CAA 2011

The Society of Contemporary Art Historians session at the 2011 College Art Association conference is scheduled for Thursday, February 10th.

UPDATE: Reports from CAA by Triple Canopy, Sarah Thornton at Artforum.com, and Brooke Kellaway at the Walker blog.

It will take place from 5:30 to 7:00pm in Gramercy A on the second floor of the Hilton, and is chaired by Tim Griffin and Christine Mehring, with panelists Thomas Crow, Diedrich Diederichsen, and Barbara Rose. The panel is a consideration of the different but overlapping roles of art criticism and contemporary art history.

Society of Contemporary Art Historians
Critical Histories
Thursday, February 10, 5:30 PM–7:00 PM
Gramercy A, 2nd Floor, Hilton New York
Chairs: Tim Griffin, Artforum International; Christine Mehring, University of Chicago
Thomas Crow, New York University
Diedrich Diederichsen, Akademie der Bildenden Künste, Vienna
Carrie Lambert-Beatty, Harvard University
Barbara Rose, independent art historian and curator

A selection of the numerous other sessions connected to contemporary art history includes…

Double Exposure: Photography as Art and Documentation
Wednesday, February 09, 9:30 AM–12:00 PM
Nassau Suite, 2nd Floor, Hilton New York
Chair: Christine Kuan, ARTstor
Photography, Performance, and Power: Marina Abramović’s Freeing the Horizon (1973)
Mechtild Widrich, University of Vienna
Paul Thek and Photography: A Research on His Use of the Reproduced
Susanne Neubauer, University of Zurich
Between Art and Document: Photography and Architecture in Postwar Italy
Lindsay R. Harris, Institute of Fine Arts, New York University
Hamaya Hiroshi, Yanagita Kunio, and the Challenges of Ethnographic Photography
Jonathan Reynolds, Barnard College
Documenting the Gulf: Digital Photography and Media Now
Pat Cassidy Mollach

Feminism and the Cooperative Model in the Art World
Wednesday, February 09, 2:30 PM–5:00 PM
Petit Trianon, 3rd Floor, Hilton New York
Chairs: Fu Lien, Lamar University; Sharyn Marie Finnegan, Parsons The New School for Design
Producing Feminist Space: A.I.R. Gallery and the Structures of the Artist-Run Cooperatives
Meredith A. Brown, Courtauld Institute of Art
Consciousness-Raising, Cooperatives, and Collaboration: The Making of The Sister Chapel
Andrew D. Hottle, Rowan University
Collaboration and Conflict in the Fresno Feminist Art Program
Laura Meyer, California State University, Fresno
Celebrating Women’s Art Collectives: The Posters and Wall Collages of Mary Beth Edelson
Kathleen Wentrack, Queensborough Community College, City University of New York
Guerrilla Girls Today
Frida Kahlo, Guerrilla Girls
History of Women in New York City Cooperative Galleries
Sharyn Finnegan, Parsons The New School for Design
Sites of Subversion: The Collective Practice of Artemisia and A.R.C. Galleries (1973-1979)
Joanna Gardner-Huggett, DePaul University
A Room of Her Own, on Google Earth
Daria Dorosh, Fashion Institute of Technology
A Comparative Study: Three Contemporary Female Artists’ Collectives with Roots in New York City
Katerina Lanfranco, Fordham University

Interdependent Identity: Paradigm and Paradox in Contemporary Israeli and Palestinian Art
Wednesday, February 09, 2:30 PM–5:00 PM
Regent Parlor, 2nd Floor, Hilton New York
Chairs: Noah Simblist, Southern Methodist University; Sarah Rogers, Columbia University Global Center Amman
Screwing the Other: Emily Jacir’s “Sexy Semite”
Adair Rounthwaite, University of Minnesota
The Landscape of Identity in Israel/Palestine
Dora Apel, Wayne State University
Out of Place
Noah Simblist, Southern Methodist University
Discussant: Sarah Rogers, Columbia University Global Center Amman

