisciplinary project is ongoing research benign. Examining all identity representations should be between California State University Long Beach, the Spinal essential for design analysis. In this example, the words and Cord Injuries and Disorders (SCI/D) Center at the Long Beach image “black panther” layer a rare animal, Rudyard Kipling’s VA Hospital, and the device manufacturer, Accessibility India-inspired children’s stories, racialized exoticism as a form Services, Inc. in Florida. The project's goal is to improve the of kitsch, a Black activist party, and a mythological superhero design usability of the Environmental Control Unit (ECU), —illustrating symbiotic interaction within an enduring symbol which patients with SCI/D use to complete everyday tasks and icon. “Design Identity Theory” is analogous to applying such as making a phone call, calling the nurse, controlling the Critical Race Theory to law practice. Expanding Laswell’s TV, adjusting the bed, etc. The project started in 2019 by Model of Communication that considers (1) Who (2) Says performing heuristic evaluations on the ECU device with a What (3) In Which Channel (4) To Whom (5) With what team of seven students and faculty from psychology, health effect?, a thorough analysis of “Who” and “To Whom” would science, and graphic design. Findings from this work identified include all socially defining identities. This analysis does not system elements needing improvement for better user automatically imply bias but expands historical context and experience and visual interfaces design. Despite the cultural design. Applying Kimberlé Crenshaw’s Theory of pandemic and its associated lockdown conditions, the Intersectionality deflects stereotyping by foregrounding research team successfully transitioned to the project's next identity’s complexity. The work of mid-20th-century liberation phase, design A/B testing, online. The faculty leaders movements is ongoing and evolutionary, replacing “melting scheduled virtual weekly meetings with the team and pot” metaphors with acknowledging and celebrating developed an alternative plan to continue the project. In 2020, difference. Using a “Design Identity Theory” to analyze past students worked tirelessly to a digital prototype of the device and present design fills in historical gaps, expands culture, that is accessible remotely online within the safe space of the and helps build a more equitable society. home. The ECU device's online prototype made it possible for the research team to apply design changes and prepare for Bringing Peace (Circles) to (Design) Practice, Revisited remote user testing. In the meantime, the research team grew Dave Pabellon, Columbia College Chicago more extensive, with five students from the graphic design program, eight students from the Psychology Human Factors Academic Marginality and Exclusion for Graphic Design program, and another two students from the university's Educators of the United States undergraduate research opportunity program (UROP). This Yeohyun Ahn presentation will discuss various tools and methods for human-centered applied design and networking with the industry. The Black Experience in Design Kelly A Walters, The New School, Parsons School of Design The Black Experience in Design, is an anthology co-authored by Anne H. Berry, Kareem Collie, Peni Laker, Lesley-Ann Noel, Jennifer Rittner and Kelly Walters. Featuring over 70 design contributors, this book centers a range of perspectives, teaching practices, and conversations through a Black/African diasporic lens. The aim of this presentation is to share excerpts from the book, such as essays, interviews and design artifacts, that highlight the range of work being 03/22/2022 https://www.collegeart.org Page 54 of 234 110th CAA Annual Conference deployed Photovoice to address health inequity, to argue for Designing with communities for social health equity as a hallmark of social justice in healthcare, by justice focusing on exposing and reducing health disparities. Chair: Jane Prophet, Penny W Stamps School of Art & Language acts: making meaning with and for fluid Design identities This panel brings together artists and designers who each work Amira Hanafi, University of Michigan in collaboration with communities and professionals from other Words are designed to classify. We communicate by disciplines to address social injustices. Their interdisciplinary generalizing about specific objects, beings, and ideas. By projects combine community-based participatory research claiming to name what is, language presents itself as methods with discursive design methods to empower people to transparent, though particularities are blurred by the very act express difficult emotions and complex states of being, in new of naming. This paper presents ongoing projects in which I and unconventional written and visual languages. In each of the facilitate collaborative processes to translate, disfigure, and projects presented here, the agency of community participants is rebuild language. On one hand, this is accomplished by strengthened; they set the agenda in shared spaces facilitated allowing other people to access the “back end” of my digital by the researchers. Bruce Tharp’s practice-based research leads practice. On the other, it is by meeting language where it to the creation of artifacts and interactions that enable people to lives—in social situations. My artistic research seeks to bring carry out end of life conversations. Amira Hanafi’s work new language into being for complex, liminal, and fluid increases access to language by creating opportunities for identities. Language that contains multitudes; that is polyvocal; people of diverse linguistic backgrounds to use words in new that wakes up one morning preferring another angle on a ways, and to be heard and understood while doing so. In the multi-faceted persona. Language as a grotesque body “...in case of Jane Prophet’s collaborative research and that led by the act of becoming...continually built, created, and build[ing] Hannah Smotrich and Stephanie Tharp, women living with and creat[ing] another body” (Bakhtin). Language that “gives chronic pain use design, image-making, and writing to share back as much as it receives, in luminous mutuality” (Irigaray). their knowledge of resilience and thriving. The panelists argue This is connected to the personal. All my life, people around that inequities are better understood and addressed when me have wanted to know, “Where are you from?” I’ve come to communities have increased access to creative tools and means understand that they’re asking me to caress their anxieties by of expression, as well as when the results of their creative providing a category to which I belong. They demand engagement are made visible to a broader public. transparency, but whatever story I tell remains incomplete. The research is informed by different approaches. One is translanguaging: “the use of the full language repertoire to An intersectional aesth-ethics of care: using Photovoice to make meaning” (García). I adopt it as a creative strategy, in an challenge gendered and racialized experiences of chronic attempt to “disinvent named languages” (Makoni and pain treatment Pennycook) as colonial artifacts. Jane Prophet, Penny W Stamps School of Art & Design 1980s British artist photographer, Jo Spence, used Toward Thriving (not just surviving): A set of reflective phototherapy to challenge normative constructions of the tools to empower chronic pain patients female cancer patient by documenting her illness and was Hannah Smotrich, University of Michigan and Stephanie then employed as a consultant by hospitals who, through her Tharp work, recognized the need to change their practices and “Large scale studies in Europe, North America, Australasia, physicians’ attitudes which objectified patients. Photovoice, a and other regions disclose that one in five of the adult community based participatory design method where population suffers from chronic moderate to severe pain,” participants take photographs and combine them with short (Unrelieved Pain is a Major Global Healthcare Problem.’ narratives, has recently been used to investigate the International Association for the Study of Pain. Accessed complexities of living with chronic pain. However, few studies January 4, 2020. http://www.iasp-pain.org/ (pdf, p.1) yet there have specifically addressed gender and race related health are societal misconceptions about what it means to live with disparities in the context of chronic pain. The paper draws on chronic pain. Chronic pain sufferers encounter frequent the experience of working with participants of color who barriers and few supports to help them live meaningful lives. identify as women whose photo-text works offer unique An interdisciplinary team of faculty and researchers from a insights into the varied experiences of living with and being large, public, tier 1 research university are working on an treated for chronic pain. Healthcare professionals are aware of intervention that uses a custom, collaboratively developed the power of images as catalysts for meaning-making in cultural probe kit, a design research method, that asks chronic medical pain encounters, as part of a multidisciplinary pain sufferers to visually document, annotate, and reflect on analysis, “images can strengthen agency in the person with their daily lives over four weeks. This intervention examines pain, particularly but not only in the clinical setting, and can how to support resilience and thriving in chronic pain sufferers. create a shared space within which to negotiate meaning. [...] We will investigate the efficacy of: building positive emotions; the invisible experience of pain was made visible in the form of prompting documentation and reflection on barriers and co-created photographic images, which were then made supports in daily life; providing health education; and clarifying available to other patients as a resource to use in specialist values and envisioning goals. This paper will discuss the consultations.” (Padfield 2018). The study presented here collaboration with a chronic pain psychologist in the 03/22/2022 https://www.collegeart.org Page 55 of 234 110th CAA Annual Conference development of the cultural probe kit, the design of the tokens, the interface between art institutions and audiences is kit/intervention, the project’s theoretical foundation (Barbara more diverse and digital than ever. As a result, curators, Fredrickson’s broaden-and build-theory), the project’s scholars, educators, artists, and related staff have had to learn connection to critical practice in design, and the planned and adapt to a rapidly changing landscape and often qualitative evaluation methods. unfamiliar terrain. As the world begins to open up again, how much of this experimentation will continue and what have we Discursive Design and End-of-Life in Scotland learned from it? This presentation reflects on the translations Bruce Tharp, University of Michigan of gallery space in an era of remote access. The curation, The results of a 6-month Fulbright visiting scholars project with display, and visitation of culturally significant sites has been the Glasgow School of Art will be presented involving research critical to the study of art and its history. By sharing recent and development involving discursive design for end of life work, the paper will address the challenges and opportunities (EOL). Through qualitative, practice-based research involving of presenting objects in space virtually. participatory design research and co-design activities with young adults, adults, and elderly, a series of discursive design Studio Practice: Flexibility and Invention interventions (artifacts and interactions) will be created that Sue Havens and Francesca Molly Albrezzi enable the public to better reflect upon and discuss with loved There are times when artists work with plans and times when ones their EOL values, and potentially take actions toward they may be forced to adjust to extraordinary circumstances. advance care planning (ACP). Discursive design is particularly When the pandemic struck in March of 2021, the world shifted good at helping surface people’s values, beliefs, and attitudes, from one with familiar dimensions to one with sudden, which are more difficult in conventional design research that destabilizing limitations. Artist-educator mothers had to adjust emphasizes aesthetic, usability, and usefulness preferences. to new realities with children at home in quarantine. This new ACP can help relieve and prevent suffering, anxiety, and reality imposed a sudden and disorienting halt to my own individual and national finances, with the Scottish government studio practice, as I was developing a solo exhibition at the supporting programs for “greater public and personal Marjorie Barrick Museum. The moment that classes were discussion” toward “greater openness about death, dying and declared closed was sudden, and teaching was to be online. bereavement.” Of particular emphasis during the panel My work radically changed as I shifted from working with discussion will be reporting on researchers’ direct engagement campus facilities to working and teaching out of a garage in a with elderly through Cycling Without Age (CWA), an make shift space. After a brief paralysis, I began to paint in an international non-profit that pairs local adult “pilots” with elderly entirely new way. I shifted from working in dimensional clay from assisted living facilities, providing free trishaw/pedicab sculpture to making dozens of two-dimensional paintings on rides. Scotland’s CWA program is unique in that the paper that were made in fits and starts as I juggled home life. government has sponsored an elaborate network of 50 The result was that I reinvented the way that I paint. My shift chapters across the country, which has even operated with from sculpture to flat paintings mimicked the ways in which the certain precautions amid the pandemic. Through participant world shifted from being dimensional to limited, or flat. In this observation and engagement with other pilots and elderly presentation I will discuss my studio practice during passengers from across Scotland, the research emphasizes quarantine, how it shifted according to circumstance, and how informative, generative, and evaluative engagements around invention can occur when circumstances change. I will present EOL across various Scottish communities. images from this time and share exhibition photographs from my museum exhibition that features an installation of new paintings paired with dimensional sculpture. Digital Realms in Practice Interlooping: Livestreamed Performance as Aesthetic The Digital Gallery: Expanding Outreach and Access Encounter Francesca Molly Albrezzi, Office of Advanced Research EL Putnam, National University Ireland, Galway Computing The COVID-19 pandemic and associated public health While digital methods have long been used for preservation, restrictions has meant many live events across the globe have over the past decade, and particularly in the last year, they been presented virtually. For performance events, this has have become essential for offering remote access to cultural generally involved livestreamed video. In this presentation, I objects and spaces. The pandemic shifted the way museums provide an analysis of livestreaming as an aesthetic and galleries interacted with the public, which moved beyond encounter, arguing that it is creating new modes of social simply offering their collection databases online. For example, engagement through performance. I focus on the livestreamed the German gallery Peer-to-Space, has been bringing together performance Interlooping, which I presented as part of the curators, artists, and virtual reality builders to produce virtual 2021 Bealtaine Festival (an annual festival in Ireland exhibitions using the Mozilla Hubs platform. Museums began dedicated to arts and creativity as we age). This performance offering programming online, like Virtual MOCA or VMOCA, engages with video and sound as a means of translating particularly with families in mind, so that people could still haptic sensations of touch, using refuse Irish wool that has have cultural experiences while maintaining safe distancing accumulated due to COVID-19’s disruption of the international practices. Artists embraced the blockchain and are now selling wool trade. This performance reveals the relationship of the their art digitally, transforming the art market on a global scale. performing human with technology, the non-human, and our From immersive tours, to webinars, to the rise of non-fungible collective being. As a performance, I engage with the 03/22/2022 https://www.collegeart.org Page 56 of 234 110th CAA Annual Conference technologies of streaming live, playing with its affordances in genres widely collected in both elite and non-elite circles. The order to draw attention to the phenomenologies of liveness expanding commercial and colonial activities of the Dutch East that these technologies produce. At the same time, the and West India Companies provided those with influence and performance treats fragility, not as weakness, but as an financial means the opportunity to collect imported rarities instigator for connection to others through gendered care from Asia, the Americas, the Middle East, and Africa. Over the work. Using Gilbert Simondon’s definition of aesthetic last few decades, scholars have analyzed the various ways encounter, in this presentation I argue that livestreaming women participated in the production, sale, and collection of functions as a performance that enables new means of fine and decorative art in the early modern Low Countries. thinking and feeling through engagement with digital However, their impact on the Dutch art market is difficult to technologies. I trace my practice to the work of Joan Jonas measure, due in part to the continued (albeit, still limited) and Pipilotti Rist, whose engagements of performance and focus on “exceptional,” aristocratic women and the lack of moving image technologies sets precedence for 21st extant evidence traditionally requisite to assert agency. This experimentations with livestreaming that Interlooping project visualizes the cultural sphere of non-elite women in exemplifies. seventeenth-century Amsterdam and illuminates their impact using network analysis applied to the Frick Art Reference Library’s Montias Database of 17th Century Inventories. Dismantling the Patriarchal Canon: Network analysis is a broad, inclusive approach for assessing Foregrounding Women Artists and Patrons agency via the visualization of a network representing through Digital Art History collectors, artists, or objects as points and connections as vertices. In the scope of this project, connections are defined DIGITAL ART HISTORY SOCIETY as names appearing within the individual inventories of the Chairs: Tracy Chapman Hamilton, Sweet Briar College; Montias Database. By uncovering individuals and illuminating Dana Hogan, Duke University; Mariah Proctor-Tiffany, trends, this case study interrogates the perceived gendered California State University, Long Beach societal norms imposed on the early modern period and allows for conclusions to be drawn about the multifaceted role As premodern feminist art historians, we have found that the of non-elite women in the Dutch art market. digital allows, inspires, and even requires us to reassess women’s contributions to history and, in so doing, challenge and Global Makers: Women Artists in the Early Modern Courts disrupt the male-centered canon. Through examples like Gealt Doris Sung, The University of Alabama and Falcone’s A Space of Their Own, Barker and The Medici Archive Project’s Jane Fortune Research Program on Women Global Makers: Women Artists in the Early Modern Courts Artists, and the Clara database, launched in 2008 by the Tanja L. Jones, University of Alabama National Museum of Women in the Arts, we have witnessed the impact digital tools—made even richer because of their Global Makers: Women Artists in the Early Modern Courts collaborative nature—have had in the last decades on our ability Rebecca E Teague to conduct research on women’s roles in advancing visual arts and culture globally. Digital Art History methods, such as data By the Numbers: Visualizing Data-Driven Histories of analysis, virtual and augmented reality, digital mapping and Living Women Artists in the National Gallery of Art networking, and dynamic archive databases, have allowed us to Emily Ann Francisco dig deeply into the record; raise ethical questions of privilege, Since its opening in 1941, the National Gallery of Art (NGA) bias, accessibility, and audience; reckon with the limitations of has acquired over 156,000 art objects, of which roughly representation to reveal the often unseen in our histories; and 12,000 (under 8%) were created by women. The museum also find new inspiring ways to visually interact with and contextualize historically collected few works by living artists, even adopting people, place, and material. We aim to expand even further upon the policy (later changed) that an artist could not be included the work that has been done by soliciting papers on digital in the permanent collection until twenty years after their death. projects—or those holding theoretical or historical perspectives— Overall, this might seem an especially difficult environment for that offer new methodological applications in the study of women celebrating living women artists' achievements, despite their as integral to the full breadth of our chronological and prominence in modern art movements. Yet, as early as 1943 geographical past and present. Each project should refute the the NGA gained thousands of works by women, many still concept of a single patriarchal canon and illustrate how the alive at the time, through significant prints and drawings digital makes this essential reassessment possible and acquisitions. This watershed year is rarely discussed in the unavoidable. museum's institutional history, but the numbers are strikingly apparent when we visualize collection data. Collection Beyond "Exceptional" Women: Unearthing Non-Elite hierarchies, as well as broader issues of display and Women’s Agency in the Seventeenth-Century Dutch Art conservation, have led to the "systemic invisibility" of many Market with Network Analysis living women artists within the museum's holdings. It is evident Lauryn Smith that these artists have always been a part of the NGA story, During the seventeenth century, Amsterdam flourished as the although that story is a bit complicated. Evaluating the major European center for trade and commerce. Dutch collection data from an intersectional perspective, numerous painters experimented with striking, inventive styles and questions arise, such as: Which artists were not collected? 03/22/2022 https://www.collegeart.org Page 57 of 234 110th CAA Annual Conference What trends are visible over time? Although issues of Quezada uses their brown, trans body reaps a fruitful example collection diversity are not unique to the NGA, their of Latinx use of new media and the implications for prominence within the institutional fabric of the national art environmental and queer studies. Arguing that their project museum provides a useful case study for both understanding replants notions of fertility as they pertain to queer and confronting these challenges embedded in our field. experiences allows me to hybridize Quezada’s cultivation of relations with queer kin, Spanish colonial missions, and plant life. Ultimately, Quezada’s work plants larger questions about Dissident Embodiments: Undoing Gender how a Queer Latinx axis unfurls notions of fertilties, diaspora, Binaries in Modern and Contemporary Art of and futurities. the Americas “Women aren't supposed to be warriors”: Jolene Nenibah Chairs: Gillian Sneed, San Diego State University; Yazzie and the Decolonization of Diné Gender Roles Florencia San Martin, California State University, San Elizabeth (Betsy) S. Hawley Bernardino Daggers and Butterflies: Lukas Avendano and Exploring the intersections between gender and coloniality, the Lechedevirgen Trimegisto’s Dereification of Gender late María Lugones argued that a critique of modernity is Vanessa Mackenzie Parent incomplete without examining the relationship between gender, violence, and resistance. Artists have also marshalled the non- Trans-Trance: Embodiment as Resistance in the Work of heteronormative body as a force for resisting what Kira Xonorika Heitor dos Prazeres has described as the “necropolitical ‘cistem’,” or the ways that Camilla Querin those who are marginalized within cis-gendered hegemonies are most precarious and vulnerable to violence. Building on these ideas, this panel aims to examine how modern and Ecoart Strategies for Place-based contemporary artists in the Americas who may identify, or who stand in solidarity with identities such as queer/cuir, gender fluid, Pedagogical Practices nonbinary, pangender, two spirit, butch/femme, transgender, and Chairs: Ann T. Rosenthal, LOCUS; Chris Fremantle, more, have reflected on gender in the context of modern Gray's School of Art coloniality. Organized against the current backdrop of ongoing widespread oppression of trans and non-binary people across “To state the obvious, how one does one's pedagogy in a field the Americas, including the rise in new legislative bills targeting impact what can and is done in that field."1 Ecoart aims to transgender youth in the US and Latin America’s position as the transform the systems on which ecocide rests: the false epicenter of anti-trans violence, this panel seeks papers dichotomy between nature and culture placing humans above critiquing gender hegemonies in the Americas. It also welcomes the more-than-human world, the hubris that presumes nature is a papers proposing alternative possibilities within intersectional storehouse of resources for our taking; the imperialist dissident embodiments, including those that speak to assumption that “nature” is inexhaustibly exploitable. A experiences of Indigeneity, the African Diaspora, and disability. fundamental site for such transformation is education, both Proposals could address artists working in traditional media, or formal and informal, in classrooms and communities, from K-12 other media like performance or participatory art, as well as the to graduate level. At the heart of ecoart practice is place-based, practices of writers, critics, and curators that address these eco-centric learning, focused on the relations between living themes. They might also engage discourse around our current things and their environments. This panel will explore colonial, capitalist present in relation to theories on, but not pedagogical approaches that support interdisciplinary, place- limited to, masculinities/femininities, “travesti” subjectivities, based projects from the US, the Caribbean, Central America, abjection, Tropicamp, disidentification, and queer futurities. Europe, the Middle East, and Australia. Panelists employ restoration, mitigation and adaptation to climate change, and expand awareness of biodiversity, while providing opportunities Cultivating Desmadre and Planting Queer Fertility: Vick for multi-/inter-/trans-disciplinary teamwork, fieldwork, and Quezada’s Erotics of Spreading Seed personal reflection. Joanna Macy’s three dimensions of the Alexis Salas Great Turning— holding actions, Gaian structures, and shifting This paper explores the ways in which the art practice of trans consciousness—provide a useful guide to navigate the strategies non-binary Latinx artist Vick Quezada (pronouns: they/them) discussed. Ecoart pedagogies, honed over the last several cultivates cross-racial POC queer fertility. Using the concept of decades, center ecology, community, and art as the lens through desmadre (dis-mother), I argue that Quezada decouples the which learning occurs while offering models to transform notion of fertility from reproduction to instead graft it to education and inspire hope. The presenters are all contributors numerous forms of kinship. I explore a number of Quezada’s to the newly released book "Ecoart in Action: Activities, Case artworks to present, focusing on Quezada’s performance Studies and Provocations for Classrooms and Communities." 1 documented on video, Seed/Unseed. In Seed/Unseed the Natalie Loveless, How to make art at the end of the world. artist traverses three El Paso, Texas missions while sowing (Durham: Duke University Press, 2019) 13. corn, or maize, kernels. Rooted in the US Southwest, Quezada’s work is embedded in histories of the contested lands of the US Mexico border and gender play. How and why 03/22/2022 https://www.collegeart.org Page 58 of 234 110th CAA Annual Conference Mangrove Rescue in Bimini: Connecting Art, Restoration, Art Meets Science in the Costa Rica Rainforest and Community Eve Andree Laramee, Pace University Lillian Ball, Waterwash Interdisciplinary art and science collaborations and learning Mangroves play an integral role in the ecosystem of the Bimini communities can synthesize research from several disciplines islands, in the westernmost Bahamas. They are an essential to deepen understanding of complex problems, inspire critical nursing habitat for numerous species of fish and fauna, and thinking, enhance student research, and strengthen they serve as coastal defense, preventing erosion and acting collaborative learning. I will draw on several learning as 'shock absorbers' against extreme weather. Mangroves are community case studies that have contributed to the key to local communities providing inshore fisheries, wood, development of the Dyson College Center for the Arts, Society plant based foods and medicines. Like many other species, and Ecology (CASE) at Pace University. These include: Arts of mangroves are threatened. The construction of hotels and Change: linking Environmental Art with Social Practice Art as tourist attractions is extending Bimini’s shorelines using a Vehicle for Political Protest; Social Change and landfill, destroying countless mangroves and reefs. This Environmental Justice: that combined four classes in four problem isn't unique to Bimini. This challenge led to an open- departments: Art, Anthropology, Peace & Justice Studies and ended collaboration between myself, the non-profit Political Science; and Art Meets Science in the Costa Rica Waterkeepers Bahamas, and students from Louise McDonald Rainforest: a travel abroad fieldwork class linking Ecological High School. Their project was divided into three areas of Art with Biology fieldwork and lab work in which students engagement: mangrove restoration art projects developing the individually and collaboratively addressed the flora and fauna Go H.O.M.E. Bimini interactive game, designed to be used as of the rainforest in visual and sonic documentation. These an educational tool The restoration project began in 2019 and learning communities were designed to create forums for to date has involved rescuing nearly 1000 mangrove controversial issues, supporting development of tightly-knit propagules from areas threatened by development and student cohorts who became aware of ways of thinking and replanting them. Mangrove-themed artwork, project signage, working as communities of creative thought-leaders. The and collaborative development of the game Go H.O.M.E Dyson Center fosters creative collaborations and research Bimini., was undertaken with Bahamian artist and educator between the arts and sciences to support an understanding of James Pinder and his high school students. The goal is to complex ecological systems, contributing to solving society’s raise awareness of the current state of mangroves while environmental challenges and inspiring positive change for actively trying to alleviate the issue. The project functions as future generations. By sharing innovations, art and science an integrated intervention fueled by the urgency of the climate collaborations can energize action to initiate positive social crisis. It is grounded in relationship-building within a specific change and promote awareness of environmental issues by community that guides the process, and its mission is the directly involving communities, and extending ways in which preservation of Bimini’s diverse environment. cultures imagine, create, and understand. Of A Personal Nature: Self-Interrogations for Ecological Agency Through Ecoart Pedagogy Artists Eileen Hutton, Burren College of Art Brian D. Collier, Saint Michael's College What strategies are essential for emerging artists as they Commonly used terms like “nature” and “wilderness” are often encounter the layered ideologies embedded within the rural?1 tied to complex ideas and unexamined assumptions. How can direct engagement with place, experiences in Reflecting on their fluidity can create insights for both those scientific research methods, community-based endeavors, who are making ecologically-themed work and audiences sensorial investigations, personal reflection, and familiarity engaging with it. “Of A Personal Nature” was designed as a with alternative artistic processes cultivate a sense of first project in a college-level Art & Ecology course to help individual and collective agency in relation to both local and students deepen their understanding of conceptual global climate issues? The Art and Ecology program at Burren frameworks vital to anyone interested in making ecological art. College of Art is studio-based, grounded in ecocritical theory2 It begins with questions. These questions support 3 4 and the study of contemporary arts practice. It emphasizes investigations of each student’s experiences and ideas about experimental and risk-taking approaches to art making that the natural world and their own connection to it. The activity as embrace ecological thinking. We enlist a number of key a whole helps students gain critical insight into their own stakeholders from within the community, including preconceptions before moving on to produce work for an archaeologists, farmers, geologists, sea fisheries protection audience. It is also intended to help students avoid falling into officers and botanists, to refine the students’ ecoliteracy skills the common traps of broad generalizations about our and broaden their experience of research-based practices. relationships with the natural world, and it frames the role of The ecoart strategies that inform the pedagogy facilitate ecological art in helping other people to navigate those students’ deep engagement with place, connecting their studio relationships. Other components of the activity include careful processes to their encounters with the natural world. Students observation, and attention to understanding how our beliefs expand and diversify their artistic toolkit and are thus better impact not only how we see things but if we have the ability to equipped to navigate the complexity, flux, and chaos that is an see at all. Students move on to connect images and objects to inherent component of life on Earth. 1 Fernando García-Dory, these discoveries, turning their self-analysis into visual Piotr Michałowski, Laura H Drane, Arts in Rural Areas presentations. (Brussels: IETM, 2020) 2 Donna Haraway, Staying with the 03/22/2022 https://www.collegeart.org Page 59 of 234 110th CAA Annual Conference Trouble (Durham: Duke University Press, 2016) 3 Maria Puig de la Bellacasa, Matters of Care (Minnesota: University of Ecofeminism and Ecoart: Moving from Rage Minnesota Press, 2017) 4 Charles Brown and Ted Toadvine, to Healing? Eco-Phenomenology (New York: SUNY Press, 2003) Chair: Amara Geffen, Allegheny College Reimagining Our Energy Landscapes as Civic Art Discussant: Betsy Damon Robert Ferry Meeting the ecological challenges of the 21st century in an Where there should be mutual respect for each of us and our equitable way will require a community-led transformation of world (United Nations Declaration of Human Rights), we find a our energy systems with a focus not only on technical narcissistic motivation to take what we want, without regard, and solutions, but also with consideration of complex and just because we think it is our right. This belief justifies the interrelated social and environmental systems. The Land Art existence of cultures of violence against women and people of Generator Initiative works with communities around the world color, mirroring the ways in which we use and abuse the “natural” to design installations that actively support climate solutions environment. These connections are not new. They emerged by integrating sustainable infrastructure as the medium for through a potent lineage that was first expressed in the late creative and cultural expression. Through open design 1970s through the work of Susan Griffin, Carolyn Merchant, and competitions for Dubai, Abu Dhabi, New York City, Donna Haraway, who exposed the parallels between the Copenhagen, Santa Monica, Melbourne, and Nevada, as well treatment of women and the treatment of the Earth. These ideas as invited competitions for Glasgow and Willimantic, support the view that there is a clear connection between Connecticut, the Land Art Generator has inspired thousands ecocide and cultures of violence, oppression, and domination; of designs from around the world. Participatory design projects They are bolstered by beliefs that allow a view of ‘other’ as include Land Art Generator Solar Mural artworks in San something to be controlled and managed. This panel will explore Antonio, co-designing culturally relevant clean energy strategies that art educators, and those interested in an solutions with Maasai women in Olorgesailie Kenya, working ecocritical art history and environmental humanities, can use to with West Virginia coal miners on destination energy address these and other social justice issues. We will interrogate landscapes, and more. Land Art Generator educational issues related to the persistence of patriarchy, fascism, and programming, such as Art+Energy Camps, empowers young colonialism, and explore opportunities to move from rage to people by giving them the experience of designing and healing. Two of the presenters are contributors to the newly building their own renewable energy installation—doing so released book Ecoart in Action: Activities, Case Studies and within a holistic cultural context that frames the use of Provocations for Classrooms and Communities. This volume technology in society. Through interdisciplinary, project-based commemorates the 20th anniversary of the establishment of the learning, the participating youth create a sculptural installation Ecoart Network. It assembles entries by sixty-seven of the two- for their neighborhood that also provides significant clean hundred members of the Ecoart Network. power to a school, community center, or library. In this panel, we will discuss the range of ways that the Land Art Generator Deconstructing Myths of Rape: From Talk to Action Initiative works in communities and educational environments, Amara Geffen, Allegheny College while outlining strategies for a creative, inclusive, and just Deconstructing Myths of Rape: From Talk to Action provides a energy transition. pedagogical model within the arts and environmental humanities for expanding awareness of rape culture on college campuses. It also explores performative and tactical strategies for place-based actions to address this pervasive social and environmental problem, which is so deeply embedded in the warp and weave of human history. Both sexual assault and physical violence stand as powerful social and political metaphors for broader social and environmental concerns—namely, how we treat one another and the Earth. The normalization of sexual assault and physical violence remain deeply embedded in the social ecology of our time, reflecting longstanding attitudes born of patriarchy and colonialism. How can we as art educators, safely and effectively explore such deeply personal and painful experiences with our students? What skills and knowledge must young artists today develop to take up the charge of ecofeminist artists and activists, and thereby take their place as next generation ecofeminists and ecoart activists working for social change? What does it take to educate today’s youth—and institutions of higher education—to move from ‘talk to action’ and engage campus-wide commitments to transform the misogynist and racist ideologies that support 03/22/2022 https://www.collegeart.org Page 60 of 234 110th CAA Annual Conference these cultures of violence? effect change. I will present works from art history and my practice from the late sixties to the present to illustrate my Reclaiming Our Earth & Our Bodies analysis, and the evolution of my thinking. Leslie Labowitz-Starus Early ecofeminist performances such as Myths About Rape, Inside Out originally performed in 1977 as a part of Suzanne Lacy’s Susan Griffin Three Weeks in May, were designed to serve as activist Rape, fascism, racism, and the destruction of our planet’s models for social and cultural change. These works reflect the ability to sustain human life are very different forms of confrontational activist-energy of the seventies, which remain oppression in their effects and in the experience of their relevant today. By intention Myths of Rape has been recreated victims. Yet the perpetrators of these various kinds of violence in different contexts. First by artists Audrey Chan and Elana and violation share a mindset, including a psychological Mann in 2012 and 2014, both within community-centered process that requires lies, denial, and the development of public spaces. Then, in 2016, it was recreated as a tactical delusions. Those delusions result, to varying degrees in each intervention of public space on a college campus. The case, in the development of a false personae accompanied by website, https://www.againstviolence.art/, serves as a the erasure of self-knowledge, including any substantial inner historical archive for art historians, art professors, and student life. Both serial rapists and rapacious autocrats maintain artists/activists, and includes a handbook and script to support secret, hidden lives. Such duplicity in the perpetrator leads to future recreations. Images from Myths of Rape and Three an inability to respond to or even recognize reality. Lacking a Weeks in May persist; they are included in art history texts, center, profoundly disoriented, such men—and at times presented in art institutions, and appropriated into mainstream women—experience paranoia and a hidden desperation, while media. Lady Gaga’s 2016 Oscar performance was framed by they often grow more violent and destructive. To engage in dozens of survivors of sexual violence; their arms emblazoned rational arguments in the public sphere against such lies and with confrontational terms reminiscent of the visual language delusions, as in the case of the denial of climate change, is of the hand painted signs used in Myths. A decade after vitally important. But in creating an experience of vivid creating Myths of Rape, the question of alternative models for presence, every art form offers another important remedy. By social and cultural change converged with the rise of ecoart. providing a mirror art leads to self-knowledge, restoring the Incorporating strategies for a public art based in social capacity for an inner life, which is central to the capacity for practice, I began a forty-year performance, Sproutime. resistance. In short, the artist turns the inside out. Even while Combining ecoart and ecofeminist activism, Sproutime has creating fictional worlds, paradoxically, art can provide an emphasized environmental and human health, providing a antidote to divisive and destructive delusions of power; different model for socially engaged public art that can help us Delusions that both create and derive from the unrealistic wish reclaim our Earth and our bodies. for invulnerability and dominance over life and death, in a word, nature. Ecocide, Rape, and Fairytales Aviva A. Rahmani Arguably, there is a clear trajectory between patriarchy, fascism, and ecocide; I contend that rape is the through line between them. Since the seventies, feminist scholars have investigated the pernicious effect of this trajectory, whose connections function as scaffolding to perpetuate toxic systems as reflected in some fairy tales. Art conflating gendered violence with ecosystem challenges often encounters virulent resistance and backlash. Our capacity to resist those toxic systems is often hampered by learned helplessness and a longing for fairy tale happy endings. The term learned helplessness refers to all the ways we are trained to internalize and accept despair over impossible conflicts. The yearning for fairy tales manifests in certain religious and political bromides, conspiracy theories, and even in aspects of an industry built around traditional marriage to support patriarchal tropes. Fairy tales can include all the ways we are lulled into searching for evanescent rainbows instead of negotiating complexity to achieve resilience and effect resistance in the real world. This presentation will discuss the relationships between ecocide, rape, and fairy tales to explore an analysis. We now know even more about the dark repercussions of ecocide, especially how deeply those patterns are entrenched in and entangled with racism, capitalism, and speciesism in systems we depend upon, and in ourselves. Art on these topics can be a dynamic strategy to 03/22/2022 https://www.collegeart.org Page 61 of 234 110th CAA Annual Conference as a punishing mechanism. This paper will establish the Economies of Discipline and Display: connection between boycott activities executed by BDS and Curating Conflict in Israel/Palestine the formations of the discourse, the role, and the function, of the Israeli museum. If we assume that preventing a work of art Chair: Michelle Facos, Indiana University to be displayed is an act of censorship, this paper will On January 9, 2019, hundreds of protestors amassed the elaborate our understanding of the concept of censorship in entrance of Haifa Museum of Art to vocalize their distress the art field by revealing present political practices against the exhibition Shop It!, that was considered sacrilegious consolidating the censor’s act. This discussion takes into by the protestors. A fire bomb thrown toward the museum was account the Haifa Christian community's resistance to the but the first round for the violent reactions of the following days. display, but mainly focuses on artist Jani Leinonen rejection to These included attacking police forces and attempts to break into display his work when the demonstrations broke out; a the museum. At the same time, the leaders of Haifa’s Christian position he shares with the BDS boycott. Imparting two community appealed to the District Court of Law, demanding the theoretical frameworks stemming from continental thought: the removal of several art works that they considered offensive. first directing discursive censorship from Pierre Bourdieu, and Israeli cultural minister backed the petition arguing the exhibit the second found in Michel Foucault’s discipline and “cannot justify the insult under the freedom of speech,” further punishment, we will see how the Israeli boycott may prove as warning, “there are rules [that must be followed] within the an act of censorship. budget, which may detriment support for a cultural institution.” This panel proposes to expound potential understandings on the An Appeal to the Court: On the Separation of Caritas from manners in which the exhibition reflected a clash between a the Spirit of Capitalism curatorial raison d’être and a public resistance. This Adi M Louria Hayon disagreement exposed the national, religious, and social nature While picketing the streets of Haifa, propelling violent of the Israeli/Palestinian conflict. In spite of the museum’s demonstrations, summoning urgent meetings with the commitment to pose a “neutral” stance and appear distanced municipal commissioner and the minister of culture, and from local conflicts, the exhibition Shop It! manifests complex requesting an appeal to the court, the gatekeepers of ideologies which urge discussion about the effect of local, multi- Christianity in the Holy Land brought a lawsuit demanding the national, and global economies. This panel will examine the removal of four works of art featuring Mary and Jesus effect of curatorial strategies on the public’s reception of composed as commercial goods posed on display at the exhibitions that reveal a political fissure between museological public art exhibition in Haifa Museum of Art, 2019. The economies of discipline and display confined to the museum’s protestors claimed the works are brutish and offensive; walls, and the reactions they stir in light of national and religious damaging the feelings of the Christian public. What unique ideologies. features sketch out the nature of the Christian community in Israel, and how do these manifest in this dispute? This paper will follow the lawsuit phrasing its plaintiff dissent against Dis-playing Forbidden Images in Haifa Museum of Art damaging their very role as guardians of the doctrine of caritas Nissim Gal against the forces of capitalism. The sensitivity to hybridizing This paper will discuss the disrupting conflict between the the image of the crucified with commercial goods stages a Christian-Muslim-Palestinian community in Haifa and Northern threat to the devotee’s desire to exchange the Christian gift Israel, and Haifa Museum of Art, provoked by the public with capitalist consumer culture. Such substitutional relations display of several artworks including McJesus by Finnish artist are thought of as radical and intolerable by the Christian Jani Leinonen, in Shop It! I will begin by differentiating communities in Israel deeming to set boundaries on the right religious, artistic and political approaches based on the for free expression. And yet, in this clash of capitalist and axiomatic “liberal” curatorial assumption, in order to focus on Christian economies we find a long history, we find the the two forces veering the relations between art and goods: difference and dispute between Catholicism and McJesus and Shop It! By examining the logic behind the Protestantism: the first repudiates the capitalist system demonstration and the demand for censorship, I suggest, that threatening the doctrine of caritas, the gift of giving; the what seems as a conflict between liberal and progressive second, the protestant ethics, served the fertile ground for the curatorial work and what is considered as a dark religious rise of capitalism. mob, is but one aspect of an economic, political, and national disagreement veiled by an exhibition while exposed by protestors. Discipline and Punish: The Israeli Museum between Boycott and Censorship Ronit Milano, Ben-Gurion University of the Negev In the aftermath of the riots revolving around the exhibition Shop It! featured in Haifa Museum of Art, 2019, this paper examines what public museums in Israel can and cannot do in light of understanding the contemporary rule of critical discourse, its set boundaries, and the definition of censorship 03/22/2022 https://www.collegeart.org Page 62 of 234 110th CAA Annual Conference Vissiter; (2) inspired by the trophées d’armes painted by Eighteenth-Century Women Artists in académicienne Madeleine de Boullogne (1646–1710) for Context: Not Apart, but a Part Queen Maria Theresa’s antechamber at Versailles; and (3) HISTORIANS OF EIGHTEENTH-CENTURY ART AND informed by Vallayer-Coster’s own mother, who oversaw the ARCHITECTURE family’s workshop production of military medals after her husband’s death in 1770. This paper will explore these Chairs: Melissa L. Hyde, University of Florida; Paris seemingly contradictory gendered dynamics in Vallayer- Amanda Spies-Gans Coster’s Bust of Minerva with Military Attributes--probing the The history of women artists does not stand outside or even on broader cultural, as well as the deeply personal, meanings the periphery of art history, but is integral to a full understanding invested in the militaristic objects depicted. of the history of art. That conviction is the starting point for this Rethinking the Nature of Collaboration in Maria Sybilla ASECS/CAA session. We invite papers that make a substantive Merian’s Metamorphosis case for women’s presence in aesthetic culture during the long Elizabeth Courtney Keto eighteenth century, that consider the training and practices of women artists in dynamic interaction with the men who were their colleagues, collaborators, teachers, students, patrons and Enchanted by Nature: Picturing Gendered collectors, and sometimes also their fathers, brothers, and husbands. Thus, special consideration will be given to papers Plants and Female Agency in Europe and that trace the complex circumstances that conditioned women’s China (17th - 19th Century) making of art, their careers and their lives. Papers might take up Chairs: Lara C. W. Blanchard, Hobart & William Smith questions of how women artists appropriated, changed, or even Colleges; Kirstin Ringelberg, Elon University subverted the dominant trends in art making, and how and why they affiliated themselves with certain traditions and not with Discussant: Lara C. W. Blanchard, Hobart & William others. Other topics to be addressed might include: in addition to Smith Colleges; Kirstin Ringelberg, Elon University women who worked as painters, those who practiced Plants, especially flowers, are associated with women and printmaking, or natural history