Imagining Art History in Proximity of Race
Thursday, February 10, 9:30 AM–12:00 PM
Regent Parlor, 2nd Floor, Hilton New York
Chairs: Jane Blocker, University of Minnesota; Anna Chisholm, University of Minnesota
Time Migrant: Isaac Julien
Jennifer Gonzalez, University of California, Santa Cruz
The Evidence of Things Not Seen: From Document to Site in the Work of McCallum/Tarry
Eva Díaz, Pratt Institute
Apocryphal Katrina: Cyclical History, Civil Religion, and Visual Culture
Gwendolyn DuBois Shaw, University of Pennsylvania
Looking Otherwise: Queer Archival and Art-Historical Practices of Vaginal Davis
Robert Summers, Otis College of Art

Lawrence Alloway, Visual Culture and Contemporary Practice: A Discussion
Thursday, February 10, 9:30 AM–12:00 PM
West Ballroom, 3rd Floor, Hilton New York
Chairs: Shelley Rice, New York University; Reva Wolf, State University of New York at New Paltz
Alloway in London: The Formation of a Critic
Irving Sandler, Purchase College, State University of New York
Alloway in New York: Pluralism as a Model for Art and Criticism
Richard Kalina, Fordham University
Alloway: A Memoir
Sylvia Sleigh Alloway, independent artist
Alloway and the Development of the Field of Visual Culture
Nicholas Mirzoeff, New York University
Networks: Complex, Simple, and Sometimes National
Courtney Martin, Vanderbilt University

Live Art/Museum Object
Thursday, February 10, 9:30 AM–12:00 PM
Petit Trianon, 3rd Floor, Hilton New York
Chair: Susan Rosenberg, St. John’s University
Exhibiting the Invisible
Kaira Cabañas, Columbia University
Joan Jonas’s Performance Translations
Francesco Gagliardi, independent artist, Toronto
The Live and the Archive: Methods in the Display of Performance Re-Creation
Matthew Q. Breatore, Institute of Fine Arts, New York University
Collecting Situations: Repetition, Habit, and Presence as an Institutional Model
Yasmil Raymond, Dia Art Foundation

Latin American Art in the Now
Thursday, February 10, 2:30 PM–5:00 PM
Gramercy A, 2nd Floor, Hilton New York
Chairs: Claudia Calirman, John Jay College; Tatiana Flores, Rutgers University
The Historical Avant-Gardes of Latin America Revisited: José Carlos Mariátegui’s American Aesthetics
Harper Montgomery, Rhode Island School of Design
Pan-Ethnicity, Post-Identity, and Artist Groups in Latin America and the Middle East, 1989-2010
Sara Angel Guerrero-Rippberger, Chelsea College of Art and Design, University of the Arts London
Re-Viewing Latin American Art History
Mariola V. Alvarez, University of California, San Diego
Report of a Journey towards the Definition of a Latin American Artist
Cesar Cornejo, University of South Florida
How “Global” Can Latin American Art Be?
Cecilia Fajardo-Hill, Museum of Latin American Art, Long Beach

“Of Mother Nature and Marlboro Man” Revisited: Deborah Bright’s Critique of Western Landscape Photography Twenty-Five Years Later
Thursday, February 10, 2:30 PM–5:00 PM
Sutton Parlor North, 2nd Floor, Hilton New York
Chair: Kelly Dennis, University of Connecticut
A Second View of Marlboro Men and Mother Nature: Questioning Bright’s “Glossy Tomes” and the State of Photography
James R. Swenson, Brigham Young University
Making Place outside “Muscular Formalism”: Women and Landscape Photography
Virginia Liberatore, independent scholar
Marlboro Women: Investigations of Place and Environment
Liz Wells, University of Plymouth
From “New Topographics” to the Technological Sublime
Kirsten Swenson, University of Nevada, Las Vegas
Discussant: Deborah Bright, Rhode Island School of Design

Dark Matter of the Art World, Part I
Thursday, February 10, 2:30 PM–5:00 PM
Gibson Room, 2nd Floor, Hilton New York
Chair: Susan Elizabeth Ryan, Louisiana State University
Performance, Mediation, and the Public Sphere
Mark Tribe, Brown University
Intimacy without Reciprocity: Suffragists, Internet Trolls, and Sharon Hayes’ Love Letters
Kris R. Cohen, University of Chicago
Agency of Art in the Absence of an Effective Public
Anton Vidokle, e-flux
Workerism, Darkness, and Light
Blake Stimson, University of California, Davis
Fire and/or Smoke: Institutional Critique in the Basque Country
Julia Moritz, independent curator
Discussant: Gregory Sholette, Queens College, City University of New York