illustration; interrogations of the femininity in many different cultures. Departing from conventional categories of professional and non-professional (or “amateur”); interpretations of the floral world as passive and fragile, this ways in which women used the visual arts to claim agency and panel analyzes the “hidden” female agency embedded in be recognized as individuals at a time when they had few botanical artworks by Chinese and European women from the sociopolitical rights; and women who traveled. In sum, we seek seventeenth through nineteenth centuries. During this period, papers that advance knowledge about the significant role that women in China and Europe incorporated plants into their arts as women artists played in the overall production of visual culture a means of commenting on social life and constructing artistic during the eighteenth and early-nineteenth centuries. identities. They also explored plants as sites of memory, emotion, and knowledge that disclosed liminal spaces between Barbe Michel: An Adam by Another Name human and vegetal life. By adopting a transcultural perspective Elizabeth Saari Browne on art and gender, this panel develops new frameworks for understanding the importance of plants in the history of women Of Women and War: Anne Vallayer-Coster’s "Bust of artists from China and Europe. Beginning in seventeenth-century Minerva with Military Attributes" China, Yizhou Wang shows how Ming courtesan artists Kelsey Emilia Brosnan negotiated different elements of their personal and professional In 1777, académicienne Anne Vallayer-Coster (1744–1818) identities through the emblem of the willow tree. Ruiying Gao painted a triumphant, monumental allegory: "Bust of Minerva investigates the intersection of art and medicine in this same with Military Attributes." In this ambitious painting, a bust of the period by analyzing the pharmaceutical plants illustrated by Roman Goddess of War presides over an elegant pile of women from culturally elite families. Moving to the mid- ceremonial and functional objects: a plumed helmet, a silk- nineteenth century, Lindsay Wells examines how women in lined cuirass, a furled fleur-de-lis banner, guns, and military Victorian Britain reinterpreted the imperial legacy of early modern medals. The objects that populate Vallayer-Coster’s painting Dutch still lifes in paintings of Chinese flowers. Kristan Hanson are representative of France and its military prowess, explores how plants were mobilized as expressions of female specifically invoking the aristocratic male body. Indeed, these bonding and human/plant interactions in late-nineteenth-century objects, which frequently appeared as props in contemporary French pastels. Engaging with current research on gender, class, male portraiture, were specifically designed to protect, honor, and imperialism, the papers on this panel reevaluate the and enhance that male body—at least symbolically. Vallayer- significance of botanical imagery in works of art by Chinese and Coster’s painting certainly belongs to the hyper-masculine European women. patriotic fervor inspired by the Comte d’Angiviller, the new Director of the Bâtiments du Roi, who asserted that Become Willows: Courtesans’ Metamorphosis and “Stand- contemporary French art ought to glorify the nation and its in” Self-Portraits grand hommes. Paradoxically, however Vallayer-Coster’s work Yizhou Wang also unites the stories of three women: it was (1) Scholars have argued that the orchid was an iconic subject in commissioned by a mysterious female patron named Madame 03/22/2022 https://www.collegeart.org Page 63 of 234 110th CAA Annual Conference paintings by courtesan artists as their self-representations in Nurturing Growth: Eva Gonzalès’s 'La Plante favorite' and seventeenth century China. This paper examines a less- Berthe Morisot’s 'Fillette aux jacinthes' known subject of plants – the willow – as another symbolic Kristan M. Hanson, Dumbarton Oaks and favored subject for courtesans in their paintings. It In 1872, Eva Gonzalès and Berthe Morisot produced intimate investigates how courtesans or courtesan-turned-concubines portrayals of female figures who care for ornamental plants. In embodied themselves in the willow images, the reasons for Gonzalès’s La Plante favorite, a young woman pours water their choice, and the differences and connections in functions onto the crown of a reddish-brown cordyline—a tropical shrub and meanings to their orchid paintings. It focuses on the with brilliant foliage that thrives in moist soil. Similarly, in paintings about willows by the renowned courtesan artist Liu Morisot’s Fillette aux jacinthes, a young girl dribbles water into Rushi (Liu Yin, 1618-1664), especially through a detailed a container to immerse stems of decorative and fragrant visual, textual, and material analysis of a rarely-studied fan hyacinth clippings in a nourishing bath. As scenes of modern painting by her with inscriptions by his scholar husband Qian life, these pastels examined a tremendous cultural excitement Qianyi and a number of male literati. It argues that Liu Rushi surrounding domestic gardening and floral arranging: activities metamorphosed herself into the willow tree through her deemed appropriate for upper- and middle-class white women adopted names, poems, and pictorial images on paintings, and girls. Yet, as meditations on human/plant encounters, with the support of her husband, in order to transform her these pictures also explored processes of nurturing vegetal life debased status of a low-born courtesan to the willow of new akin to making art. Invoking botanical metaphors of growth, life in spring, and to associate her self-identity with the hermit nourishment, and regeneration, this paper investigates how or scholar in withdrawal, while sympathizing with herself from Gonzalès and Morisot each used her depiction of plant care the low-class and unchaste female-entertainer background. It as a source of sustenance for cultivating a distinctive visual traces the various literary references for the representation of vocabulary. Close analysis of the artists’ engagements with courtesans and brothels as willows, and it shows Liu’s pastel, for example, clarifies how they employed this liquid- vigorous female agency to adapt and transform it in her free medium to describe watering plants and manifest this “stand-in” self-portraits and to circulate this imagery among activity’s sensory pleasures. At the same time, this paper the literati elite circle. It also compares Liu’s willow paintings considers how the artists’ practices of working from life were with those by other seventeenth-century male artists to reveal enriched, in these cases, by their relationships with their her emotional state and individual self-expression. models: Gonzalès with her artist-sister Jeanne Gonzalès and Morisot with her niece, the future artist Paule Gobillard. The Horticultural Politics of Victorian Flower Painting Parsing this intertwining of personal attachment with botanical Lindsay Wells image-making illuminates these works’ power to sensitize us Dismissed by some as a polite leisure activity for women and to the joys of female bonding and human/plant interactions, in amateurs, flower painting occupied a relatively low position of life and through art. prestige in the nineteenth-century British art world. Yet during the Victorian period, sisters Annie and Martha Mutrie Collating Nature as Culture: Women Painters and Materia mobilized the cultural history of this genre to establish Medica Images in Late Ming China lucrative artistic careers that rivaled the success of their male Ruiying Gao colleagues. Victorian critics extolled these women as two of With a focus on the intersection of gender and social class, I the greatest European flower painters since the golden age of investigate images of pharmaceutical plants made by women early modern still lifes, and they regularly applauded the painters in Ming China (1368-1644) by centering on Wen Shu sisters’ trademark pictures of fashionable garden plants. Filled (1595-1634) and the sisters of Zhou Shuxi (act.mid-17th with South American orchids, African succulents, and Asian century) and Zhou Shuhu (act.mid-17th century). They copied camellias, the paintings of Annie and Martha Mutrie speak to a set of images from the mid-Ming imperial pharmacopeia, the global scope of British horticulture in the nineteenth Collection of the Essential Materia Medica, in their artworks – century. Although past scholarship has shown how the Mutrie Depictions of Metals, Minerals, Insects and Plants and sisters challenged the perceived disadvantages of flower Illustrated Catalogue of Materia Medica. I argue that while painting as a genre, it has overlooked how Victorian materia medica images produced at the Ming court were assessments of their work reinforced prejudices against intended as a laudable visual project to perpetuate an imperial foreign environments. My paper analyzes the imperialist tradition of knowledge production and an attempt to establish subtexts about global plant hunting and Anglo-Chinese the canon for medical texts with expectations to benefit the political relations in Martha Mutrie’s Group of Camellias regime, Wen Shu and the Zhou sisters repurposed materia (1859). The camellia was one of the most popular flowers that medica as a novel pictorial subject to highlight their artistic British naturalists collected from China during the nineteenth aptitudes and cultivations in fields that were conventionally century, and I argue that Mutrie leveraged the cultural capital considered as male domains. Given that the Zhou sisters had of this plant to forge conceptual links with seventeenth-century studied painting with Wen Shu and modeled their Catalogue Dutch still lifes, which similarly treated foreign flowers as directly after her work, I argue that Depictions and Catalogue colonial commodities. Interpreting Group of Camellias through were envisioned to construct a lineage among women painters a horticultural lens discloses the deep entanglement of to demonstrate their collective identities. Moreover, I discuss Victorian flower painting within the political agendas of the how their refashioning of materia medica images epitomizes British empire. intellectual traditions in their prestigious families that entailed a 03/22/2022 https://www.collegeart.org Page 64 of 234 110th CAA Annual Conference variety of scholarly practices from book collecting to establishment.” On the poster, Thomas doesn’t appear philological studies. Wen Shu and the Zhou sisters utilized attached to the Washington Color School bough, nor other materia medica images to underscore their gender-specific expected locations such as the American University or Bader traits as well as family status as literary elites in the culturally Gallery branches. While there is a leaf identified as “Thomas” sophisticated area of late-Ming Jiangnan. on the tree’s Artist limb, it likely refers to Peter (Gethin) Thomas, the Corcoran School of Art’s sometime dean. Like any model of reality, Noland’s representation is imperfect and Enlarging the (Color) Field: Rethinking the subjective. Thomas’s exclusion from the infographic ultimately Washington Color School points to the larger issues at play with any type of canonical list making: implicit biases, inadvertent omission, undeserved Chairs: Miriam Grotte-Jacobs; Jonathan Frederick inclusion, late arrival, or problematic entrenchment. Family Walz, The Columbus Museum, Georgia Tree also reminds us to ask who is making such lists—and Discussant: Melissa Ho why. The traveling museum retrospective Alma W. Thomas: Mary Pinchot Meyer, Artist Everything is Beautiful—which includes work by Thomas but also Mollie Berger Salah, National Gallery of Art by Gene Davis, Sam Gilliam, Morris Louis, and Kenneth Active in Washington, D.C. during the 1950s and 1960s, Noland—has reinvigorated scholarly interest in the so-called painter Mary Pinchot Meyer (1920–1964) created a largely Washington Color School (WCS). Associated primarily on the unknown body of work that demonstrates an attention to color basis of a confluence of style, period, and geography, this and geometric form executed using the stained painting constellation of color field artists emerged in the nation’s capital technique common among her Washington contemporaries. in the late 1950s and flourished into the 1970s. This panel Canonical accounts of Washington’s art history have embraces the timely opportunity to critically reexamine the neglected Meyer’s contribution to Washington color field coherence of the WCS as an artistic category; it also employs painting, promulgating a narrow view of the aesthetic diverse perspectives to interrogate the multifaceted approaches innovations taking place in the city during the postwar period. to color field painting and sculpture that proliferated in postwar Meyer showed her work at significant Washington exhibition Washington, particularly highlighting exclusions of practitioners spaces such as the Watkins Gallery at American University, not privileged by race and gender. Overall, the panel addresses Jefferson Place Gallery, and the Washington Gallery of the historiographical and discursive construction of the WCS as Modern Art in Dupont Circle. She shared studios with and a discrete movement; the institutional afterlives of the WCS in painted alongside other globally recognized area artists such Washington-area collections; Thomas’s (1891–1978) critical as Anne Truitt and Kenneth Noland. Despite these successes reception with respect to the WCS designation; and talks that and connections, scholars have been slow to meaningfully recuperate figures underrepresented by the movement’s examine Meyer’s legacy as a color field painter, distracted by canonical narratives, including Mary Pinchot Meyer (1920–1964) the artist’s biography and ambivalent about her seemingly and Kenneth Young (1933–2017). By highlighting the modest output. Drawing on archival material, interviews, and heterogeneity of this artistic tendency, this new scholarship new technical research, this paper recuperates Meyer’s work participates in a growing disciplinary conversation about artistic within and beyond the broader reception of the Washington geography; it also contributes to an expanding body of revisionist Color School. By recentering Meyer’s involvement within the histories of American modernism that interrogate localized city’s wider arts community, this paper expands the scope of ecologies of production in view of their full complexity and Washington’s art scene, bringing forth a more nuanced and broader impact. intricate history. Alma W. Thomas: Washington Color School Artist? Reframing a Legacy: Kenneth Victor Young and the Jonathan Frederick Walz, The Columbus Museum, Washington Color School Georgia Sarah Brittany Battle Alma W. Thomas (1891–1978) achieved national recognition Throughout the 1960s and 1970s, Kenneth Victor Young when the art world was still working out the terms of Clement (1933–2017) refined his iconic painting style: vibrant orbs of Greenberg’s formulation of “Post-Painterly Abstraction.” color stained directly on unprimed canvas. Young balanced Neither Greenberg’s eponymously titled 1964 exhibition at the spontaneity and intentionality by layering pigment and solvent Los Angeles County Museum of Art nor Gerald Nordland’s in abstract compositions; because of this, scholars and critics 1965 Washington Color Painters at the Washington Gallery of should have viewed his output in dialogue with artists Modern Art included Thomas’s work. Yet Thomas has since associated with the Washington Color School in the nation’s frequently appeared on lists of “Washington Color School” capital, where Young moved from Louisville, Kentucky in 1964. members. Just what affiliation actually constituted—and Like other significant color field painters in the nation’s capital, whether Thomas and her work met those criteria—remains a Young found representation at the legendary Franz Bader matter of some debate. This paper considers Thomas in the Gallery and earned solo exhibitions at prominent institutions, context of a little-known poster entitled A Family Tree of such as Fisk University and the Corcoran Gallery of Art. The Modern Art in Washington. Artist and entrepreneur Cornelia artist’s sudden rise to success in the 1970s, and gradual Noland devised this genealogical “visual aid” to clear up the return to anonymity in the late twentieth century, was due, in “confused” relationships of Washington’s “modern art part, to his inconsistent association with this amorphous 03/22/2022 https://www.collegeart.org Page 65 of 234 110th CAA Annual Conference grouping of mid-century DC-based artists. Critically positioned dances’, which documents the rhythm, variety and eroticism of as an abstract expressionist working at the periphery of the her performances. It shows his wife naked in four different Washington Color School, Young and his legacy have not dance poses with exotic masks. However, is this a faithful received the attention they deserve. Reasserting Young’s reflection of East Asian dance culture or rather its achievements as a significant color field painter, this paper commodified adoption for Western audiences? At the same contextualizes his artistic output and his Washington art scene time, dancers like Josephine Baker were touring across social network. In preparation for a groundbreaking oral Europe, performing appropriated versions of their own cultural history project supported by the Center for Advanced Study in heritage. In other words, do Neuschul's paintings celebrate his the Visual Arts at the National Gallery of Art and the University wife’s culture, or is it a matter of engaging with successful of Louisville, this paper also reframes Young’s relationship subjects of ‘Großstadtkultur’, as represented in contemporary with the Washington Color School and its discursive formation. painting by New Objectivity artists such as Otto Dix or Christian Schad? Was there an actual interest in milieu studies, as in Neuschul’s ‘Black Mother’ (1931)? The Exoticising and Exoticised: Women as collaboration with his wife Takka-Takka made possible an Subjects, Women as Artists ‘accumulation of exoticism’ that was well established in the field of art since the late 19th century. The paper asks how the Chair: Marta Filipová, Masaryk University, Faculty of Arts artist adopted to the taste of the urban middle classes. Discussant: Helena Čapková, Ritsumeikan University Rural Exotic: Imagining Roma Women in Interwar Central In the interwar period, established depictions of ethnic difference, Europe exoticizing and heavily gendered, were reinforced through an Julia Secklehner, Masaryk University international and increasingly commercialized cosmopolitan Visualizations of ethnic difference in interwar central Europe culture. Artists from central Europe had many opportunities to are often tied to urban milieus. Yet, with surprising frequency, engage with minorities, locally or abroad, and embraced them in they also featured in rural settings. Moving beyond images of their creative practice. While many of the representations were ethnic difference as a phenomenon of the cosmopolitan exploitative, especially regarding female figures, others also culture of the city, this paper addresses gendered dimensions provided critical commentary on the role of women from ethnic of difference in the art from central Europe’s rural borderlands. minorities or caricatured the conscious self-stylization of the Focusing on images of Roma women specifically, it traces the subjects. Based on the strongly gendered dimension of colonial visual vocabularies that sustained images of rural difference discourse at the time, the panel examines the depiction of as a strongly gendered phenomenon. Popular depictions of women of ethnic minorities in the work of both female and male Roma women by artists such as Otto Müller perpetuated artists in interwar central Europe. Offering critical reassessment visions of exotic, non-white female “types” in lush rural of the work of the painter Ernst Neuschul, Christian Drobe’s settings, estranging both the local context and its subjects. paper examines how the artist depicted his Dutch-Javanese wife Published at a time of growing debates about the integration Takka Takka and other figures from ethnic minorities, unravelling of Roma communities into the region’s new nation states, intersections between exoticism, milieu studies and the such depictions implicitly reinforced formulations of the internationalized culture of the metropolis. Julia Secklehner’s community’s incompatibility with mainstream society, while paper explores exoticized images of Roma women in central affirming views of rural borderlands as exotic peripheries, Europe’s rural borderlands. With works by artists such as Otto untouched by civilized society. Simultaneously, a critical Müller and Kata Kálmán, Secklehner explores how consciousness emerged with new artistic practices in the early entanglements between gender and ethnic difference affected 1930s, when artists such as Kata Kálmán aimed to construct the visual construction of central Europe’s rural borderlands. more sympathetic and realistic views of Roma women’s often Centered on the Czech artist Milada Marešová and her interest very harsh living conditions. Though laying claim to being in ethnic minorities of Paris, Marta Filipová’s paper explores the more truthful and realistic, these images nonetheless built a diverse attitudes of central European female artists towards specific visual repertoire, in which Roma women, with rare minorities. Filipová asks how to consider such work within and exception, continued to be modelled as rural figures of without gender framework. difference. Drawing together the shared elements that emerge from these competing visions, the paper explores how Ernest Neuschul and Exoticism in the Metropolis entanglements between gender and ethnic difference Christian Drobe, Masaryk University informed the visual construction of central Europe’s rural International exchange had long ceased to be a rarity at the borderlands. beginning of the 20th century. The Bohemian artist Ernest Neuschul (1895-1968), of Jewish origin and born in Ústí nad Depicting Difference: Gender and Ethnicity in Modern Labem, met the Dutch-Javanese dancer Takka-Takka in Czech Painting Prague in 1918. They soon worked together as a dancing Marta Filipová, Masaryk University, Faculty of Arts couple and travelled across Europe and North America with Depiction of ethnic and gender difference in modern central their exotic performances. Under the name ‘Yoga-Taro’ they European art cannot be seen as uniform and sharing the performed ‘Asian Fantasies’, for which Neuschul designed same attitudes towards the subjects. Milada Marešová costumes. Back in Berlin after the end of their world tour in (1901-1987) was born in Prague and worked in a diversity of 1926, he painted one of his major works, ‘Takka-Takka media but she is mostly known, if at all, as a painter. As a 03/22/2022 https://www.collegeart.org Page 66 of 234 110th CAA Annual Conference keen traveller, she encountered people of various classes and they are living, illustrate how contemporary art education ethnicities in Parisian streets, cafes and railway stations. In reproduces the hegemonic, White, male, and 1931, Marešová visited the Exposition coloniale internationale, American/European art historical canon. The outcomes of this where she captured various figures and situation in numerous project (data visualizations and student artworks), examples ink drawings that were published in the Czech illustrative from my class lectures, and theoretical framings (Ahmed weekly Pestrý týden. The drawings place emphasis on the 2012; deSouza 2018; Freire 1993; hooks 1994; Nochlin 1971; difference of the non-European participants in the exhibition Villalpando 2002) ask us to take up the call of the new civil visible in their different clothes, skin colour, physical features rights movement, think critically about the art canon, and point or performative activities like parading camels or tea to the need for diversity work to be done in our classrooms. ceremonies. Most of the drawings also provide a critical This paper will give resources for teachers to do this commentary of exoticising and exploitation at the exhibition. necessary work and examples of inclusive classrooms created These drawings by Marešová are exceptional because her from within exclusive and existing curricula. Doing this work is other work on ethnic difference mostly caricatures the important because the art examples we use in our classrooms subjects. Yet this is often done as a social critique in realistic and publications define the present and dictate the future art forms of expression close to New Objectivity. Placing her work canon. within the oeuvre of other female artists interested in ethnicity, including the painters Toyen and Věra Jičínská, as well as the Figure Drawing: Fostering an Inclusive, Respectful, and male counterparts, the paper explores how and why female Engaging Learning Environment artists in interwar Czechoslovakia approached ethnic and Rachel H Kirk gender difference in their work. It asks if our understanding of Figure drawing courses have traditionally been considered the modern interwar art world of central Europe art can be essential to most well-rounded studio art programs; in many enhanced by a gender-based focus on ethnic difference. programs, the skill of being able to accurately render the human form has long been an early marker of student success. As our college campuses become increasingly more F.A.T.E. Affiliate Session: Strategies for welcoming, with inclusivity, diversity, and mindfulness of Inclusive Studio Art Pedagogy students’ experiences as much-needed and long overdue FOUNDATIONS IN ART: THEORY AND EDUCATION priorities, higher education studio art educators should evaluate the “hows” and “whys” of what we teach. Is figure Chair: Heidi C. Hogden, Foundations In Art: Theory & Ed drawing still a necessary component of a studio art education? (F.A.T.E.) And if so, how do we maintain relevance going forward? How Institutional power structures are constructed to privilege and do we ensure that our classrooms are physical and emotional prioritize in ways that can lead to inequity. Educators need to be safe spaces for the model, as well as for our students? How aware of the ways in which we reinforce structures of power that do we identify and negotiate the ethical gray areas when disproportionally disadvantage students in marginalized working with nude models? What are some best practices for positions. It is important to serve a diverse student population by increasing diversity and accessibility in our course content? teaching culturally relevant course material that reflect students’ This presentation will examine teacher, student, and model cultural experiences. This panel will present papers from four relationships from a historical perspective, and will juxtapose educators that unpack the inequitable systems relevant to the tradition of academic figure drawing with contemporary teaching studio art and investigate strategies to make art teaching practices and expectations. Practitioners of higher pedagogy more inclusive. By examining how we, as educators, education in the arts should expect and plan for the continual provide art examples, formal critiques, creative projects, and evolution of figure-based research with mindfulness and figure-based research, we will investigate strategies that serve respect for all of our students, especially as the unique needs the student body relevant to our institutions. Foundations in Art: and demographics of our student bodies continue to shift. Theory and Education is hosting this panel in collaboration with College Art Association Education Committee. New Findings in Culturally Relevant Teaching in Studio Art Pedagogy and Critiques Amy D. Babinec, South Suburban College Checking the Canon: Representation in Foundations Culturally relevant teaching provides a framework in which the Classrooms student experience is centered. In a studio environment, this Adam Farcus allows instructors to serve all students, not just the historically What artworks and pieces of design do our students see in privileged or traditionally prepared. Some practices in art their art and design classes, what worldviews do these works studio pedagogy, such as formal critiques, are passed down center, and what are the identities of the people who made uncritically through generations of instructors. Giving critiques these works? In this paper I am presenting a research project another look through this lens benefits the next generation of on the persistence of the hegemonic and exclusive art canon students and artists. What are the implications of culturally in art pedagogy. This research is supported by the collection relevant teaching in a studio art context? This paper will of artist/designer identities represented in art foundations explore ways to make art pedagogy more inclusive across textbooks, collected by me, and first-year classes at MIAD, studio art courses, informed by recent studies in the field of collected by my students. The findings of our data collection, culturally relevant teaching and assessment, and using which focus on artist/designer gender, race, nationality, and if student learning data. 03/22/2022 https://www.collegeart.org Page 67 of 234 110th CAA Annual Conference Racially Insensitive Student Projects: Leading Classroom appropriation in context of the British Empire. Critique to Foster Awareness Stephanie Sabo Kimono and “Kimono”: Japanese Silk Merchants and the At a time when many students are waking up to the violent Democratization of Fashion and Society in Europe and the oppression endemic to our national history of race relations, United States during the Late Nineteenth and Early many of them attempt to engage this subject matter as content Twentieth Centuries in their art projects. As young and inexperienced makers of Julia E. Sapin, Western Washington University meaning, however, students often produce work without fully The influence of kimono on Western wear is well known; it is understanding the layers of signification produced by their less commonly understood that Japanese department stores images, which become even more complicated as stereotypes and silk merchants contributed to that trend. These merchants and cultural appropriation are introduced. What can we do to studied patterns of wear in the West, seeking access to foster awareness, inclusion and racial reconciliation in a European and American markets. They actively adapted classroom where white students have created projects with kimono for these markets, adding side panels and informal inadvertently offensive content? How can we educate these sashes, inventing the “kimono,” a new garment to be used as students in a careful and constructive way while supporting loose, casual attire (figs. 1 and 2). This paper argues that our students of color? Many students already fear the Japanese silk merchants and department stores participated exposure and vulnerability of having their projects publicly in expanding the trend of Japonisme during this period critiqued in the classroom; how can we be sensitive to their through this invention. This project examines the logistics of insecurities? At the same time, how do we impress upon the this sartorial trade, exploring the invention and export of these class the importance of handling representations of race with products. Data exist to track these developments; for example, care and thoughtfulness grounded in historical research? Takashimaya Department Store has visual records dating Various outcomes will be presented; some which successfully back to the Meiji period (1868-1912) that reveal the specific produced greater understanding and empathy, and some content of these export orders (fig. 3). This research also which yielded frustration rooted in fragility. examines the merchandising of these products in the United States and Europe, articulating how they were portrayed in their target markets. Ultimately, the “kimono” played a role in Fabric(ating) Activism both literally and figuratively staging increased social justice for European and American women in the twentieth century, Discussant: Lauren Downing Peters, Columbia College offering relief from the debilitating fashions of the nineteenth Chicago century and lending a metaphor for a less restrictive The Paisley pattern pirates: Design theft in nineteenth- environment through which women could seek increased century textile manufacturing political representation and social status. This research also Sheilagh Quaile contributes to cross-disciplinary study of the global In the nineteenth century, the town of Paisley, Scotland transformation of retailing during the early twentieth century became famous for its imitation South Asian textiles – in and its subsequent impact on sartorial and social practices particular, Kashmiri shawls, which in Britain were usually internationally. referred to as “Cashmere” shawls. Having begun to manufacture these products in 1805 – decades later than its Queer Threads: Fashion Activism in Palestine British competitors in Edinburgh and Norwich – by the mid- Roberto Filippello, University of British Columbia nineteenth century Paisley’s name was for many anglophones QUEER THREADS: FASHION ACTIVISM IN PALESTINE synonymous with the tapered and curved plant motif that was Over the last ten years, in a context of disillusionment with iconic of the Kashmiri shawl (known in Kashmir as the buta, existing political frameworks and the proliferation of digital meaning “flower”). However, some have indicated that forms of activism in the MENA region, a generation of young Paisley’s success was based partially on its manufacturers’ queer-feminist fashion creatives has formed collaborations tendency to pirate patterns from their rival firms. These across geopolitical borders aimed at mobilizing transnational circumstances contributed to the British Government’s alliance and solidarity with the Palestinian struggle. Fashion extension of copyright on textile patterns in 1839 and 1842. design and fashion media have become popular platforms for Yet while copying from British and other European the circulation of gestures of peaceful resistance against the manufacturers was labelled “piracy” and could be met with a occupation. Despite excellent work on creative labour and fine, the replication of South Asian patterns continued activism in the region, scholars have not addressed the unhindered. This paper investigates Paisley’s imitation centrality of fashion in Middle Eastern activism, and queer Kashmiri shawl industry to assess the degree to which its activism more specifically. My paper addresses this gap by manufacturers innovated or imitated in design. I examine zooming in on how critical fashion practices have become an pattern drawers’ training, tools, sources, and methods – outlet privileged by Palestinian queer youth for voicing their including some of the techniques and technologies that were political consciousness and contributing to a transnational used to copy other manufacturers’ patterns. Design piracy was social justice agenda. By looking at the creative practices of par for the course in nineteenth-century manufacturing, but the queer fashion collectives based in Palestine, I address the fact that recourse was not available to everyone sheds light on following questions: How does fashion contribute to activism in the political and moral issues of copying and cultural Palestine? What kind of community formation does fashion afford in this context? What is the relationship of fashion with 03/22/2022 https://www.collegeart.org Page 68 of 234 110th CAA Annual Conference the political present, future, and past? Drawing mainly from fair use in such situations? Meanwhile, contemporary Syrian critical fashion studies as well as anthropological studies on artists are increasingly incorporating satellite and drone the contemporary Middle East, my paper contributes to images into their work, as part of a critical artistic engagement scholarship on queer and feminist art practices of world- with the war and its aftermath. To take one example, Sulafa making in zones of conflict. Hijazi, born in Damascus and now based in Berlin, incorporated remotely sensed images into her multi-media lenticular series (i.e., Hug 2016, 2017). Behind all of this, the Fair Use in Practice satellite itself has a complicated history in Syria: satellite COMMITTEE ON INTELLECTUAL PROPERTY dishes were banned until 1996, and they were banned again by the Islamic State, which decried satellite broadcasts as Chairs: Lauren van Haaften-Schick; Amy C Whitaker, heretical. This case of proprietary satellite images raises a New York University series of issues concerning fair use--for artists, researchers, Discussant: Nate Harrison, University of California, San and others. Diego Claudia Hart's digital combines: a flirtation with Copyright An understanding of the basic tenets of fair use—as defined Jessica Lee Cochran, School of the Art Institute of under US copyright law and by courts—has been increasingly Chicago disseminated across the arts. The impact of this familiarity, and adoption of practices, is less understood. Now more than five This presentation takes as a case study the 2021 exhibition I years after the publication of CAA’s Code of Best Practices in curated, The Unfolding, which featured new works by Claudia Fair Use for the Visual Arts, this panel explores the ways fair use Hart, an artist who has worked since the 90s at the has been approached in use or in practice. We invite papers on intersection of computing and simulations technologies. In approaches to fair use including: paying fees and obtaining what have been called “flirtatious simulation of forgery,” Hart permission as a form of respect rather than legal requirement, uses computer game modeling to compose “by hand” versions solidarity in the field in claiming and encouraging fair use, and of copyright-protected works—by Modernist patriarchs, other experiences, novel solutions, and implementation including Picasso and Matisse—in a parallel digital symbolic challenges faced by different users in putting fair use guidelines space. Each unique work is comprised of a physical painting, into practice. We welcome submissions that speak to the with the image printed as pigment on panel, and a co-existing experience(s) of individuals as well as institutions, and that virtual simulation: a TIFF file minted as an NFT. Because the speak to the nuances across approaches as informed by works intermingle physical and virtual worlds, the artist calls unpredictability, managing risk, lived experience, litigation, and them “digital combines.” As appropriations themselves, works specific cases of studio and research practice. We will consider in this series toy with the issues of Copyright that date their hosting a larger number of short papers in order to invite a range origins to the Modernist response to photography. Hart’s own of perspectives and case studies. interest in the Modernist canon began when she took students enrolled in her Virtual Installations course into the Art Institute of Chicago’s European painting galleries to augment works Introductory Remarks with virtual reality interventions activated by smart devices. Nick Pozek, Columbia University When sanctioned by museum officials, she was confronted Our presentation will include a larger number of shorter with issues of access and copyright for the first time. In this papers. Nick, as the CIP co-chair who is not co-chairing the talk, I will present the complexities of Hart’s claims to fair use session, will give brief introductory remarks to synthesize the in her own history of making and thinking, the context of papers. construction of the canon, the nascent field of blockchain as art. Syrian Satellite Imagery: From Government Property to Fair Use in Art and Scholarship Rights and Images on a Budget Fiona Greenland, University of Virginia Steven Bleicher, Coastal Carolina University Among the most powerful visual images to emerge from the As an artist and author, it’s been my experience that most Syrian war were remotely sensed images of devastated cities publishers have limited budgets for authors to work within as and landscapes. With many areas of the conflict zone too they develop a new book or textbook. Our areas of art and remote or dangerous to visit, journalists, human rights design require visual examples of the work or concepts advocates, and scholars relied on satellites to document discussed in our manuscripts. From my experience having atrocities. The highest-resolution satellite scans are written several books on art and design that require many proprietary to a single military contractor that has restricted the visual examples, I have found alternate ways of working within availability and circulation of its imagery. This restriction the fair use laws. An image that you think might be fair use presents researchers with questions and difficult decisions because it is out in public, may not actually be free to use. concerning the nature of a satellite image as private There may be rights and permissions that need to be obtained intelligence or public information. Groups including the for its use. Over the years I have found a number of ways to architecture practice SITU/NYC and the international research stay within the law while saving money and staying within or collective Bellingcat rely on such scans to assemble digital even come in under budget. This may mean some extra work reconstructions of atrocities that can be used as evidence in for the author and some additional research. Many times, it human rights trials. Are proprietary satellite images subject to comes down to not being afraid to ask. It also may mean 03/22/2022 https://www.collegeart.org Page 69 of 234 110th CAA Annual Conference explaining to the artist, designer, their agent or gallery that these are not money-making ventures and that participation Fit to Print: Nineteenth-Century Photography may beneficial and the academic importance of the work. I will in Periodicals outline several ways I have received permissions and high- resolution artwork from numerous artists and designers whose Chairs: Beth Saunders, Albin O. Kuhn Library & Gallery, work I have used in my books without having to pay a fee. I University of Maryland Baltimore County; Shana Simone will also discuss strategies that can be used when obtaining Lopes, SFMOMA the rights or copy of an image. Histories of early photography have routinely followed narratives of national progress, addressing each country’s affairs in The Uneven Use of Fair Use isolation from others and emphasizing the achievements of Ken Wissoker, Duke University Press individual artists. This panel reframes the development of It is nearly seven years since CAA published its Code of Best photography as a transnational phenomenon by examining Practices in Fair Use for the Visual Arts. While the code nineteenth-century periodicals as sites of exchange, where the addresses teaching, art-making, and museum work, among identity of the new medium was constructed and debated, and other topics, one of its central purposes was to set a standard where photographs circulated among an international audience. for fair use claims in art history and criticism. How has that This period saw a tremendous output of photography periodicals worked out in practice? Each press will have its own with tipped-in or mounted photographs, such as Philadelphia standards and guidelines, instances where the publisher is Photographer, Photographische Mittheilungen, and British comfortable with fair use or not. Critics and art historians vary Journal of Photography. Simultaneously, prints made from in their knowledge and understanding of fair use and their photographs and photomechanical illustrations enlivened sense of when it should be invoked. As a university press Harper’s Weekly, L’Illustration, and The Illustrated London News, editor in the field, I have observed fair use being employed reaching a global population en masse. Until the widespread carefully and less so. I have worked with authors who want to adoption of the halftone printing process, periodicals presented pay artists they support in a spirit of friendship and community readers with both hand-crafted photographs and and others who might worry about their relation to an artist’s photomechanical reproductions. Their intersection pushed the estate should they claim fair use rather than pay for rights — boundaries of how the medium functioned as a form of visual two very different reasons for not invoking fair use. Consulting communication. This panel highlights the establishment of with other university press editors, I will present the range of unexpected networks of like-minded individuals who shaped the our experiences, with the goal of getting a sense of how much medium across artistic, commercial, and scientific spheres, progress we have made toward the rights landscape making possible photography’s proliferation in the twentieth envisioned by the Best Practices authors. century. Whereas scholars have recognized the interwar period as a watershed moment in the global dissemination of Six Years Later: Robert Rauschenberg Foundation’s Fair photography through the illustrated press, this session suggests Use Policy that this development occurred earlier in the medium’s history. Francine Snyder, Robert Rauschenberg Foundation Possible topics include: how readers experienced photographs in In February 2016, the Robert Rauschenberg Foundation 19th-century periodicals (tipped in, reproduced as prints, announced a new Fair Use policy, written to make images of embellished by illustrators, photomechanical reproductions); Rauschenberg's artwork more accessible to museums, magazines as forums of information sharing about photography; scholars, artists, and the public. Promoted as the first to be how periodicals drove advancements in the medium; issues of adopted by an artist-endowed foundation, the policy aspired to intertextuality and intermediality. address the complexities of the using of copyrighted artwork images in non-commercial projects such as lectures, The ‘Bulletin of the Association of Amateurs of presentations, and publications as well as online and in social Photography’ (1889-1896): Information and Visual Culture media. Now that the policy has been in play for nearly six in Rome and Italy years, the Foundation has had ample time to evaluate the Edoardo Maggi, 'Sapienza' University of Rome policy. This presentation will provide an overview of the policy My intervention aims to emphasize the role that the ‘Bulletin of and how it has evolved, its successes and shortcomings, and the Association of Amateurs of Photography in Rome’ had in the challenges meeting staff and user expectations. the formation of a modern photographic culture in Italy. The club, the first of its kind founded in Italy (1888) – initially joined to the Naples Camera Club – was born from the meeting between Enrico Valenziani, employee at the Ministry of Education, and Giovanni Gargiolli, future director of the National Photographic Cabinet. For a long time it had been hoped for the birth of an institution capable of ‘uniting in close ties those who cultivate the photographic art in its many applications’, and therefore providing tools and opportunities for comparison especially to the increasing number of non- professionals – the introduction of bromide gelatin had in fact triggered a process of massification of the medium. In May 03/22/2022 https://www.collegeart.org Page 70 of 234 110th CAA Annual Conference 1889 the first issue of the official magazine was published (the Scottish engineer, inventor, polymath, and fellow astronomy last would be out in 1896) and it soon became one of the main enthusiast, to create a plaster model of the volcanic craters on specialized periodical in Italy together with ‘The Photographic the peak of Tenerife to be photographed and featured as the Progress’ (1894) and ‘The Yearbook of Photography’ report’s frontispiece. After the circulation of this report, which (1898-99). The ‘Bulletin’ had multiple purposes: to provide secured Smyth’s reputation in scientific circles, he took the news on the development of techniques, materials, new model and lantern slides of the plaster mountain peak on a researches and methods (sometimes through actual scientific popular lecture series. These images later were printed as articles); stimulate the exchange of knowledge and opinions, stereo views for an audience that wanted a simulated 3D especially between members of different photographic experience of the exotic Spanish island mountain Tenerife of societies; inform about exhibitions and competitions, both its own for armchair tourism and scientific enthusiasm. This Italian and international; recommend readings and insights. paper looks at the viral phenomenon of this early periodical Each issue was enriched with phototypes, many of which illustration of a plaster mountaintop, its context as a practice made by the Danesi company, the most important studio in (by brothers Adolphe and Hermann Schlagintweit), and its Rome. connection to Nasmyth’s later (and equally enthusiastically received) 1874 book The Moon: Considered as a Planet, a From The China Magazine to The Far East: An Early World, and a Satellite, which made liberal use of plaster Evolution of Photographs Independent from Texts in East models of craters. But it also looks at the place of the plaster Asian Periodicals scientific model as a manufactured proto-data-visualization Bing Wang, Case Western Reserve University practice that vacillates from 2D to 3D, and back. The China Magazine (1868–1870) and The Far East (1870–1878) are among the earliest photographically Reproducing Loss: Printing the Photographic Aftermath of illustrated periodicals published in East Asia. The hand-tipped the Great Boston Fire photographs incorporated into both journals depicted local Christina Michelon views and figures. Despite the importance of these two In November 1872, nearly identical wood engravings of journals to the studies of early photography and history of East Boston’s 17 Milk Street in ruins appeared in the pages of both Asia, extant prints of the two publications are extremely rare. Harper’s Weekly and The Illustrated London News. Three Thus, although many significant photographic works appear in weeks prior, the Great Boston Fire ravaged the city’s the two titles, neither journal has received scholarly attention. commercial district. With many of the local print shops Consequently, the relationship between the texts and destroyed, Boston’s more mobile photographers played an photographs within each journal, as well as the reception that important role not just in documenting the city’s ruins but also these two periodicals received, has not yet been established. in providing news outlets with visual content. The depiction of In this paper, I suggest an evolution of the function of 17 Milk St.'s crumbling arches was one of thousands of photographs and their relationships with texts across the two images created by photographers of the city’s ruins that would journals. In the earlier China Magazine, alternative versions of end up in print. Along with pictures after the ubiquitous Great photographs were sometimes concurrently published. While Chicago Fire (1871), those of Boston implicitly referenced a the text is always identical among different prints of the same longer artistic engagement with the motif of the ruin even while issue, the accompanying photographs and their paginations documenting the immediate aftermath of a modern could differ. In the latter Far East, versions of photographs and catastrophe. This occurred precisely around the time the their locations tend to be static. This change may suggest medium of photography was being deployed to record historic increasing acceptance of photography and the possible ruins and archaeological excavations across the globe. standalone meanings and impressions the medium itself could Building on recent work by Susan Stewart and Miles Orvell on communicate. For example, in China Magazine, the same ruins, as well as recent scholarship on disaster imagery, this travelogue could appear with varying photographs of different paper considers the photographic and printed translation of locations within the destination, implying that the images are urban ruins and visual attempts to reproduce loss. In Boston, interchangeable and serve the subordinate purpose of as in Chicago, this loss was twofold: first, the images supporting the text. On the contrary, in Far East, texts document the built environment after the fire; second, they describe contents of photographs, suggesting that they had depict the ruins before they themselves were destroyed and gained autonomous meanings and leading status. cleared in preparation for rebuilding. The photographs-turned- prints nostalgically picture the ruins as simultaneously Plaster Peaks, Photography, and Scientific Credibility: The enduring and ephemeral, frozen monuments graven on the Tale of Tenerife page and, subsequently, in readers’ minds. Kris K. Belden-Adams, University of Mississippi Upon his return from setting up an astronomical observatory on Tenerife, a mountain on Spain’s Canary Islands, Italian- Flipping the Script born/British scientist/Scottish Astronomer Royal Piazzi Chair: Katherine Calvin, Kenyon College Smythsought a compelling photographic image to help make his Report on the Teneriffe Astronomical Experiment of 1856 Arriving at a Social History from Art: The Case of the more compelling to the Lords Commissioners of the Admirality Illustrated Persian Mahabharata from Kashmir (of Britain), and to circles of professional and amateur Yagnaseni Datta astronomers. So he turned to James Nasmyth, a retired 03/22/2022 https://www.collegeart.org Page 71 of 234 110th CAA Annual Conference Illustrated versions of the Razmnama, a Persian translation of magazine format that simultaneously made visible its the Ancient Indian epic Mahabharata composed in Sanskrit, erasures. were dispersed around the Mughal empire under the command of Emperor Akbar, who commissioned the Creative Reproduction: Élisabeth-Sophie Chéron, translation in 1582. Extolled by modern scholars as a Michelangelo’s Seal, and the Gendered Polemics of Print demonstration of the Mughal emperor’s efforts to foster a Yasemin Diba Altun, Duke University sense of shared identity among his Hindu and Muslim subjects My paper looks at a 1709 print designed by the painter through the creation of a Perso-Sanskrit intellectual heritage, Élisabeth-Sophie Chéron after an engraved gemstone then the Razmnama, and its illustrations embody the ways in which known as “Michelangelo’s seal.” This gem, now housed in the a predominantly Persephone audience attempted to make French national library, contains a bacchantic scene carved sense of the Sanskrit cultural and political order even into the onto its 12- by 15.5-millimeter surface. So named for its nineteenth century. This paper examines one such illustrated purported previous owner, “Michelangelo’s seal” entered King manuscript produced in 1850 and housed at the Beinecke Louis XIV’s collection in 1686. Soon after, it became a prized Library. Tracing the codex’s provenance to Kashmir, this paper object of antiquarian study in Paris. Chéron took a decidedly provides a methodological tool to re-evaluate the manuscript artistic approach to rendering “Michelangelo’s seal” as a tradition of this lesser-known region, thus far confined to quarto-sized print. In effect, her enlarged view of the gem- connoisseurial studies in modern scholarship. It adopts a image transformed its compact carving into an expansive comparative eye to situate the Beinecke Razmnama in an narrative tableau. As a result, in 1710 Chéron engaged in a artistic tradition linking the eleventh-century murals from Alchi quarrel with royal humanist scholars who disparaged her to seven other contemporaneous illustrated manuscripts from inaccurate representation of “Michelangelo’s seal.” Charting Kashmir. A codicological analysis furthermore offers insight the terms of that debate, I explore how Chéron’s translation of into its consumers and artists among the Persian-speaking the famed gem complicates modern categories of original and Brahmanical communities of Kashmir and itinerant artists in copy. I interpret her creative reproduction process by urban settings, clarifying the context of the manuscript’s intertwining two recurrent discourses in early modern circulation and its multiple lived identities. By situating this European art theory. The first concerns the status of codex beyond a simple equation between religious identity reproductive printmaking in the fine arts of painting and and choice of language and subject matter, this study sculpture. I relate this to contemporary stereotypes about contributes to the broader methodologies of cross-cultural women artists’ natural proclivities for diligent, small-scale, and studies applied in the understanding of art considered reproductive work and their subsequent incapacity for greater peripheral to the South Asian art canon. invention. Artists and Alternative Magazines Regulation, Barbarism, and Oversight in French Prints of Solveig Nelson, PhD the Senegalese Slave Trade Artists and Alternative Magazines This paper is Katherine Calvin, Kenyon College conceptualized in dialogue with the exhibition that I co-curated In his 1785 letter to France’s Minister of Foreign Affairs with Michal Raz-Russo, Subscribe: Artists and Alternative Charles Gravier, comte de Vergennes, the Montreal-born Magazines: 1970-1995, on view at the Art Institute of Chicago French diplomat, author, and artist Jacques Grasset de la during CAA. Subscribe features an archive of American and Saint-Sauveur (1757-1810) wrote that he desired “to go to British alternative magazines including I-D, Face, Thing, View, unknown countries to seek new possessions for my Newspaper, and Rags that at their best, pushed against the homeland.” This article examines how Grasset’s 1950s-era picture magazine and the 1960s underground representations of French colonial “possessions” in Senegal newspaper alike to amplify the perspectives of artists who informed and were informed by economic, moral, and political identified as queer and people of color. I focus on several debates about France’s responsibility to regulate—but not overlapping case studies. In 1992, writer Hilton Als and artist eradicate—the slave trade at Gorée and Saint Louis. Grasset Darryl Turner responded to Diana Arbus’ “Minority Pin-ups”-- a published several historical and literary texts that discuss the photographic essay featuring women of color that was eighteenth-century slave trade in Africa including Costumes commissioned by Esquire in 1965 and never ran--in the form civils de tous les peuples connus (1784); La Belle Captive, ou of a black-and-white collage in Bomb magazine. Als and Histoire véritable du naufrage & de la captivité de Mlle Adeline Turner utilized Arbus’ title and returned to her unfinished (1785); and Tableaux cosmographiques de l'Europe, l'Asie, project (as well as her portrait of performer Stormé DeLarverie l'Afrique et l'Amérique (1787). Grasset’s textual and visual that was cut by Harper’s) as a problem and possibility. In representations of trafficking and exchange (figs. 1-4) 1993, the pair published “My Pinup”—part fashion spread and highlighted the “la barbarie” of both African slave traders and part “stills” from movies, both imagined and actual— in the French mercantile agents and reappeared in other pro- newly launched Vibe magazine. Finally, I explore the queer regulation literature (fig. 5). Art historian Anne Lafont has fashion spreads commissioned by the Chicago-based queer, identified Grasset as one of the first engravers to adapt interracial and Black-lead publication of the late 1980s-early Agostino Brunias’s images of markets in Dominica using the 1990s, Thing magazine. These projects were less acts of new technical possibilities of stipple engraving to represent institutional critique similar to Lynda Benglis’ 1974 ad for and nuance race. This presentation will situate Grasset and Artforum—an intervention into a mainstream magazine— than his works within a multi-nodal network of printed “oversight” a celebration of the critical potentials of the alternative imagery of French colonial markets linking West Africa and the 03/22/2022 https://www.collegeart.org Page 72 of 234 110th CAA Annual Conference Caribbean to metropolitan France during the late eighteenth- to be a good area where to observe how local visual culture century when the question of state regulation, as well as reacted when faced to the new ruler; for instance, how much humanity’s capacity for barbarism, was central to revolutionary influence outside Rome had the emperor’s stylistic choice of discourse. 