Prophet/Profit: The Famous Case of Damien Hirst
Friday, February 11, 9:30 AM–12:00 PM
Sutton Parlor Center, 2nd Floor, Hilton New York
Chair: Sarah Thornton, independent scholar
Reflections on the Consumerism of Damien Hirst’s Spot Paintings
Ulrich Blanche, University of Erlangen-Nuremberg
Rebel, Incorporated
Martha Buskirk, Montserrat College of Art
The Apocalyptic Spectacle: Damien Hirst and the Crisis of Meaning
Capri Rosenberg, Savannah College of Art and Design
Marketing Thanatos: Damien Hirst’s Heart of Darkness
Debora Silverman, University of California, Los Angeles
Discussant: Thomas Crow, New York University

Performative Tendencies
Friday, February 11, 9:30 AM–12:00 PM
Petit Trianon, 3rd Floor, Hilton New York
Chair: Jenn Joy, Rhode Island School of Design
Convergence Performance or “Not Performing the Performance, Performing the Object”
Kelly Kaczynski, Northwestern University
Performative Encounters in Media Art: An Unsitely Aesthetics
Maria Miranda, La Trobe University
Nothing to Look At? Irritated Vision, Counter-Choreography, and Subjectivity
Lauren O’Neal, Kuvataideakatemia and Massachusetts College of Liberal Arts
Cross-Fertilizations and Rhizomatic Vulnerabilities
Cara Judea Alhadeff, European Graduate School
Rehearsal for the End of Ephemera
Sheila Pepe, Pratt Institute

Us and It: Sculpture and the Critique of Display Cultures
Friday, February 11, 2:30 PM–5:00 PM
Sutton Parlor Center, 2nd Floor, Hilton New York
Chairs: Daniel Adler, York University; Jeannette Redensek, Josef and Anni Albers Foundation
Marcel Broodthaers’s Double Engagement
Rachel Haidu, University of Rochester
Isa Genzken’s Aggravated Assemblage
Lisa Lee, Princeton University and Center for Advanced Study in the Visual Arts
Jason Rhoades and the Construction of Gluttony
Frederick Gross, Savannah College of Art and Design
Painting without Painting: Isa Genzken, Rachel Harrison, Heimo Zobernig
Isabelle Graw, Staatliche Hochschule für Bildende Künste (Städelschule), Frankfurt

Capitalist Art about Capitalism: From Jasper Johns’s Ballantine Ale (1960) to Jeff Koons’s New Shelton Wet-Dry Double Decker, 1981
Friday, February 11, 2:30 PM–5:00 PM
Trianon Ballroom, 3rd Floor, Hilton New York
Chair: Donald Burton Kuspit, Stony Brook University, State University of New York
Smithson’s Critique of Duchamp: The Traffic in Alienated Labor
David Craven, University of New Mexico
A Pound of Flesh: Paul Thek’s Technological Reliquaries
Janine Mileaf, Swarthmore College
Capitalist Realism: The Economies of Desire from Warhol through Richter and Beyond
Dougal Phillips, University of Sydney
Carl Andre and the Commodity Form
Alistair Rider, University of Saint Andrews
Artist as Liar, Audience as Sucker: Exhibitionism and Exhibition Value in Paul McCarthy’s “Pinocchio”
Robert Shane, College of Saint Rose
No Shit: Thoughts on Wim Delvoye’s Cloaca
Isabelle Loring Wallace, University of Georgia
Richard Hamilton’s “Healthy Vigor:” Thanatopic Tumescence as Erotic Detumescence
Brian Winkenweder, Linfield College

Leonardo/International Society for the Arts, Sciences, and Technology
New Media, Art-Science, and Mainstream Contemporary Art: Toward a Hybrid Discourse?
Friday, February 11, 2:30 PM–5:00 PM
Regent Parlor, 2nd Floor, Hilton New York
Chair: Edward Shanken, University of Amsterdam
The Seeds of Discord between New Media and Contemporary Art: Critical Reflections on Art and Technology Projects
Christine Albu, University of Pittsburgh
Could This Be What It Looks Like? Lifelike Art and New Media Practice
Jamie Allen, Newcastle University
Reassembling Components, Hybridizing the Human and the Machine: The “Three Media Ecologies” of Expanded Cinema and the Possibilities for a Discourse of Interfacing
Ji-hoon Kim, New York University
Apparatus and Instruments: Problems of Terminology
Jean Gagnon, Université du Québec à Montréal and Ottawa University
Shot by Both Sides: Art-Science and the War between Science and the Humanities
Philip Galanter, Texas A & M University
The Artist in the Laboratory: Co-operating (t)Reasonably
Jane Prophet, Goldsmiths, University of London
New Media in the Mainstream
Christiane Paul, The New School and Whitney Museum
Transdisciplinary Strategies in Art and Science
Paul Thomas, University of New South Wales
The Post-Critical Hybrid
Ronald Jones, Konstfack, University College of Art, Craft and Design
, Stockholm

Northern California Art Historians
The Unwritten, Ill-Begotten Art History of the 1960s and 1970s
Friday, February 11, 5:30 PM–7:00 PM
Sutton Parlor North, 2nd Floor, Hilton New York
Chair: Dore Bowen, San Jose State University
Nowhere to Run
Darby English, University of Chicago
Jack Smith’s Concrete Jungle
Jennifer Doyle, University of California, Riverside
Modernist Art History and the Contemporary Return of Craft
Elissa Auther, University of Colorado, Colorado Springs
Discussant: Whitney Chadwick

The Erasure of Contemporary Memory, Part I
Saturday, February 12, 9:30 AM–12:00 PM
Sutton Parlor North, 2nd Floor, Hilton New York
Chairs: Brad Buckley, Sydney College of the Arts, University of Sydney; John Conomos, Sydney College of the Arts, University of Sydney
Archives for the Future: New Media Art and the Erasure of Memory
Timothy Murray, Cornell University
Renate Ferro, Cornell University
Video Art as Prosthetic Memory
Jacqueline Millner, University of Sydney
Illegibility: Luc Tuymans’s Strategies of Obfuscation in History Painting
Alison Gass, San Francisco Museum of Modern Art
“You Sir Are a Space Too!” What Ad Reinhardt and Jacques Derrida Have to Tell Us about Erasure
Bruce Barber, Nova Scotia College of Art and Design University
Eroding Documentary: Walker Evans and the Polaroid
Katherine Alcauskas, Yale University Art Gallery

Radical Art Caucus
Video Art as Mass Media?
Saturday, February 12, 9:30 AM–12:00 PM
Concourse A, Concourse Level, Hilton New York
Chairs: Nate Harrison, University of California, San Diego and School of the Museum of Fine Arts; Benj Gerdes, 16 Beaver Group
Surveying Videoscapes: The Politics of Distribution in Tiered Visual Economies
Jason Simon, College of Staten Island, City University of New York
Through the Logic of Production: The Video Essay as Work
Angela Dimitrakaki, University of Edinburgh
Avant-Activism? On Video Art and Media Populism
William Kaizen, University of Massachusetts, Lowell
Video, Media Immediacy, and Oppositional Culture
Ernest Larsen
The Experience of Human Rights Advocacy through Video
Priscila Néri, WITNESS

Contemporary Drawing: Purpose, Practice, Performance
Saturday, February 12, 9:30 AM–12:00 PM
Gibson Room, 2nd Floor, Hilton New York
Chair: Elizabeth A. Pergam, Dian Woodner Collection
Embodied Practice Expanded Protest: The Drawing of Andrea Bowers
Peter R. Kalb, Brandeis University
The Eruv: Urban Drawing, Social Structure
Ben Schachter, Saint Vincent College
The Minimal as Spectacle: Contemporary Drawing and Installation Art
Anna Lovatt, University of Nottingham
Drawing a Breath
Barbara Bernstein, Rhode Island School of Design and Virginia Center for the Creative Arts
A Drawing Tradition Renewed: Reclaiming Charles Barque’s “Cours de Dessin”
Peter Trippi, Fine Art Connoisseur Magazine and Projects in 19th-Century Art, Inc.