5th-4th century Classicism for his self-representation. The analysis of the evidence from the point of view of style and iconography can show if and how central portrait types were Forwards and Backwards in Ancient handled in order to being accommodated to local preferences, Portraiture what statuary types were used and what contexts of exposure were preferred. This analysis will shed light on the variety and Chairs: Rachel Catherine Patt, Emory University; vitality of the Egyptian visual culture during the Roman period Brandon Stuart Green and it will contribute to our understanding of the adaptability of Portraiture has long been considered one of the most “timely” the emperor in a provincial context. genres of ancient art. For Roman studies in particular, the concept of the Zeitgesicht (“period face”) has become The Lost Futures of Royal Children on the Roman Frontier methodologically dominant, but across many cultures of the ca. 70 BC – AD 40 ancient Mediterranean the presumed datability of portraits has Richard Hugh Teverson made them central to narratives of stylistic change and Children’s portraiture is bound up with deeply-felt ideas about development. The semiotic turn, however, has questioned the a family’s past and future. I analyze this temporal power of temporal significance of style for ancient viewers, and scholars portraiture in the high-stakes contexts of late-Hellenistic royal continue to highlight the capacity of ancient artists to exploit both succession. By the first century BCE the kingdoms on the retrospective and avant-garde modes. The papers in this panel edge of the expanding Roman Empire could no longer consider the ways in which ancient portraits look beyond their independently control who inherited their kingdoms. But moment of creation, both exploiting memories of the past and without at least the appearance of a secure heir, it was constructing possible futurities. Their material is wide-ranging in impossible for any dynasty to retain power, or a loyal court. To both chronology (from the Late Republic through Late Antiquity) try and solve this problem, monarchs gave increasing and geography, but all share an interest in renaissances and prominence to their children in royal image programs. revivals, innovation and experiment, and anachronism or the Ptolemaic, Thracian and Mauretanian rulers each tried to anachronic. The study of memory in antiquity has been a fervent embody a political future in portraits of their children. The field of late, but one dominated by text-based approaches; this details of a child’s face could evoke a dynasty’s history and its panel hopes to offer a contribution to this discourse from material hopes, and these portraits offered a new way to disseminate culture and art history. Moreover, as recent debates have reassuring images of a kingdom’s future. Each dynasty used underscored, honorific portraits have an obvious potential to be physiognomy, iconography, and contexts of display differently, sites of contestation, often offering multiple versions of the past, to try and create inexorable visions of a reign to come. Such and the case studies drawn here from antiquity offer striking efforts were often in vain. But innovative imagery of royal parallels for anyone interested in public monuments. The panel heirs, despite their political fragility, offers a vital record of the will consist of four shorter papers followed by a round-table kinds of futures that could be envisaged on the peripheries of discussion. the Roman world. As politics changed, so did rulers’ plans, and the way images of royal children altered after Augustus Fashioning Memory: Togas, Time, and the Funerary came to power gives us a new way to understand how such Monuments of Roman Freedmen courts resisted, accommodated, and even helped create the Neville McFerrin, University of North Texas visions of the future that Augustus and the new imperial family spread around the Empire. The Many-Faced Emperor: Stylistic and Iconographic Variety in the Egyptian Portraits of Augustus Recarving, Reuse, and Re-membrance: A Case Study into Nicola Barbagli Late Antique Portrait Practices Bailey Benson Since Paul Zanker’s ground-breaking "Provinzielle Kaiserporträts" (1983), the study of imperial portraits outside Rome has proven to be a rewarding field. Its contribution to our understanding of ancient portraiture and the dynamism of local artistic schools can hardly be overestimated. This is especially true for Asia Minor and, in particular, Aphrodisias, due to the richness of evidence from the region as well as the exemplarity of excavations and publication of the statuary of that city. Other promising provinces, however, enjoyed less attention: although they do not have the same bulk of material, some can pride themselves on influent artistic traditions, whose history in the Roman period has still to be explored. This paper aims to discuss the local reception of Augustus in Egypt, a province with a strong cultural tradition. This seems 03/22/2022 https://www.collegeart.org Page 73 of 234 110th CAA Annual Conference public restrooms on campus that dispense free menstrual From “Buy My Bananas” to “WAP”: 50 Years products. The idea was simple – if our public art emphasizes of Feminist Provocation in Visual Culture the value in people, people will value our public art. This differs from the expectations of the MFA program. Our Chair: Tanya Augsburg institution required us to complete a MFA 2nd year group In 1972 art historian Linda Nochlin shocked College Art exhibition in Spring 2020 that would result in a virtual opening Association participants during a panel on “Eroticism and the due to COVID. We proposed making public work to be Image of Woman in 19th-Century Art.” She compared a displayed outside of the gallery, and we were met with an nineteenth-century French erotic photographic image with her overwhelming NO. In response, Art in Action staged a zoom own photograph, Buy My Bananas, underscoring gender takeover at the show's opening. We challenged the differences in art and visual culture. This panel commemorates institution's conventional practice of rejecting modes of the 50th anniversary of Nochlin's feminist intervention in light of fulfilling requirements that do not meet the bureaucratic status contemporary intersectional, queer, and transfeminist art quo for institutionalized public art. We created otherwise forms activism. It examines its cultural and theoretical legacies by of community engagement by rejecting our institutions considering feminist provocations since Nochlin's that have undervaluing of our feminist concepts of public art transformed how we look at, and think about, visual culture. experiments. Scholars, artists, theorists, and curators are encouraged to submit papers and presentations that explore how feminist artists "Art in Action: Reimagining the White Cube and from all cultural and racial backgrounds have deployed explicit Challenging Institutional Bureaucracy" imagery in ways that have expanded, complicated, or critiqued Marlee Uggen existing notions of feminist visual culture since 1972. Art in Action is an artist collective created by MFA students at California State University, San Bernardino who bring awareness to inequalities within our campus and our "From Bra Burning to Burning Your Eyes - A Brief History communities. We are influenced by critical theories of radical of the Nipple as Feminist Provocation in Art and Activism" pedagogies, decolonial practices and discourses, anti-capital Micol Hebron, Chapman University resistances, and intellectuals and activists thinking critically In 2008, twelve lactivists gathered in front of Facebook about gender, race, and sexuality. As performance artists, we headquarters to protest the censorship of images of female find it powerful to work outside the colonized, elitist white cube nipples. This launched what is still an ongoing rebuke of sexist and through our focus on public sites we allow any unknowing double standards on social media, with the “female” nipple as person access to our performances. As a part of a larger the central target of this somatic battleground. While project that aimed to provide menstruating people on campus seemingly frivolous, the policing and censorship of female with necessities, Art in Action created functional installations in nipples expose ongoing and deep-seated sexism, oppression, public restrooms on campus that dispense free menstrual biological essentialism, and the enforcement of a gender products. The idea was simple – if our public art emphasizes binary. By censoring female nipples, society sends the the value in people, people will value our public art. This message that female-presenting bodies are still considered to differs from the expectations of the MFA program. Our be automatically sexualized, objectified, and discounted. institution required us to complete a MFA 2nd year group Limitations on artistic authorship based on the body raise exhibition in Spring 2020 that would result in a virtual opening concerns about the way society views motherhood, trans due to COVID. We proposed making public work to be rights, body size, sex work, performance art, sexuality, and displayed outside of the gallery, and we were met with an more. This paper will provide a brief history of the use of the overwhelming NO. In response, Art in Action staged a zoom nude body, and particularly the nipple, as a form of artistic and takeover at the show's opening. We challenged the political feminist provocation through which artists have sought institution's conventional practice of rejecting modes of to reclaim and assert their autonomy, identity and authorship. fulfilling requirements that do not meet the bureaucratic status quo for institutionalized public art. We created otherwise forms "Art in Action: Reimagining the White Cube and of community engagement by rejecting our institutions Challenging Institutional Bureaucracy" undervaluing of our feminist concepts of public art Jamie Lea Valdez and Marlee Uggen experiments. Art in Action is an artist collective created by MFA students at California State University, San Bernardino who bring Eroticism and the Representation of the Female Body: awareness to inequalities within our campus and our Artworks by Marta Minujín and Teresinha Soares from the communities. We are influenced by critical theories of radical Early 1970s pedagogies, decolonial practices and discourses, anti-capital Carolina Vieira Filippini Curi, University of Campinas resistances, and intellectuals and activists thinking critically The presentation aims to discuss two artworks by South- about gender, race, and sexuality. As performance artists, we American women artists from the early 1970s: the series of find it powerful to work outside the colonized, elitist white cube paintings and drawings Frozen Sex, by the Argentinian Marta and through our focus on public sites we allow any unknowing Minujín, and the album of silkscreens Eurótica, by the person access to our performances. As a part of a larger Brazilian Teresinha Soares. Both works represented sexual project that aimed to provide menstruating people on campus organs and discussed the eroticism and the representation of with necessities, Art in Action created functional installations in the female body by the media of the time. In Minujín's series, 03/22/2022 https://www.collegeart.org Page 74 of 234 110th CAA Annual Conference censored by the military dictatorship in Buenos Aires in 1973 and then shown in Washington in 1974, female and male From “the beauty of life” to craftivism: sexual organs and female silhouettes were depicted in colors Women and the Arts & Crafts Movement reminiscent of sausage, ham, and other ready-to-eat foods. In WILLIAM MORRIS SOCIETY IN THE UNITED STATES Soares' album, exhibited in 1971 in Rio de Janeiro and 1972 in Washington, the sexual organs were mixed with other parts Chair: Margaretta S. Frederick, Delaware Art Museum of the body and phallic elements, forming almost abstract Women creatives were present from the earliest days of youthful figures. The reproduction of the erotic by these artists affirmed collaboration at Red House through the founding of Morris, the position of the woman as the owner of her desires, her Marshall, Faulkner and Co. in 1861 and the ensuing Arts & body and her sexuality. Furthermore, their productions Crafts Movement. Their work inspired generations to come. reflected on the formation of female subjectivities, forged in a Women were, for the most part, welcomed into the Arts & Crafts clash between the way women saw themselves and the circle, providing a breach in entrenched societal barriers images of women disseminated by the mass media. In a excluding them from professional careers in the arts. These context of military dictatorships and repressive governments, female practitioners represented a new definition of womanhood, and at a time when feminism was not openly discussed in their transitioning the gender from private to public-facing. Creatively countries, these artists addressed many of the agendas that their work spurred the Victorian towards the modern, extending were central to the feminist movement. The works of authors beyond the individual object to a new holistic concept of the such as Linda Nochlin help us reflect on these productions interiors for which they were designed—the spaces from which and their impact on the formation and transformation of female the “new woman“ emerged. These objects and interiors reflected subjectivity. what Zoë Thomas has described as “the radical potential of art work in contemporary women-centered causes.” Women’s "Pleasure as Protest: Representing Female Sexual craftwork became the talisman for society’s wounds. In 1914 Response in Feminist Art and Visual Culture" May Morris described postwar creativity as an opportunity to Tanya Augsburg “show our belief in the Beauty of Life.” The engagement of craft Late critic Barbara Rose began her 1974 article “Vaginal with social activism as practiced by Morris and others continues Iconology” by citing Linda Nochlin’s 1972 CAA presentation to the present with the advent of craftivism. Panelists may that spotlighted the gender politics of erotic art. Rose claimed investigate the craftwork of women who were inspired by or that vaginal iconology in feminist art glorified female genitalia embraced a Morrissian aesthetic and/or philosophy in the United “to arouse women, but not sexuality” – in other words, as a Kingdom and beyond, from the earliest days of the Pre- means of resistance to women’s putative inferiority. In her Raphaelites through the present. Papers might address methods article Rose only considered iconic, static and “clean” images of production; exhibition strategies; responses to/reflections on that were iconic abstractions of cisfemale body parts designed contemporaneous socio-political concerns; or strategies for to counter masculinist phallic imagery. Rose’s purview, while negotiating cultural gender biases, among other related topics. certainly influential, was incomplete. Rose did not consider that feminist artists such as Carolee Schneemann, Betty Dodson, and Barbara Hammer were featuring female genitalia Evelyn De Morgan: Master of Media in their art to explore and advance knowledge about Sarah Hardy, De Morgan Foundation ciswomen’s sexual pleasures. I propose to reexamine feminist Recent exhibitions such as 'Truth and Beauty' at the Legion of explicit female genital imagery not only as a major theme in Honor, San Francisco, and 'Pre-Raphaelite Sisters' at feminist art but also in term of its social impact as research London's National Portrait Gallery have cemented Evelyn De and pedagogy – what I call feminist ars eroticas, which Morgan's reputation as a second-generation female Pre- critiques, updates and expands upon Michel Foucault’s Raphaelite painter in the contemporary critical sphere. In fact, concept of ars erotica. I argue that explicit depictions of this is a rather limited view of her work as a professional artist. women’s sexual responses in feminist art have additionally De Morgan worked in a range of media: sculpture, gesso, served as a provocative means of advocacy for women’s terracotta, and bronze, and designed for stained glass and sexual freedom and sexual autonomy. My presentation will embroidery during her long and varied career. Despite this, pay close attention to how explicit imagery of women’s sexual her craft work has never received critical commentary and she pleasure in early feminist art has reverberated and was missing from aside from passing mention in Zoe transformed in recent video art by queer and Black feminist Thomas’s brilliant 2020 publication Women art workers and recording artists such as Peaches, Janelle Monáe, Cardi B, the Arts and Crafts movement. This presentation aims to and Megan Thee Stallion. provide an overview of Evelyn De Morgan’s studio practice and involvement in the revolutionary Women’s Guild of Arts to provide a critical evaluation craft works. Investigating her close relationship with other professional women crafts workers, such as her cousin Gertrude Spencer Stanhope and friend May Morris, allows her to be understood as an experimental artist and craft worker apart in talent and skill from the male- dominated network her paintings are often understood in. 03/22/2022 https://www.collegeart.org Page 75 of 234 110th CAA Annual Conference “A Protest Against Sentiment, or Morality”: Vanessa Bell’s of May’s creative output. I also assess the links between the "Bathers in a Landscape" and the Gendered Order of the material and the political, exploring the colonial politics of Victorian Home extracting funerary artefacts and, relatedly, how May Margot Elizabeth Yale, University of Southern California conceived of and valued the cultural heritage of Egypt versus In July 1913, Roger Fry, Vanessa Bell, and Duncan Grant that of Britain. opened the Omega Workshops to promote and sell artist- designed homewares and furniture to a growing audience of Scottish Arts and Crafts: The Mixed Media Work of the British middle- and upper-class consumers. Absent from the Macdonald Sisters scholarship on the design production of the Workshops are Sarah M. Iepson comprehensive studies of individual objects; this lacuna Working in burlap with gesso, twine, beads, tin leaf, and steel obscures the radicalism of introducing one of the Omega pins to depict a decorative image of feminine figural forms and wares into the English home and obfuscates why the interlacing floral and linear motifs, Margaret Macdonald’s The workshop was scorned by critics and the London public in its May Queen is a stunning example of the Arts and Crafts style time. This paper focuses on Bell’s folding screen, Bathers in a as it emerged in Scotland at the end of the 19th century. Landscape (1913)—the only screen painted by a woman artist Moreover, the nearly fifteen-foot-long panel is indicative of the of the Workshop, and the only screen to include nude figures. culmination of the unique Glasgow Style that permeated the Building on the study of Bell’s biography and discourses of the early work of Margaret and Frances Macdonald. Often Omega Workshops’ production, this paper situates Bell’s overshadowed by their partnerships with male counterparts screen more specifically within the context of gender Charles Rennie Mackintosh and James Herbert McNair, the expectations of late-Victorian domestic mores and the history Macdonald sisters were nonetheless known for their of the folding screen English homes. I consider Bell's pairing provocative and enigmatic representations of women. Several of the medium of the folding screen with her subject of bathers recent exhibitions and publications have sought to exhume as engaged in a debate on morality and traditions. I argue that these women from the shadows of their associations and this by adopting the longstanding tradition of the folding screen as paper continues that important work. I focus on the uniquely the support for her painting of bathers, Bell embraces the stylized visual language and variety of media that the sisters screen’s mutability to create an object capable of slicing into used to construct their luxurious and fanciful imagery. the gendered boundaries within the still prevailing Victorian Furthermore, I explore the ways in which the socio-cultural domestic order of Bell’s time. Dislocating the moral landscape of Glasgow at the turn of the 20th century provided imperatives of masculine and feminine spheres within the these women both the autonomy and authority to navigate the Edwardian home, Bathers in a Landscape carves out space world of fine art and seamlessly juxtapose and intertwine this for both female interiority and heterosocial intimacy. with the craft-based sphere of “women’s work.” Finally, I expand upon the impact that the suffrage movement had on ‘The swathed bodies surrounded by tokens of life past’: raising and subsequently silencing the artistic voices of these May Morris, Coptic Textiles, and the Collecting of Objects women in the early twentieth century. from Egyptian Burial Tombs Thomas Cooper, University of Cambridge Between 1896 and 1897, the artist, designer, craftswoman and textile scholar May Morris wintered in Egypt with her mother, Jane. May actively engaged with this environment, making drawings, collecting textiles and visiting ancient burial tombs at Akhmîm (first excavated in 1884). Following her return to Britain, she produced and exhibited works inspired by and incorporating materials from Egyptian archaeological sites. She also published an article on Coptic textiles extracted from Akhmîm, discussing examples in her personal collection and those acquired by the South Kensington Museum. May was interested not only in the production methods of these textiles but the cultural role they played in religious life and as records of racial identity. In this paper, I seek to critically examine for the first time May’s engagement with these textiles. I aim to position her activities in relation to overlapping contexts – archaeology, textile scholarship and museum collecting practices; in doing so, I re-frame the conventional parameters set by scholarship on May. How May negotiated the gendered conventions of these contexts and their prescribed roles (archaeologist versus textile practitioner, for example) will be examined. I attempt to place May beyond Anglo-Atlantic Arts and Crafts geographies and consider the significance of Egypt to challenge the received “Englishness” 03/22/2022 https://www.collegeart.org Page 76 of 234 110th CAA Annual Conference postsocialism, queer is the name given to those who were Getting In/Formation through Queer Feminist ahead of their time. Temporalities Jacolby Satterwhite: Sadomasochism and its Queer Chairs: Jocelyn E. Marshall, SUNY Buffalo; Conor Temporalities Moynihan Stephanie Kang Building upon the idea that time can violently displace and Jacolby Satterwhite is a queer Black artist, who celebrates the perpetuate erasure, which has been repeatedly put forth by fantastical and the carnal, creating an alternative universe of feminist, queer, and disabled activists and scholars, this panel his own making. To simulate this world, filled with innumerable proposes time as a methodology to disrupt and intervene in characters, he combines live action recordings of him and his aesthetic canons and forms of representation. Artist-scholar friends with remnants from his personal archive, bridging the Jaclyn I. Pryor has argued through their concept “time slip” that past and present to form a futuristic realm for the political temporal constructions of performance and time-based media imagination. Through his videos, installations, and virtual works extend beyond mere periods of duration, especially within realities, Satterwhite moves in multiple directions, looking both the specific context of traumatic experience associated with towards the future as an imagined space for queer Blackness patriarchal and colonial violence. To Pryor, a time slip is a queer and back towards the past as a site of reorientation. In my experience of time, where one can “move backward, lunge analysis of his 2018 video "Blessed Avenue," I consider how forward, loop, jump, stack, stop, pause, linger” in contrast to and Satterwhite specifically uses sadomasochism to develop away from “the violence of linear time and historical ‘progress.’” alternative forms of queer temporality. Essentially, this This discussion explores how the forms, gestures, and textures presentation asks, how can queer sexualities create new of time slips redress tensions between gender, sexual, and temporal relations, shattering the limiting constraints of national identities. Concerned with how relationships to history, straight, linear time? Is it possible for sadomasochism to trauma, and medium inform practice, the panel reveals how reorient relationships between the past, present, and future? queer feminist temporalities allow for repair and riposte while And perhaps most importantly, how can sadomasochism also resisting silencing and erasure. Here, this time talks back— become a source of power and self-definition, particularly slips, even—and we ask: how so, in what ways, and for which within the context of Black queerness? Taking up theorizations audiences? If temporality is the modality that allows for traumatic of sadomasochism, I examine how Satterwhite utilizes its experience to be articulated and embodied, how does it work visual language to invoke painful histories from the past and and how might we read it? “Getting In/Formation through Queer retranslate them into a new language of pleasure. And while Feminist Temporalities” illuminates the queer feminist temporal sadomasochism has been used to reimagine processes of constructions underlying contemporary experimental work by historicization by scholars like Elizabeth Freeman, Ariane transnational artists and their address of homophobic, Cruz, and Christina Sharpe, I build upon their work to discuss transphobic, misogynistic, racist, xenophobic, ableist, and other how sadomasochism can be further mobilized towards a forms of violence. queer Black future within the logics of cyberspace. Dis/Articulating Language as Refusal and Innovation in Queer Comrades Tomorrow and Yesterday: A Discussion Theresa Hak Kyung Cha's Films and Writing of Queer Temporality in Postsocialist Video and Jocelyn E. Marshall, SUNY Buffalo Performance Art This paper examines the filmic and poetic texts of Theresa Christina Novakov-Ritchey Hak Kyung Cha, a Korean artist who migrated to the U.S. in In their speculative documentary Queer in Space: Kollontai 1962 and was later raped and murdered in 1982. Focusing Commune Archive (2016), the artists of STAB (School of mostly on her 1970s Super 8mm short films and only full- Theory and Activism – Bishkek) weave together a group of length collection Dictée (1982), I interrogate the relationships salvaged materials from 1970s and 1980s Soviet Bishkek, between art history, the politics of displacement, and the which demonstrate the radical visions of queer socialist language of trauma. Positioning the project within the context subjects. Running counter to the narrative that the collapse of of U.S. imperialism and gender-based violence, the study state socialism “liberated” queer people, socialist thought is seeks to discern the extent to which a history impacted by centered in this queer speculative archive. In the video, STAB traumatic experience can be ‘languaged’ or articulated through members proceed to pick up various documents in this archive language. With Cha, there is an imbricated transhistorical that critique the late Soviet model of the heterosexual nuclear awareness indicative of trauma theory’s discussion of ‘the family. They do not make this critique by appealing to liberal return’ or cyclical nature of trauma in its repeated encroach feminism, but rather by drawing upon the work of Marxist upon the past, present, and future. By connecting colonial feminist Alexandra Kollontai. Kollontai’s radical critique of the histories, queer temporalities, and trauma studies to select family as a site of exploitation is stretched here in order to Cha works that employ fluctuating modes of articulation and critique gender normativity and heterosexuality as instruments embodiment, the paper demonstrates how ruptures in form of exploitation. This presentation examines the work of STAB and genre can reflect a feminist intertextual practice vital to in conversation with postsocialist theorists to demonstrate how combatting patriarchal and misogynistic patterns of silencing video and performance artists construct a postsocialist queer and erasure of women of color’s testimonies, art, and writing. temporality and resist the (often homonationalist) politics of To illustrate these interventions, the paper draws from an queer visibility. In socialism, space is/was the future. In interdisciplinary range of sources, including that of: Sara 03/22/2022 https://www.collegeart.org Page 77 of 234 110th CAA Annual Conference Ahmed, Cathy Caruth, Inderpal Grewal, Amelia Jones, and Valerie Rohy. Global London in the 1970s Chairs: Karen L Greenwalt, Oklahoma State University; Warp and Weft: Nilbar Güreş’s Queer Temporality of Katja Rivera Precarity Conor Moynihan In his infamous 1968 “Rivers of Blood” speech, British member This paper examines contemporary artist Nilbar Güreş and her of Parliament Enoch Powell criticized Commonwealth feminist and queer use of fabric, focusing on how precarity immigration and anti-discrimination legislation. Ten years later, in and temporality interact in a selection of her performance an address to the nation, soon-to-be-elected Prime Minister works: Undressing (2008), Fatih (2008), and Torn (2018). Margaret Thatcher stated that citizens are “afraid that this Originally from Turkey and now based in Austria, Güreş works country might be rather swamped by people with a different in a variety of media but her work with fabric critically culture.” In the intervening years, this rhetoric gave way to laws interrogates fabrications of gender and sexuality in Turkey and that exacerbated anti-immigrant violence and xenophobia across transnationally. For her performance Fatih, for example, Güreş the country. Migrants—many of whom were from Great Britain’s donned a white wedding dress along with boxing gloves and former colonies—were scapegoats for the country’s political and headgear to confrontationally challenge passersby to disrobe economic anxieties. In the face of escalating anti-immigrant her in an Istanbul neighborhood known for its conservativism. sentiments, artists from the global south found themselves living In so doing, she on one hand responded to local legislation and working in London. These artists—who sought and created permitting men to rape their wives, and on the other she opportunities outside the established art scene—were integral to referenced the rape and murder of Italian performance artist a flourishing of conceptual art. Pakistani artist Rasheed Araeen Pippa Bacca earlier that year in Gebze, Turkey. Bacca had created the journal Black Phoenix, a forerunner to the influential been hitchhiking from Milan to Tel Aviv wearing a white Third Text, and Fillipino artist David Medalla opened Signals wedding dress to perform a symbolic transnational “marriage.” Gallery—a space that would show some of the decade’s most While the wedding dress signified permissible forms of important global artists. In 1974, Medalla and Chilean artist violence, I argue that Güreş’ Fatih performance made the Cecilia Vicuña, among others, founded Artists for Democracy, an same enculturated fabric articulate a state-resistant feminist organization supporting liberation movements around the world. and queer critique that becomes more salient when we Meanwhile, Mexican artist Felipe Ehrenberg began making consider the temporality of precarity in the work—both her performances using the city’s infrastructure and later co-founded own and what it might solicit in someone else. This Beau Gess Press, an independent publisher of artists’ books. In performative use of fabric is a technical strategy utilized order to explore how artists contributed to and were shaped by throughout her oeuvre, which exemplifies how Güreş the country’s socio-political landscape, we invite papers that reweaves cultural and transnational fabrications to take up the consider the practices and networks created by artists who threads of gender, sexual, and religious/ethnic fabrications immigrated, escaped to, or found some measure of refuge in and weave them with a difference. London in the 1970s. Musical Freedom in 1970s London: Sun Ra and the Scratch Orchestra Christopher Matthew Reeves In November 1970, Sun Ra and his Arkestra performed at London’s Music Now festival, the occasion being the first time Ra and his group had been invited to play in the country. Ra and the Arkestra’s performance, while well received, was nonetheless met with some bewilderment by critics accustomed to Music Now’s more Eurocentric brand of experimental and improvised music. One fixture of Music Now in 1970 was London’s The Scratch Orchestra, a large ensemble of artists, musicians, and non-musicians who performed Fluxus-like instructional scores and compositions written for a deskilled group of performers. Several critics, as well as Cardew, aligned the Orchestra with the Arkestra under perceived similarities in theatricality and an emphasis on the improvisatory act. In this presentation, following work done by George E. Lewis and Benjamin Piekut, I will explore this comparison further in order to tease out some general questions to do with reception and Eurological and Afrological modes of art and music making. Exploring Ra and the Arkestra’s first visit to London relative to the Scratch, one of the city’s performance fixtures, provides an occasion to look at the successes and limits of the burgeoning experimental 03/22/2022 https://www.collegeart.org Page 78 of 234 110th CAA Annual Conference music and art scene of 1970s London that placed value on performer interpretation and musical freedom. Global Trade and the Matter of Art NATIONAL COMMITTEE FOR HISTORY OF ART Alternative Press and Politics: from Felipe Ehrenberg in London to Feminism in Mexico City Chairs: Michelle Foa; Amy F. Ogata, University of Maggie Borowitz, University of Chicago Southern California In 1970, Mexican artist Felipe Ehrenberg co-founded the The International Committee of the History of Art (CIHA) will host experimental Beau Geste Press while living in England. its quadrennial Congress in Lyon, France in 2024 on the theme Ehrenberg and his then-wife, Martha Hellion, had departed of materiality. Lyon was a mercantile center during the Roman Mexico City for London in 1968, fearing repercussions for their empire and, at different points in its history, has served as an deep involvement in the 68 student movement. Ehrenberg’s international hub for trade, banking, and printing. In light of the often politically-motivated experiments with artist’s books and theme of the upcoming CIHA Congress and Lyon’s mercantile alternative circuits of publication served as inspiration to a history, the National Committee for the History of Art is wide variety of artists in Mexico City, both while Ehrenberg organizing a session examining the relationship between art and was still living in England, and after he returned to Mexico in the global trade in materials. We invite papers that situate art 1974. In the late 1970s and 80s, artist’s books became an objects as physical embodiments of international contact, important conduit for feminist expression in Mexico, and conflict, and exchange, illuminating how the history of art, Ehrenberg’s work was pivotal to the artist’s book practices of broadly conceived, has been shaped by the mobility of materials. several artists associated with the feminist art movement in How can attending closely to the matter of art shed new light on Mexico City, including Magali Lara and Yani Pecanins. This the histories of resource extraction, the development of trade paper considers the techniques and ideas that Ehrenberg routes and relations, or the impact of global geopolitics on developed while living amongst a global network of artists in cultural production? In what ways have the economies of art and London in the early 1970s and their influence upon the avant- of the trade in materials intersected? How have artists and other garde art scene in Mexico in the years that followed. How did kinds of makers and designers evoked the movement of London’s unique environment inform the materials and materials and global exchange in their work or adapted their methods that Ehrenberg explored? How, in turn, did practice in response to materials of foreign extraction? In what Ehrenberg’s practice transform the role of artist’s books and ways have the geographic origins of materials shaped viewers’ alternative publications in Mexico City, especially within the engagement with art objects? We welcome papers on any period burgeoning feminist art movement there? and region that consider these questions and related ones in new ways. Violence and visibility in an era of control: The Centro de Arte y Comunicación in London, 1971–1975 Medieval Ivories: A Global Trade? Christopher Williams-Wynn, Harvard University Sarah M. Guérin, Univeristy of Pennsylvania How do works of art resonate beyond their sites of Humans have, since the dawn of representation, always production? This is one of the central questions addressed carved elephantid ivory. Mammoth ivory finds from paleolithic when attending to exhibitions associated with the Centro de sites amply support this fact. But with shifts in the environment Arte y Comunicación (CAyC), a multi-modal cultural platform and anthropogenic pressures on elephantid populations, the that operated from Buenos Aires. Founded in 1968 by the sources of dentine have shrunk over the course of the impresario Jorge Glusberg, the CAyC rapidly developed an Anthropocene. Already in the Ancient world, ivory was among international profile, which included a number of exhibitions in luxury trade items born on sea-going vessels crossing the London. This paper examines how three exhibitions affiliated Mediterranean, the Red Sea, and the Indian Ocean, patterns with the CAyC can be read in relation to socio-political which continued through the medieval period. But can this conditions in London between 1971 and 1975. This study trade truly be called Global? Even if the desire for elephant intervenes in debates over “Latin American” ideological tusks fortified trading networks that criss-crossed Afro- conceptualism, which tends to presume that practices emerge Eurasia, how did it effect the whole Globe, including the from and remain bound to a fractious South in contrast to a Americas, in the Age before European colonization outside the stable West. Scholarship on art from Argentina during the Eastern Hemisphere? Recent DNA evidence (Starr, et al. 1970s largely situates it in relation to conditions of repressive 2018), has shown that the popular alternative to elephant military rule within the country. This paper, by contrast, shows ivory, walrus tusks, came from the North American Arctic how works from Argentina resonated with regimes of discipline waters between the tenth and fourteenth centuries. When we and control in the British capital. During this period, internal consider the balance of trade between elephant ivory and that political violence wracked the United Kingdom, while judicial of the Arctic sea-mammal, there were two sources of high- authorities and police were developing techniques to increase quality dentine that fed the market, especially when elephant social legibility. While acknowledging differences between ivory was imported in ever increasing amounts across the these contexts of production and reception, this paper thirteenth century. Rare objects testify to the coexistence, if demonstrates how art may help us understand commonalities not competition, of the two materials on Gothic artisans’ in regimes of discipline and control. workbenches. While only further testing can verify their material origins in Arctic North America and sub-Saharan Africa, stylistically similar Gothic carvings in walrus and 03/22/2022 https://www.collegeart.org Page 79 of 234 110th CAA Annual Conference elephant ivory present for us a case study to assess this resources—both financial and cultural—and raw materials that competition. The material that gained market dominance are inextricably linked to European expansionism in Africa. perhaps changed the history of the world. Substratum of the Image Flying Colors: Reading Polychromy in Qing Enamels Niko Vicario, Amherst College Julie Bellemare In the twenty-first century, the trade in raw materials has been At the turn of the eighteenth century, a polychrome revolution obfuscated by claims that the Internet has dematerialized our swept over the court arts of Qing China (1644-1911), which economies and our technologies. However, of course, the saw the number of enamel colors increasing from fewer than Internet relies on all-too-material hardware, circuitry, and ten, to a virtually unlimited amount. Archival evidence and energy dependent on mining inorganic matter from beneath recent scientific analyses of these new enamel colorants have the surface of the earth. This paper focuses on works of art traced their origins to a range of locales, from the Chinese made in a range of photographic media by Simon Starling, provinces of Shandong and Guangdong, to Saxony and Italy. Steve McQueen, and Lucy Raven that depict the process of Through tribute and trade networks, pigments from all over the mineral extraction, from copper to platinum to coltan. Because Eurasian continent were marshaled by the Qing court to lend these minerals comprise part of the substrate of the media color to porcelain and metal objects. Under imperial direction, through which these images take form, these artists’ projects artisans transformed these raw materials and combined them may be understood as reflexive regarding their own onto the surfaces of individual items, displaying the new materiality. They show us what they are made of and they are technologies developed at court workshops. This paper will made of what they show. I will argue that these artists create survey new evidence at hand before discussing the level of savvy tautologies that render the work of art inextricable from “color literacy” that we can expect from eighteenth-century broader webs of trade, between the U.S., South Africa, China, viewers of these objects. Using palace memorials, I argue that the Democratic Republic of Congo, and beyond, suturing the informed officials and hands-on rulers were aware of the image to its origin in particular raw materials mined from the geographical origins of most colorants, and that enameled Earth. objects would have represented a nexus of local and global exchange routes. Qing polychrome enamels signified not only the geographical reach of the court through diplomatic and commercial relations, but also the technical mastery and control over human resources required to create vibrant new surfaces. The capacity of the Qing state to garner colorants and master complex silicate technologies ultimately marked a key moment in the establishment of the dynasty as a global cultural player. Gold Rush, Congo Style: Gustav Klimt’s Marble Mosaic Frieze in the Palais Stoclet Debora L. Silverman Gustav Klimt achieved what he considered the high point of his experiments with ornament not in Vienna, but in Brussels, where he designed a large-scale frieze of gold and bejeweled mosaics to wrap the dining room walls for the Palais Stoclet (1905-1911). The Stoclet project concentrates myriad and unrecognized connections to Africa. Klimt was enmeshed in a web that tied his patron and Brussels elites to the Congo and to Egypt. These shape not only the circumstances of his commission but the stylistic forms, raw materials, and figural compositions that he devised for it. Vienna, golden style, is reborn in the gold rush of the Belgian empire. By restoring imperialism to the center of the story, I identify two coordinates for our analytic field. First, the stylistic development of Klimt’s “golden style,” offering new evidence for his reliance on Egyptian tomb art for his Brussels project. I suggest a link between ancient Egyptian archaeology and Belgian occupation of the Congo as conduits of modernist primitivism. Second, the Stoclet house as an imperial Gesamtkunstwerk, embodying not only a resplendent unity of all the arts but a voracious entitlement to global bounty, exemplified in Klimt’s patron, the banker-engineer Adolphe Stoclet. By focusing on this work, a chapter of what I call “imperial modernism” makes visible what has been invisible: the facts, artifacts, sources, 03/22/2022 https://www.collegeart.org Page 80 of 234 110th CAA Annual Conference His “Casualties” series underscores the civil war’s spectral Haunting and Memory in Arts of Africa and presence in Nigeria. Through a close examination of the works the African Diaspora Refugees (2003) and Clubbed, Slaughtered, and Burnt (2004–2018), I show how Onuzulike extends his parents’ war Chair: Elaine Sullivan experiences to speak to the continued trauma and violence Discussant: Delinda J. Collier, School of the Art Institute that reverberate across Nigerian politics, culture, and society. of Chicago Submerged Narratives: Memorializing Enslavement in Eve This session explores how artists from Africa and the African Sandler’s Mami Wata Crossing diaspora engage with memory-making from African perspectives. Elyan Jeanine Hill, Southern Methodist University From the “archival turn” to the rise of memory studies in the In African American artist Eve Sandler’s installation Mami 1990s, scholars have long been investigating how artists expose Wata Crossing (2008), text, image, object, and film converge difficult pasts to be grappled with in the present. In her 1997 to form an intimate memorial for enslaved ancestors and book Ghostly Matters: Haunting and the Sociological transatlantic water spirits called Mami Wata. Sandler engages Imagination, Avery Gordon proposed “haunting” as a mode of maternal lineages by mobilizing practices honoring water investigating unresolved historical traumas. Some loci of such spirits—often characterized as migratory maternal figures—as haunting are contemporary artistic practice and the galleries of a lens through which to navigate memories of the slave trade museums. While these discussions have historically focused on and narratives of women’s labor. As a presentation of Black artists based in Europe the Americas – including Indigenous women’s narratives of Afro-diasporic belonging within the artists and those of African descent – such approaches have United States, the installation emerges as an alternative become increasingly important in scholarship about archive of materials that allows for the experiential activation contemporary arts from the African continent. This panel adds of Black women’s histories and Afro-Atlantic ritual practices as new perspectives to such conversations, exploring examples lived realities. The installation expands the purview of a slave from various forms of media and geographic areas. The media memorial and posits the value of combining media whose include ceramics, performance, installation, and musical impermanence challenges the purpose of the stable instruments, used to explore memories of Biafra during the monument within understandings of Black women’s histories. I Nigerian Civil War, the transatlantic slave trade, Belgian argue that, by activating inherited objects as a sacred material colonialism in Congo, and the roles of instruments in both Mandé history, Sandler memorializes gendered experiences of society and Western museums. Contemporary perspectives enslavement through nonlinear, submerged narratives. illuminate how past violence continues to haunt the present, Sandler seeks physical equilibrium and diasporic cultural exposing societal cracks. In this panel, presenters build on ideas connection by ritually performing historical haunting as of haunting to expand definitions of memorialization practices, mediated through contemporary art. I propose a rethinking of engaging with theories of postmemory, alternative archives and ways that public institutions make room for visual countermonuments. Papers address how artists interpret representation of African American women’s histories by individual and collective memories, bringing together reconnecting these histories to circum-Atlantic ritual practices. methodological approaches at the intersection of memory studies and indigenous African cosmologies. Sounding Spirits: Studying the Jinns in the Met's Historical Collection of Mandé Harps “Slaking, Stabbing, Cutting, Mixing”: Postmemory in Althea SullyCole Ozioma Onuzulike’s “Casualties” Series In African American artist Eve Sandler’s installation Mami Rebecca Wolff, Christopher Newport University Wata Crossing (2008), text, image, object, and film converge Ceramicist and scholar Ozioma Onuzulike grew up listening to to form an intimate memorial for enslaved ancestors and his parents’ songs and stories about the Nigerian Civil War, transatlantic water spirits called Mami Wata. Sandler engages which began in 1967 and ended in 1970, two years before he maternal lineages by mobilizing practices honoring water was born. His parents had lived through the conflict in the spirits—often characterized as migratory maternal figures—as predominantly Igbo secessionist state of Biafra, and while they a lens through which to navigate memories of the slave trade openly discussed their experiences amongst their family, the and narratives of women’s labor. As a presentation of Black war’s memory was—and remains—suppressed in the broader women’s narratives of Afro-diasporic belonging within the Nigerian public sphere. Within the context of this post-war United States, the installation emerges as an alternative silencing, this paper draws from Igbo cultural studies and archive of materials that allows for the experiential activation theories of postmemory that conceive of the family as the of Black women’s histories and Afro-Atlantic ritual practices as privileged space through which memory and culture are lived realities. The installation expands the purview of a slave passed down. I argue that Onuzulike’s inherited family trauma memorial and posits the value of combining media whose forms the basis of his long-running “Casualties” series, which impermanence challenges the purpose of the stable tackles such themes as exploitation, resource extraction, monument within understandings of Black women’s histories. I displacement, and torture. Through the inherently violent argue that, by activating inherited objects as a sacred material process of ceramic making and the subject matter of the history, Sandler memorializes gendered experiences of resulting objects, Onuzulike builds a postmemorial artistic enslavement through nonlinear, submerged narratives. practice that delves into both personal and societal trauma. Sandler seeks physical equilibrium and diasporic cultural connection by ritually performing historical haunting as 03/22/2022 https://www.collegeart.org Page 81 of 234 110th CAA Annual Conference mediated through contemporary art. I propose a rethinking of ways that public institutions make room for visual History, art, commemoration and the private representation of African American women’s histories by sphere in Central and Eastern Europe reconnecting these histories to circum-Atlantic ritual practices. Chair: Nóra Veszprémi, Masaryk University, Brno Calling on the Dead to Haunt the Museum: Freddy The nineteenth and twentieth centuries saw a series of radical Tsimba’s Shadows in Belgium’s Royal Museum for Central political shifts in Central and Eastern Europe. Wars and Africa revolutions were fought, empires collapsed, new states were Elaine Sullivan formed and later fell apart, regimes changed, national borders In December 2018, Congolese artist Freddy Tsimba’s were repeatedly redrawn. In the public sphere these changes installation work Shadows (Ombres) was unveiled when brought about shifts in memory politics, which found their Belgium’s Royal Museum for Central Africa reopened after a expression in visual culture. In this respect, the toppling of five-year renovation. In a hallway previously dedicated to the monuments and construction of new ones in emblematic urban memory of Belgians who had died in Congo between the spaces is a seminal topic that is oft explored. The people who years of 1876 and 1908, Tsimba added names of Congolese lived through these changes were, however, individuals, who who died in Belgium in that same period to the floor-to-ceiling were personally affected by the events. Their personal stories windows. When the sun shines, the names of the Congolese were often lost in public commemorations even if they did not go literally cast a shadow on the wall memorializing the Belgians. against the grain of official memory politics, and if they did they Tsimba’s installation provides an alternative perspective to were threatened with complete erasure. This session will ask colonial history in the former colonial museum, fulfilling the how the production and collecting of art helped commemorate museum’s goals for the contemporary art it commissioned or historical events through a personal lens in the privacy of the acquired during its renovation. Shadows works both within the home – a privacy that was rarely total and often invaded by European frameworks of institutional critique and authoritarian regimes. In such situations, how did art preserve countermonuments, and within Congolese memorial practices, and articulate the personal in the political? Topics can include, following an “nkisi logic.” For Tsimba, the names do not only but are not limited to: - art, memory, resistance and the home - refer to deceased Congolese, but are physical locations for artists producing art about the past for an audience of family or the spirits of the dead to inhabit, haunting the museum. In this friends - art and private rites of commemoration - art collecting paper I analyze how Shadows works from multiple and commemoration - family heirlooms and family stories in art perspectives to comment on and act within the former colonial collecting - art, countermemory and the private sphere museum in order to expose the difficult truths of colonial pasts. From “Official Avant-Garde” to Underground: Prague Surrealism under the Nazis Karla T. Huebner, Wright State University During the Nazi occupation of Czechoslovakia, the Prague surrealists were obliged to take their activities underground, operating within the homes of members and ceasing to exhibit work publicly. Previously, the group had been highly visible in the First Republic cultural scene, including as it did (prior to 1938) such major figures as the poet Vítězslav Nezval, the jazz and classical composer Jaroslav Ježek, the art and architectural theorist Karel Teige, and the visual artists Jindřich Štyrský and Toyen. With Nezval’s departure from the group in March 1938, the gain of poet and artist Jindřich Heisler around the same time, and the infamous Munich Agreement of September followed by full-blown occupation, the group’s activities turned inward. Toyen, Štyrský, and Heisler in particular turned to creation of collaborative works shared among a small set of friends, while Teige continued his private production of photomontages—begun in the mid-1930s—that were never intended for display but were in some instances given to friends. Heisler, who was of partly Jewish descent and living in hiding, also at times dangerously ventured into the streets with a movie camera. This paper examines the wartime activities of these artists and links their shift--from a highly public group to a clandestine and endangered few--to the similarly underground activities of the postwar, second- generation surrealists operating under Communism. 03/22/2022 https://www.collegeart.org Page 82 of 234 110th CAA Annual Conference Misplaced Persons: Craft and Memory in Postwar contemporary political events and were catalysts of emotions European Jewish Culture related to anger, frustration, anxiety and melancholy in the Alida R Jekabson context of the radical shift towards anti-feminist and anti- Often overlooked and under-researched is the remarkable woman Polish public discourse during the 1990s. story of recovery and production of craft objects in Jewish Displaced persons (DP) camps in Germany under Allied Art and Politics in Central Europe: Experience of an occupation. Following World War II over 175,000 Jewish Individual and Experience of All survivors and refugees from Eastern and Central Europe lived Barbara Westman in DP camps between 1945 and 1951, administered by the An individual’s reconstruction of the past is often a part of an four allied governments. While awaiting repatriation or adaptation process to a new existence forced by a change. resettlement, DPs were housed in former German army The disaster of a war or a political system transformation is barracks and hospitals. A few of the approximately 30 Jewish usually described through statistics, historical and political DP camps were founded in vacated concentration camps. science research, while a personal experience is often left to Some survivors headed to DP camps after attempting to re- its owner to internalize. Those who survive such dramatic settle in their hometowns, finding nothing left but violence and events often cling to a small object reminiscent of the past, a hostility. This paper expands the traditional association of craft pendant, a tiny painting, a small decorative piece of china. A within the domestic sphere and positions the camps as a thin thread of connection with the perished world and a liminal home-space of healing, transformation and symbolic life support. These small objects of worship, past to commemoration for Jewish refugees. Many examples of craft us, the next generations, come with stories whispered into our in the camps fashioned by amateurs and artisans connect to ears with a hope of keeping memories of the past alive. They the replacement of lost ritual objects or local traditions. are the summation of the past. The eventful history of Another aspect of this history were objects predating the war twentieth century Central Europe impacted generations. The that survivors were able to recover from their former homes. hidden history and transgenerational trauma are still often left Intimate stories of these personal, functional and ritual objects, unaddressed and uncovered. In my family, like in many others such as wedding dresses, seder plates and prayer shawls from Central Europe, we still feel connected with the past highlight the human impulse to treasure, honor and find dignity through objects. I was raised in this atmosphere, and the through memory, rehabilitation and survival. Viewing these stories I heard impacted me and they resonate in my own art. objects in the context of art history indicates the many ways individuals access craft in the home as a tool for social and political expression and economic renewal in the aftermath of war and displacement. Creating and Collecting Grassroots Art. Anarcha-Feminist Zines during the Polish Postsocialist Transformation Barbara Dynda, University of Warsaw During the political transition in Poland after 1989 members of the feminist grassroots movement established intimate, private, non-institutional and socially engaged feminist archives. Examples of such activities were the OLA Archive (Feminist Lesbian Archives) and the OSKA (Women's Information Center), both founded in the 1990s and focusing on women intimate art and literature. Within the collections of OLA Archive and OSKA it was possible to find personal art created by individual feminists or grassroots collectives, including photographs, diaries, poetries and ephemeral arts, especially in the format of anarcha-feminist zines. Focusing on an example of feminist personal craft works, I will, therefore, present practices of collecting zines that enabled encounters between political protest, personal confession and feminist theory in Poland in the 1990s. Usually produced and collected for close friends and other feminists, anarcha-feminist zines referred to political shift and historical moments, in particular to the context of forming the new post-socialist state during political transformation. Through graphic reinterpretations and poetic extensions, zines commented on radical social, economical and political changes in Poland, especially in regards to women's reproductive rights, sexual education, and freedom of speech in public media. By building on the visual and linguistic resistance, zines reflected on historical and 03/22/2022 https://www.collegeart.org Page 83 of 234 110th CAA Annual Conference periodicals and exhibitions between 1935 and 1941 in both Images as Weapons and Women Europe and North America—many of which Model herself Photojournalists During World War II strove to conceal in her later career while under investigation by the FBI for suspicion of communist activity. These Chairs: Caroline M. Riley, University of California, Davis; subsequent displays included, first, the French Communist Alissa Schapiro, Terra Foundation for American Art photo-illustrated journal Regards, aimed at the nation's In recent years, scholars have begun to grapple with the working class, in which she published under pseudonym; profound social, aesthetic, and political implications of second, the British anti-fascist satire magazine Lilliput; and photographs documenting the horrors of war. During World War finally, the politically radical Photo League in New York where II, female photojournalists--including Thérèse Bonney, Margaret Model's pictures were first exhibited. Bourke-White, Marie Hansen, Germaine Krull, Lee Miller, and Galina Sanko--faced an additional burden of being professional Complicity and Liberty: the Photographs of Germaine Krull novelties in the hyper-masculine spaces of war. This panel seeks During World War II papers that provide a historical perspective on these women Egon Schiele photojournalists, exploring how artists, institutions, and viewers navigated the challenges posed by earlier forms of war Dangerous, Fruitless Flowers: Toyoko Tokiwa and photography and the gravity of World War II. How did the Photographing Women’s Work in Post-War Japan investment in war photography impact people’s perceptions of Lewis Longino the conflict? How did subsequent displays in periodicals and exhibitions alter or reaffirm the photographs’ purpose as Imagined Geographies: (trans)regional visual persuasive documents? To what extent did photographers incorporate varying degrees of critique and/or compliance in their practices in South and Southeast Asia work? How did coded gender norms come into play within these Chairs: Katherine Bruhn, University of California, discussions? Such questions illustrate the complex Berkeley; Shivani Sud entanglements and networks of artistic aspiration, publishing, and the construction of the public good. These histories reveal Discussant: Holly Shaffer, Brown University the contributions of agents beyond photographers in the making How do artists in Indonesia claim the formation of a Nusantara and meaning of journalism, including art directors, editors, and Islamic identity through the transferral of linguistic and cultural public relations advisors. This panel will endeavor to reconstruct constructs such as alam (universe), an Arabic term that can also how the ideological and ethical dilemmas of wartime be found in Mughal manuscripts? Or, how do regional court photojournalism, and its gendered ramifications, manifest in both painters in India construct an imagined vision of firangistan (the their photographs and in the newspapers and exhibitions into west) in local visual practices? With a desire to rethink the ways which they were so often incorporated. We therefore seek in which geographies are constructed, studied, and defined in papers on artworks and their circulation that will illuminate the the context of South and Southeast Asia, we invite proposals rich and contested histories of war photojournalism. that explore artistic practices which disrupt prescriptive geopolitical boundaries like the nation-state and region. From Lisette Model Against Complacency: Class Critique on the colonial histories to post-War regional categorizations, the Promenade des Anglais regions of South and Southeast Asia have been defined and Audrey Sands reinvented in accordance with geopolitical interests and cultural This paper examines the politics and circulation of Lisette usages. In contrast, recent scholarship has demonstrated that Model's most well-known series of photographs, a set of vernacular social and cultural practices contributed to the candid portraits of bourgeois vacationers along the formation of imagined geographies, shared communities, and Promenade des Anglais in Nice, made in the mid-1930s amid coeval artistic practices beyond the political borders and the rise of Fascism across Europe. Model's subjects, all territorial boundaries of these regions (Tajudeen, 2017). From members of the leisure class, lounge in repose, adorned in the eighteenth century to the present, we aim to foreground the seasonal finery while reading newspapers, smoking power and agency of artists and art in constructing new visions cigarettes, and stroking lapdogs—willfully complacent both to of the world in and across these regions. Our objective is to the rising socio-economic divisions plaguing France and the move beyond current geopolitically bounded framings of South solidification of Nazi power. The series exemplifies Model's and Southeast Asian art history to instead examine the ways in wry integration of reportage with the inherently critical visual which the transregional circulation of people, ideas, and objects vocabulary of caricature. It is also credited for launching her shaped notions of identity and belonging. In doing so, we hope to career in New York when, in 1941, shortly after her offer fresh possibilities for the study of non-Western art practices immigration to the U.S., it was featured as a multi-page spread in and beyond these regions. in the weekly illustrated newspaper PM under the headline "One Photographer's Explanation of Why France Fell." Being Governed or Not: Experimental Ethnography on the Beyond more familiar framings of Model as a postwar China-Vietnam Border humanist street photographer, this paper examines Model's Yuxiang Dong lesser-known deployment of the Promenade des Anglais This presentation is situated in Zomia, specifically the China- series as vociferously anti-fascist indictment in leftist Vietnam Border, to examine the placement of modern 03/22/2022 https://www.collegeart.org Page 84 of 234 110th CAA Annual Conference technology and the displacement of ethnic minorities through Malay communities within Singapore, Indonesia, Malaysia, videos, films, and other forms of experimental ethnography. and even other parts of the modern geographical entity known The geographic definition of Zomia is never absolute because as Southeast Asia (SEA). At the same time, it is well known it traverses several nation-states in Southeast Asia but does historically that Singapore’s cultural policies have geared not overlap with the border of any country exactly. At the same towards branding itself as the ‘hub of Southeast Asia’ or time, it demonstrates cultural characteristics of isolation, ‘doorway to Southeast Asia’. Manifested through the marginality, huge linguistic, religious, and cosmological admirable national collections of SEA art and artefacts, there diversity. The first part of the presentation focuses on two of seems to be a disconnect between the international image artist Cheng Xinhao’s art and research projects To the Ocean that Singapore projects, and how Singapore’s Malay artists (2018–), an investigation of the colonization and are framed or understood within its own art historiography. modernization through reflecting on the history of the This presentation aims to shed light on the Nusantara Kunming–Haiphong railway, and Strange Terrains (2013–), a worldview of three Malay artists, namely Iskandar Jalil study of the migration and settlement of Mang people (b.1940), Jaafar Latiff (1937-2007) and Sarkasi Said (b.1940); inhabiting the mountain ranges at the China-Vietnam border. whose works and artistic practices I argue, transcended The second part of the presentation briefly discusses Liu national boundaries and prescriptions. Despite the continued Chuang’s three-channel video Bitcoin Mining and Field national recognition and awards - ostensibly for their Recordings of Ethnic Minorities (2018), in which the artist contributions to Singapore’s cultural landscape - the true uncovers that cloud mining companies build their bitcoin farms understanding of their artistic impetus remains elusive in the in the remote regions of Zomia, home to the ethnic minorities institutional discourse. Ironically, they might even be counter- like to take advantage of the cheap land, labor, and productive to the legacies of these artists. hydroelectricity. Finally, Putting Liu’s work in conversation with Cheng’s project, I question whether the placement of bitcoin Laboring for Intimate Geographies: Artist Moving Images farms and the displacement of Mang people mean the and the Affect of Liquid Cartographies collapse of Zomia or the rise of Zomia++ that spread Toby Wu, University of Chicago anarchism into the nation-state? This paper studies the affinities of South and Southeast Asian moving image artists compelled to produce works that Khayalat: Imagining the Early Colonial World in Jaipur’s circulate through the Global Contemporary Art commons, by Bazaar Painting observing the devastation of globalisation and sea Shivani Sud extractivism. Anand Patwardhan’s Fishing: In the Sea of In the early colonial period, the emergence and consolidation Greed (1998), Martha Atienza’s Gilubong Ang Akong Pusod of semi-autonomous regional polities, the rise of colonial Sa Dagat (My Navel is Buried in the Sea) (2011) and Thao trading companies, and the expansion of pan-Indian Nguyen Phan’s Becoming Alluvium (2019–) all depict the mercantile networks contributed not only to the increased exploitation of water bodies through industrial overfishing and mobility of people and objects but also the burgeoning of its direct impact on the communities that have tended to these regional visual cultures across the urban and courtly centers ecologies for centuries. These moving images construe of South Asia. It is from within this new political, economic, narratives around the voices of local fishermen, and consult and social matrix that there emerged a new khayalat, or an numerous contrary vantage points (Rabindranath Tagore’s imagining, of the world—an imagining that is both constituted The Gardener, activist groups, even the industrial fishing and revealed in a new pictorial genre of urban cityscapes in ships) to chart the complexity of these contested territories. late-eighteenth century Jaipur. Focusing on this new genre, This paper relies on Giuliana Bruno’s method of investigating this talk analyzes the creative and layered artistic strategies at the moving image form as “intersubjectives site[s] of transfer play in practices of place-making at the regional peripheries of for stories of the flesh” (333) in Atlas of Emotion(2002). These Empire. Specifically, I demonstrate that artists and patrons in artists produce inhabited spaces in which the documentary Jaipur utilized the language of European prints to visualize a moving image not only charts historical fact but the affective world increasingly shaped by cross-cultural travel, colonial movement of the documenter. Furthermore, particular encounters, and long-distance trade. While histories of global attention needs to be paid to these artist’s modes of connectivity typically position Europe at its center, a turn representing water-media as interfaces for mediating toward non-Western regional cultures alerts us to the ways in unrepresented histories. The paper will consult Melody Jue’s which cross-cultural, indeed colonial, encounters were Wild Blue Media (2020), considering how water media perceived and experienced by local communities. displaces one’s normative mode of interpretation, while affording resonances between these artists’ consideration of Merely Changing Rooms And Not Moving Houses: localised conflicts. Singapore Malay Artists in the Nusantara Syed Muhammad Hafiz, National University Singapore The main title of this presentation refers to the original phrase in the Malay language which reads ‘hanya tukar bilik dah bukan tukar rumah’ – the notion that when the Malays travel from Singapore to Indonesia or Malaysia, they are not heading to a new place but somewhere familiar. This ‘familiarity’ suggests a Pan-Malay or Nusantara outlook amongst the 03/22/2022 https://www.collegeart.org Page 85 of 234 110th CAA Annual Conference and that a machine might retrieve these lost sounds from the In and Outside the Archive: Evidencing room. This topos of acoustically “playing back” a building is Spatial Performance, Performing Spatial newly relevant as contemporary architectural historians grapple with methods of reconstructing past sounds and Evidence sometimes even bringing long-silent voices to “life” via virtual SOCIETY OF ARCHITECTURAL HISTORIANS reality. Drawing on recent debates in sensory studies and on Chairs: Sophie Read, University College London; Ruth Wolfgang Ernst’s media scholarship, this paper investigates Elizabeth Bernatek, Oxford University the architectural history of the project to restore lost sounds and situates Loos’s dream of phonographic architecture in This panel seeks papers that examine historical performances, relation to turn-of-the-century acoustic science. situated sonic practices or events, which were conceived, designed, executed and experienced as spatial works that Documenting Disappearance: Radical Architecture, unfolded in time. Tracing performative or audiovisual residues of Performance, and Acts of Refusal past events poses challenges to those who study in the present Ross K. Elfline ephemeral architectural objects/practices which were once ‘live’. European Radical Architecture of the 1960s and 70s was E.g. whilst live sound, lighting, staging, voiced etc. elements can infamous for its rejection of building in favor of alternate be performed at an architectural scale, knowledge about them is mediums. While architectural historians have focused on the often not generated from spatial plans, but from written Radicals’ works of furniture design and photomontage, time- manuscripts, inventories, program-scores, or using tools that, in based mediums—including performance—were important themselves, provide limited information about the spatial effects means through which the architects built their critical they produced. This compels alternative frameworks for historical practices. Indeed, perishability—the fact that the final work interpretation that account for their performative and spatial would not last and thus avoided commoditization—was situatedness. We seek researchers who work at intersections consistent with Radical Architecture’s broader critique of the between architecture, music, sound, performance and theatre, discipline’s capitalist complicity. Arguably, such fugitive and their history, theory and design. We are interested in global strategies achieved their goals, as architectural history has not and non-western approaches to performance, event, time and fully integrated performance practices into its standard spatiality. Practice-led modes of spatial and historical research histories. However, the transience of the performances risks are welcome. We are keen to engage with practical questions of their being forgotten and the specific nature of their critiques retrieving and reconstructing spatial evidence. This might include obscured. In this paper, I consider several performance events how researchers approach the real-time qualities of performance from Florence-based architects Gianni Pettena, Gruppo 9999, and their own working methods, but also the physical building, Superstudio, and UFO and the means used to document landscape or space in which that event took place: how it them. While photographs do exist, first-hand accounts by the unfolded over time, the occupation of space by performers and architects themselves have tended to dominate the scant users/audience. This prompts questions about the nature of records that constitute the archive of Radical Architecture archives; of their possibilities and limitations. What evidence performance practice. As a result, chronicles of the era have exists for the different dimensions of a past spatial event? Is this tended toward hagiographic celebrations of the Radicals. This different for different periods and their practices of architectural paper argues instead for a critical distance that foregrounds history? the ephemerality of architectural performance and the fact that the real effects of such events can never be known entirely. A If Walls Could Talk: On the Building as Phonograph critical history of such works requires situating them within the Joseph Clarke, University of Toronto disciplinary and institutional contexts into which the events In 1912, Adolf Loos speculated that the material fabric of a intervened. I therefore analyze architectural performance soon-to-be-demolished concert hall might retain traces of past within a network of historical actors with the architects as one performances: “The tones of Liszt and Messchaert live on in node. the mortar of the Bösendorfer Saal and vibrate with every note of a new pianist or singer.” Loos’s fantasy that the sounds of Sonic-Speculation: Aesthetics and Counter-Surveillance famous concerts were inscribed on the hall’s surfaces drew on Saeedeh Asadipour a curious nineteenth-century proposition, traced in this paper, This essay examines contemporary Middle Eastern artist that past sounds might be recovered from the matter of the Lawrence Abu-Hamdan’s artistic practices, which intervene in built environment. Charles Babbage explained his belief in and decenter the traditional objective, scientific understanding cosmic justice by conjecturing that all sounds ever made of information and information technology. He has created a echoed endlessly through the air, eternal witnesses to the unique archive of sound effects, through which he is able to crimes of history. George Eliot likened the world to “a huge retrieve memories of acoustic violence and reveal hidden whispering-gallery” in which past murmurs could occasionally dimensions of spaces and objects by using sound as a spatial become audible again. Science fiction writers Florence mapping tool. Using decolonial epistemology and queer McLandburgh and Salomo Friedlaender elaborated the temporality, this essay focuses on two projects in particular: technological aspects of this notion. Friedlaender, in particular, the video installation Walled Unwalled (2018) and the 2020-21 imagined that every word spoken by Johann Wolfgang von multimedia exhibition Green Coconuts and Other Inadmissible Goethe in his study still reverberated there, in attenuated form, Evidence. These examples demonstrate how Hamdan extends perception and cognition beyond their known limits 03/22/2022 https://www.collegeart.org Page 86 of 234 110th CAA Annual Conference through the use of novel research methods, audiovisual techniques, and performative narration. In Walled Unwalled In Defense of Art History the artist designed dedicated “earwitness” interviews to SERVICES TO HISTORIANS OF VISUAL ARTS COMMITTEE uncover the witnesses’ acoustic memories, reconstructing the Chair: Karen J. Leader, Florida Atlantic University acoustic space of the Saydnaya prison in Syria, which housed accused political dissidents. The prisoner’s sonic memory With our committee members as facilitators, a combination of made the basis of what might be called a sonic map of the jail, short presentations and exercises will shape a results-oriented accessing which formed the basis of Abu Hamdan’s inquiry. 90-minute convening designed to elicit concrete tools to While this project was intended to provide evidence in a court empower CAA members to advocate more powerfully for the case, the novelty made much of the archive’s evidence future of art history. Members of the committee and some invited inadmissible, a theme taken up in Green Coconuts and Other guests will offer practical tools for better advocacy around the Inadmissible Evidence, a multimedia exhibition in which the topics of: The defense of the discipline to administrators and the inadmissible evidence is performatively placed in the sphere broader public; supporting undergraduate and graduate students of public judgment. Together, these works present a novel pursuing degrees in art history; supporting recent graduates, engagement with spatiality through the lived experience junior faculty, and precariously employed faculty in a myriad of embodied in sound and suggest ways of resisting structures professional pathways; and soliciting funding for both designed to restrain. professional resources and creating (humane, person-centered) jobs both within and without academia. This session will be Hedge School 2021 crafted with an emphasis on the general 2022 theme of social Tom Keeley, The Bartlett School of Architecture, UCL justice. The border between the Northern Ireland and the Republic of Ireland runs 310 miles from Lough Foyle to the Irish Sea, and The Value of Community Outreach in Cultivating the Value has divided the six counties of Northern Ireland from what is of Art History now the Republic since 1921. Its sinuous route stems from Heather Belnap 17th-century county boundaries, the irregularities of which are This presentation examines various outreach initiatives aimed heightened due to the unique relationship between at generating interest in and appreciation of the discipline of architecture, history, geography and politics in these islands. art history outside the university to the end of demonstrating This paper presents ‘Hedge School 2021’, an itinerant its potential for contributing to the public good. institution made up of a series of online and offline conversations, site-specific installations and performance New Insights on Old Histories: how art and material lectures along the border, that uses architectures and culture illuminate diverse experiences landscapes of these borderlands as an allegory for examining Heather Clydesdale, Santa Clara University its contested pasts and present. ‘Hedge School 2021’ seeks to This discussion will highlight art history’s ability to uncover and produce an alternative reading of the Irish borderlands as the include diverse and overlooked histories, including those of centenary of Partition approaches, doing so in relation to a peoples that did not write about themselves (whether shifting constellation of sites: those of historic importance; marginalized ethnicities or classes, women, or cultures without those of spatial importance; and other ‘sites’ and ‘non-sites’ writing systems). (Smithson, 1968) including but not limited to materials, texts, images and routes. It does this as a way of drawing out a Re-imagining the American Art Canon: Its History and contested history through forms of ‘critical spatial practice’ Funding (Rendell, 2003), responding to topographies of the Caroline M. Riley, University of California, Davis borderlands through creative means. It seeks to show rather Placeholder text than tell, taking architectural research and practice beyond the archive and the academy, asking how histories, geographies, and architectures – both official and unofficial – have influenced the border, and in turn how they may have been shaped by the border in the first place. 03/22/2022 https://www.collegeart.org Page 87 of 234 110th CAA Annual Conference the self-employed design consultant. It is a conflict particular Incorporating Design: Institutions, Markets, to the professionalization of industrial design in the United and Mediation in the History of Design States, which was structured and shaped by the controlling presence of the corporation. Informed by extensive primary Chairs: Anne Hilker, Independent Scholar; Colin research within the Industrial Designers Society of America Fanning, Bard Graduate Center (IDSA) archives, this paper examines the corporate vs. Forty years ago, Alan Trachtenberg (1932–2020) interrogated consultant debate within the ASID as a hierarchical struggle the cultural influence of corporate organization in the United that tested the boundaries, values and limits of States, locating the roots of its signature fusion of professionalism in U.S. industrial design. entrepreneurship, capital, and labor in the nineteenth century (The Incorporation of America: Culture and Society in the Gilded Designing Women: Avon Ladies, Entrepreneurship, and Age, 1982). This session aims to supplement and extend his Constructing Media inquiry with a focus on institutions—including corporate entities, Grace Ong Yan, Thomas Jefferson University museums, educational and professional organizations, and In contrast with the “organization men” of Trachtenberg’s The governmental bodies, among others—as producers of the history Incorporation of America, Avon Ladies engaged in an of design. We aim to bring the mediating role of such institutions entrepreneurial capitalism. As a direct selling organization, into greater focus, making visible their part in the circulation of Avon Products, Inc. eluded a male-dominated bureaucracy as objects, the definition and delimitation of designers’ activities, well as fixed places of business, operating instead out of the and the narration of design’s larger cultural agency. What are the commercialization of social relations. In this paper, I cast the impacts of these organizations (whether for-profit or Avon Lady as the entrepreneurial hinge between producers philanthropic) on the currents of manufacturing, consumer and consumers and show how Avon constructed a mediated education, and commercial exchange? How do we locate identity and presence in which design, gender, and race organizational agency in the broad strokes of design discourse played a major role. My study spans the post-war era to the and spectacle? Submissions might consider, for example, how 1970s when throwaway culture, civil rights, and the feminine corporations adopt the commissioning, collecting, and display of mystique collided. In this context, Avon choreographed design to signify cultural participation; how museums and production and consumption—feeding a desire for popular educators engage in design training and the affirmative shaping design in dialogue with changing attitudes in advertising and of consumer objects; how political and legal frameworks weigh branding strategies to racially diverse audiences. For my on the making and marketing of design; or how professional presentation, I unpack materials from the Avon Products Inc. organizations create and sustain design communities and archives that engage design history, intersectionality, and discourses. We invite papers treating any geographic/cultural business history, including intra-company marketing from context (roughly from the late nineteenth century to the present) sales booklets to prize contests as well as external advertising that look beyond producer-focused advocacy or specific from product catalogs to ad campaigns. Also important are exhibition histories to analyze the practices and systems through architectural designs of Avon labs and headquarters which which large entities mediate and intervene between producers conjured a de facto corporate culture for the far-flung reps. and consumers. Viewed through a postmodern lens, I posit that Avon’s body of designs and business logistics comprised a necessary constructed reality for Avon Ladies and their customers. As a Corporate vs. Consultant: Conflicting Professional prescient model, Avon strategized and developed their identity Identities in U.S. Industrial Design virtually. Design was both conspicuous and absent, allowing Leah Armstrong, University of Applied Arts Vienna for consumer participation within an alternative business In May 1960, industrial design consultant Walter Dorwin- structure. Teague, founder of the American Society of Industrial Designers (ASID, 1957) (originally Society of Industrial Inventing Hopi Silver at the Museum of Northern Arizona Designers, SID, 1944), came into conflict with fellow industrial Julia Silverman, Harvard University designer and ASID Past-President, Don McFarland. A heated This paper investigates the ongoing legacy of the Hopi Silver exchange of letters followed an ASID committee meeting at Project, a 1938 initiative of the Anglo-American founders of which McFarland defended his sponsorship for J. Gordon the Museum of Northern Arizona (MNA) that aimed to invent a Lippincott's application to become a member. Lippincott was recognizably Hopi (rather than Navajo or Zuni) jewelry style. an unpopular designer among ASID members, who found his Responding to a then-recent influx of counterfeit “Native” approach to advertising and marketing distasteful, offensive goods and complaints from Hopi silversmiths unable to sell even, and contrary to the terms of the Society's ethical code, works at a fair price, the museum hired a (white) curator to cull which prohibited the use of advertising. Reflecting on the designs from Hopi pottery, basketry, and other media, using meeting in a personal letter to designer Raymond Spilman, those motifs to sketch potential designs that could be sent to Teague stated, 'I have great respect for Don McFarland, but I Hopi smiths for production in compliance with Indian Arts and have realized for a long time that he is not a consulting Crafts Board standards of “authenticity.” These designs—and designer and does not share our interest in building up our the silversmithing techniques invented to materialize them— professional stature.' This cutting remark reveals a long- are still practiced at Hopi and have since become the standing conflict of professional ideals between the identity of “traditional” Hopi style. This paper focuses on the implications the corporate designer employed within an organization and of the inter-medial movement of images sparked by the 03/22/2022 https://www.collegeart.org Page 88 of 234 110th CAA Annual Conference museum’s project. Clearly intended as a market-driven aid for Hopi artists, the project, I argue, nevertheless engendered a Infrastructural Aesthetics crisis of image movement: detaching images from once- Chair: Christopher M. Ketcham, Massachusetts College medium-specific functions and allowing them to circulate as of Art and Design motifs, they entered a regime of intellectual (rather than material) property, operating in economies that were parallel The highway system has long represented the boundless to—but nevertheless distinct from—the objects they appeared ambition of postwar American infrastructure: its claim on national on. As the Hopi Tribe today continues attempts to regulate the identity, its reconfiguration of the landscape as a view from the unauthorized spread of these images through intellectual road, and the freedom to go anywhere, anytime as long as one property law, I suggest interrogating the techniques through had a full tank of gas. Early highway discourse had been which the MNA invented this style provides insight into the dominated by the pastoral ideal of a parkway built in harmony longue-durée effects of historical market-driven interventions, with the natural landscape. By the 1960s, however, this ideal particularly as they bring multiple regimes of value into was untenable, negated by the brutal realities of construction, collision. particularly where the highway met the city, the explosive growth of automobile use, and the monotonous experience of driving. A Commercial Museum: The Bush Terminal Sales Building While the highway continued to expand rapidly, it become an and Distribution Service, 1890–1933 object of theory, intersecting with discourses of space, Elliott Sturtevant perception, systems, and aesthetics. Artists also occupied new In the 1910s, shipping magnate Irving T. Bush commissioned and old infrastructures of deindustrializing cities. Whether architect Harvey Wiley Corbett to design a trade mart, of sorts, working alongside the highway, on the sinking piers of on 42nd Street, near Times Square in Manhattan. The Bush abandoned waterfronts, or in the conceptual spaces of Terminal Sales Building was meant as a meeting place for cartography and telecommunications, artists have sought to sellers and buyers from across the country, and even the reorient the subject within the socioeconomic networks that world, as evidenced by the building’s own “International organize space, movement, thought, and power. In art today, Buyers’ Club,” to view and inspect one another’s wares. “The inquiries related to scale, mobility, perception, and durational Bush Terminal Sales Building is the museum idea applied to experience have given way to urgent questions of environment, commerce,” claimed the Bulletin of the Metropolitan Museum equity, land rights, and social justice that cohere at the edge of of Art. Across twenty-five floors, Corbett’s neo-Gothic the city and the margins of urban mobility. Conflicts of class, skyscraper housed salesrooms for hundreds of race, and gender inseparable from infrastructural development manufacturers, as well as an auditorium for commercial are brought into the realm of aesthetics and subject to critique conventions, conference rooms and exhibition halls, a and contestation. This panel seeks new approaches to assess commercial library, and tearoom for women and bar for men. infrastructural aesthetics from the 1960s to the present. As soon as deals were inked, goods would then be either shipped from or delivered through Bush Terminal—then the Engineering Earthworks: Claes Oldenburg’s "Placid Civic largest multi-tenanted shipping, warehousing, and Monument" manufacturing facility in the world—located across the harbor, Susanneh Bieber, Texas A&M University in Sunset Park, Brooklyn. Both the Terminal and Sales In 1967, Claes Oldenburg created Placid Civic Monument in Building are important, understudied examples of the New York City’s Central Park. To realize the piece, the artist architectures of US capital, but this paper ultimately seeks to instructed a crew of workers to dig a six-foot deep rectangular understand the connection between them, or what the hole, which then was refilled after just a few hours. Placid company marketed as the “Bush Idea of Distribution.” That is, Civic Monument is a key work in the history of sixties art, as it it asks how the incorporation of a national and even constitutes one of the first examples of Earth art. In this paper, transnational market for select manufactured goods was I position Oldenburg’s work within the context of local enabled by the Bush Terminal Company’s considerable infrastructural politics. I show that the artist used civil commercial and industrial infrastructure. In doing so, it engineering strategies that were concurrently discussed for illustrates the centrality of the organization’s footprint, and its the construction of the Lower Manhattan Expressway attendant labor, to the history of design. (LOMEX). In 1967, New York City Mayor John Lindsay suggested a bold new plan for an east-west thoroughfare across Lower Manhattan that had been heatedly debated during the preceding years. He and his engineering team proposed to build LOMEX as an underground tunnel—an enormous earthwork—so that the expressway with its thousands of cars and trucks would be invisible. By building formal-aesthetic relationships between Oldenburg’s earthwork and the contemporary civil engineering project, I aim to recuperate urban and architectural discourses as a generative field of meaning for avant-garde art. Following Joshua Shannon’s call for a “robust social history of form,” I pursue a methodological synthesis between formalism and social art 03/22/2022 https://www.collegeart.org Page 89 of 234 110th CAA Annual Conference history that at once pays close attention to the visual, material, follows the circular path of a railway test track to explore the and conceptual particularities of art and positions abstract centrifugal force of urban expansion and developmentalism, forms within contemporaneous sociocultural urban and this paper looks at how the urban periphery has engendered infrastructural contexts. aesthetic forms that not only visualized but also contributed to the transformation of this dynamic area. Using “periphery” as a Of Land and Sea: Infrastructures, Reclamation and geographic and cultural concept that bridges the study of Misinterpretations in Mumbai urban Beijing and contemporary art, it reframes the periphery Deepa Ramaswamy, University of Houston and notions of peripherality as the center and source of Before Mumbai was Bombay, it was several separate islands creative vitality. that the colonial powers united in the seventeenth century by reclaiming land and bridging across the archipelago’s many Over the Horizon: Omer Fast's Las Vegas communities. The number of islands that existed before Susanna Phillips Newbury reclamation has a contested history—the Portuguese claimed “Over the Horizon: Omer Fast’s Las Vegas” considers there were four distinct islands, while the East Indian surveillance infrastructure's spatial organization in the artist's Company said there were two. Historian Samuel T. Sheppard acclaimed 2011 video "5,000’ Is Best." The video’s title refers characterized this discrepancy as a deliberate and politically to the optimum altitude at which military drones can identify motivated mapping misinterpretation of land and sea by the targets on the ground, a metaphor extended in this paper to colonizers to foster territorial exchange. Reclamation has the geographic center of their orchestration: Las Vegas. The since shaped the geographical conception of Mumbai as a city city plays a starring, though unacknowledged, role in "5,000’." generated from the sea with edges that are continually Long removed from its ordinary and ugly architectural past, territorialized for development. In the decades after India’s today’s Vegas presents a sophisticated, clandestine liberalization in the 1980s, reclamation has doubly emerged as infrastructure for “over-the-horizon” automation, a crucial part of Mumbai’s neoliberal growth blueprint. It reconnaissance, and security under the guise of its hospitality serves the city’s need for picturesque water-adjacent and gaming industries. Fast’s video slyly appreciates this new infrastructure projects that include a sea-link road, coastal urban economic infrastructure, prominently featuring drone road, several promenades, and waterfront developments. footage of the city to complement a probing narrative on the These infrastructures are part of state-sponsored narratives psychological impact of memory and moving images drawn that speak of concrete, speed, sea views and cleanliness. from testimony of a former drone operator at Vegas’ own Underneath the infrastructures are the undermined Nellis/Creech AFB. Set between a hotel and the desert archaeologies of fragile ecosystems, displaced fishing beyond, the work brings the intimacy of conflict home in one communities, and corrupt environmental regulations. My paper particularly arresting shot. A camera follows a small child on a will examine Mumbai’s recent infrastructures by analyzing bicycle pedaling through a desert—Iraqi, we presume, and their aesthetics of modernity and the violent aftereffects. I soon to be the human collateral of foreign war—only to pull argue that these infrastructures are artifacts of Mumbai’s back from close-up to reveal him entering stalled-construction murky colonial origin story that placed the city between land edge suburbs before panning over an aerial shot of the and sea as a static extension of developable territory created post-2008 Las Vegas Valley. The city, the viewer understands, from the water. is more than shimmering simulacrum. Instead it emerges as locus and template of the aesthetic administration of control The Urban Periphery: Contemporary Chinese Art at the rippling today, more than ever, across screens of our everyday Edge of the City lives. Nancy Pai Suan Lin, Cornell University In urban planning, the periphery describes an area that lies at the outer perimeter of the city center, most commonly known as the suburbs. In China, however, the urban periphery does not resemble the typical form of the low-density American- style suburb. Instead, it is characterized by a heterogeneous border zone where urban, rural, and industrial architectures and inhabitants intersect. Since the late 1980s, artists and migrant workers in Beijing have settled in this contested zone, moving with its changing boundaries as it has been successively redrawn by the city’s expanding ring road system. Inspired by the ring road itself as well as the architectures, industries, and migrants considered peripheral yet integral to the prosperous city center, contemporary artists have engaged Beijing’s urban periphery through on-site art practices. From performance and photographic practices that draw attention to the waste disposal infrastructure and its workers located at the edge of the city, to a site-specific exhibition in a decommissioned industrial factory that sought to adaptively reuse the space, to a video installation that 03/22/2022 https://www.collegeart.org Page 90 of 234 110th CAA Annual Conference since 1954 aimed “to increase knowledge and appreciation of Instrumentalizing memory and the politics of European art as one of the highest expressions of Europe's commemoration culture and common values”. This paper examines the art- historical narratives these exhibitions proposed with particular Chairs: Iro Katsaridou, Museum of Byzantine Culture, emphasis on the Grand Palais show. It aims to explore the Thessaloniki, Greece; Eve Kalyva ideological and aesthetic issues of exhibiting policies, in terms Discussant: Eve Kalyva of their choices of periodization and of the adoption of an art- historical formalistic methodology, as paradigms of the This session examines the politics of memory as exemplified in instrumentalization of art in the broader sociopolitical context art exhibitions and events organized to celebrate anniversaries of the year 1989. of national and international significance. Raising issues of national and ideological identity, institutional discourse, cultural Commemorating the Independence Revolution: The “new” (re)branding, and postcolonial and decolonizing practices, the Greek National Gallery and the narrative of “Hellas 2.0” session explores the ways in which memory is instrumentalized, Annie Kontogiorgi, University of Ioannina shedding light on the political framework that each time sets it in Announced by the newly-elected Greek government shortly motion. The first paper examines the commemoration politics of after its coming to power in July 2019, the official opening of the Bicentenary of the French Revolution (1989) that the renovated National Gallery of Greece—Alexander Soutzos promulgated it as a political revolution which shaped the liberal- Museum was scheduled to coincide with the bicentenary democratic Western world. The exhibition La Revolution celebrations of the Greek War of Independence, which started Française et l’Europe. 1789-1799, organized by the Council of in 1821. The expansion and renovation of Greece’s top art Europe, is analyzed as a case par excellence of how art is institution was an almost decade-long project, partly funded by instrumentalized in the broader socio-political context of 1989. the Stavros Niarchos Foundation, a non-profit organization The second and third papers both discuss the recent (2021) that claims a leading role in Greek cultural politics. Seeking to celebration of the Bicentenary of the Greek War of place the National Gallery among the major art museums Independence. Focusing on the official opening of the renovated worldwide, the initially-planned grandiose opening was to National Gallery of Greece, scheduled to coincide with the symbolize Greece’s “rebirth”, following the recent economic bicentenary celebration, and on an exhibition on Philhellenism and refugee crises. This symbolic event, however, had to be and its legacy, these case studies raise issues that place Greece abandoned due to pandemic-relating restrictions. It was within a broader post-colonial discourse, critically addressing the instead replaced by a special one-day event that welcomed Gallery’s opening that welcomed foreign dignitaries of the three foreign dignitaries, among which the Prince of Wales and heir “mediating” powers of the Greek independence, as well as the to the British throne, the Russian prime minister and the challenges faced in shaping decolonial and socially-engaged French ambassador as representatives of the three curatorial practices. Symptomatic of how art and its displays may “mediating” powers that guaranteed the independence of the be instrumentalized to serve global or national hegemonic newly-born Greek state in 1830. Informed by post-colonial discourses, this session builds a complex understanding of the discourse, this paper discusses the narrative of politics of memory and of different commemoration practices commemoration adopted by the Greek government for the adopted. anniversary of the Greek Independence Revolution, as exemplified by the National Gallery’s one-day ceremony. Exhibiting the French Revolution: Art and Politics of Moreover, casting a critical eye on the re-display of the Commemoration in the Bicentenary (1989) permanent collection, I will analyze the exhibition narrative Titina Kornezou, University of Crete adopted by the new National Gallery seeking to trace possible The commemoration of the Bicentenary of the French connections with the 13-million donation by the Niarchos Revolution in 1989 has been a major cultural event in France, Foundation, and place it with the dominant political discourse prepared thoroughly since the first mandate of the French of today’s Greece. socialist president Francois Mitterrand in 1981. After decades of historiographical “battles” among historians, the politics of Through Foreign Eyes: Curating the 1821 Greek War of the Bicentenary’s commemoration promulgated a vision of the Independence French Revolution as a political revolution that shaped the Iro Katsaridou liberal-democratic Western world. Even the use of the term Initiated by the newly-elected Greek government, the “commemoration” suggests the attempt to create the French Committee “Greece 2021” was established in 2019 to Revolution as a site of memory whose radical political and celebrate the Bicentenary of the Greek War of Independence social potential was thus neutralized. The global political in 1821. Summarizing Greece’s recent “technocratic turn” that conjecture was favorable to this vision, at a time of collapse of followed the country’s economic and refugee crises, the the communist Eastern Europe. In the field of art history, the Committee aspires to transform the celebration into a bicentenary commemoration was marked by an impressive mnemonic site of, as they argue, “a positive momentum within number of exhibitions on both sides of the Atlantic. The more the Greek society”, aiming at “reintroducing Greece, from the ambitious among them, La Revolution Française et l’Europe. beginning of its contemporary history to today”. As a case 1789-1799 held at the Grand Palais in Paris, was organized study, this paper examines the exhibition Philhellenisms, by the European Council in its series of art exhibitions, which 1780-1860, planned to take place at the Museum of Byzantine Culture. Integrated within the official events of “Greece 2021”, 03/22/2022 https://www.collegeart.org Page 91 of 234 110th CAA Annual Conference the exhibition sheds light on the way foreign artists have between pairings of artists, curators, and writers in an attempt represented the Greek War of Independence. Casting a critical to reveal, process, and ask real questions about what it means eye on Philhellenism, the intellectual tendency advocated in to engage in collaborative practices both within and beyond favor of a Greek uprising in early 19th century Europe and the exhibition space. These stories will engage formal and North America, the exhibition narrative contextualizes these informal practices that range from studio visits to conference foreign representations within the broader framework of a presentations to late nights out. This roundtable generates crypto-colonial discourse. Although never a colony, Greece is conversations that de-mystify the opaqueness of the art world, among what Michael Herzfeld calls “buffer zones between the which cultivates and records the myriad ways artists, curators, colonized lands and those as yet untamed”, i.e. regions that collectors, and scholars build communities despite acquired their political independence at the expense of impediments of access. We reveal the labor and support massive economic dependence. In this paper, and networks that sustain Black artists via deliberately queer acknowledging in a critically self-reflexive approach the practices that trouble normative frameworks of access, ideologically-, historically- and culturally-produced role of the kinship, and the hierarchical forms of power within these curator, I argue against the technocratic re-branding of culture institutions. introduced by the “Greece 2021” Committee; and discuss the challenges art historians face in shaping decolonial, socially- engaged curatorial practices that question the official Latinx Bodies: Presence/absence and commemoration discourse. representation (Part 1) Chair: KarenMary Davalos, University of Minnesota Knowing People: Black Practices in Queer Since the death of George Floyd on May 25, 2020 and the Collaborations subsequent global expansion of the Black Lives Matter THE QUEER TRANS CAUCUS FOR ART movement, representational and art for social justice again has found favor among artists, gallerists, curators, and scholars. Chair: Oli Rodriguez, QTCA After decades of dismissal especially among cultural critics who Discussant: Derrick D Woods-Morrow claimed identity-based and political artistry are self-indulgent and limited in aesthetic value, a broad population has increasingly How do exhibitions happen? Ceatives who work within Black and turned to representational art, particularly of Black, Indigenous, queer traditions cultivate relationships that can trespass and Latinx, and Asian American bodies. Even the supporters of post- transcend the highly networked and conduits of access in the identity art that found expression in exhibitions such as Freestyle museum, gallery, or university space. This roundtable focuses on (2001) and Phantom Sightings: Art After the Chicano Movement the contours of what it means to “know people,” those quotidian, (2008) seem to have reconsidered the implications lifelong, messy, empathic, embarrassing, hard truths of how intersectional, racialized exclusions and representational art for artists, curators, and writers come to collaborate. The Queer & social transformation. The two-part session explores Trans Caucus for Art will host a discussion between pairings of contemporary visual culture and artistic representations of Latinx artists, curators, and writers in an attempt to reveal, process, and bodies, particularly women’s, trans, and non-binary figures, ask real questions about what it means to engage in including the absence and/or presence of these bodies. How collaborative practices both within and beyond the exhibition does the Latinx body critically inform social justice? How are space. These stories will engage formal and informal practices Latinx artists engaging, depicting, or withholding the body or that range from studio visits to conference presentations to late bodies? Are representations of Latinx and Latina bodies finding a nights out. This roundtable generates conversations that de- foothold in commercial galleries, graphic arts, or social media? mystify the opaqueness of the art world, which cultivates and How does Latinx representation figure or function? How are the records the myriad ways artists, curators, collectors, and complexities of Latinx experience, namely multi-racial, multi- scholars build communities despite impediments of access. We ethnic, multi-lingual, engendered, and Indigenous social reveal the labor and support networks that sustain Black artists registers, visualized in the current moment? What are the visual via deliberately queer practices that trouble normative conversations or comparative analysis among Latinx and other frameworks of access, kinship, and the hierarchical forms of artists working within representational or figurative modes? What power within these institutions. are the limits of representation for Latinx communities? Knowing People: Black Practices in Queer Collaborations “Another Story, Another Dress” - Absent and Present Sampada Aranke, San Francisco Art Institute Bodies in the Work of Annie López How do exhibitions happen? Ceatives who work within Black Ann Marie Leimer, Midwestern State University and queer traditions cultivate relationships that can trespass Chicanx photographer Annie López has been an important and transcend the highly networked and conduits of access in presence in the Phoenix, Arizona, art scene since 1982, the museum, gallery, or university space. This roundtable producing photographic and text-based work that interrogates focuses on the contours of what it means to “know people,” family histories, Chicanx constructions of identity, and gender those quotidian, lifelong, messy, empathic, embarrassing, hard roles. Initially creating black-and-white wet-process images truths of how artists, curators, and writers come to collaborate. such as we didn’t know how to make enchiladas (1995) and The Queer & Trans Caucus for Art will host a discussion 1/4 Hispanic loves rice and beans (1998) as part of her 03/22/2022 https://www.collegeart.org Page 92 of 234 110th CAA Annual Conference ongoing Hispanic Series, López moved from away from two- have been killed. They represent both an accusational gesture dimensional work in 2013 and began experimenting with the aimed at the criminalization of im/migrants and a gentle dress form combining a sculptural approach with sewing and reflection or memorial built as testimony on the lives of these photographic printing techniques, such as cyanotype. women. Firelei Báez focuses on the female body--in particular Achieving mastery of the cyanotype process during the last its scale, variations of skin tone, hairdos, and clothing. Painted three decades, the artist uses tamale wrapping paper as the on the surface of historic maps of the Caribbean, female body foundation for non-wearable clothing as diverse as parts become symbols of both home and displacement. undergarments, vests, skirts, and dresses. The artist resisted Finally, Shellyne Rodríguez's ceramic works and paintings Arizona’s state law SB 1070 known as the “Show Me Your point to the physical presence of Afro-Latinx and African- Papers Law” by including her birth certificate in Official Proof. American bodies as signifiers of political struggles and objects She exactly replicated a bullet-proof police vest for (I Wish I of state-sanctioned violence. Scenes taken from security Were) Bullet-proof which consists of texts, images of her face, cameras, showing bodies being harassed by police become and six black buttons that function as closures, but that also two-dimensional ceramic works, drawing on the history of suggest bullet holes that repeatedly perforate the sculpture. sequential narratives from the Renaissance. Scenes of home López used the “alien” work documents belonging to her life in which Black bodies are shown at work or rest become grandmother and grandfather to depict the ongoing trauma part of the narrative the artist is creating around Black experienced by brown bodies regardless of citizenship in presence and representation. The three artists demonstrate Relative Alien 2020. In each of these objects, the dress form the breadth of expression and the commitment to stands for the absent or present body conjured by the artwork, representation, a humanist response to the role of Latinx engages with local, regional, and national events impacting communities in the struggle for social justice. Latinx bodies, and informs movements toward social justice. Archaeology of the Immaterial: Absence and Presence in Border Embodiments: The Ethical Arts Practices of Tanya the Installations of Amalia Mesa-Bains Aguíñiga and Jackie Amézquita Laura E. Perez, University of California, Berkeley Guisela Latorre The invocation of absent, ancestral, and divine bodies finds Border art, as a concrete arts movement and practice, has its material form in the altar. Amalia Mesa-Bains, perhaps the origins in the 1980s when the US/Mexico border became best-known American artist working with altar-installations, increasingly militarized. The experimental and innovative uses the altar and related forms to make present vanishing quality of this work called the attention of museum curators familial and cultural memories, and re-presents nature in ways and gallery owners who wanted to exhibit, collect and sell this that counter growing alienation from it. Making use of art. Soon border art became embroiled in a controversy about archaeological lab tables and equipment, medical cabinets, the problems of commodifying a community-engaged and site- armoires, cabinets of curiosities, drawers, shelves, and floors, specific arts practice that was openly critical of US immigration the artist stages the return of land- and nature-based histories policy. Tensions came to a head among the border art of family and community. Setting such items within islands of community when high profile performance artist Guillermo detritus, soil, moss, dried herbs, or glass, memory and nature Gómez-Peña publicly declared the “death of border art.” are rendered present, seeping through museum walls and However, newer generations of artists have continued to do floors, and overflowing from open drawers. Mesa-Bains’s work work in and about the border, many of them renewing their queries gendered, racialized, and class-based social and commitment to social justice and ethical arts praxis. This historical absence and presence. But it also address presentation will be dedicated to two such artists, namely intrapsychic absence and presences. Built around Tanya Aguíñiga and Jackie Amézquita. I argue that their incorporation of refuse and the refused, her installations are ethical and uncommodifiable practice of border art is also made to perform as symbols of the socially crucial predicated on embodied experiences of border crossing. By journey of the growth of human consciousness and psychic exploring the vulnerabilities of their own gendered and integration, what Jung called individuation. Jung believed racialized bodies in relationship to the US/Mexico border, individuation was the necessary precondition of desperately Aguíñiga and Amézquita lay bare the reality of what theorist needed social change in the Westernized world and which Lorgia García-Peña calls border embodiment which refers to could move us beyond binary and exclusionary thought, in the painful experience of bodies which themselves carry “the order to undo unjust human-constructions of absence and violent borders that deter them from entering the nation, from presence. access to full citizenship and from public, cultural, historical, and political representation.” Bodies of Evidence: Race and Gender in Contemporary Latinx Art Rocio Aranda-Alvarado, Ford Foundation This presentation explores the work of three US Latinx artists, David Antonio Cruz, Firelei Báez and Shellyne Rodríguez. Committed to representational work, they explore the body as a political site. David Antonio Cruz has dedicated a series of paintings to honor the memory of trans migrant women that 03/22/2022 https://www.collegeart.org Page 93 of 234 110th CAA Annual Conference exclusion. I deliberately forefront my person in the videos: I Latinx Bodies: Presence/Absence and render the older Latina visible and present. Representation (Part 2) Embodied Walls for Social Transformation Chair: Mary Margaret Thomas Nancy Ríos, Colorado College Since the death of George Floyd on May 25, 2020 and the In this paper I work through the possibility of considering the subsequent global expansion of the Black Lives Matter spaces that murals andstreet art create as third spaces. While movement, representational and art for social justice again has settler colonialism reducesthis art form to celebrations of found favor among artists, gallerists, curators, and scholars. culture, my analysis engages representations of the bodyin art After decades of dismissal especially among cultural critics who and the ethnography of space and place to elaborate on how claimed identity-based and political artistry are self-indulgent and muralism does more than justcelebrate of culture or claim limited in aesthetic value, a broad population has increasingly space in a society that continuously tries to erase turned to representational art, particularly of Black, Indigenous, andinvisibilize people of color. By engaging representations of and People of Color bodies. Even the supporters of post-identity Latinx bodies in the work ofSouthwest muralists, Emanuel art that found expression in exhibitions such as Freestyle (2001) Martinez and David Ocelotl Garcia, and street artist and Phantom Sightings: Art After the Chicano Movement (2008) JaimeMolina, along with the conceptual framework of seem to have reconsidered the implications intersectional, embodied space (Setha Low 2017), thispaper also explores racialized exclusions and representational art for social the question of how we may critically understand the current transformation. The two-part session explores contemporary uses ofthe representations of victims of state violence on visual culture and artistic representations of Latinx bodies, paintings on exterior walls. I reviewMartinez’s use of the particularly women’s, trans, and non-binary figures, including the Mestizo trihead and its iteration in the mural Arte Mestiza absence and/or presence of these bodies. How does the Latinx (1986)and Garcia’s distinctive figures which he describes as body critically inform social justice? How are Latinx artists abstract imaginism in his mural ElViaje/The Journey (2017). I engaging, depicting, or withholding the body or bodies? Are also review Molina’s characteristic woodcarving-like imagesin representations of Latinx and Latina bodies finding a foothold in his street art Untitled (2015). Grounded Chicana feminist and commercial galleries, graphic arts, or social media? How does queer engagements of identity, subjectivity, and oppositional Latinx representation figure or function? How are the consciousness, my paper expands our discussions of complexities of Latinx experience, namely multi-racial, multi- muralism and street art. ethnic, multi-lingual, engendered, and Indigenous social registers, visualized in the current moment? What are the visual Metonymic Circulation and the Latinx Body: Michael conversations or comparative analysis among Latinx and other Hernandez de Luna’s Mail Art artists working within representational or figurative modes? What John Corso-Esquivel, Davidson College are the limits of representation for Latinx communities? Chicago-based artist Michael Hernandez de Luna addresses and sends letters with counterfeit stamps through the US Postal Service. By counterfeiting stamps, addressing a found Miss Nalgas USA: Broad Backs & Sturdy Hips envelope to himself, and then mailing the work, Hernandez de Rosemary M. Meza-DesPlas, Independent Luna coopts the postal service to extend the reach of his body. Rosemary Meza-DesPlas Miss Nalgas USA: Broad Backs & This extension is not literal or representational but instead Sturdy Hips The Latina body is a politic of stability and metonymic. Through the contiguity of affixing the postage strength in my artwork. As a multidisciplinary artist, I explore stamp from his hand, the artist creates an invisible trace that gender inequities within socio-cultural realities through the loops through real space, only to return to his hand when he representation of the figure. My referential sources for the retrieves the sent letter at his home address. In this paper, I human figure are multifarious; I have employed images from read Hernandez de Luna’s stealthy interventions through the books/magazines, hired models, and even used my own body. politics of invisibility as theorized by performance studies As the figure in my artwork, I am the examiner and the object. scholar Peggy Phelan. Hernandez de Luna’s fake stamps offer My self-referential imagery communicates to the viewer about him metonymic circulation through federal, public, and private sexism, ageism, and eroticism. By raising questions about channels often closed off to Black and brown Latinx bodies. stereotypical notions of beauty, contradictory norms imposed As governmentally regulated documents that determine on the Latina female body and desirable figurative attributes of movement and circulation throughout the nation, stamps also the Latina, I advocate for the beauty which occupies pragmatic invoke the parallel discourses of immigration and migration. space across solid forms such as broad backs and sturdy With anarchic subterfuge, Hernandez de Luna uses the proxy hips. My artistic practice includes painting, fiber arts, of the postage stamp to explore official and unofficial ways installation, performance, and video. Shapes which droop that Latinx bodies travel through the United States. uncompromisingly, spread with the advancement of age, and twist into folds of melancholy skin are rendered in the underrated medium of watercolor. Fiber works utilizing my own hair both entice and disturb the viewer. As a Latina with pelo malo, the material culture of hair speaks to my identity: ethnicity and gender. Interwoven spoken word performances and video speak to socio-political notions of inclusion and 03/22/2022 https://www.collegeart.org Page 94 of 234 110th CAA Annual Conference the imagined past is legacy of the Middle Ages that persists. Legacy and Afterlife of the Middle Ages INTERNATIONAL CENTER OF MEDIEVAL ART A Harlem Middle Ages Lindsay S. Cook, Ball State University Chair: Hannah Maryan Thomson, University of The Gothic style was an ambivalent symbol in 19th- and 20th- California Los Angeles century New York City. The designers of edifices serving as How are the Middle Ages remembered? In recent years the the face of a wide range of civic, educational, religious, and Middle Ages have set the scene for a variety of popular TV social institutions—from accessible public colleges and series; contemporary identity is often connected to a medieval universities, to religious institutions with segregated seating, to past; and medieval history has even been appropriated to justify exclusive private clubs that discriminated against prospective the horrific actions of extremist groups. As scholars we know that members on the bases of race, gender, and class—took popular views of the Middle Ages are often absurdly and inspiration from an architectural idiom with roots in medieval dangerously misrepresented, but if a false vision of the Middle Europe. Religious institutions led by Black New Yorkers were Ages is accepted as true on screen, in objects, or architecture, no exception, and this paper highlights some of the reasons what effect does that have on the psyche of viewers today? This why two venerable Black Protestant congregations session invites papers from diverse fields to interrogate how commissioned Black architects to design Gothic churches for memory, legacy, and myths of the Middle Ages live on today, in their religious communities in Harlem when they first relocated tangible or intangible ways. Possible topics may include neo- to the neighborhood on either side of World War I. Drawing on Gothic revivals, the endurance of religious expression for faith archives, maps, photographs, and sociological studies from communities today, as well as 19th-century and fantasy the period and indebted to recent scholarship by art, medievalisms from Tolkien to Game of Thrones. In light of the architectural, and literary historians, my paper explores the content thread recommended by CAA for 2021 –social justice— intellectual and architectural underpinnings of St. Philip’s we specifically encourage submissions that consider race, Protestant Episcopal Church and Mother AME Zion Church, gender equality, sexuality including queer pre-modern identities, demonstrating that what came to be known as the Harlem and justice for Indigenous communities in the Americas. For Renaissance took shape against the backdrop of a Harlem example, potential topics might examine the appropriation of Middle Ages. medieval symbols in contemporary hate groups or how medieval women are portrayed on screen. At a time when popular culture Medieval Stage, Modern Circus: The Medievalism(s) of has renewed attention on the Middle Ages, it is critical to reflect Bread and Puppet Theater not just on medieval attitudes towards their own material culture Michelle Oing, Stanford University and visual arts, but how our own perspectives are shaped by Since its first performances in the early 1960s, Bread and their real and imagined legacies. Puppet theater has become known for its multimedia productions that explore the cruelty and hope of the modern Legacy and Afterlife of the Middle Ages world. Their work is unapologetically political, advocating for Hannah Maryan Thomson, University of California Los radical communalism and against the limitations of capitalism. Angeles It is also unapologetic in its borrowings from the rites and iconography of the medieval Catholic Church. In productions In this introduction to our session I will outline how the Middle with titles such as “The Fourteen Stations of the Cross” and Ages persist in our contemporary lives using a case study in “Passion Play,” this theater group draws inspiration from an modern-day Castile and León in Spain. Current inhabitants of imagined medieval past that is both a site of struggle and a medieval towns in Spain still have strong connections to the space of potential liberation. This paper will examine the role age-old monuments and histories that surround them. of the “medieval” in Bread and Puppet, focusing on However, these histories that resonate so much are productions of “Our Domestic Resurrection Circus” (ODRC) sometimes mythologized byproducts of nationalistic and from the past five decades. Beginning in the 1970s, these xenophobic nineteenth- and twentieth-century historiography performances borrowed stage design ideas from medieval and their monuments have often been restored to an cycle plays, enlivened by masked and puppet performances, inaccurate cinematic version of a medieval past. The Middle to create an immersive experience exploring political injustice Ages is a “living” concept tied up with local contemporary through poignant, silent dramas, as well as humorous skits. identity. In Castile and León there’s an entire sector of tourism These medieval borrowings do not serve an institution such as dedicated to Romanesque and Gothic monuments. The the church; instead, they are meant to elevate art to a sacred reverence and adoration that these buildings inspire in locals, form, creating new communities in the process. As one line both in the faithful and in non-believers, as well as the from a 1970s performance of the ODCR proclaimed, “Art is no recognition by local governments of their artistic and historic value, aided by the attraction of tourists, has in many ways longer a decorator for religion. Art is by now what religion used ensured the monuments’ preservation. Tourism boosts the to be.” This case study of Bread and Puppet thus provides a local economy as well as inspires pride in place for the local way to think about how the medieval past can act as a source population. Economic prosperity and local identity are at stake of inspiration for political and social liberation. with continuing to emphasize a medieval past in contemporary Digital Reconstruction and the Legacy of Early Gothic Castile and León. For the people living, breathing, raising Tori Jean Schmitt, UCLA families, and caring for their grandparents in these locations, Contrary to initial assumption, the composition of most 03/22/2022 https://www.collegeart.org Page 95 of 234 110th CAA Annual Conference medieval buildings is scarcely medieval at all. Repaired and erasure under the fascist manipulation of history. restored for a near millennia or more, the majority of what a visitor sees at a church or cathedral does not date as Émile Derré’s Monument to Louise Michel: The Mother of “medieval,” but rather is the trace of several centuries of Revolution continuous lively use. Nonetheless, while this paradoxical Christa Rose DiMarco, The University of the Arts fallacy is often acknowledged within the field, a scholarly French revolutionary Louise Michel (1830-1905) founded preference for extant structures continues to shape the scope secular schools and became well-known during the Paris of how and what is studied. Non-extant buildings or those Commune (1871). Exiled in 1871, she rose to national which have been heavily restored are rarely, if at all, prominence through the liberal press. Upon amnesty in 1880, discussed in historiography. Digital reconstruction provides a she returned to great fan-fair and the press pictorially solidified promising new method through which to study the legacy and her as an icon of revolutionary action. She later moved to afterlife of non-extant medieval architecture. Using the lost London where she authored anarchist texts and a history of twelfth-century abbey of Sainte-Geneviève in Paris as a case the Commune, and she became a sought-after speaker. By study, this paper seeks to underscore how a digital the turn of the century, her image signified radical reform. methodology might not just help us envision architecture Scholars, however, have not addressed how her image served which no longer stands, but potentially change how we view as a palimpsest of political measures. I aim to consider how held narratives of medieval architecture. Destroyed in 1807 to Michel’s depiction asserted a continuous progressive lineage make way for the rue Clovis on the Left Bank, Sainte- despite revolution and legislative setbacks. One year after her Geneviève was among the earliest examples of the so-called death, Émile Derré (1867-1938) commemorated Michel with a Gothic mode of building which emerged in Paris in the 1130s maternal image of her gently talking to a young woman who and 1140s. Visualization of Sainte-Geneviève’s architectural looks up adoringly (Fig. 1). During the Third Republic, program, facilitated through digital analysis of surviving motherhood remained central as policy makers debated limestone fragments, early modern prints, and documentary divorce and education for young women. Conventionally, watercolors, allows us to revisit a hitherto undiscussed actor in mothers raised sons loyal to the Republic and fostered the this significant stylistic moment and thusly, provides an dedication of their husbands. Derré’s sculpture subverts this opportunity to revise not only our understanding of the abbey’s notion, using the sign of a mother to support the ideals of the legacy, but of early Gothic. Commune, a signifying effect that dates to the eighteenth century. Since the 1789 Bread Riots, revolutionary French women have understood protest against injustice as the Legacy: Women and War responsibility of mothers. I intend to locate Derré’s sculpture within the pictorial tradition of revolutionary mothers and the The Remembering Image: Trauma, Revolution, and long-standing legacy of Michel whose teachings influenced Nostalgia in the Photomontage of Lara Baladi younger generations working toward legislative reform. Dani J Jakubowski, SCAD Best known for her recent archival work engaging with the Posthumous Recognition of Nadežda Petrović: The Artist, digital vestiges of the Arab Spring demonstrations, Egyptian War Hero, or Both? artist Lara Baladi’s fascination with the photographic image Vuk Vukovic, University of Pittsburgh and its capacity as a medium of remembrance shaped her In a war-torn region such as the Western Balkans, the practice during the decades leading up to the protests. Her recognition of war heroes is no anomaly. From marking street earlier digital montages Justice for the Mother and Perfumes & names to erecting public monuments, honoring the national Bazaar, Garden of Allah, both made in 2007, juxtapose heroes takes different forms. In this paper, the focus of the images of her parents alongside archetypal photographic analysis is on Nadežda Petrović (1873–1915), a female representations of world cultures to produce riotous origin painter who first gained recognition as a nurse volunteer in the myths that negotiate the distance between the deeply Balkan Wars (1912–1913) and World War I (1914–1918), and personal and the broadly global. The artist’s more recent gradually in Serbia’s history of art as a celebrated artist. By photographic installation Diary of the Future, first exhibited in studying two events (public monument construction and 2010, presents hundreds of spent vessels of Turkish coffee, retrospective exhibition) that diverged her legacy from a war the inky spread of fine coffee grinds appearing as fractal hero to an artist, this paper examines how one nation repetitions throughout the work’s space, providing countless reconstructed an image of a woman artist who was neglected opportunities for divination. The cups pictured in Diary were all by the art critics during her lifetime but who became one of the drunk by friends and family that visited Baladi’s father during most prominent artists in the region posthumously. his final struggle with cancer. My exploration of Baladi’s work will situate her more recent revolution archive in the context of The Legacy of Elena Guro’s Worldview in Mikhail these earlier artworks, demonstrating the artist’s career- Matyushin’s Theoretical Perspectives spanning recruitment of the photographic image as a vehicle Irina Lyubchenko for nostalgic remembrance in the face of personal and Recent scholarship began to pay formidable attention to the historical trauma. Baladi’s approach to photomontage acts as contributions of Russian avant-garde female artists to the a form of redemptive recollection, using photography to call development of prominent artistic movements, such as forth images of a past that the artist fears will otherwise be lost Russian Futurism and Cubo-Futurism. However, their roles in to the inexorable flow of time and the always constant threat of these developments are still shadowed by their male 03/22/2022 https://www.collegeart.org Page 96 of 234 110th CAA Annual Conference counterparts, whose theories and artistic works have been served: a clear glass with an hour-glass figure, described as historically scrutinized with a more sustained vigour. In part, “tulip-shaped” in English and “thin waist” (ince belli) in Turkish. this intellectual bias contributed to misrepresentation of the Having it roots in Ottoman culture, the glass survived Mustafa degree of collaboration between male and female artists Kemal Atatürk’s revolution of 1923 and continues to serve during the incredibly rich period in Russian culture, the first customers in the Republic of Turkey. For this reason, I am two decades of the 20th century. Moreover, often these artists nominating the glass under Raizman's category of "continuity." not only shared artistic convictions but also households, with many being lifelong partners. It is a common practice to draw Alfred Stevens and the Wellington Memorial intellectual parallels between artists who influence each other Dennis Wardleworth through their work. But what happens when people live together under one roof and share each moment of life? This The Baseball Cap paper conducts a comparative analysis based on a case study Patrick O'Shea, Kingston University of the works of a painter, writer, and poet Elena Guro and her husband, a musician and artist Mikhail Matyushin. The goal of An Outsider Typeface: Auriol in Francis Thibaudeau’s “La the paper is to excavate Guro’s ideas that might have been Lettre d'Imprimerie” fully absorbed into the writings of her partner and Craig D. Eliason, University of St. Thomas acknowledge their contributions to the foundations of Francis Thibaudeau’s typography manual, “La Lettre Matyushin’s theoretical views. In particular, this essay focuses d’Imprimerie” (1921), is acknowledged as key in the on tracing the formation of Matyushin’s concept of Organic categorization of type, but it is the book’s own typeface choice Culture in Guro’s impressionistic approach to art and life, that draws typography into the twentieth-century discourses of Symbolist concept of “zhiznetvorchestvo” (the neologism that modernity and colonialism. To lay out his history of Latin types, merges life with creative activity), and musical approach to Thibaudeau set most of his text in Auriol, a type released by colour. Georges Peignot based on the lettering of George Auriol. Auriol’s designs emerged in the cabaret scene of 1880s Montmartre during the late-nineteenth-century French vogue Lightning Session: Design Object Talks in for Japanese aesthetics, and his letters have the tapers and Honor of David Raizman gaps that evoke Eastern calligraphy. These character-full DESIGN STUDIES FORUM letters might seem more suited for “display” than “text,” yet Peignot produced them at running-text size, and Thibaudeau’s Chairs: Victoria Rose Pass; Elizabeth E. Guffey two volumes feature them throughout. To distinguish his own In 2003 David Raizman (1951-2021) published the first edition of text from his visual examples, which were all typographic in A History of Modern Design, a pioneering introductory survey appearance themselves, Thibaudeau sought an “outside” text that shaped a historical narrative around key works and voice, which Auriol doubly fulfilled: it was from afar (in its projects in the history of decorative arts, graphic design, interior Japoniste character); and it was modern (part of l’art design, industrial design, and fashion. In so doing, Raizman nouveau). But even as an “outsider,” Auriol remained, in wove together a series of arguments that tied production and Thibaudeau’s words, full of “French grace and elegance.” consumption, innovation and reform. Although trained as a Centering nationalist pride on designs that had roots in foreign medievalist, Raizman shaped a canon of design history that was culture had currency: a few years later the famous Exposition echoed in his other scholarship, mentorship of other academics, internationale des arts décoratifs et industriels modernes and service to the field. At the time of his death, Raizman had would open, exploring global design but arranged around a just completed a revised manuscript for the third edition of his celebration of modern French design. Thibaudeau’s survey text. To celebrate Raizman’s life and echoing his desire to employment of the fonts in “La Lettre d’Imprimerie” provides a expand design history’s canon and take responsibility for revealing example of a European tastemaker seeking what improving it, this panel asks presenters to nominate and present design could affirm about his countrymen’s position in the a single object, project or design not currently in A History of world and in history. Modern Design, but arguably worthy of inclusion. These short 7 minute presentations should both nominate a design, but also "The Reason Why the Colored American Is Not in the relate it to at least one of the themes that Raizman emphasized World’s Columbian Exposition" in his own research and writing: continuity and change, Brockett Horne, MICA production, consumption, design values and meanings. How does your nomination change the narrative of design history? Nathan Lerner and Hin Bredendieck’s Plywood Chair What kinds of ideas can it help to illuminate for students? Whose Monica M. Obniski, High Museum of Art stories can this design help to tell? The India Lounge Eric G Anderson The Traditional Turkish Tea Glass as an Example of ‘Continuity’ Parker Brothers' Boardgame "Bobby and Betty's Trip to Christopher Wilson the New York World's Fair" For this lightning session in honor of David Raizman, I am Amy F. Ogata, University of Southern California nominating the vessel into which Turkish tea is traditionally The 1939-40 New York World's Fair produced an 03/22/2022 https://www.collegeart.org Page 97 of 234 110th CAA Annual Conference unprecedented number of popular souvenirs, including the Parker Brothers board game "Bobby and Betty’s Trip to the Making Media Social: An Examination of New York World’s Fair 1939." This graphically rendered Video and Television in the History of fairground experience in miniature paralleled efforts of civic Political Activism of the 1970s leaders and advertisers who used the fair to promise better times ahead, even amid the economic uncertainty of the Great Chairs: Corinna Kirsch, State University of New York Depression. In Bobby and Betty's Trip to the New York World's Stony Brook; Brock Lownes, Stony Brook University Fair 1939, surrogate children guide the player; the four turned Discussant: Solveig Nelson, PhD wooden forms painted in bright colors were proxies for Bobby and Betty, figures depicted on the box and on the board. Media archaeology and social justice are rarely found in the Bobby and Betty were the invention of the New York World's same sentence: they are uneasy allies. Media archaeology Fair Corporation's public relations and advertising wing. And decenters the role of the human as the primary source of action, the game was tied to an illustrated children's book of the same while social justice centers on human activity: material title co-authored by fair commissioner and its chief salesman, redistribution and social parity. The papers in this panel examine Grover A. Whalen. The player determined the path of the visit, how specific functionalities endemic in the advancement of video arranging stops efficiently since exiting the fairgrounds at the technology (mobility, surveillance, and live feedback) were used Corona Gate was the objective. Emphasizing both the official by artists in the 1970s to not just overcome formal boundaries pavilions and transportation to the fair, the game incorporated but as a means to undermine the status quo of the contemporary travel to the former wasteland via new infrastructure, making media landscape and engineer new political relationships. As the player both a consumer and a canny participant in the WJT Mitchell writes in “The Violence of Public Art: Do the Right broad dynamics of design in the largest sense. David Raizman Thing”: “What many of our contemporary artists wish to provide, loved New York City and world's fairs. is a critical public art that is frank about the contradictions and violences encoded in its own situation, one that dares to awaken Body Diagrams for Pain Care a public sphere of resistance, struggle, and dialogue.” How can Gabi Schaffzin, York University archaeological perspectives bring to the fore these social ghosts in the machine, the acts of resistance against mainstream use of Kawaii Dissemination: Hello Kitty video, and the liberatory utopic feeling that the introduction of Christina Singer, University of North Carolina at video technologies promised? The papers in this panel attempt Charlotte to recoup past cultural and historical narratives surrounding the Post-war consumption of media and everyday objects in advances in televisual technology, asking how we can Japan is commonly and fundamentally cute––it’s kawaii. productively apply these narratives to help us re-evaluate our Kawaii is a blatant shift from traditional Japanese minimalism, current political reality. which is a more widely-acknowledged Zen-style design for its closeness to Western minimal design. As manga swept “What can the federal government do for you?” The through Japan when its occupation of Korea came to an end, Problem of Television at the 1977 Artists' Convention Japanese people––particularly the youth––craved a friendlier Corinna Kirsch, State University of New York Stony image of Japan compared to the preceding brutal image of Brook militant Japan. Cue the ensuing origins of kawaii, a "cutified" Media created problems and promises for political style of everyday objects ranging from cuddly toilet seat engagement at the exhibition Open to New Ideas: New Art for covers to friendly visual interface designs for corporate Jimmy Carter (1977) and its daylong affiliate event, the Artists’ brands. This movement has become familiar in a range of Convention, in which a series of proposals on the role of design disciplines around the world, from fashion design to artists in the public sphere was voted on by a panel of product design, and it is now widely known as kawaii. For this conceptual artists. The recommendations were both lofty and presentation, Hello Kitty will serve as the face of kawaii. She is practical, ranging from the ability for artists to eradicate racism arguably a leading design artifact in the kawaii design to taking part in community-planning boards; television, video, movement that has been consumed globally for several and other forms of media were explicitly named as integral to decades while normalizing cute culture across ages, genders, these aims. This paper explores how the Artists’ Convention and continents. This history tells a very human story, one challenged notions of conceptual art’s indifference to direct where people trust, embrace, and reconnect with their childlike public involvement and how artists’ work with media innocence by interacting with and consuming kawaii-inspired contributed to a healthy democracy—if only the role of the designs. artist could be more fully understood by the public and government. Questions to be addressed include how media was considered key to achieving the goals of the Artists’ Convention while at the same time instigating the failure of ratifying the overall agenda. How were live video and closed- circuit television, among other formats at the convention, able to divide publics rather than unite them? By looking to methodologies familiar to the cultural techniques of German Media Theory, the paper additionally seeks to help uncover 03/22/2022 https://www.collegeart.org Page 98 of 234 110th CAA Annual Conference the gaps between expected media behavior and their resultant first-person digital camera are rooted in the style of early operations. Comparing the events of 1977 to digital forums experiments with portable video technology. today brings additional clarity to how media formats continue to be discussed in rhetorics of unity despite technical operations that proceed to do otherwise. Making Women Visible in the Non-Western and Pre-Modern Art History Classroom “You Call This a Protest?” The Politics of Cybernetics in Paweł Kwiek’s Soc Art of the 1970s” Chairs: Sarah Madole Lewis; Yan Yang, CUNY BMCC Beatrice Smigasiewicz The Classical female nude is the long-standing "gateway" object “This is my face seen from camera number two.” The voice of of the art history survey, but the truth is, she is an object for the the artist Paweł Kwiek cut through the regularly scheduled male gaze that reveals the fundamental reality that female communist party programming as his face, hands, and his influences in art are typically subjugated to kings, pharaohs, entire silhouette filled the TV screen in Poland’s first televised emperors, generals, and male artists, despite the presence of video art performance. Video A (Studio Situation) aired from a female patrons and viewers. The history of men dominates the television studio in 1974 shortly after Kwiek graduated from traditional narrative in the humanities, but in our current climate the Film School in Łódź. Although Kwiek began his career there is a growing interest in diversifying the canon, for example, shortly after the student protests of 1968, he turned to the by the inclusion of women of agency. This means an overhaul of camera not as an artist or activist against the status quo, but the elite male-, Eurocentric, and heteronormative curricula as an operator, a designation he adopted from his study of currently in place. However, this interest in decolonizing the film, cybernetics, and architectural theory. His protest was not classroom and giving voice to alternative perspectives against socialism but as he specified in the manifesto, it was a challenges us as instructors: preordained curriculum standards call to return to Lenin's directive in which technology can offer demand that we cover the most representative works (which the blueprint for improving communication between different were mostly commissioned and produced by men). In light of the strata of society. My paper examines Kwiek’s relationship to growing need for representation, inclusion and equity in the the camera in order to consider the place of the individual in classroom, how can we re-integrate the voices of women and the fraught relationship between politics and technology during other underrepresented peoples (as subjects, artists, patrons late communism. I argue that at the cusp of the Solidarity and viewers) into our courses without compromising learning? workers’ movement in Poland, Kwiek can be seen as one of The organizers seek art historians who are radically transforming the last descendants of the Constructivist’s revolutionary their classrooms into a balanced place for inclusive learning. stance. A Curse on He Who Would Erase Her Name: Ancient Guerrilla Television or Social Media Activism: The Mediterranean Women in the Art History Raindance Foundation’s Video Recordings of Political Sarah Madole Lewis Protest and Rallies The artworks depicting and related to the Mesopotamian Brock Lownes, Stony Brook University queens Napirasu and Pu’abi, Egyptian pharaohs Sobekneferu In the past year, we have bore witness to police brutality, and Hatshepsut, as well as images of women on Greek vases, social protests, and armed insurrections. For many, however, offer students the opportunity to consider the role and the experience of these events was largely virtual: recorded or reception of women in the ancient art history classroom. This stream-lived from mobile phones and consequently circulated paper considers these four case studies to demonstrate how on social media platforms and later new outlets. Art historians this focus on women in the art of the ancient Mediterranean like David Joselit and more recently Gregory Zinman and maintains the standards of the core curriculum despite its non- William Kaizen have argued that closed-channel video traditional focus on women. This makes the course more installations by artists such as Dan Graham make the viewer relevant to students in terms of current events and ways of aware of their mediated position within a greater televisual thinking. Teaching in the era of open-resource education frees system. These studies, however, fail to mention how the us from the confines of predetermined textbook content, and effects of video feedback persist today, structuring our from the limitations of the traditional narrative, allowing us to contemporary social relations. Drawing on media reframe our focus to incorporate more of a focus on women archaeological theory, this paper investigates the early and other less-well represented ancient peoples in the adoption of the Sony Portapak by the artist collective the reception of varied artworks. Raindance Foundation and their offshoot TVTV, paying attention to their recordings of protests and social unrest. Teaching the Artistic Patronage of Empress Wu Zetian of Recent attention on their collective work has largely been China focused on the Raindance Foundation’s publication, Radical Yan Yang, CUNY BMCC Software. Yet a whole host of videos, including documentation The Confucian patriarchal traditions of China have all but of the first Earth Day rally in 1970, located in the archive of the guaranteed that women are marginalized in art historical Center for Art and Media (ZKM) in Germany, remain surveys. The history of Chinese art is dominated by emperors, unexamined. By foregrounding common aesthetic strategies male literati, and male artists. When women are mentioned, between early video art and video on digital platforms, such as they are presented as meek wives or loyal concubines whose shaky camera and close-cropped interviews, this study only role is to uphold the traditional hierarchy of men... With a demonstrates how the objective truth-claims of the handheld 03/22/2022 https://www.collegeart.org Page 99 of 234 110th CAA Annual Conference single exception. The Empress-Regnant Wu Zetian (624-705) exposing them to new ideas about art and artists. is remembered as a promiscuous woman who killed her own children in order to further her ambitions for power. She is said to have been vain and ruthless, and her infamy lives on in the Mary Beth Edelson: Goddess, Trickster, Chinese collective memory. Given her unusual path to power, Performance Artist, Agitator is it surprising that later (male) historians are scandalized by Chairs: Kathleen M. Wentrack, Queensborough her audacity to sit on the imperial throne in her own right? Community College, City University of New York; Anne K. Although she is remembered for her dalliances with strapping Swartz men all the way into her 70s, if we explore the kind of art she sponsored, we see a shrewd woman who used the patronage Mary Beth Edelson was a major creator of second-wave feminist of monumental Buddhist statues in ways that followed an art's affiliation with goddess imagery and performance. Some imperial prerogative established by male predecessors. consider her a goddess herself in the extent of her historical Through the art she has left behind, Empress Wu asserts her influence. Yet beyond worship, her body of work has been royal authority in ways that history cannot silence. insufficiently regarded and analyzed. This panel examines her practice as prominent in the explosive impact of feminist art and Female Agency & Contemporary African Art art history and its manifestations as ritual in art, nudity in Dana Liljegren, The Graduate Center, CUNY performance, collaboration, participatory art, activism, and Beginning with a juxtaposition of two compositionally similar reliance on idiosyncratic yet incendiary devices such as the images – Malick Sidibe’s Portrait d'une Femme Allongee trickster, and contextualizes it within contemporaneous art (1969) and Ingres’s La Grande Odalisque (1814) – this practices dominated by male artists. Distinct from many of her presentation examines specific works, artists, practices, and contemporaries, Edelson worked in a multitude of media. These developments within the vast field of artmaking and exhibitions ranged from painting, performance, video, photography, and agit in Africa, in relation to how such topics can be incorporated prop to earthworks, installation, collage, artist books, into core-course syllabi and directed toward representation of printmaking, and sculpture. Similarly, her oeuvre encompassed women in the classroom. By proposing an expansive definition diverse themes from ancient goddesses, mythology, and movie of artistic activity, my discussion includes collectives, stars to stereotypes, pop culture, beauty, and humor. One of the community-based projects, and practices that straddle the line compelling features of her agit prop is that she enacts and between aesthetics and utility, and examines the individual concretizes her feminist network through photography, (often male) artistic genius as a foil to recent iterations of appropriation, collage, and text while also celebrating her collaborative production. Lastly, a look at the ways in which feminist colleagues. This panel will analyze and historicize women in particular are transforming the field of African art – significant elements of her practice as well as influences and as artists, gallerists, curators, organizers, and interlocutors – connections with artistic practices of her contemporaries through aims to foreground female creatives as agents of growth and a structured round table discussion between artists and art innovation. historians. Creating a More Inclusive Art History Classroom Round Table Participant Amy Michelle Gantt, Southeastern Oklahoma State Diane Dwyer University I met Mary Beth Edelson as a member of W.A.C. in the early The task of giving voice to traditionally marginalized groups in 90s. In 1994, I worked as an assistant for her project Combat the setting of art historical instruction can seem daunting. Zone: Campaign HQ Against Domestic Violence, There is need to bring in the voices of the underrepresented commissioned by Creative Time. I helped with many aspects groups, in this case Native women, while also continuing to of the project, including production and event support. For the cover the most representative works in the western canon. We three months of Combat Zone I also worked the information can reintegrate the voices of underrepresented populations by table (pre-social media!!) on Broadway in front of the space. teaching, researching, talking about contributions made by Throughout this multifaceted project, Mary Beth generously Native women in art history. We can do this by giving voice shared her process and experiences with everyone involved. and exposing students to underrepresented groups when it comes to teaching art historical content. At Southeastern Round Table Participant Oklahoma State University, this looks like offering a more Janet Henry inclusive curriculum in art history and art appreciation courses. I met Mary Beth when we were members of WAC (Women’s While not eliminating the most representative works, there is Action Coalition) we were also active in CODAI (Committee on room for the addition of other voices in the art historical Diversity and Inclusion), a multi-racial group that formed within record. Bringing in Native women artists adds a richness to WAC to address the lack of diversity in the women’s the curriculum while also creating personal and cultural movement in general and in WAC in particular. However, our connections with our thriving Native population on campus. collaboration didn’t really start until after WAC was a goner. The student demographics at SOSU include a Native The all-male 1993 New York Times Magazine recreation of its population of about 20% of our enrollment. However, it is often 1943 Art Star photograph (at least the 1943 version included the case that our Native students have very little connection to Hedda Stern) seemed to infuriate everyone but the gaggle of their cultural heritages. Bringing in artists with Native heritage men, populating it, their dealers, and their collectors). Mary creates inclusion and connection for our students while 03/22/2022 https://www.collegeart.org Page 100 of 234 110th CAA Annual Conference Beth’s Soho loft became the place where we met to respond: milpa, in that it keeps away mice, but a snake will also bite Circumspection was not encouraged: There’s a photograph of your ankle when you tend your crop. Awe and Annihilation. a bunch of women in men’s suits sporting realistic prosthesis’s These goddesses show us how sustenance can come from out there somewhere, along with posters and other suffering and reminds us that all life depends on our own. paraphernalia. Round Table Participant Materializations of Environmental Shifts Gabriella Shypula, Stony Brook University Sumi, ink traditionally used in East Asia for writing and drawing, By examining the relationship between lived experiences and is made of soot and animal glue. Soot is created by burning women’s artmaking during the 1970s and 1980s, my organic objects or oil, and glue is made by extracting gelatin from dissertation seeks to recover autobiography as a historical various animals. This 2000-year-old art of making Sumi can mode. Mary Beth Edelson is central to my dissertation teach us multiple facades of contemporary cultures that we because she explores and historicizes the individual and participate in. The materials that we touch and manipulate for collective experience of being a “woman artist” in her artistic artmaking have significant impacts on artist’s ability to speak and practice. My research focuses on Edelson’s 1970s agitprop communicate. Furthermore, tracing back to the origins of the series, beginning with Some Living American Women Artists materials and their raw materials gives us tools to relate (1972), and how she maps an alternate art history that reflects ourselves with the land emotionally and metaphysically. Soot, the the women known both directly and indirectly in her life. main ingredient of Sumi, is now the main content of new Edelson’s posters have yet to be contextualized within the geological era, Anthropocene. The result of the glorious developing sense of political collectivity for women artists industrial era across the earth is manifested in this very material, based on their private and social experiences, as emphasized soot. Both soot in Sumi and soot on the earth highlight the during the Women’s movement. Her posters have also yet to inseparable relationship between the materials that we use for be understood as emblematic of a broader drive by artmaking and the land we live on. This presentation will focus contemporary women of the period to establish a visual on not only Sumi in depth materially and culturally but also how historical record of women artists. For instance, Sylvia Sleigh’s the origins of materials are incorporated in artmaking processes portraits document women artist co-ops and informal groups, and concepts. Additionally, artmaking processes including Harmony Hammond’s woven sculptures are made of fabric spiritual matters tangled with material-making as well as mark- sourced from women artists in her life, and May Stevens’ making will be examined. series of “History Paintings” appropriate art historical tropes to document women artists formative to her politics, art, and life. Bark and Beetles By situating Edelson’s agitprop within the broader Kate Flint, University of Southern California sociopolitical landscape of 1970s New York, Edelson’s prolific This paper discusses contemporary eco-art that provokes us career can be regarded as a leading critical voice not only in to view nineteenth-century landscape paintings through fresh feminist art history, but also art history more broadly by eyes. If their familiar subjects frequently show topographies modeling a history that puts the voices of artists, particularly visibly changing through forest clearance and the logging women, first. industry, the latent content of these paintings depicts the Round Table Participant ground of future change, through conditions exacerbated by Alicia Smith drought and by warming temperatures. I start with two examples: the recent cluster of works focusing on the Mary Beth Edelson’s work often dealt with women and hemlocks that grew around Frederic Church’s home, Olana, spirituality, as does mine. Mary Beth and I both rail against a and that are now threatened by the woolly adelgid beetle (for larger patriarchal culture, both seeking to reclaim and example, Jean Shin’s installation “Fallen” and Sarah Bird’s reconstitute. I was inspired by Mary Beth Edelson's Goddess “LightField” photographs), and Seattle artist Suze Woolf’s Head series for my project “Ochpaniztli.” Mary Beth had series of “Bark Beetle Books,” which bind together pages of expressed that many ancient rituals around the goddess bark inscribed by the intricate borings of pine beetles. Both actually centered the male experience to women’s bodies and types of beetle thrive on trees weakened by climate change. sexuality. Recurring themes of vulnerability and theft of The format of Woolf’s series, furthermore, invites reflection on innocence were common. In Ochpaniztli, the Aztec ceremony the long-standing trope of the “Book of Nature,” and on our held on the vernal equinox, a young woman was dressed as capacity to “read” attentively observed – and represented – Chicomecoatl, Ripe corn, and decapitated, her blood spilled natural scenes. In nineteenth-century paintings, we may locate on the seed that would be planted the following spring. Her the unrevealed presence of indigenous knowledges and attendants were dressed as the god of Rain, Tlaloc. As people practices; calculations of timber and land as commodities as of the corn, my ancestors didn’t just metaphorically view seeds well as manifestations of natural diversity and spiritual as brave sacrifices, but literally. How we kept time, how we presence. But above all, I show how these works are in understood our bodies, and organized our lives all of this dialogue with environmental violence to come. This talk draws revolved around this crop. Chicomecoatl reminds me a lot of on my current book project, discussing how contemporary art Chhinamasta, or "Head Cut Off" of the Hindu Pantheon. can borrow from the past to reflect on the urgency of our These are goddesses who are supposed to remind us of the present moment, and arguing that contemporary depictions of sanctity in the horrifying, who are both beatific and wrathful. environmental vulnerability change how we look at nineteenth- Chicomecoatl means 7-Snake. A snake is a blessing to a 03/22/2022 https://www.collegeart.org Page 101 of 234 110th CAA Annual Conference century works. Invisible Spill: Oil Beyond the Environmental Breakdown Amin Alsaden, University of Toronto In Touch with The Land Although oil is accelerating an impending environmental Nishiki Sugawara-Beda, Southern Methodist University breakdown, global demand for this non-renewable energy Sumi, ink traditionally used in East Asia for writing and resource is projected to increase in years to come. Recent drawing, is made of soot and animal glue. Soot is created by scholarship in political theory and the social sciences has burning organic objects or oil, and glue is made by extracting been exploring other, conventionally less examined, gelatin from various animals. This 2000-year-old art of making repercussions of our insatiable appetite for fossil fuels. Sumi can teach us multiple facades of contemporary cultures Despite the incontestable planetary environmental footprint of that we participate in. The materials that we touch and oil production and consumption, these industries continue to manipulate for artmaking have significant impacts on artist’s be associated most closely with South Western Asia, or the ability to speak and communicate. Furthermore, tracing back region known as the “Middle East,” thanks to its abundant to the origins of the materials and their raw materials gives us reserves and supply, placing it at the nexus of ongoing battles tools to relate ourselves with the land emotionally and that aim at securing oil, thus controlling the world. The region metaphysically. Soot, the main ingredient of Sumi, is now the amplifies the pernicious impact of extractive capitalism on our main content of new geological era, Anthropocene. The result collective existence: rooted in the history of colonialism, and of the glorious industrial era across the earth is manifested in sustained by perpetual warfare and military interventionism, oil this very material, soot. Both soot in Sumi and soot on the also shapes governance systems—including that of Western earth highlight the inseparable relationship between the democracy—economic interests, technological advances, and materials that we use for artmaking and the land we live on. urban landscapes. Environmentally unsustainable, oil has This presentation will focus on not only Sumi in depth likewise engendered unsustainable political, social, and materially and culturally but also how the origins of materials cultural conditions. This paper surveys works by contemporary are incorporated in artmaking processes and concepts. artists who interrogate the complexities and contradictions Additionally, artmaking processes including spiritual matters surrounding global oil dependency: reflecting on its history, tangled with material-making as well as mark-making will be critiquing its centrality in regional conflicts and the international examined. competition for resources, acknowledging its role in forming identities and cultural imaginaries, and even questioning the Toward a Visual History of Earth System Models since influence it exerts in patronage and artistic production. Beyond 1986 the usual focus on the climate or Western Asia, these artists Timothy Stott, Trinity College Dublin, the University of unveil the manner in which oil spills over into realms that often Dublin remain invisible to our understanding of how extractive Toward a Visual History of Earth System Models since 1986 capitalism structures the entire world. How have visualisations of the earth system evolved since the so-called Bretherton diagram of 1986? What are the technologies and conventions for producing and using these Materializing Global Concerns in visualisations? How might the analytical tools of art history Contemporary Art and visual studies study the information design – the diagrams, maps, flow charts, infographics, and so on – used in Chair: Iris Gilad Earth Systems Science (ESS) to visualise Earth System Discussant: Media Farzin Models (ESMs)? In answer to these questions, this paper outlines a visual history of ESMs from the Bretherton diagram, Transformative Materialism: On Monira Al Qadiri’s Post-Oil published by the US National Research Council in 1986, Monuments through the twelve projects run by the International Aikaterini Arfara, New York University Abu Dhabi Geosphere-Biosphere Programme (IGBP) between 1987 and This paper explores Monira Al Qadiri’s Alien Technology, a 2015, and up to the Coupled Model Intercomparison Projects series of large-scale public sculptures based on the heads of (CMIP), begun in 1995 and now in Phase 6, run by the World deep-sea oil drills, as a key project in the artist's ongoing Climate Research Programme. Based upon this visual history, research into the historical and cultural legacy of the pearl this paper will test an analytical and interpretative framework trade, and the massive social and economic shifts brought to study such visualisations as they operate within the about by the oil industry and fossil fuel consumption. By ‘epistemic culture’ of ESS and across the public sphere. It will transforming the carbon-intensive process of extraction into approach these visualisations as ‘technical images’ with an large fiberglass and aluminum public sculptures coated with iconography, a semiology, perhaps even a style, as they the iridescent, dichroic color of oil and pearls, Al Qadiri produce knowledge and act within series of similar explores the alien and alienating effect of oil in politics, representations, scientific and otherwise. The overall aim of everyday life, aesthetics, and the economy while revealing the this paper is to demonstrate the importance of art history and multiple past and future narratives related to this black liquid visual studies to understanding how visualisations of ESMs as a natural and cultural commodity. Al Qadiri’s investigation have shaped the planet as an object of knowledge and as the of petro-cultures and petro-economies is approached as a domain of future climate action and environmental speculative gesture towards the material manifestations of governance. pre-oil and post-oil culture in everyday life. Considering yet 03/22/2022 https://www.collegeart.org Page 102 of 234 110th CAA Annual Conference escaping Gulf Futurism as a placeholder term that signals an countries top ranked by the International SOS (2021) global ahistorical reality, Al Qadiri’s work reclaims the right to risk experts containing the hashtag #love. The data sculptures liminality as an intermediary, imaginary realm of urban where carved in a 4 axes Roland MDX-540 in plain wood. The possibilities that overcomes spatial hierarchies. Echoing Homi artist intention in actually sculpting the data-objects is an effort Bhabha’s reflection on interstitial space as a threshold reality to discuss the sublime in strategies for data visualization in that destabilizes binaries and opens up the possibility of arts (Manovich, 2002) meditating on how digital fabrication hybridity, this paper critically examines Monira Al Qadiri’s can help making the astonishing amount of data we have public art as a complex artistic practice that interrogates access online more tangible and the impact of the realities it cultural legacies in the Gulf, as well as iconic representations reveals more effective in calling for action. Considering we are of pearl and petroleum cultures. entering an era of extreme online presence, having art being NFTized, ‘Geolocated Love’ is a call for a more humanitarian The Dysfunctional map: Mapping Dislocation in classification and use of bigdata. Contemporary Middle-Eastern Art Iris Gilad, Duke University Only the latitude and longitude lines survived the abstraction Molding Clay’s Art Histories of Globe (2007), a large-scale round metal sculpture by Mona Chair: Elizabeth Saari Browne Hatoum. The Palestinian-descendant Hatoum immigrated to England from Lebanon to pursue artistic and academic “Art and sculpture began with clay”—so claimed the German training. The Lebanese civil war (1975-1990) forced her to antiquarian Johann Joachim Winckelmann in his influential stay in England. Globe results in an empty prison-like cell, a History of the Art of Antiquity, published in 1764. Winckelmann’s seemingly dysfunctional map. Nevertheless, the installation description of clay’s purported material conditions—its ubiquity offers a cartographic representation of Hatoum’s experience of and pliability—meant that it was fundamental to the development dislocation: across the entire globe, there is no place that she of the arts. However, clay’s importance to the founding of the arts can call home. Hot Spot (2013) is also a metal globe divested also relegated the material to the beginnings of the cyclical of information, with the addition of neon-red lights that outlines process of cultural and material growth and decline that the continents. The warm vibrant lights serve as a reminder of Winckelmann hypothesized. In Winckelmann’s account, clay the perils of war and reference a second meaning of the title, a (and specifically earthen clay bodies, as opposed to more hot-spot as a place of unrest. The two sculptures exemplify “refined” porcelain) remained associated with idols, artists’ two approaches to critiquing conventional cartography: Globe models, and painted vases—works that were seen as offers an alternative map based on the artist’s diasporic materialistic, preparatory, decorative, and peripheral to the grand experience. Hot Spot comments on the colonial and post- arc of art history. Clay, however, is plastic; it can be shaped and colonial power struggles that shape modern cartography. I modeled, and interpretively remolded. This session welcomes explore how conventional cartography is critiqued, papers that question and complicate the Winckelmannian deconstructed, and reinvented by contemporary Middle- narrative of cultural (European) and material (marmoreal) Eastern women artists such as Hatoum, Ariane Littman, and ascendency through closer consideration of clay’s materiality Yto Barrada. I begin by tracing the history of colonial Middle- and historiography as well as its social uses and political import. Eastern cartography, particularly the 1916 Sykes-Picot Questions that might be pursued include: to what gendered, Agreement. I turn to examine the two strategies for disputing racialized, and disciplinary ends has clay’s purported “baseness” the reputation of cartography as an objective science. I argue been directed? What material and/or semiotic values have clays that the artists address the unequal geopolitical relations that carried and how have these associations affected art production are encompassed in conventional mapping and the inability of and reception? What have been the environmental and social cartography to represent their individual experiences of impacts of clay mining and how has this been conveyed or elided migration and dislocation. in ceramic art works? How have artists marshaled the material to question hegemonic systems? Proposals from all temporal and Geolocated Love: For More Humanitarian Classification geographic specialties are encouraged. And Use Of Big Data Clarissa Ribeiro, University of Fortaleza Luca della Robbia's Labors between Clay Modeling and The Travel risk map 2020 publishes every year the short list of Renaissance Farming the world’s most dangerous countries and is considered as a Catherine Lee Kupiec compass for international travelers who do business all over Luca della Robbia’s glazed terracotta Labors of the Months the world. For 2020, revealed in a new interactive map, the roundels, made for the now-lost private study of the eminent most dangerous countries listed were Libya, Somalia, South Piero de’ Medici, are iconographically unusual for their focus Sudan and the Central African Republic. All the world riskiest on horticultural labors, in particular the care of trees and vines. countries located in Africa. On the other hand, initiatives such The selection of this particular imagery has been understood as the Minority Rights Group International’s (MRG) ‘Peoples to flatter the interests of the patron: by invoking an analogy under Threat’ ranking (MRG, 2021) highlights countries most between the cultivation of plants and that of the mind, the at risk of genocide and mass killing. In ‘Geolocate roundels comment on the intellectual activities Piero pursued Love’(2020), for the series of 4 (four) CNC carved data- in this space. Yet little attention has been directed to the sculptures, the artist extracted and used as primary data in a laboring bodies that so conspicuously dominate the roundels generative design processes, Tweets from users living in 03/22/2022 https://www.collegeart.org Page 103 of 234 110th CAA Annual Conference as a result of their iconography, whether judiciously pruning in contemporary styles, pushing the boundaries of their field. vines, tirelessly threshing, or determining the readiness of My cross-temporal approach to this material, which draws on grapes for harvest. This paper approaches the Labors cycle my research on historic gender expressions in Pueblo through those bodies, considering what they might reveal cultures, allows me to connect historic resistance to about common perceptions – and ideals – pertaining to assimilation policy with contemporary calls for political, artistic, physical labor in fifteenth-century Florence. Through this lens, and cultural sovereignty within the ongoing settler colonial it examines how the artist, Luca, may have understood and United States. Drawing on scholarship by Indigenous thinkers, theorized his own earth-based work as a maker of innovative I take seriously Indigenous ideas of object agency, considering glazed terracotta sculptures. I will suggest that concepts clay as an active agent in relationship with artists and agents emphasized in the Labors – discipline, discernment, of assimilation and complicating questions of influence and knowledgeable action, orderly repetition, and cyclical rhythms acculturation. I extend queer studies methodologies to – shed light not only on Piero’s scholarly activity, but also on Indigenous thinking about kinship, since the contemporary the nature of the work undertaken by fifteenth-century artists artists whom I study identify with modern queer identities while in their workshops. drawing on a legacy of two-spirit identity within their communities. Down to Earth: Valuing Bricks in Modern Germany, 1906-14 As Simple as Clay? Liu Shiyuan and the Aesthetics of the Isabel Rousset, The University of Western Australia Search Engine The brick medium held an ambiguous position in early- Ros Holmes, University of St. Andrews twentieth-century German architectural criticism, straddling a In 2015 visitors to the newly opened project room of line between ideals of progress and tradition. Bricks were Shanghai’s Yuz Museum stepped inside the gallery space to artificial but closely tied to the earth and the character of local be greeted by a floor to ceiling grid of interlocking images. ‘As clay. They could be machine-made but their in-situ method of Simple as Clay’, Liu Shiyuan’s large scale photographic construction kept them connected to manual craft. Their installation, offered up an endless profusion of photographic extensive use in modern utilitarian buildings helped associate variations on a single theme: Clay. Moving through the them with a new ethic of functionalism, whilst their decorative identically dimensioned photographic spread, viewers were program remained quaintly gothic. This paper examines confronted with thousands of images of clay and clay-like shifting valuations brick and ceramic architectural sculpture in ‘things’: blocks of butter; lumps of putty; translucent cubes of Germany. The narrative begins in 1906, when the city of tofu; spherical balls of dough; fat bars of glistening soap; the Darmstadt issued a ban on the use of bricks as visible exterior wobbling sheen of a panna cotta. Other photographs cladding in the inner-city. The ban was a response to the appeared to linger on the materiality of the subject matter, growing cultural pressure of the heritage protection depicting hands engaged with clay; fingers kneading, sculpting movement, which saw machine-made bricks as a sin against and shaping, clay being physically contoured, carved and architectural propriety. However, by 1914, bricks and ceramics cast. These photographs were scavenged entirely from the had reversed their negative associations and cemented their internet, the result of the artist entering ‘clay’ into Google place within the bounds of cultural permissibility for image search, originally in Chinese, then in English, Danish architectural facades. Examining the socio-political factors and and an ever expanding host of languages, noting the visual aesthetic arguments that account for the ascension of the variations engendered by these linguistic mutations. brick medium in Germany, the paper sheds new light on the Examining the installation’s display in the project room at Yuz changing character of architectural theory during the pre-war Museum, this paper explores the inherent tension in the work era, as the discipline forged new tools to negotiate the terms between the material and immaterial aspects of the work, as of reconciliation between local history and modernization. well as the interplay between text and image. Ultimately the paper argues that ‘As Simple as Clay’, far from being ‘simple’, Blended Materials, Blended Lives: The Art of Tim Edaakie offers a complex meditation on the role of clay in relation to and Bobby Silas linguistic specificity, medial embodiment, and the geopolitics of Victoria Anne Sunnergren, University of Delaware identity in an age of heightened connectivity. Tim Edaakie (Zuni, 1977-2020) and Bobby Silas (Hopi, b.1987) have worked both collaboratively and independently to create pottery that reflects their cultural identity and sexualities, inspired by historic potters. They have been especially influenced by the work of We’Wha (Zuni, 1849-1896), who lived as a lhamana, a Zuni gender identity and social role. During their romantic partnership, which lasted over a decade, Edaakie and Silas created works that blended the material identifiers of their two home communities, such as the temper, pigments, and firing materials used in their clay artworks. They engaged in research on historic forms and techniques, experimenting with decolonizing methods for firing pottery and reviving historic designs. After their separation, each artist sought new methods for expressing their identities 03/22/2022 https://www.collegeart.org Page 104 of 234 110th CAA Annual Conference 1860s and the promise of her eventual placement on the Monumentality in Art: Memory, History, and twenty-dollar bill convey evolving ideas about Tubman and her Impermanence in Diaspora commemoration. In Scott’s use of temporary, atypical media, she acknowledges the realities of change and impermanence, Chairs: Patricia Eunji Kim, New York University; Marica and that ideas about Tubman, slavery, and memorials Antonucci, John Hopkins University continue to transform. In challenging the emblematic, pristine At the heart of traditional notions of monumentality lies an appeal monument, Scott contests the systems of power that to permanence. Traditional monuments and commemorative art undermine Black history while suggesting new methods of practices emphasize solidity, weight, visibility, and transhistorical addressing these histories. My paper evaluates the ways in stability through the selection of what and how to remember. which Scott’s piece uncovers new possibilities for Embodying particular social values and naturalizing specific memorializing Black leaders that allow materiality and historical narratives as truth, these objects and practices link the impermanence to inform concept and commemoration. past and present by means of their enduring presence. In so doing, these works shape public space while symbolically Gardens as temporary monuments in Maria Magdalena reaffirming systems of power by aestheticizing the myth of Campos-Pons’s recent practice. permanence. This panel seeks to understand how monument- Silvia Bottinelli, Tufts University makers broadly construed as artists, activists, and other cultural agents, specifically in diasporic communities, are re-imagining The Materiality of Absence: Spectrality in Michael monuments and other commemorative actions. Taking an Rakowitz’s “The Invisible Enemy Should Not Exist” expansive view of diaspora, we welcome perspectives that Zoe Dobuler, Independent Curators International address contexts of migration, political asylum, settler- colonialism, and other displacements. We ask how Ephemeral Monuments characteristics of diaspora, such as transnationality and Veronica Gaona impermanence, redress traditional approaches to Ephemeral Monuments considers the migrant worker within memorialization that privilege ideas of longevity, durability, and the remittance landscape andthe asylum seeker at the border endurance. How have practitioners recalibrated traditional to draw attention to the consequences of displacementbrought techniques of monument-making or repurposed existing by bad infrastructure and immigration policies in South Texas. structures to address diasporic memory? What new approaches The notion of landin the artworks is seen as, where families in terms of scale, media, and viewer engagement have emerged dispersed in life, as where they can also reunitein death and to address questions posed by frameworks for theorizing where migrants can rest after a lifetime of movement. Burial diaspora? How do diasporic monuments affect conventional rituals such astransfers between countries and leaving flower understandings of the relations between memory and arrangements at gravesites arematerialized to bring closure to monuments? Finally, how have transnational memory-workers a lifetime of uncertainty and at the same time represent confronted local, national, and global symbols and systems of thelonging and attachment to the ancestral land. power through their practices? By bringing together artists, activists, and scholars, this panel considers diasporic Destroying the Form: On the Spatial Politics of rafa monuments, in order to highlight the stakes of monumentality in esparza’s bust. a mediation on freedom art, and complicate its longstanding discursive coordinates. Shoghig Halajian This talk engages the practice of Los Angeles-based contemporary artist rafa esparza, whose public performances “Materiality and Impermanence in Joyce J. Scott’s explore urban spaces of state-sanctioned violence and Disappearing Monument to Harriet Tubman” dispossession. The intended audience of these site-specific Phoebe E. Wolfskill performances is often the people who routinely occupy the In 2017-18, multi-media artist Joyce J. Scott exhibited Harriet locale in which they are staged. I focus in particular on the Tubman and Other Truths at Grounds for Sculpture in 2015 performance, bust. a meditation on freedom, which took Hamilton, NJ. The exhibition included Graffiti Harriet (2017), a place across the street from the Twin Towers Correctional monument to Tubman constructed from soil, clay, and beads. Facility (also referred to as Twins Tower Jail) in the Chinatown This ephemeral work slowly eroded over the course of the neighborhood of Los Angeles. In the course of the exhibition, with the beaded applications and resin gun performance, esparza is encased in concrete and gravel up to eventually topping an indecorous mound of colored dirt. Scott his chest, transformed into the image of a portrait bust, and created this piece as a tangible evocation of Harriet Tubman then tasked with the arduous work of breaking himself free as an abolitionist and warrior, while rejecting the properties of with only a hammer and chisel. I theorize this work against the traditional memorials. In sculpting with impermanent materials, backdrop of two concurrent movements: the dismantling of Scott indicates how memory of Tubman has receded with Confederate monuments throughout the US and California’s time. This work furthermore does not constitute a portrait, as jail-building boom. I argue that carceral logics permeate the Tubman’s expressionistically rendered, beaded face suggests traditional monument, in which a united vision of the past vigilance but not familiarity or likeness. The open and dynamic encloses the possibilities of the present, and trace the nature of the piece acknowledges the fluctuations and material, temporal, and affective aspects of esparza’ liberatory discoveries of history that are ever-changing. A recent work, as he frees himself from the pedestal’s hold. I ultimately rediscovery of a photograph of Tubman taken in the late argue that the act of destruction (a de-monumentalizing) 03/22/2022 https://www.collegeart.org Page 105 of 234 110th CAA Annual Conference proposes new understandings of diasporic visuality and after the independence to which France conceded in memory-work. exchange for exclusive rights. If oil fields and settlements like Ouargla were the nodes within this network, the Sahara House was part of the mesh conveying oil workers wherever Move Along! Prefabrication, Placemaking they were needed. This paper examines how the Sahara and Precarious Housing House would have transformed from an outpost in the initial version of this network, to a new center, replacing the oil Chairs: Adrian Anagnost, Tulane University; Jesse industry's more visible sites out of necessity as French rule Lockard draws to an official close. Histories of architectural prefabrication highlight two primary trajectories. Techno-enthusiasts promote the potential for flat- Packaged Wooden Houses for German Workers in France packed designer dwellings to revolutionize modern life. After the Great War Historians focused on market forces highlight the role of factory- Etien Santiago, Indiana University Eskenazi School of built houses in providing affordable, permanent homes for Art, Architecture + Design millions. This panel addresses a third, lesser told history of prefabrication, imbricated in material realities of war, colonial Patenting Displacement: Yona Friedman’s Wartime campaigns, environmental transformation and housing insecurity. Architecture We examine structures made to be moved from factory to site, Jesse Lockard but designed to allow movement to continue. Ease of assembly Yona Friedman’s influential manifesto L’architecture mobile and reassembly, mobility, de-mountability, and swift construction (c.1958) is celebrated as a pioneering articulation of by low skilled laborers, were—and remain—characteristics of participatory design principles and user-led approaches to built environments such as military encampments, colonizing planning. Friedman’s “mobile architecture” has long been outposts, disaster response zones and temporary agricultural interpreted in reference to megastructuralism, utopianism and settlements. Often, the refugees, soldiers or migrant workers experimental paper architecture of the 1960s. Offering an who inhabit these structures are expected to remain on the alternative account, this paper decouples Friedman’s early move, to avoid making a site their home. This panel explores the architectural theory from his later urbanist proposals and politics and poetics of prefabricated placemaking. We ask: how foregrounds Friedman’s engagement with the literal movability does this lens make visible understudied populations and of building elements in prefabricated housing construction historical events? How can studying the impermanent presence systems in the 1940s and early ‘50s. While it eventually of structures in a landscape foreground the aesthetics of site for became a highly abstract theory of democratic design, at its architectural history? How has the inherent dislocation of genesis, I argue, Friedman’s “mobile architecture” developed movable architecture challenged historiography, theory and from practical experience with the technological potentials, canon, beyond agitations of celebrated vanguardists? We solicit material conditions and engineering exigencies of wartime papers mining this critical vein of architectural history from any architectural prefab—and the precarious conditions of life in methodological angle. In recognition of the objects’ inherent war. Introducing previously unstudied patents and plans for movability, as well as the transnational character of the violence mass-producible prefabricated housing systems developed by and crises in which these design practices are enmeshed, we set Friedman for refugees in Romania and Palestine, as well as no geographical or chronological bounds on research. for Israeli settlement projects and for French colonial enterprises in Algeria, the paper traces a transnational Oil and the Sahara House: Forging an Infrastructure in the architectural response to complexly linked crises and forms of Desert violence. It offers Friedman’s early work as a case study in Yetunde Olaiya designing for displacement. Comprising separate day and night cabins under a roof- Prefabrication on the Endless Frontier umbrella, the Sahara House made its debut at the March 1958 Avigail Sachs Salon des Arts Ménagers. Its target market were the In the early 1940s the Tennessee Valley Authority (TVA), was European prospectors flocking to the Algerian desert since the rushing to complete the Fontana Dam, the tallest dam in its discovery of oil two years earlier. Its architects — Guy multi-use system, so as to supply electric power to the Lagneau and Michel Weill — had previously undertaken the burgeoning war effort. To support this project the TVA created urban plan for the regional capital, Ouargla, from which the a village ex-novo, which was the site of dozens of emerging oil industry would be run. Mostly fabricated from prefabricated structures. The TVA architects also used heat-resistant aluminum sheets, the prefabricated parts were Fontana Village to continue developing designs for movable designed to be transported to the site on a single truck and the houses, working in collaboration with Schult Trailers, Inc. of entire house assembled in four days by four workers given the Elkhart, Indiana. At the conclusion of the project these trailers temperature constraints. But shunned by the Parisian public were either moved to other TVA construction sites or re- as “a kind of gadget,” this iteration of the project came to an purposed as cabins for vacationers in the mountains. The TVA abrupt end while its components are retooled for other sites. In trailers were, of course, a response to the emergency this paper, I argue that the Sahara House offers a crucial conditions of World War II and to a wider, international, focus glimpse into the pervasive oil infrastructure forged at the on prefabrication. The TVA personnel, however, also referred height of Algeria’s war of liberation from France and continued to designs as “research,” publishing images of the trailers as 03/22/2022 https://www.collegeart.org Page 106 of 234 110th CAA Annual Conference part of an ongoing process of exploration. In doing so they searching for freedom. I believe art is a way for artists to carved a place for these structures in the world of science, or document our time, and everything we are experiencing on the what Vannevar Bush would soon call “the endless frontier.” journey called life – in particular my journey in transition from Frontiers and progress, moreover, were inherent to the TVA the Gulf to the USA, where I have been exposed, as others, to rhetoric; the enterprise was often described as a new form of the horrors of the pandemic and its devastating effects on pioneering. In this context, the ability to “move along” – many people and on to the death of George Floyd and his like. physically and intellectually – was a virtue a symbol of hope, On my arrival to America, I was overwhelmed by the narrative an idea embodied by the trailers. The story of these designs is and rhetoric that links terrorism to Islam. Other performances thus an opportunity to consider the shifting meaning of the are related to the tension between structure and instability. Are term “frontier” in American discourse of the early 20th c. we holding on as a society? Scars By Daylight Negotiating Newness: Contemporary Women Maitha Abdalla Artists’ and Architects’ Practices in the My work is a multimedia artistic practice, often rooted in United Arab Emirates cultural narratives, mythologies and memories that been absorbed through experiences in the UAE. These legacies are Chairs: Woodman Lyon Taylor, Zayed University; explored and understood through the lens of theatre and Ebtisam Abdulaziz, Independent Artist performance. I conflate the subjective experiences with the Negotiating Newness: Contemporary Women Artists’ and collective as such I explore issues surrounding gender, Architects’ Practices in the United Arab Emirates Convenors: womanhood, cultural identity and the human condition. A Ebtisam Abdulaziz and Woodman Taylor, Ph.D. This session recent body of work, Scars by Daylight, unpacked explores how women practitioners of contemporary arts and adolescence and transitional moments for females while other architecture working in the United Arab Emirates negotiate new projects had been located the sculptural female characters in meanings for their contemporary creative works. Some of these a surreal theatrical stage, in order to emancipate them from meanings are specific to the region and the artists’ position as limiting beliefs. women in society, yet they also reflect transcultural interactions Split Ends between the Gulf and Arab, Iranian, South Asian as well as Afra Aldhaheri, Zayed University African and other larger global cultural realms. Countering earlier considerations of Gulf cultures as but regional variants of a In my recent work I examine hair as a container of time and homogenous ‘Arab’ culture, presenters are invited to explicate memory. Hair holds a nuance of similarities and differences in the cultural forms created by women artists and architects in the distinct cultures and stands to represent diverse connotations. UAE through their dynamic interactions with global art Hair, like plants when nurtured and nourished, grows long and movements to create work which is unique in its new visuality flourishes. Thinking of this organic form, an extension of the and that also gives voice to women’s points of view. In addition body as a container of time, I view the hair strand as a to scholars’ presentations, the session also solicits women artists measuring tape length as a representation of time and from the region to present their own practices as a proactive way duration as a representation of the accumulation process. to incorporate Arab women artists’ voices into discourses on arts Experimenting with alternative materials as hair allows me to from the region. This also will create the unique opportunity to explore the interventive gesture caused by hair holding forms generate dialog between scholars, practicing women artists as of memory and breaking away from the presentable notions of well as the conference audience, breaking down old hierarchies hair. This commission presents a rooted tangent from my privileging scholars’ points of view over the subjects of their explored narrative and research. Furthering my examination of study. Ideally, this could lead to new ways of incorporating Arab hair as a container of time and memory thus allowing hair to women artists’ and architects’ voices into new histories of be an expressive language through its form and state. Arriving contemporary art and architecture in the Gulf region. at a moment where both time and space are contained, time was suddenly granted back to me at a pace much slower than that experienced before - a pace that made me nostalgic and My Performance Art - Being Present reminiscent of the 90’s. A pace that challenged myself further Ebtisam Abdulaziz, Independent Artist to investigate time consuming processes, allowing me to dive It is my intention to show performance art projects which have into the narrative of hair, exploring hair as a medium and been instrumental in putting the body of work together, as it meaning within the medium. relates to my journey. In using videos and photographs, I am striving to demonstrate how these events have impacted me. A Negotiated Narrative of Architecture: Ayesha Al Bastaki My performance art illustrates a clear and present image of and the Windtower Houses of Old Dubai who I am as a female Arab Muslim in the theater of life and Asma Bukhammas, Zayed University daily existence. Some of my work discusses the conceptual In August 2021 a news outlet released an article declaring basis of complete freedom, while other aspects raise issues Sumaya Dabbagh as the first female architect to design a related to women at its core, and the coalescence of the mosque in the UAE and the wider region. Although it stands to environment and social issues for women; in this respect, it is reason that since the first mosque was built nearly 1,400 years my intention to express conflicts between the individual and ago at least a few female architects would have been society. Furthermore, I represent every woman who is involved, a simple search would not yield many results. Whilst 03/22/2022 https://www.collegeart.org Page 107 of 234 110th CAA Annual Conference the article was later retracted for being inaccurate, it further opportunities for professional development, through formal fueled the important discussion about the presence – or lack education, residencies and workshops – some of which are thereof - of women in architectural histories, especially in the supported by substantial public and private funding. Yet Arab Gulf region. As a new cohort of female architects like women can still face obstacles to their full participation in the Sumaya Dabbagh, Lina Ghotmeh and Noura Al Sayeh-Holtrop arts and culture sector, including family pressures and cultural find their way into the limelight in the Arab world, there is a norms. In this paper I will discuss some of the challenges need to acknowledge that many others were not included in faced by women students majoring in the arts at universities in the dominant historical narrative. A counter-history would the UAE. I will also examine the successes of private arts involve forgotten, neglected and alternative narratives of initiatives such as Tashkeel Contemporary Art Center and women who may have played a major role in the development Alserkal Cultural Foundation in Dubai, Bait 15 Studio and of architecture in the Arabian Gulf region as architects, co- Exhibition Space, the Salama bint Hamdan Emerging Artists designers, patrons, and users. This paper offers one such Fellowship (SEAF), both in Abu Dhabi, and the Sharjah Art neglected narrative as it [re]presents the development of a Foundation. notable historical district in Dubai, Al Bastikiya through the eyes of one of its community members - architect Ayesha Al Bastaki. Using two demolished windtower houses as case- New Age of Teaching the Art of the Islamic studies, the architect uses her memories of the interiors to World provide an alternative to the male-centered narrative of the MUSEUM COMMITTEE historic district’s development. Bringing to the forefront for the first time, women of Al Bastakiya. Chair: Xenia Gazi, School of the Art Institute of Chicago Scholars and museum educators interpreting and teaching the Shoulder to Shoulder: Mosques in Sharjah and New York art of the Islamic world (MENASA's art*) have an indisputably City challenging role: they need to re-interpret the history of the Azza Aboualam, Zayed University region from textbooks steeped in colonial discourses while The architectural definition of a place of worship in Islam never sheltering the art they study from negative portrayals by many appears in scripture. Mosque design has taken on a multitude Western media. The purpose of this panel is to ask museum of forms and scales, elevating its architectural expression to educators to explain strategies and tactics they use to mitigate one that is constantly open to interpretation. Similarities can stereotypes about MENASA's art and its context while also be drawn between mosques built in Sharjah prior to 1971 and engaging the public. We especially welcome female educators mosques in New York that continue to evolve in a variety of and/or papers that explain how educators address stereotypes ways especially post 9/11. Sharjah’s historic mosques can be about the art of the Islamic world. We aim to spotlight innovative recognized by their humble materiality that meshes with the case studies that portray this groundbreaking work, revealing urban fabric, similar to how New York’s mosques express how art history and museum education can help bridge themselves by subtle green awnings, ethnic restaurants and understanding and revitalize the discourse on MENASA's art in an exterior that blends in with the city. The reading of religious museums and classrooms alike. *Middle East-North Africa-South architecture development in both Sharjah and New York Asia cannot be fully understood from a mere analysis of formal attributes and surface-level aesthetics but rather from space Influencing Presentation and Interpretation of Islamic Art production and the need for religious expression. As history in Museum Settings: The Myths of Inclusivity, Didacticism, represents accumulation, mosques in both cities represent a and Provincialism developed product over time as opposed to an outcome Xenia Gazi, School of the Art Institute of Chicago created in a singular moment. The dynamic fluid result is one that is simultaneously affected by both the individual and the Evidence-Based Education: Re-Seeing Art from the collective. Architecture, here, operates as a physical marker Islamic World capturing a certain time and place; thus, a masjid in Sharjah Noura Shuqair, King Saud University and New York becomes a device that captures and reflects the Art can be an essential pedagogical tool to help students essence of Islamic zeitgeist in its respective location. develop historical thinking and factual knowledge. However, Architecture here not only acts as an agent in the construction interaction and engagement with art have to be truly of Islamic identity but is a reflection of the city’s growth and meaningful for students to develop such capacities. It is continuously changing nature of devotion. indeed becoming the responsibility of the educator to guide It Takes a Union: Developing and Supporting Women in students’ interaction with art. As an educator who teaches the UAE Arts Sector university art history courses, I feel responsible when students Sabrina De Turk maintain misconceptions about topics we discuss, specifically history and facts about art from the Islamic world. This paper considers the ongoing development of women Encountering a pattern of misconceptions and stereotypes artists in the UAE, with particular attention to the role that daily during my short teaching journey, I have begun to study universities and grassroots educational foundations and arts how I work to disabuse students of widespread collectives can play in both nurturing and launching misconceptions and assumptions about art from the Islamic contemporary women artists in the country. Both Emirati and world. I have found myself developing and relying on my own expatriate women artists are fortunate to have access to many 03/22/2022 https://www.collegeart.org Page 108 of 234 110th CAA Annual Conference set of rhetorical strategies. In this session, I first provide an debates around museums and curators, students study how overview of some common misconceptions about art from the museums address colonialist, orientalist, and racists origins of Islamic period. I then explain how these misconceptions are their practices and collections? As they inquire how museums not exclusive to non-Islamic cultures, focusing on the reasons could represent missing or misinterpreted histories, stories, they continue to be taught even in schools in Islamic and traditions of global cultures, they apply their academic countries, including Saudi Arabia. Finally, I share the methods research and critical thinking skills to reimagine a portion of I use with my students to examine and overcome traditional the Art Institute of Chicago as their final project. My misconceptions in art history, including visual evidence-based presentation will include a brief overview of recent practices education, visual and literary archives excavation, and inquiry. and scholarship in curating Islamic art. Next, I will share some When art historians and other scholars use such techniques, I examples of the classroom activities and final projects of the argue, they empower students to learn methods that might students. help them entertain new and diverse perspectives. Students learn critical thinking that makes possible new points of view on the knowledge. New and Improved: Using Recent Experiences to Inform the Inside-Out: iḥsān as an artistic worldview Future of Museums Amira Abou-Taleb, University of Helsinki RAAMP The highly specialized nature of today’s academic scholarship often comes at the cost of fully appreciating the multiplicity of Chair: Cali Buckley, College Art Association variables that shape the greater whole. This issue becomes Recent years have forced museum professionals to change how particularly pertinent when dealing with art that is a product of they engage with their members and the public, embrace new civilization as rich as the Islamic world. The vast array of technologies to enable online engagement, address risk traditional Islamic art holds undeniable spatial and temporal assessment in thinking of the museum’s future, and change the specificities yet, from a holistic view, conveys an overarching very processes of working in a museum. As such, we are looking philosophical unison. This paper suggests a paradigm shift in for museum professionals to address the questions below as the manner in which Islamic art is presented in museums. well as others in terms of the unexpected consequences of Instead of focusing on the external historical/material elements having to adapt to the so-called “new normal”: Despite setbacks, of art pieces, this shift emphasizes a deeper connection that how did you structure a plan for future sustainability? How have lies at the foundation of all traditional Islamic art; strife towards recent events made problems in sustainability clear in order to iḥsān (beauty/goodness/perfection). This paper examines the address them? Will virtual museum tours still be in demand in overarching concept of iḥsān as a main tenet running through the future? What have we learned having to pivot to more virtual all forms of artistic production in the Islamic world. Guided by engagement? How has museum education and engagement a systemic and comprehensive textual analysis of the changed and how they may present materials to the public in Qurʾānic scripture and key exegetical works, the findings light of stereotypes about certain socio-cultural groups? reflect how the call for iḥsān lies at the core of the Qurʾānic ethical Weltanschauung; a mandate for harmony that subsumes everything, including art. This approach combines Walking the Talk: New Low Carbon Curatorial and the study of aesthetics and ethics, and it forwards a novel Educational Structures that Amplify Impact and Reduce methodology that presents the artisan and the art as catalysts Costs vying for iḥsān. Natalie Marsh, ViVA Virtual Visiting Artists,Amanda Potter, Zimmerli Art Museum at Rutgers University and Rethinking Museums through Practices of Curating Jennifer Reynolds-Kaye Islamic Art In his prescient 2017 essay in Curating the Future: Museums, Onur Ozturk communities and climate change (Routledge, 2017), Princeton In a post 9/11 world, many major museums of the West – professor of humanities and the environment Rob Nixon Victoria Albert Museum in London, Louvre of Paris, New York summarized our collective challenge: “...how can we most Metropolitan, Washington D.C.’s Freer Gallery of Art, Walters effectively animate this charismatic, planetary, but divisive Art Museum of Baltimore, the Art Institute of Chicago, and story – in our writing, our image making and our curation – in others – have decided to redesign their galleries presenting ways that speak not just to the global environmental crisis, but and displaying Islamic art. Scholars have been also actively also the global inequality crisis?” After more than a year of discussing the current curatorial strategies in a number of research and development, national nonprofit ViVA Virtual publications, most notably in Curating Islamic Art Worldwide Visiting Artists launched in July 2021 to partner with museums (2012), Islamic Art and the Museum (2019), and and organizations to address these challenges and their Deconstructing the Myths of Islamic Art (in-press, 2022). In specific implications. Co-founded by a veteran academic this paper, I will present how this body of work has been museum director and chief curator, ViVA uniquely untangles utilized as a pedagogical tool to launch an undergraduate the problematic feedback loop of reduced budgets, staffing course at Columbia College Chicago titled Creative limitations, unsustainable footprints, and inefficiencies of Communities: Rethinking Museums. In this new course, siloed education and cultural organizations, and needed students explore, study, question, and reimagine historical and improvements to accessibility, affordability, and inclusion, contemporary curatorial practices. Focusing on current while platforming DEAIJ voices, and intersectional climate 03/22/2022 https://www.collegeart.org Page 109 of 234 110th CAA Annual Conference change awareness. ViVA is an independent collaborative of women, BIPOC, LGBTQ+, and social justice artists and New frontiers: creating, collecting, educators working with a diverse board, staff and interns to preserving and displaying digital based art of shift traditional high-carbon high-cost in-person artist Russia and Eastern Europe. engagements to a low-carbon lower-cost virtual format uniquely supported by turnkey interpretive toolkits and Chair: Natalia Kolodzei educator consultation. This presentation features the ViVA ED Digital, computer, internet, software, and multimedia art forms and two Educators, themselves academic museum have been created for many years and have entered the professionals, who will outline the innovative and efficient mainstream art world, the Whitney Biennial included digital works working relationships and services that tap each collaborator’s as early as 2000 and the Whitney Museum's artport, devoted to highest skillset while lowering overall costs, capitalizing on net art, was launched in 2001. The history of digital art in Russia now mainstream teleconferencing platforms, and dramatically and Eastern Europe has a complex history due to several factors reducing Scope 3 carbon emissions for hosting museums, including geopolitical (isolation from Western art movements) departments, and centers – and themselves. and lack of access to multidisciplinary institutions such as MIT Lab. The discussion will trace the inception of digital art in Lessons Learned from a Year of Virtual Teaching Russia, starting from mid-1990s community driven net.art - Ellen M. Alvord and Kendra Weisbin digital interfaces to exchange visual and political information online to today’s complex hybrid works or techniques that rely on Speculative Annotation at the Library of Congress: A Web- digital technology in creative and display processes, new Based Annotation Tool that Invites Virtual Engagement viewers' experiences and interactions, artificial life and with the Library's Collection intelligence. The panelists will review the historical context for Courtney Lynn McClellan, Library of Congress and inception and evolution of art institutions, festivals and art Jaime Mears exhibition devoted to Digital Media, including CYLAND Media Art Visual Artist and 2021 Innovator in Residence at the Library of Lab, MediaArtLab Centre for Art and Culture (Moscow), MMAM. Congress (LOC) Courtney McClellan and LOC Senior As well as the panelists will outline challenges for major Russian Innovation Specialist Jaime Mears will discuss their institutions such as Pushkin State Museum of Fine Arts, collaboration on the public art project Speculative Annotation, MMOMA, Tretyakov Gallery, Garage Digital as they launching an open-source, web-based application created during the accession of works in digital media into their art collections. The COVID-19 pandemic. The tool invites virtual engagement with panelists will address challenges of archiving and preserving the the Library’s collection for a K-12 audience. Speculative context of digital artworks and sharing the viewers experiences Annotation presents a curated selection of educational primary across the continents. sources from the Library’s collection for students and teachers to annotate through captions, drawings, and other types of markmaking. McClellan worked with Library curators and Roundtable Discussant#1 students and teachers in the classroom in an effort to support Christiane Paul the types of conversations students and educators want to Christiane Paul is Professor of Media Studies at The New have with historical objects. Speculative Annotation offers a School, and Adjunct Curator of Digital Art at the Whitney model for museums and cultural heritage institutions to Museum of American Art. She is the recipient of the Thoma virtually invite participation with their collections. The tool Foundation’s 2016 Arts Writing Award in Digital Art, and her provides design, drawing and notetaking features that sparks recent books are A Companion to Digital Art (Blackwell-Wiley, social and creative engagement with collection items. Further, May 2016); Digital Art (Thames and Hudson, 3rd revised the site provides context for the historical items by way of edition, 2015); Context Providers–Conditions of Meaning in annotations created by library staff, and provides scaffolding Media Arts (Intellect, 2011; Chinese edition,2012); and New for further research with primary sources. The presentation will Media in the White Cube and Beyond (UC Press, 2008). At speak to creative research and development of the tool-- the Whitney Museum she curated exhibitions including which was entirely virtual. In addition to addressing Programmed: Rules, Codes, and Choreographies in Art 1965 Speculative Annotation directly, Mears will speak to the -2018 (2018), Cory Arcangel: Pro Tools (2011) and Profiling Innovator in Residence program as a successful model for (2007), and is responsible for artport, the museum’s portal to creating experiments in collaboration with artists that Internet art. Other curatorial work includes The Question of demonstrate visionary methods of engaging the public with Intelligence - AI and the Future of Humanity (Kellen Gallery, Library collections online. The New School, NYC, 2020); What Lies Beneath (Borusan Contemporary, Istanbul, 2015); and The Public Private (Kellen Gallery, The New School, NYC, 2013). https://www.newschool.edu/media-studies/faculty/christiane- paul/ Roundtable Discussant #3 Olga Shishko Olga Shishko, senior curator at the department of contemporary art, cinema and media arts in the new direction 03/22/2022 https://www.collegeart.org Page 110 of 234 110th CAA Annual Conference Pushkin ХХI, the Pushkin State Museum of Fine Arts, Alexandra Dementieva is multidisciplinary artist, professor at Moscow. Olga Shishko graduated from the Department of Royal Academy of Fine Arts of Brussels, Belgium. In her History and Theory of Lomonosov Moscow State University, installations, she uses various art forms on an equal basis: Moscow. Art historian, curator, educator. Organizer of dance, music, cinema and performance. Akin to an explorer international events, festivals and exhibitions, exploring the she raises questions related to social psychology and theories problems of interaction between past and future, processes of of perception suggesting solutions to them by contemporary innovation in the art of the 20th and 21st century. Established artistic means. Dementieva received the first prize for the best MediaArtLab Centre for Art and Culture together with Alexey mono-channel video at VAD Festival (Girona, Spain). Isaev in 2000. Curator of «Pro&Contra» International Dementieva is an author of multiple publications (including Symposium for Media Culture (Moscow, 2000, 2011, 2012), Leonardo Journal) and organized and contributed to art director of MIFF Media Forum Moving Image Festival symposiums and panel discussions (including hosting The (since 2006). Author and curator of «Projections of the Avant- Leonardo / LASER Talks in Brussels) for universities and Garde» project («Innovation» Prize 2016). Curator of festivals. Her works are exhibited worldwide, including Rubin exhibitions: “Bill Viola. The journey of the soul "(2021, The Museum (New York), MMOMA (Moscow), MACRO Museum Pushkin State Museum of Fine Arts), «There is a Beginning in (Rome), the Pushkin State Museum of Fine Arts (Moscow), the End. The Secret Tintoretto Fraternity» (2019, Venice, Neuberger Museum of Art (USA). alexdementieva.org special project of Pushkin XXI), “Man as Bird. Images of Journeys" (2017, as the Collateral Event of the 57th International Art Exhibition «La Biennale di Venezia»), «House New Media as an Embodiment of Resistance: of Impressions. Classic and Contemporary Media Art» and Body, Technique, and Technology in East «House of Impressions. Wandering with a Troubadour» (2016, Asian Art since the 1960s The Pushkin State Museum of Fine Arts), «Mocumentary: Reality is not Enough» (2013, MMOMA), «Video Holes: I Do Chair: Sun Yang Park Not Know What It Is I Am» (2012, Manege Exhibition Hall), «Immersions: Towards the Tactile Cinema» (2012, Ekaterina Rethinking Experimental Film and Video Art: Korean Foundation), «Expanded Cinema — 1, 2, 3» (2011-2013, Avant-garde of the 1960s and 1970s Garage), «Gary Hill. Spectator» (2010, GMG Gallery) Seulkee Kang, Arizona State University This presentation examines Korean avant-garde artists’ Roundtable Discussant #4 engagement with newly emerged media such as film and Anna Frants video, and explores how they experimented with various Anna Frants is an internationally renowned New Media artist modes of expression and representation of identity shifts in and curator who co-founded both CYLAND Media Art Lab and the 20th century. Examining historical and political context of the St. Petersburg Art Project. CYLAND is one of the most post-war Korea, the presentation aims to trace the trajectory of active New Media art nonprofit organizations, and houses the theoretical, conceptual framework to reinterpret Korean avant- largest archive of Eastern European video art online. CYLAND garde and contextualize Korean experimental film and video collaborates with museums, galleries, universities, information art in the global context. I will examine three artists—Kim Ku- resources, research facilities and other media labs, including lim (1936-), Nam June Paik (1932-2006), and Theresa Hak the State Hermitage Youth Educational Center, Pro Arte (St. Kyung Cha (1951-82)—and their experimental film and video Petersburg), Center of Studies of Russian Art (CSAR) at Ca art. Recognized as the first experimental film in Korean art 'Foscari University in Venice, ITMO University (St. history, Kim Ku-lim’s The meaning of 1/24 Second (1969) Petersburg), School of Advanced Studies, University of contributes to re-evaluating Korean avant-garde. Working with Tyumen. In September 2020, CYLAND Media Art Lab has new media, Nam June Paik opened the realm of video art and become the official representative of The Leonardo / LASER worked as a mediator between the East and the West. In his Talks in St. Petersburg, Russia. As Co-Founder of CYLAND video art, TV Garden (1974), displaying of Global Groove Media Art Lab (cyland.org), Frants organizes exhibitions at top (1973) signifies the importance of interactive nature between art and technology institutions around the world; as a curator technology and the environment. Settled in the U.S and and artist, Frants is an important voice in the cultural dialogue engaged in avant-garde, Theresa Hak Kyung Cha grappled surrounding experimental and new media art. Frants has with formation of identity and its relationship to language. served as a contributing writer to NYArts Magazine as Art and While engaging in writing and publishing literary works like Antiques Magazines and contributed to symposiums and Dictee (1982), Cha incorporated her own experience as a panels for universities, festivals. Her works are exhibited woman, migrant, creator, and settler into her art, and produced worldwide, including Moscow Biennale of Contemporary Art, film and video works mostly in 1970s. Examining and Video Guerrilha Festival (Brazil), Manifesta 10 Biennale (St. contextualizing works of these artists in the global context, I Petersburg), Museum of Art and Design (New York), will illuminate their aspirations to configure one’s identity and Hermitage Museum (St. Petersburg), Chelsea Art Museum interpret interdisciplinarity in their own artistic languages. (New York), Russian Museum (St. Petersburg), Kunstquartier Bethanien (Berlin) . http://annafrants.net/ Global Communication and Utopian Complicity between Art and Technology: Nam June Paik’s Participatory TV Art Roundtable Discussant #5 Sun Yang Park Alexandra Dementieva Nam June Paik (1932-2006) is a Korean-born global artist and 03/22/2022 https://www.collegeart.org Page 111 of 234 110th CAA Annual Conference video art pioneer whose work Good Morning, Mr. Orwell South Korea. (1984) is an artistic reinterpretation of George Orwell’s 1984. Several Western and Korean scholars have investigated Mobilizing the Multitudes through Sensible Production in Paik’s artistic legacy. Remarkable achievements with his use Neoliberal Taiwan of new technology, most notably the creation of the aesthetic, Hsin-Yun Cheng, University of Rochester Library “humanization of machines,” is a significant part of their This paper compares Taiwanese artist Chen Chieh-Jen's research. In this light, the following questions can be raised: Factory (2003) with A Field of Non-Field (2017); both of which did Paik adhere to an optimistic vision of technology? What addresses issues of unemployment and labor rights beginning did he ultimately seek and embody through a collaboration in the 1980s. Factory is set against the backdrop of between art and technology? This paper incorporates the outsourcing manufacturing in 1980s Taiwan, whereas A Field answers to these questions into exploring Paik’s pivotal video directly examines workers’ situation under the neoliberal artworks, TV Magnet (1965), Participation TV (1963-1971), regime. By reinventing strategies of rebellion within the and the satellite installation, Good Morning, Mr. Orwell, in colonial history, Chen reconstructs a genealogy of resistance conjunction with the concept of cybernetics. In Orwell’s in Taiwan from the Japanese colonial rule to the neoliberal era dystopian story, TV symbolized a device of dictatorial power, and sets film as a medium to mobilize anti-imperialist and Paik was acutely aware of its harmful effects portrayed in consciousness among the colonized people and exploited the novel. This paper considers his critical yet utopian workers. Through his works, Chen introduces us to the notion reinterpretation of 1984 through his video artworks; they of “sensible production of the deprived people.” Sensible represent the very possibility that the TV, with his artistic production refers to the self-positioning and aesthetic touch, can be transformed into an apparatus for better, practices of the workers or colonized commoners, which helps worldwide communication. It would not be an exaggeration to them reclaim the cultural identity and liberal consciousness accredit his artworks as advancing the idea of “open circuit,” that oppose the colonial government and capitalists. These inter-communicating with others around the world. Through productions are carried out by vernacular performances and these analyses, this paper illustrates how his video art temporal communities in Chen’s works. By asking workers to bespeaks the utopian vision of communication from artistic reenact their jobs in Factory, Chen alienates workers from and theoretical aspects, in addition to how his artistic invention their original social identities, transforming them into echoes the technological development of multimedia and performers. In A Field, through staging a collective vernacular digital systems. performance of lo-deh sao, the workers’ identities become a debatable space, where the neoliberal regulations are The Cyborgs Have Always Been Zombies: Lee Bul’s Early questioned. This paper examines Chen’s notion of “sensible Performance and Installation Works (1987-1997) production” and his reinvention of vernacular performances. Soyi Kim Viewing these approaches as decolonial and anti-neoliberal This paper revisits the relatively lesser-known early gestures, I argue that Chen intends to reclaim the agency of performance and installation works (1987-1997) of Korean multitudes of workers through self-positioning and reinventing feminist artist Lee Bul. Before becoming internationally the forms of resistance in East-Asian postcolonial genealogy. renowned for her Cyborg series (1997-2011) and dystopia- themed sculpture series (2002-), Lee remained rather invisible as a feminist artist in Korea. It is so despite her continuous and versatile attempt to reshape Korean women’s body image and act out biological fears around them in her art. She suspended vulnerable and symbolically gendered bodies, including her own undressed body, defeathered hens, and fish in a gallery space and had the bodies suffer, decompose, or spread odor over time. I argue that Lee’s early corpus of works, through their corporeality and invisibility, epitomizes Korean women’s status of social death, and it is better substantiated through the trope of zombie than cyborg. Because of the figure of cyborg’s relatively short-term relevance within Lee’s several-decade-long oeuvre, I argue that cyborg has more contributed to isolating Lee’s early works from her later works than providing an overarching view to encompass her variegated artistic endeavors throughout. By contrast, zombie, a figure of an ontological impasse, helps locate Lee’s work, including the Cyborg series, within the history of South Korea’s necropolitics and misogyny, all of which sharply contrast developmentalist and masculine visions of “modernizing” and “democratic” Korea. Through the zombie, the forgotten division between Lee’s early and later works can be recognized and sutured. And they can be understood within a broader historical context of modern 03/22/2022 https://www.collegeart.org Page 112 of 234 110th CAA Annual Conference preconceptions about the region. I compare the 1985 and New Perspectives in Art, Design, and Art 2021 festivals and analyze the importance of a stage History: Supporting and Showcasing exclusively for Tibetan contemporary artists and their work from a cultural and historical perspective. For instance, Emerging Voices from Marginalized whereas the original festival bridged all generations of Communities Tibetans and granted everyone the right to comment on art, COMMITTEE ON DIVERSITY PRACTICES the current version goes a step further by focusing on Tibet as more than a traditional, religious, and mystical land while Chairs: Stefanie Snider, Kendall College of Art and amplifying the vibrant art of the younger generation. Design; Rachel Lynn de Cuba In considering ways to support and develop students and Performances of/by Rural Migrant Workers: Marginality in emerging scholars and practitioners from marginalized Chinese Contemporary Art communities, the CAA Committee on Diversity Practices panel Wei Hao Goh for 2022 seeks contributions from undergraduate students, With dreams of achieving a better life, millions of workers graduate students, and early career artists/ designers/ scholars migrated to cities from rural villages during the reform and on a wide range of creative and research topics. We hope to opening-up era in China which began in 1978. These rural uplift and showcase innovative work created by Black, migrant workers are referred to as “nongmingong.” The Indigenous, Latinx, Asian and Pacific Islander, and additional workers are often denied access to important welfare services People of Color, disabled/ chronically ill/ neurodiverse people, and chances for social mobility despite their contributions to LGBTQIA+ and gender non-conforming people, people from the urban spaces, resulting in the nongmingong becoming Global South, and others whose backgrounds have historically increasingly disenfranchised, leading to a growing divide been absented, neglected, and/or overlooked in the academic between them and their urban counterparts. This has led to a and arts professions. For this committee, diversity denotes the surge in the number of protests by the rural migrant workers recognition and embrace of human difference, both individually who turned to corporeal performances to have their demands and socially. Equity focuses on fairness, justice, and the creation met. Their plight also received attention from performance of opportunities for all people to excel in their chosen paths. artists, who similarly understood the political impact of the Inclusion centers and prioritizes historically marginalized workers’ bodies and incorporated them into their community members in the arts professions. Presentation topics performances. Looking at three performances with varying can be on any aspect of art, design, and/or art/design history; levels of participation by the nongmingong performers — work that incorporates the positionality of the presenter is Wang Wei’s Temporary Space (2003), Song Dong’s Potted welcomed. For those undergraduate or graduate students Landscape (2002) and the performances of protest initiated by seeking mentorship in the process of organizing a CAA the workers themselves — this study examines how the presentation, Committee on Diversity Practices members are different aspects of the rural migrant workers are represented happy to volunteer their time to work together toward your goals through the varying visual strategies adopted in each for this 2022 CAA panel; please indicate if this is desired in your performance. It looks at how the performances represent the abstract submission. Undergraduate students, graduate liminal citizenship occupied by the workers in urban and students, and early career artists/ designers/ scholars who have performative spaces; the individual subjectivities of the never presented and/or attended CAA are especially encouraged workers; the political identity and goals of the nongmingong. to apply. This paper also provides insights into the ‘everyday’ practices of the workers by shifting the focus away from artists by Sweet-tea-house-ism and Sweetteart House Festival examining performances of protests initiated by workers. 2021: How Two Generations of Tibetan Art Workers Promote Tibetan Contemporary Art Identity, History, and Black Suffering: Haitian Art as Wake Kaiyan Wang Work Emmanuella Turenne, UC Irvine Sweet tea houses have a history of 100 years in Tibet. As an open space where any topic can be freely discussed, they are Making Waves: Practices of Refusal and Haunting in the an indispensable part of Tibetan social life. In 1985, a group of Work of Yuki Kihara artists founded “Sweet-tea-house-ism,” also known as Kirsten Schuck, School of the Art Insitute of Chicago “Sweeteart House Festival” (combining the words “sweet tea” The oeuvre of the interdisciplinary artist Yuki Kihara – who and “art”). Disappointed by the lack of exhibition spaces, the identifies as Pacific Islander, Asian, fa'afafine, and trans – artists displayed their avant-garde artworks at a tea house in scrutinizes and critiques the colonial histories of the Pacific. Lhasa heated by cow dung and firewood. They spent three The artist, who will be representing Aotearoa New Zealand in years cultivating an indigenous Tibetan art space. In 2021, a the 2022 Venice Biennale, often employs incisive parodies of group of young Tibetan art workers in Lhasa, inspired by the the colonizer's tropes in order to provoke further consideration original, plans to revive the festival. Unlike the 1985 of the Western stereotypes which Pacific Islanders endure. installment, they have picked the ten most historical tea Refusal of the Western conceptualization of gender as binary houses in Lhasa, both to promote local artists and to (being in conflict with the Samoan understanding of gender as showcase different art forms. In this presentation, I showcase a spectrum), the perceived dichotomies constructed between the emergent voices of Tibetan artists challenging Pacific Islanders as compared to Western whiteness, and the 03/22/2022 https://www.collegeart.org Page 113 of 234 110th CAA Annual Conference exoticization of a 'Pacific Paradise' (contrasting the real, lived them in a speculative narrative about the virtualization of experience of its inhabitants) requires the exertion of artistic everyday experience. The video begins by simulating the agency in order to take control of the narrative around appearance of a computer desktop with video clips in playing Polynesian identity and to grapple with the politics surrounding in multiple windows. The majority of these clips were shot in race, gender, and place. Imperial and colonial actions have empty urban office plazas in the fall of 2020, and then layered engendered in Indigenous people a traumatic lived experience with footage from Dziga Vertov’s kaleidoscopic 1929 film Man of disembodiment and displacement in their own lands – With a Movie Camera, which depicts fast-paced urban life in recasting them as specters. Through Kihara's work one can 1920s Kiev. By showing both the reflective glass of post- endeavor to understand this trauma and its damaging impact modern office buildings and Vertov’s disorienting, layered on the Indigenous understanding of 'place' and 'personhood' in filmmaking within the space of a computer desktop, the video the context of what Eve Tuck, C. Ree, and Avery F. Gordon suggests a historical lineage of increasingly flattened visual (among a number of humanities and social sciences scholars) space that has led to our current retreat from physical describe as the contemporary cultural theory of Haunting. This locations into a more virtual existence. As the video paper calls for Western reconsideration of the violations progresses, it begins to take inspiration from Vertov’s “camera committed by the Western art historical canon and cultural tricks,” as the animated computer desktop windows start to archives through highlighting a contemporary artist's dissolve, flip, and move independently. By inserting this examination of the fetishization, exploitation, and Othering of unsettling movement in an otherwise familiar virtual Polynesian colonized communities. environment, the video triggers viewers’ perceptual and physical responses and illuminates the precarious boundary between the “real” the virtual. Like Vertov’s theatergoers, who New Ways of Seeing watch themselves onscreen at the end of his film, Proscenium Chairs: Sarah Drury; Erika Mijlin encourages a similar self-reflexivity by asking the viewer to consider their embodied engagement with the artwork. We propose a panel of ideas and solicited video screenings that explore contemporary modes, systems and technologies of How to Disappear Completely seeing. Our contemporary experience of visuality is rarely a cameron granger contained and temporally framed act of volition in the model of I want to think about the shared history of Black Folks in the cinema or television. New ways of seeing are ever more same way poet Hanif Abdurraqib describes the Soul Train immersive ways of being - manifested on multiple, simultaneous Line: A narrow writhing seemingly endless tunnel of Black screens and social platforms, continually fragmented and Folks smiling and clapping. Where, in the center, partners are recontextualized - a lived environment where continual watching brought together - sometimes by intention, many times by fate. takes precedence over seeing. This Call for Participation solicits And together, using what knowledge they have of themselves media works that use or reference contemporary visual modes and their bodies, they must make their way out - to the other and materials, critically or playfully, revealing new ways of seeing side - urged on by the blooming claps around them. These that subvert, obscure or reverse dominant paradigms of looking. shared stories become less visible as we move through the Solicited works might engage such visual paradigms as: -- present and into the future. Our histories are often confined to Systems of surveillance, sensing, tracking and mapping that the margins (a tunnel of its own) and redacted to a distorted produce so-called passive imagery, such as Google Earth, that past tense. In their place, a violent vernacular has been built, produce images continually, where the seeming passivity of their creating an imaging that finds Black Folks – to quote production belies a world utterly transformed into a networked sociologist and scholar Ruha Benjamin: “trapped between image-space. -- Active and intentional video observation in the regimes of invisibility and hypervisibility” I made How to form of police bodycams, and their companion bystander phone Disappear Completely at a time where I felt too seen, too videos, with all of the charged implications of a layered watched, too vulnerable – the only way I knew to protect surveillance of the exercise of power. -- Body worn and mobile myself was to redact myself from view. It was an attempt to devices tracking movement and activity, streaming information “opt out” of the vernacular, removing myself from the burden of and images, layering environmental experience and media even having to work in resistance to it. A temporary one, but information -- Participation in everyday video-encounters like an attempt nonetheless. Zoom reveals our human adaptation to a visual system of screen-based, one-point perspective, in which each participant Unburning 1d5003.mp4 gazes at a screen containing both self and others. Here subject Abram Stern, UC Santa Cruz and object become equivalent in watching and being watched. This paper examines metadata found in a collection of 18 ½ hours of aerial surveillance of the 2015 Baltimore Uprising, Proscenium which followed the murder of Freddie Gray by members of the Allyson Packer, University of North Texas Baltimore Police Department. I begin from the position that Proscenium The video Proscenium, made by Allyson Packer this silent and partially-redacted video footage, produced by and Jesse Fisher, explores the collapse of "real" and virtual infrared sensors attached to manned aircraft, reproduces a space. Unfolding across the urban American landscape and criminalizing and racialized gaze. and focus my analysis on anonymous virtual locations, the video’s experimental editing what remains of the media when the video is removed. techniques elicit viewers’ embodied responses to engage Produced in tandem when digital media is saved, edited, and published, metadata remains largely out-of-sight, often unread 03/22/2022 https://www.collegeart.org Page 114 of 234 110th CAA Annual Conference except by machines. Metadata functions as a text about content, but also as complex references to other media, Notions of Value in Public Art revealing stories, actualities, and poetics. It carries all of the PUBLIC ART DIALOGUE problematics of indexical media, inscribing the banalities of Chairs: Tola C. Porter; Leslie S. Markle, Mildred Lane software settings and sensed conditions specific to the Kemper Art Museum moment of capture, presenting them as matters of fact. My analysis of these metadata reveals traces of a still-extant Discussant: Andrew Wasserman institutional and infrastructural apparatus of anti-Black A discourse regarding the value of public art may be framed by surveillance. Even as it works to decode the mediatic traces of the Marxian terms use value and exchange value. Use value this system, this presentation argues against a forensic pertains to the human needs that public art fulfills such as reading through the lens of expertise; more than a tool for inspiring individual curiosity and wonder, engendering civic establishing evidentiary authenticity, metadata is also a site for engagement and community pride, and fostering a shared performance and contestation. To this end, I introduce cultural heritage. Debates about whether public art’s value lies Unburning (2021), a durational media installation produced in predominantly within the aesthetic realm or within the realm of collaboration with Margaret Laurena Kemp that rereads and social engagement bring other notions of use value to the repurposes this material in a critical analysis of surveillance assessment of public art. Exchange value, being monetarily and witnessing, hypervisibility and concealment, quantification based, defines public art by the dollar amount it would fetch on and abstraction. the market and contributes to claims of public art’s role in economic revitalization. When the focus on exchange value Dreams Under Confinement eclipses public art’s harder-to-define, yet more enriching use Christopher Harris, University of Iowa value, public audiences suffer. In 2018, Chicago Mayor Rahm Frenzied voices on the Chicago Police Department’s scanner Emanuel proposed to sell Kerry James Marshall’s public library call for squad cars and reprisals during the 2020 uprising in mural, Knowledge and Wonder, enticed by the large profit the response to the murders of George Floyd, Breonna Taylor, city could gain from the sale. He only withdrew the mural from and Ahmaud Arbery, as Google Earth tracks the action auction after others mounted a public campaign that highlighted through simulated aerial views of urban spaces and the vast the long-term use value the mural sustains for everyday users of Cook County Department of Corrections, the country’s third- the library. We seek paper proposals that address the question of largest jail system. In Dreams Under Confinement, the prison how public art connects to various notions of value as they and the street merge into a shared carceral landscape. pertain to larger political and social conditions in the United States and internationally. If public art is a sign of society’s investment in creating public value, in what ways can we work to define, explore, and recenter the human use value of public art? From la Banda to el Equipo: Affective biopolitical urbanism in Muraleon Caitlin Frances Bruce, University of Pittsburgh Within the space of eighteen years, media and municipal descriptions for graffiti writers in León Guanajuato Mexico have shifted. From being described as “vandals” and “delinquents” in government and newspaper reports, writers are now often described as “artists” and sometimes even “citizens.” The debates about whether graffiti should be seen as damage to property or an expression of civic voice, and if its practitioners are no goods or civic exemplars, revolves around larger implicit questions about the good city, the good citizen, and the good life. In oscillating regimes of recognition, the questions of what art is and what art has value is inextricable from the subjects who produce it. This presentation takes up a recent iteration of Leóns permission graffiti program, Muraleon, to explore what happens when the state becomes the primary sponsoring agent for a formerly underground, unofficial, and marginalized art practice and how it shapes artists’ relationships to each other, broader publics and institutions. In the shift to promoting artistic practice geared towards creating color therapy to soothe the citizenry and launch writers into careers, it figures the value of public art in both economic and affective terms. Practitioners, however, have long performed alternative understandings of value derived from the collectivity of the banda and the milieu 03/22/2022 https://www.collegeart.org Page 115 of 234 110th CAA Annual Conference of the street. In the transformation of León’s graffiti worlds as Understanding these murals and the context in which they practitioners are alternately framed as citizens with voice or worked sheds light not just on how they complemented voices against the proper citizenry, we see what Claire Fox WNYC’s mission but also on how abstraction generated value has figured as “policy’s potentially transformative, as well as for the New York City Federal Art Project more generally. its normative aspects.” Violence, Value and Representation of Women in South On Afro-pessimism and Its Alternatives Africa's Public Sphere Chair: Kristen Laciste, UC Santa Cruz Kim Miller, Wheaton College This paper centers on a single incident - the 2011 theft and In his 2012 article in Leeds African Studies Bulletin, Toussaint dismemberment of a bronze memorial statue depicting Nothias points out that the scholarly literature on Afro-pessimism Nokuthula Simelane, a former female struggle activist, in the (also written as Afropessimism) “remains largely disjointed.” town of Bethel, South Africa. Simelane was an activist in the Indeed, the concept of Afro-pessimism is polysemous, yet anti-apartheid movement. In 1983 she was abducted, tortured, perhaps best associated with Frank B. Wilderson III, who argues and "disappeared" by members of the Security Police. She that Blackness cannot be separated from “Slaveness” and was never seen again. In 2009 the Mpumalanga provincial “social death,” especially in the context of the United States. In government sponsored the creation of a memorial statue his latest work, Afropessimism (2020), Wilderson examines depicting Simelane to recognize her courageous contribution critical scenes in films, particularly from 12 Years a Slave (2013), to the struggle and place her story in the public domain. Two to discuss the anti-Black violence characteristic of his lived years later, the commemorative statue was vandalized and experience. On the other hand, Afro-pessimism also refers to the destroyed. How might this story - a story about a heroic idea that Africa is constantly plagued by death, disorder, and woman, her demise, her commemoration, and its subsequent destruction. This understanding of Afro-pessimism has been destruction - demonstrate the political function and value of sustained by the overwhelmingly negative news coverage of visual culture and shed light on the gender politics Africa by American and European media, which has been underpinning commemoration in South Africa's public sphere? criticized by the late Okwui Enwezor for its tendency to report What can it tell us about the possibilities and the limits of stories mainly about violence, political corruption, poverty, public displays of female power and authority? I argue that this outbreaks of disease, and famine. In reaction to Afro-pessimism, particular episode is instructive for thinking through the other scholars have described alternatives such as Afro- relationship between violence, value,and representation in the optimism and Black Optimism, which are premised on locating public sphere - what W.J.T. Mitchell calls "the economy of instances of agency, hope, and resistance. With multiple violence encoded in public images" - which I believe to be meanings attached to Afro-pessimism, as well as its alternative especially true in relation to post-apartheid commemorations stances, this session explores the distinct and disjointed of heroic women whose courageous actions have sadly gone understandings and applications of Afro-pessimism. Moreover, relatively unnoticed in post-apartheid public art. Further, I this session invites contributions that utilize and problematize suggest that the relative absence of depictions of heroic Afro-pessimism as a theoretical lens through which to analyze women has significant implications for women's political digital, social, and news media, as well as photography, film, and viability and power in South Africa's public sphere. video. Putting Abstraction to Work: Radio Station Murals and Afrofuturism and the Technologies of Survival Mechanized Labor Elizabeth C Hamilton, Fort Valley State University Robin Owen Joyce Examining the art of Alison Saar, Nick Cave, and Amy This paper explores how abstract murals produced by Byron Sherald, I will highlight the tensions between Afropessimism Browne, Stuart Davis, Louis Schanker, and John von Wicht for and Afrofuturism. Black death has been a lingering specter radio station WNYC operated as a part of New York City’s over my academic career. I write with it; I write against it. In municipal radio infrastructure. Produced under the auspices of 2008, my Grandmother died the week graduate school the Works Progress Administration’s Federal Art Project in classes were beginning. In 2011, as I was finishing my M.A., 1939 and framed in its literature as integral to the function of my Mother died suddenly of a brain aneurysm. As I resumed the broadcast, these murals served as a point of interface studies and began to write my dissertation in 2013, George between office workers and the radio machine and Zimmerman's trial for murdering Trayvon Martin was participated more broadly in municipal radio’s disciplinary broadcasting in the background. The summer before I began project. Taking into account theories of scientific management my first full-time job in 2016, police killed Philando Castille and industrial psychology then in vogue, this paper considers during a traffic stop. I was reeling from that death when the role of public art in producing ‘respectable’ citizen-workers Americans elected Donald Trump to the U.S. presidency. I through mechanization. The WNYC murals are a trace of the wrote "Afrofuturism and the Technologies of Survival" in the encounter between the figurative machine of the WPA/FAP shadow of persistent black death and the threat of anti-black and the literal machines of the radio studio, an encounter in violence from white supremacists. I retreated to Afrofuturism which the human body and mind are made to accommodate as a necessary counternarrative to Afropessimism. It posits the machine. The murals are described as a soothing black survival and hope in the face of black death. 2020 extension of the climate control systems; they acclimate the brought protests against the highly publicized deaths of radio broadcaster to their position as an operator. 03/22/2022 https://www.collegeart.org Page 116 of 234 110th CAA Annual Conference George Floyd and Breonna Taylor rocked the country. Artists have responded to these events in varied ways and this paper Open Session for Emerging Scholars of Latin will examine the art created out of the mourning of black life. American Art Association for Latin American Revisiting Moonlight: Encountering Ontological Incapacity, Art Endurance, and The Cinematic ASSOCIATION FOR LATIN AMERICAN ART Emily Faith Martin Chairs: Dominique E. Polanco, Virginia Tech; Juanita Barry Jenkin’s 2016 film Moonlight is a creative black output, a Solano, Universidad de Los Andes generative work, and yet its delivery, aspects of its mise en scene, and narrative present the viewer with an inescapable The aim of the ALAA-sponsored open session is to provide a void and longing. But its ending prompts us, specifically black platform at the annual conference to highlight work produced by viewers, to wonder whether recognizing our own non-being on advanced graduate students and recent Ph.D.s, who concentrate screen and then encountering it has to be a wholly on the histories of Latin American and Latinx arts and/or visual melancholic and life-less process or one that is simultaneously and material cultures. Papers may focus on any region, period, destructive/devastating and generative/healing. The ending of or theme related to the Latin American and Latinx experience, Moonlight does not stop at presenting us with the weight of including, Precolonial/Ancient American art, colonial/viceregal black non-being but asks us what we do next in the face of it art, art of the nineteenth century, modern art, and contemporary and how do we emotionally navigate the pervasive trauma art, including folk/popular art and craft studies, from Latin caused by anti-blackness. Through the writings of Kara America, the Caribbean, and the U.S. In reviewing submissions Keeling, Calvin L. Warren, and Frank Wilderson III, this and selecting the papers for the session, the co-chairs will be presentation utilizes Afropessimism and its progressive form, looking for strong proposals that cover a range of subjects Black Nihilism, to understand the potential of the cinematic across each of the noted areas. Co-chairs encourage papers image and cinematic reality and narrative to embody and that address issues related to underrepresented genders, ethnic address the weight of ontological incapacity. This weight in its groups, and social classes. acceptance can be deconstructed and processed through cinematic reality construction and the understanding that the Building Blocks of Empire: Gridded Opposition in Inka end of the film can be felt/seen as the end of a world. Textiles Moonlight’s ending prompts the question “what else can I be?” Katie Elizabeth Ligmond in response to the pressure and constrictive nature of black Much research on Inka (1400-1535 CE) textiles has been non-being and pushes the viewer to imagine the answer dedicated to deciphering their emblematic motifs known as beyond the imaginable, which is not possible without this initial tokapu. Tokapu are small, geometric patterns, typically created recognition of ontological incapacity. from designs of squares, crosses, and diamonds, that are inscribed in rectangles and are commonly found on men’s The Urban Artist's Manifesto: Act I tunics, called unkukuna. Many have tried to “read” these Stephen Fakiyesi designs or analyzed their symmetrical format to make I wanted to know why there were so few black professors arguments about the organization of the Inka empire. I represented in most educational departments. In particular, propose that beyond the patterns themselves, the way tokapu why were they so under-represented in the field of Visual tunics, and other Inka textiles, are organized is integral to Arts? And, why were there so very few successful black visual understanding Inka ideology. The Inka were extremely artists? What did success even look like for an individual artist committed to a gridded organization on textiles. This is true for or a group of artists? What did it look like on a cultural level, fabrics beyond unkukuna covered in tokapu and includes Inka and how would it be reflected within society? I wondered what warriors’ tunics, the gridded Inka key design on the garments it would take for me to attain success and whether or not it of high-ranking officials, and even decorative textiles. When was possible to attain it on my terms. My inquiries have taken we look at Inka weaving, colors that are often difficult to me from Toronto to Nigeria, to Nunavut, in the arctic circle, visually reconcile are placed directly next to one another. For from Los Angeles to London. It is the topic of my upcoming example, warriors’ tunics form a black and white checkerboard book - The Urban Artist's Manifesto, on which I've based this that art historian Rebecca Stone has argued is research paper. I've examined my own experiences as an “juxtapositional,” meaning, the two forces of black and white accomplished artist, an early 90s activist, an entrepreneur, are forced to be in contest. There are other textiles, however, and an intrapreneur, and I've mined a large amount of the like a cream and white veil that also features a checkerboard literature in multiple disciplines from art and art history to the pattern located at LACMA, that seems to vibrate. Rather than business world; from the music industry to the sports industry. being opposed, these colors begin to blend together. I propose Beyond research, this is personal, a manifesto for the we begin to think of Inka textiles as a metaphor for what they marginalized, and the misfits, The Urban Artist Manifesto - Act wanted their empire to be: full of ethnic diversity, but blended 1. not forced. Tracing Erasure in Mexican Manuscripts Hayley Bristow Woodward Pictorial manuscripts from Central Mexico recorded the past 03/22/2022 https://www.collegeart.org Page 117 of 234 110th CAA Annual Conference and guided the future for indigenous actors before and after Transpacific Encounters: A Mexican Modernist in China the Aztec-Spanish Encounter in 1519. Although the format Xinyue Yuan and content of these books has been studied in great depth, In recent studies on modern art in 1930s Shanghai, art the interpretation of new multispectral imaging, coupled with historian Paul Bevan excavates rich primary documents on surface-level formal and material analyses, demonstrate that a Mexican artist Miguel Covarrubias (1904-1957)’s trips to China number of historical manuscripts were locales of pictorial in 1930 and 1933, funded by a Guggenheim Fellowship to intervention over the course of the objects’ lives. Such books carry out anthropological research. Bevan argues for a one- are multi-layered documents, ones that reflect multiple voices way impact of Covarrubias on modern Chinese artists, and concerns. This paper destabilizes the surfaces of a especially Shanghai-based artist and designer Zhang number of pictorial histories by postulating why effacements Guangyu (1900-1965). (Bevan, 2016) By viewing Covarrubias occurred, thereby re-routing or censuring existing information and Zhang in the triangle interactions across Mexico, China, on the picture plane. It compares the practice of taking away and Euro-American modernism, this paper rethinks the pictured information to that of adding to the manuscripts’ discourse of “imitation” and shifts the focus to examine how composition over time. It proves that certain indigenous-made WWII and the beginning of the Cold War in the 1940s manuscripts bear witness to the transpositions of time, reinforced the artistic dialogue between Mexican and Chinese reflecting continual engagement and alteration. In fact, this modernists by analyzing classical Chinese novel-based book paper proves that painted books that have been considered to All Men are Brothers illustrated by Covarrubias. I first compare be faithful examples of pre-Hispanic indigenous style and Covarrubias and Zhang’s illustrated books in the 1930s to format actually reflect over-writings and erasures that index investigate how non-Western modernists played with ways of colonial concerns permeating on the pages. By positioning the representing folk people as primitive and sexualized others painted book as a site of encounter and interaction of ideas which contributed to the imagination of race and geography and messages, this paper demonstrates how colonial actors across the transpacific region. I then turn to Zhang’s 1945 navigated their contemporary circumstances by re-routing pre- work Journey to the West and Covarrubias’ 1948 book All Men Hispanic history and knowledge. The relationships between are Brothers and discuss “oriental” elements in Zhang’s work erasure and inscription shed light on this tension between the and Covarrubias’ style and subjects inspired by Peking opera. past and the present. I argue that while their works envision an idealized “third world” comradeship and a style of “third world” artistic The Forgotten Modernist: The Case of Annemarie modernism, there exists the internalized Euro-American ways Heinrich in Argentina of looking at the ornamental “orient”. Marina Dumont-Gauthier, University of Toronto Annemarie Heinrich grew up in Weimar Germany until her family moved to Argentina in 1926 when she was fourteen years old. Mainly self-taught, she opened her first photography studio in 1930, making her one of the very first women to do so in Buenos Aires. By the late 1930s, she had cemented her role as "the" photographer of Argentina’s cinematic Golden Age and her work had been featured in both local and international exhibitions. This well-earned reputation conferred her a prominent place within Buenos Aires’ photo scene, in spite of the latter being heavily dominated by male photographers. In turn, this secured position also allowed her to stray from the stringent standards of this community, which were firmly entrenched in nineteenth century Pictorialism, most notably through her use of surrealist imagery and techniques. And yet, because of her presence in these photo circles and the prevailing commercial reading of her work, her place as a forerunner of modern photography in Argentina has been largely overlooked, that attribute being usually reserved for Bauhaus trained photographers Grete Stern and her husband Horacio Coppola. Considering aspects of her practice such as her studio dynamic, her manipulation of negatives, her relationship with models, and her assessment of surrealism, I aim to demystify Heinrich’s legacy as a primarily commercial photographer. This discussion will be punctuated with reflections on Heinrich’s navigation of the rapidly changing gender predicaments that marked mid- twentieth century Argentine society and her transition toward a more gendered aware photo-practice. 03/22/2022 https://www.collegeart.org Page 118 of 234 110th CAA Annual Conference the collections and exhibitions of other institutions. Overlooked and Underappreciated: Mavens of Modernism in the West The Legacy of Zoe Dusanne: Modernism at the Seattle Art Museum Chair: Gloria Williams Sander, Norton Simon Museum Richelle Munkhoff, Plain Sight Archive and Beth of Art Whittaker, Sam Francis Foundation Overlooked and Underappreciated: Mavens of Modernism in the Zoe Dusanne opened Seattle’s first private gallery devoted to West The time has come for a thoughtful and thorough modern art in 1950, when she was 66 years old. The Dusanne evaluation of the women who championed modern, and Gallery was also Zoe’s home, a midcentury modern “jewel particularly abstract art in the western United States, in the first box” originally designed to showcase her own collection half of the twentieth century. They faced the Sisyphean task of amassed during her years in New York City (1927-1942). Our promoting innovative, unfamiliar art to collectors and to paper focuses on the years between 1942 and 1950, when institutions absent the established social-economic Dusanne’s influence on Seattle’s art world was being infrastructures that their well-studied East coast counterparts, established. She returned to the Northwest bringing with her such as Hilla von Rebay, enjoyed. The contributions of the some 50 works by American and European painters who mavens of modernism in the West hover in the shadows, either were or would become major figures in modernism. collapsed into the footnotes of the artists and the institutions they Interest grew, and the Seattle Art Museum ultimately exhibited supported. Notable agents include Galka Scheyer who organized “The Zoe Dusanne Collection” in 1947. Out of this developed exhibitions, and wrote and lectured on modern art from an important relationship between Dusanne and the founding Washington to California, and who cultivated Walter and Louise director of the Seattle Art Museum, Dr. Richard Fuller. With Arensbergs’ growing collection. Pauline Gibling Schindler Fuller’s own expertise in Asian arts, he relied on a handful of promoted contemporary architects, artists and designers by artists and patrons to assist him in collecting modern art for means of her publications. In San Francisco, Beatrice Judd Ryan the museum. Over the next 15 years – the life of the Dusanne opened the first commercial gallery dedicated to modern art, and Gallery -- Dusanne’s knowledge and discerning eye directly Grace McCann Morley left her footprint as the first director of the influenced the institution’s acquisitions and donations. Her city’s Museum of Modern Art. Alice Klauber embraced the cause international connections created a conduit that brought major for San Diego. These are a few of the female connectors and pieces to the museum, often with little credit. Dusanne’s home communicators who energized a broad constituency to share and gallery were destroyed in 1959 by the building of their passion and to embrace their stake in supporting this new Interstate 5. The Gallery formally closed in 1964. Yet Zoe art. This session encourages topics that introduce the Dusanne’s legacy lives on to this day in the Seattle Art achievements of imaginative and influential women, active 1900 Museum’s modern art collection. – 1950, whose single-minded vision for the arts influenced the taste for Modernism in the West, including its expression in The Fierce Agency of Women in the Promotion of architecture. California Modernism in Architecture José PARRA MARTINEZ, University of Alicante In 1937, the San Francisco Museum of Art founding director, A Living Center for Modern Art: Grace McCann Morley Dr. Grace Morley, organized Contemporary Landscape and the San Francisco Museum of Art Architecture, a major show devoted to modern landscape Berit N. Potter, Humboldt State University design, being the first of its kind ever mounted internationally. In 1935 the San Francisco Museum of Art (now the San In addition, the event was the beginning of a series of Francisco Museum of Modern Art) opened in its first exhibitions that challenged the hegemony of MoMA’s permanent location, on the top floor of the Veterans Building, narratives about modern architecture and had the effect of behind San Francisco’s City Hall. When Grace McCann establishing for the humanism of the Bay Region School a Morley was hired as the museum’s new director by William W. room in the pantheon of architectural history In 1935, Pauline Crocker, president of the museum’s board, he asked, “Well, do Schindler guest edited the first monographic issues devoted to you think you can fill the galleries without bothering us?” Not modernist architecture in California in each of the two most only did Morley fill the galleries with nearly seventy exhibitions influential magazines of the West Coast: Architect and during SFMA’s first year of operation, she transformed the Engineer and California Arts & Architecture. Despite the museum into “a living center of education and appreciation of renowned editor John Entenza claimed that he had pioneered modern art.” Enthusiasm for SFMA’s exhibitions and the dissemination of the region’s most advanced architecture, educational programs is evidenced by the museum’s Pauline Schindler’s work preceded by five years Entenza’s membership, which swelled from 800 members in 1938 to editorial venture. Already in 1930, counting on the help and more than 3,500 in 1955. By focusing on the breadth of experience of Galka Scheyer, Schindler’s estranged wife had SFMA’s early collections and exhibitions, and their curated Contemporary Creative Architecture in California, transformations after Morley’s departure in 1958, this paper most of whose exhibitors would later figure prominently in the will examine Morley’s curatorial practice and vision of modern legendary modern architecture exhibition of 1932 at the art, which distinguished her from her East Coast colleagues. MoMA. Although these and many other projects undertaken Morley’s collaborative approach to curating and collecting by women are of paramount importance for achieving a more advanced a representation of modern art at SFMA that comprehensive understanding of California modernism, their centered the voices of many artists who were excluded from contributions are frequently neglected in the canonical 03/22/2022 https://www.collegeart.org Page 119 of 234 110th CAA Annual Conference histories of modern architecture. This presentation explores climate justice advocacy have responded to the unique the crucial, yet unrecognized, role that the intertwined conditions posed by the Covid-19 pandemic. Smith’s personal and professional lives of this triangle of mavens, installation features a poem dedicated to Greta Thunberg, patrons and cultural activists played in the promotion of while Westwood’s short film, “Do Not Buy A Bomb” highlights California modern architecture. how environmental destruction contributes to the reproduction of social inequality and global poverty. Through a close textual analysis of the public art installations and accompanying Pedagogy & Digital Public Art reviews and press treatment, this paper illuminates how Smith and Westwood’s CIRCA projects exemplify a unique form of Socially-engaged art, radical pedagogies, and the Instant multimedia design activism illuminating the connections Class Kit between the social inequalities exacerbated by the Covid-19 Stephanie Springgay pandemic and the climate crisis. Particular attention is directed This paper explores the Instant Class Kit, a portable towards how the CIRCA installations are dependent upon the curriculum guide and pop-up exhibition dedicated to socially- iconic identities of Smith and Westwood, who both possess engaged art as pedagogy. Produced as an edition of four, the significant histories of social justice activism. kit brings together contemporary curriculum materials in the form of artist multiples such as zines, scores, games, newspapers and other sensory objects from 14 contemporary Photography and Empire in East Asia during artists across North America to address topics and the 1930s methodologies including queer subjectivities and Indigenous epistemologies, social movements and collective protest, Chair: Jeehey Kim, University of Arizona immigration, technology, and ecology. The contemporary Discussant: Jonathan Reynolds, Barnard College artists strive to deliver a curriculum based on the values of Columbia University critical democratic pedagogy, anti-racist and anti-colonial logics, and social justice. Instant Class Kit was conceived in Photography and Empire in East Asia during the 1930s response to art historical research undertaken as part of The Organizer/Chair: Jeehey Kim Speakers: Mia Yinxing Liu, Kari Pedagogical Impulse, a research-creation project exploring Shepherdson-Scott, Jeehey Kim Discussant: Jonathan Reynolds contemporary art as pedagogy in schools. This research This panel aims to investigate various photographic practices in examined the experimental collaborative practices of Fluxus, East Asia during the 1930s, diversifying both the global Happenings, and other artist-teachers employed at art photographic scenes of the period and the boundary of the institutions across Canada and the US during the 1960s. Japanese photography at the time. Exploring photographic Against the backdrop of curriculum reforms, and social and practices in China, Japan, Korea, and Manchukuo, the panel political change, these artist-teachers produced and attempts to shed light on the ways in which visualization of the distributed printed matter and other multiples (such as posters, Other contributed to the imperial project of structuring the identity booklets and games) as documents of radical pedagogy. of both the subjugated and the imperialist power. Japanese Three kits circulated by email to post-secondary classrooms photographers played an instrumental role in defining and where they were activated by instructors and students. This redefining the cultural identity of East Asia, either through paper attunes the making, circulation, and activation of the kits participating in the expedition to major Buddhist sites in China or as a form of radical pedagogy informed by feminist care by visualizing its newly acquired territories. The local ethics, intimacy, and radical relatedness. photographers actively appropriated and transformed the European modern avant-garde aesthetics, including Surrealism Digital Public Art & Climate Justice Advocacy During the and New Objectivity, as a mode of challenging the previous Covid-19 Pandemic: the CIRCA Installations of Patti Smith photographic trends as well as of inventing a new visual and Vivienne Westwood language of representing the colonial Other. In addition to Aidan Moir revealing the hitherto little-known photographic culture of the The Covid-19 pandemic has impacted the production, region, the speakers attempt to ruminate on the relationship circulation, and consumption of interactive public art. In between photography and empire building in East Asia. response to the conditions and restrictions posed by the pandemic, artist Josef O’Connor created CIRCA, a digital art The Sino-Japanese War of Photos: Buddhist Sites in installation in London’s Piccadilly Circus. Showcasing Photography (1920- 1940s) interactive artwork by different artists on the iconic landmark’s Mia Yinxing Liu, California College of the Arts large digital billboards, the installation encourages pedestrians The Sino-Japanese War of Photos: Buddhist Sites in to connect their headphones to mobile devices and listen to Photography (1920- 1940s) This paper focuses on the the accompanying audio material. Artists also designed limited essential role photography played in the heritage formation of edition prints available for purchase through the CIRCA Buddhist sites in China such as Yungang and Dunhuang in the website, with proceeds assisting local artists and communities 1930s and the 1940s by Japanese photographers and significantly impacted by the Covid-19 pandemic. This paper Chinese photographers. While the modern “discovery” of analyzes the intermedia CIRCA installations created by Patti some of these sites is credited to European expeditioners Smith and Vivienne Westwood, which both thematically focus since the late 19th century, the European “discovery” was on the climate crisis, to demonstrate how public art and quickly followed by expeditions sent by the Japanese Empire, 03/22/2022 https://www.collegeart.org Page 120 of 234 110th CAA Annual Conference and later those dispatched by the Chinese government in the first half of the 20th century. The Japanese expedition photos Photography and Slow Violence to China was clearly a bold assertion of its imperial power, but Chairs: Danielle Jean Stewart, University of Warwick; it is also an attempt to reframe these Buddhist sites and Isabela Muci Barradas, Princeton University redefine what it meant to be “Asian Heritage.” Therefore, the Japanese photos reveal a precarious ambiguity: an “Asian” Discussant: James R. Swensen explorer/photographer picturing “Asia” is both an “outsider” In 2011, cultural critic Rob Nixon used the term “slow violence” to and “insider” at the same time on many levels, while a describe the unfolding ruin of the contemporary climate crisis. As Buddhist photographer also reclaim the photographing a chronic and evolving issue, Nixon asserts that environmental process as both an “objective” and scientific survey and a degradation “occurs gradually and out of sight, a violence of religious pilgrimage. The Chinese participation in delayed destruction that is dispersed across time and space.” photographing the same sites, later in the game in the 1930s His approach has had a profound impact on the way the and 1940s, had to negotiate with all the previous constructions environmental humanities addresses ecocriticism, but the presented to them in an almost telescopic fashion. By closely application of his ideas to the medium of photography is examining this complex history of the photographic “survey” complicated by the process’s relationship to visuality and time. race of Buddhist sites in China, this paper reveals how Recent scholarship has broadened Nixon’s approach by photography was regarded as the fitting apparatus and highlighting the imbrications of ecocriticism and Indigenous participated as an agent as these sites were re-defined and studies, drawing attention to environmental justice, Indigenous reinvented. worldviews, liquid ecologies, multispecies relations, and resilience. Such transdisciplinary considerations present an Colonizing Art Photography in Korea and Japan opportunity to interrogate the role and uses of photography in Jeehey Kim, University of Arizona confronting climate change. This session invites submissions by Colonial Tactics of Avant-Garde Photography in Korea and art historians and contemporary photographers whose work Japan Jeehey Kim This paper explores art photography of the questions how photography can be used to confront the slow late 1920s and ’30s in and around the Korean peninsula, one violence of ecological destruction. Which sensorial, narrative, of the Japanese colonies, recognizing that Japanese art and distributive practices can be used to evoke slow violence? photography was sustained by images of its colonies, and that How might the difficulty of visualizing slow violence expand photographs of Korea, Taiwan, and Manchuria were essential photography’s sensory politics beyond an ocularcentric history of to structuring the identity of the expanding Japanese Empire, the senses? Finally, how can the circulation of photographic while in turn, imperial institutions and visual culture served as images be effectively harnessed to promote the awareness of reference points for photographic styles and modes of slow ecological processes? representing and restructuring colonial society. As Edward Said notes, Orientalism is a system of referencing the work of others. Photographers of the Japanese empire not only gained Seeing the Landscape as Full or Empty: Re-visioning the inspiration from others’ works; they also contributed to the Encounter of Photography and Indigenous Lands collective formulation of an imperialist photographic style. Jordan Reznick, Bennington College Surrealism and New Objectivity were actively appropriated to Rob Nixon’s suggestion that the destruction of ecosystems innovate the established photographic trends as well as to happens slowly and “out of sight” bears striking resonance construct an imperial mode of visualizing the expanded with the way nineteenth-century landscape photographs boundary of the Japanese power. Through comparing Korean appeared “empty” of human life to the Western eye. and Japanese photographers’ works showing the peninsula Presenting newly “discovered” terrain as a resource-rich and its people, particularly women, this paper explores the bargain bin of milk and honey, photographers collaborated in ways in which what was called art photography also served as prompting an unprecedented rate of Westward migration, a tool of hierarchy that sustained the patriarchal colonial order matched by an appalling pace of ecological destruction. In the of imperial Japan. span of a few decades a million settlers decimated countless communities of wildlife and plants. However survey photographs also recorded that which settlers (willfully) could not see: evidence of Indigenous presence in the natural world—whose evolutionary course was shaped by hundreds of generations of ecological stewardship. Looking to scholars of Traditional Ecological Knowledge who describe vigorous biodiversity as an indication of Indigenous science, this paper presents a counter-reading of nineteenth-century California landscape photographs made by Carleton Watkins and Charles Weed. I point to the acute signs of ecological distress visible in California landscapes mere years after being cut off from Indigenous care. However, by seeing signs of deterioration where settlers saw inexhaustible abundance, we can also peek into the breadth and innovation of kincentric Indigenous epistemologies—which are still being developed in 03/22/2022 https://www.collegeart.org Page 121 of 234 110th CAA Annual Conference Indigenous communities today for the purpose of ecological resource extraction activities. repair. This finding not only counters the Eurocentric perspective on the invisibility of “slow” ecological violence, but re-visions the early history of landscape photography as the Picturing Fabrics: Textile and the fraught encounter of fledgling unseeing colonial optics with an Photographic Image advanced cultivated Indigenous worldview. THE PHOTOGRAPHY NETWORK Salt, Silver, and the Arctic Chairs: Sandrine G.M. Colard; Giulia Paoletti Jennifer Tucker One of the earliest instances of photography’s intimacy with "Salt, Silver, and the Arctic" asks: What new insights about textile is Secondo Pia’s 1898 image of the Shroud of Turin visualizing the Arctic are gained by exploring how the physical (Geimer, 2018). But even in less exceptional occasions than conditions of the environment effected photographers' outdoor Christ’s own portrait, photography’s relation to fabric has been, (and studio) practices? What special challenges and and continues to be, substantial across time and space. The opportunities did Arctic climates and environments present to inclusion of pieces of fabric in women’s albums has been well- early photographers? Drawing on lantern slide collections, documented (Higonnet, 1992; Di Bello, 2007). The frequent photographic archives, and scientific correspondence & doubling of tailors as photographers across the African continent publications, this project aims to foster new approaches to the has been long noted, as well as the commemoration of newly history and theory of photography more generally by studying created outfits as a usual motive for a trip to the studio (Pinther, the 'environment' itself as an actant - almost a co-participant 2007; Rabine 2010). The vibrant juxtaposition of patterned or author - in photography. Connected to this, the project textiles in the works of Seydou Keïta and the likes has been explores the more recent techniques of visualization, like recognized as participating to an aesthetic of “surfacism” that thermal imaging dedicated to finding biological life or satellite enacts a "visual decolonization" (Oguibe, 1996; Pinney, 2003; images dedicated to detecting change in the environment. Thompson 2009; Agbo 2019). Finally, a movement in recent These new and changing techniques are significant for contemporary art has seen practitioners literally embroider or perceptions not only of global climate monitoring, but also for weave their prints, or infuse a “photographic aesthetic” into their geopolitics and conceptions of future life in the region. My fabrics like in the works of Joanna Choumali, Kyle Meyer, Monica research explores how the Arctic environment is de Miranda, Billie Zangewa among others (Dewan, 2012). This simultaneously both a source of images of slow (and also panel seeks to reflect upon some of the following questions: Is rapid) ecological degradation, and an active participant in there a world history of photography to be written from the point knowledge production through the effects of weather and of view of the medium’s relation to textile, as medium, surface, physical environment on the making of photographs. aesthetic and haptic perception? What are the shared properties of both media, and how have they influenced each other? Also, Red Earth and White Walls: The Color of Violence in is there a gendered, female-specific engagement of textile within Matheus Rocha Pitta’s Série Brasil photography? Alice Heeren Brasília was, from its inception, part of an ambitious project to Between cotton threads. The place of photographic conquer the central plateau, exploring its massive symbolic, materiality human, and environmental resources and creating a foothold Juliana Robles de la Pava for expansion of extraction capitalism towards the Amazon The material constitution of photographic objects has been basin. Nevertheless, the story of Brazil’s capital—whether the largely neglected in the histories of the medium. Throughout epic of its rise and fall as ‘the first modernist city’ or the place it the last centuries, both the theory and the history of secured in the architectural canon—has always been photography have disbelieved the conceptual power that nests distanced from this neocolonial history and its legacy of in the physicality of the so-called photographic objects, paying exploitation. This paper examines Matheus Rocha Pitta’s more attention to the symbolic orders of the resulting image, photographic series Série Brasil as framing Brasília as a its representational evocations and the social relevance of that space marked by violence both at the human and material which is visually inscribed on a surface. In the face of this level. Looking at these images in relation to Lina Kim and hegemony of reference and ideality proper to the photographic Michael Wesely’s Arquivo Brasília and Paulo Tavares’s 2021 image, the contemporary aesthetics of authors such as Gilles publication Deshabitat, I argue that by evoking the relationship Deleuze and Jacques Derrida alert us of the permanent between the color of the earth of the sertão, which makes motion and the multiple folds that constitute every explicit the erasure of color in Brasília’s complex of visuality, photographic support. A haptic quality of what we consider as Rocha Pitta’s work brings to the fore the violence and on- materially smooth or flat and that confronts us with a going exploitation of the human and natural resources photographic depth woven with fibers, chemicals, embedded in the history of Brasília. As flesh and earth mesh electromagnetic energy and so on. This presentation explores together to the point of effacement in these photographs, the the conceptual implications of the cotton fibers on which an ecologies that populate the central plateau are brought to bear extensive amount of photographic imagery has been printed on the whitening and erasure of their material and symbolic throughout history. It is these fibers that constitute the textile forms, exposing the ideal of Brasília as a stronghold for imaginary that speak to us of certain material alliances that Brazilian futurity and the epicenter of a century-old obsession take place in photographic objects and that make us with progress, modernity, and the expansion of the country’s 03/22/2022 https://www.collegeart.org Page 122 of 234 110th CAA Annual Conference understand them in a radically different way from the photographic ontologies that define photography either as a Picturing the Subterranean Frontier: simple index or as a simple representational convention. Extraction, Waste, and Environmental Perhaps it is the cotton fibers of photographic papers that Advocacy show us another way of understanding photography. Chairs: Grace Kuipers; Tobah Joy Aukland-Peck The Sartorial Unconscious: Photographic Portraiture and This panel explores how artists have used images of mineral the Fabrications of Black Women extraction to destabilize conventions of landscape imagery, to Kimberly Kay Lamm, Duke University draw awareness to cycles of resource generation and waste, and to critique global trading networks that leverage subterranean Shelley Niro’s Indigenous Pieta: Beadworking the commodities. An industry with a long history tied to imperial Photograph expansion, mining has been an indispensable feature of Claire Millikin Raymond, Princeton University industrialization with a global reach. Yet as an activity that occurs largely below ground, mining has also resisted easy Enmeshed: Photography, Lace, and Women’s Labor representation, generating surprising visual forms. How have Beth Saunders, Albin O. Kuhn Library & Gallery, artists grappled with the questions of labor, technology, University of Maryland Baltimore County environmental degradation, and empire that attend industrial In her 2012 series Leisure Work, Lisa Oppenheim’s mining? How might artistic materials—such as graphite or photograms of antique lace invoke early contact prints by stone—signal the mines and quarries from which they are William Henry Fox Talbot used to promote his positive- drawn? This panel also considers the ways in which art negative photographic process. Working on a grand scale, institutions have been enabled by mining and mineral resources. Oppenheim emphasizes the tactility of lace, bringing attention European and American institutions have, since their inception, to the textile’s manufacture—and thus to the working women been dependent on wealth garnered from extraction. Resistance who produced it. Her feminist reappraisal of this prominent to this petrocapitalist system has become an important point of motif unravels the interwoven histories of photography and political agitation in today’s art world. Groups such as Liberate lacemaking to expose the effacement of women’s labor in Tate have pushed for museums to acknowledge that their those realms. While scholars Geoffrey Batchen and Douglas association with oil companies, like BP, implicates them in Nickel have addressed the relationship of Talbot’s lace neocolonialist structures and widespread environmental photographs to the industrialization of labor in nineteenth- deterioration. We welcome papers that engage with images of century England, they merely hint at the impact of mining landscapes, extractive labor, industrial waste, and fossil mechanization on women or at the gendered visual language commodities, as well as projects that consider the relationship of lace more generally. Considering Oppenheim’s series a between artists, art institutions, and fossil-based climate change. jumping-off point, this paper re-examines nineteenth-century We are especially interested in hearing from scholars who are photographs of lace, emphasizing the social and economic working with indigenous responses to resource extraction. forces embedded in these images. Julia Herschel’s publication A Handbook for Greek and Roman Lacemaking (1869) illustrated with tipped-in cyanotypes, and Isabel Agnes Photography and the Extractive Landscape in Simon Cowper’s documentation of the South Kensington Museum Starling’s One Ton, II lace collections provide examples that epitomize the historical Siobhan Angus erasure of women’s contributions to photography. (Herschel In 1859, Oliver Wendell Holmes wrote “Form is henceforth published her treatise anonymously and Cowper’s pioneering divorced from matter. In fact, matter as a visible object is of no institutional role has only recently come to light thanks to the great use any longer, except as the mould on which form is scholarship of Erika Lederman.) This paper argues that the shaped.” This is significant, for “matter in large masses must moralistic and gendered discourses surrounding handmade always be fixed and dear; form is cheap and transportable.” If versus mechanical lacemaking mirror those found in early fossil fuels promised the ability to overcome the limits to writings on photography, revealing the extent to which the growth bounded by the productivity of land, photography’s conceptualization of photography as a medium has been mechanical reproduction likewise promises to divorce the imbricated in the repression of female labor. possibilities of form from the expense and limits of matter. Despite this narrative, photography has relied on large scale Unravelling and time-travelling: Media archaeologies of extraction since its inception. Through a case study of Simon the embroidered photograph Starling’s platinum print photographs of South Africa’s Annebella Pollen platinum mines, I read the photograph and the landscape as an index of economic and industrial history. While photography is limited in documenting the more complex spatial networks of extraction, it can form an evidentiary record of the transformation of territory through processes of extraction. To borrow a photographic analogy, mining landscapes are an index—a trace or mark made by an object—of mining processes. Taking the integral relationship between form and matter as my starting point, I propose a 03/22/2022 https://www.collegeart.org Page 123 of 234 110th CAA Annual Conference reorientation of vision that restores the photograph to histories were reconfigured to visualize the machine's voracious of materials, land, property, and labor. Read through Marx’s eradications of both landscape and labor. This industrial theory of metabolic rift and Glen Coulthard’s reworking of commission, I would like to suggest, represents a rare primitive accumulation in the context of settler colonialism, I visualization of the automation of extractive industries in the consider how photography’s complex relationship to post-war era, and a powerful materialization of the social, landscape might be rethought in the twenty-first century technological and environmental histories that those advocating for a return to a carbon economy choose to ignore. Grandchildren of Granite: Extracting an Environmental Consciousness in California Ceramics, 1933-1961 Common (Under)Ground: Detroit Industry's Subsoil Matthew Limb Ecologies Until the late-twentieth century, texts on the technical Grace Kuipers knowledge required for craft production were rare. In While frequently discussed as a paean to the advanced American ceramics, kiln construction, minerals needed for machinery at Ford’s River Rouge motor complex, Diego glazing, and the chemical composition of clay bodies were Rivera’s Detroit Industry raises just as many questions about guarded trade secrets that could only be learned through an the subterranean minerals that sustain that machinery. apprenticeship. The lack of codified knowledge (particularly on Geological matter occupies a commanding position, the West Coast) prompted vast experimentation and a mindful represented in stratigraphic cross-sections, anthropomorphic approach to the earth and its materials. I examine the nudes, and even as the basis for life itself. Curiously, these engagement of American craft communities with minerals, minerals are also placed within a distinctly continental clays, energy resources, and waste management throughout geography: while the series supposedly represents Detroit’s the mid-twentieth century. Three potters were particularly local industry, minerals emerge in clenched fists from the influential in encouraging an ethically conscious approach to stepped pyramids and volcanoes of Mexico’s central valley. the land in ceramics production: Laura Andreson (who What are we to make of this binational ecosystem? This paper founded UCLA’s ceramic program in 1933), Glen Lukens (who examines Detroit Industry as a response to the U.S. mineral founded USC’s ceramics program in 1933), and Edith Heath frontier, which positioned North America’s underground as (who founded Heath Ceramics in the San Francisco Bay area borderless in order to contest Mexico’s campaign to in 1948). These artists subverted industrial mining and a nationalize its subsoil. I argue that, while Detroit Industry petrocapitalist system by obtaining their materials from obliged the image of a borderless underground, it troubled the abandoned mines, construction sites, and self-extraction in the capitalist epistemologies of the U.S. mineral frontier. I examine California deserts. However, their doing so was reliant upon Detroit Industry alongside Rivera’s fresco series at Chapingo, appropriated indigenous knowledge. These artists understood whose enormous program reveals his commitment to ceramic vessels to be an extention of the land and believed it Indigenous, community stewarded mines and the ejido was the potter’s ethical duty to honor the earth which provided system. Rather than render the underground as an inert their craft’s materiality. They experimented with solar energy to “storehouse” of abstract values for human exploitation, Rivera fire kilns, developed ethical resourcing practices, and explored positions the subsoil as part of a holistic, living ecosystem, alternatives for waste management. I argue that these inclusive of politics and with interdependent links to racial and California ceramists were settler colonial proto- economic equality. environmentalists who widened craft’s critique of industrialization to include the consequences of environmental degradation. Fortune Magazine and the Continuous Joy of Coal Mining Alex J. Taylor In the wake of Trump’s irrational fantasies about a resurgence of blue-collar jobs in coal mining, this paper will turn to a group of artworks directly engaged with the industry’s declining labor requirements in the immediate aftermath of their collapse. In the two decades after World War II, and despite increases in production, American coal-mining jobs fell from nearly 400,000 to less than 150,000. The primary cause of this decline was new technologies in mine mechanization - and none more so than those manufactured by Pittsburgh’s cheerfully named Joy Manufacturing Company. In 1954, Joy commissioned seven American artists to produce ‘portraits’ of their Continuous Mining Machine for a feature in ‘Fortune’ magazine, a group of works now in the collection of the Carnegie Museum of Art. The list of artists that participated in the project is surprising: Ben Shahn, Hedda Sterne, Walter Murch, Matta, Rufino Tamayo, Saul Steinberg, and Antonio Frasconi. In this paper, I will consider how the humanist commitments of these artists 03/22/2022 https://www.collegeart.org Page 124 of 234 110th CAA Annual Conference to re-frame their approach to this material and embrace a Positioning Egyptian Art in Museums more diverse audience and reflect contemporary scholarship. Chairs: Ashley Arico, The Art Institute of Chicago; Janet Decolonizing Dendur: Towards a Stratigraphy of Stories M Purdy, Art Institute of Chicago Erin Peters, St. Mary's College of Maryland Simultaneously part of Africa, the Middle East, and the In this paper, I argue that in order to consider positioning Mediterranean, Egypt has been a land at a crossroads for Egyptian art in museums, we need to position ourselves in the millennia. A wide array of institutions, from broadly focused art long colonial processes that make art and architecture from and natural history museums to university teaching collections the ancient world modern museum objects. I take the temple and specialist antiquities organizations, house Egyptian art and of Dendur now in the Metropolitan Museum of Art as my case material remains. These organizational and related departmental study, and suggest that one way to start this process is to structures, which have roots in nineteenth-century collecting create a stratigraphy of stories. I sketch the temple of practices, continue to dictate the framework within which Egypt is Dendur’s significance as a modern museum object to an presented to museum audiences. They both draw divisions and ancient shrine central to the larger regional ritual landscape forge connections along geographic, cultural, and temporal lines, called the Dodekaschoinos in the Roman period. This “Land of highlighting some aspects of Egypt’s complex history while the “Greek” Twelve Miles” was home to a plethora of temples downplaying others. Moreover, Egyptian material culture is at the and thriving regional religious cult centered on the great center of evolving dialogues that forefront its Africanity and temple of Isis at Philae. By focusing on the use and relationships within Arab crossroads exchange systems. This experience of architectural space in this region, I show that session invites papers addressing how museums, universities, these temples hosted a diversity of people and dynamism of and other educational institutions might challenge western practices that cannot be colonially constrained into single constructs and siloed pedagogies that have long divided categories such as “Egyptian,” “Nubian,” or “Roman.” Through research, scholarship, and the display of Egyptian art. What role repurposing the stratigraphic process, my aim is to rewrite can museums play conceptually and in practice to expand and modern national archaeological traditions and ethno-cultural reveal the multifaceted and interconnected nature of Egyptian categories that guide academic study and museum displays of histories? For museum visitors and students, how do we ancient objects. In so doing, I explain the temple of Dendur in highlight relationships with other cultures and geographies to the context of the differential experiences of multiple agents -- present a more integrated view of Egyptian arts? We seek significantly including our own experiences in this monument’s contributions from diverse perspectives (art history, archaeology, contemporary existence. anthropology, pedagogy, museum practice, and more) as well as a variety of periods from pharaonic to contemporary. Shifting the Focus on Egyptian Art Katherine E. Hammond, Columbus College of Art & Presenting Prejudice: Museums and Ancient Africa Design Peter Lacovara, The Ancient Egyptian Heritage and Egyptian art is a vibrant, active field that includes Archaeology Fund contemporary works across diverse media and transnational The close links between the Egyptian and Nubian cultures spaces. Yet, western art museums continue to relegate have long been glossed over and minimized by scholars Egyptian art to the realm of the “ancient,” through practices of looking towards Asia and the Mediterranean for influences on collecting, exhibition and research. Like the art historical the development of ancient Egypt. Such deliberate omissions tradition of removing Egyptian art from its geographical have long been a part of historical discourse that has been context in order to fulfill an origin story of so-called “Western truncated to fit into a Eurocentric mold. Until very recently the art,” the museological framing of “Egyptian Art” is an art rich legacy of the Nubian civilizations has often been totally forever secured in a constructed past. Often, these ancient ignored in works on Ancient Egypt and as of yet still has to be artifacts are positioned in rear rooms and hallways, grouped seen generally in popular culture and in museum displays in with other “nonwestern” aesthetic objects like Buddhist statues particular. This pretermission to divorce Egyptian civilization and Nkisis Nkondi from the Democratic Republic of Congo. At from its African roots can be seen in most museum other times they are revered, colonial treasures caught up in installations that juxtapose ancient Egyptian and Classical art an ongoing debate about repatriation, and often, stubbornly as intimately connected exemplars of the heritage of antiquity. (with)held. In better circumstances they are heavily This is compounded by those few institutions with more researched and sensitively positioned within a global extensive holdings of Nubian art and archaeology that narrative. Yet, collections of modern and contemporary sequester it unseen in storage rather than put it on display. Egyptian art, in western museums, are almost entirely This discussion will review how Nubian and Egyptian art has nonexistent. This proposal offers an alternative perspective. been displayed in the major collections in America, The By shifting the focus on Egyptian art from the ancient, or University of Pennsylvania Museum, the Museum of Fine Arts, pharaonic, to the global and contemporary, museums and Boston and the Oriental Institute Museum of the University of educational institutions alike will undermine persisting Pennsylvania Museum and how that has promoted a false hierarchies of art and help to establish museums as cultural narrative that has separated pharaonic Egypt from its African centers of learning and innovation. Examinations of roots and marginalized the other ancient civilizations of the contemporary Egyptian art and art movements, locally and Nile Valley. It will also detail the realization that museums need regionally, as well as museum initiatives towards pluralism and viewer engagement will emphasize and illustrate possibilities 03/22/2022 https://www.collegeart.org Page 125 of 234 110th CAA Annual Conference towards this call to action. Claiming the Studio: Virtual Teaching Strategies for Majors and Non-majors At the Edge of the Sahara: Decorative Style Between Sherri Lisota, Viterbo University Egypt, Nubia, and West African R