Offsite Session
Henry Darger: Intersections with Contemporary Art, Part II
Saturday, February 12, 9:30 AM–12:00 PM
Auditorium, Two Levels Below Ground, American Folk Art Museum
Chairs: Mary Trent, University of Wisconsin, Parkside; Brooke Davis Anderson, Los Angeles County Museum of Art
On the Element of Repetition in Henry Darger’s “In the Realms of the Unreal”
Juliana Driever, City College of New York, City University of New York
The Limits of Happiness: Paul Chan on Henry Darger
Patricia Kelly, DePaul University
Tinderbox: Tragic Fires (Big or Small) and Endangered Childhood
Leisa Rundquist, University of North Carolina, Asheville
On Remaining Unseen: Henry Darger, Ditto, and Envelopes
Litia Perta, Cooper Union
Is the Janitor Lower than the Subaltern in Discourses of Power? Henry Darger and the Contemporary Turn
Colin Rhodes, Sydney College of the Arts, University of Sydney
Bernard Herman, University of North Carolina, Chapel Hill

Conceptualism-as-Medium: The Poetics of Critique
Saturday, February 12, 2:30 PM–5:00 PM
Sutton Parlor South, 2nd Floor, Hilton New York
Chair: Juli Carson, University of California, Irvine
Faking the Making of Media
Sabeth Buchmann, Akademie der Bildenden Künste, Vienna
The Cybernetic Imagination: Conceptual Art and Computation
Zabet Patterson, Stony Brook University, State University of New York
Humor as Conceptual Critique: An Historical Repression and a Contemporary Legacy
Heather Diack, University of British Columbia
The Infinite Repetition of Revolt: Conceptual Art as Memory
Andrea Geyer, Parsons The New School for Design
Zombie Concepts: Roberto Jacoby’s 1968: El culo te abrocho
Daniel Quiles, School of the Art Institute of Chicago

The Erasure of Contemporary Memory, Part II
Saturday, February 12, 2:30 PM–5:00 PM
Sutton Parlor North, 2nd Floor, Hilton New York
Chairs: John Conomos, Sydney College of the Arts, University of Sydney; Brad Buckley, Sydney College of the Arts, University of Sydney
Memories “Under Erasure:” Re/Con/Figurations of Absence in Post-Socialist Eastern Europe
Maia Toteva, University of Texas at Austin
Performing the Recorded Image: Documentation, Memory, and Disappearance
Emma Hogarth, Rhode Island School of Design
Returning to Scratch: Joshua Neustein’s Erasures and the Movement of Deconstruction
Louis Kaplan, University of Toronto
Undoing as Doing: Erasure in Post-War Drawing
Ed Krĉvma, University College Cork
Light Erasures and Shifting Temporalities in Recent Work by Michael Snow
Martha Langford, Concordia University

Imitation, Copy, Reproduction, Replication, Repetition, and Appropriation Part II
Saturday, February 12, 2:30 PM–5:00 PM
Concourse G, Concourse Level, Hilton New York
Chairs: Paul Duro, University of Rochester; Malcolm Baker, University of California, Riverside
Copy Nature, Imitate the Materials
Richard Shiff, University of Texas at Austin
Rethinking the Simulacrum: On the Singularity of Early Photography
Vered Maimon, Hebrew University of Jerusalem
Postcolonial Appropriation: How Indigenous Art Murdered Postmodernism
Ian McLean, University of Western Australia
In a Near Future: Theorizing Quotation in Contemporary Art
Patrick Greaney, University of Colorado
Tale of Two Arts: Dafen and Chinese Contemporary Art
Vivian Li, University of Michigan

Association for Latin American Art
Conspiracy Methods: Revisiting Latin America Art, 1960s to the Present
Saturday, February 12, 2:30 PM–5:00 PM
Petit Trianon, 3rd Floor, Hilton New York
Chairs: Andrea Giunta, University of Texas, Austin; Roberto Tejada, Southern Methodist University
Fernando Novaes Correia’s Boi Encantado (1972): Sensory Overload and the Institutional Challenge of Decaying Art
Elena Shtromberg, University of Utah
Notes on an Exclusive History of Colombia: Beatriz González’s Challenge to the National Salon in 1965 and 1967
Ana Maria Reyes, University of Chicago
Collectivization, Participation, and Social-Political Action in the Late 1960s: Towards a Cultural Guerrilla
Paula Barreiro López
Taking It to the Streets: The Institutional Critique of the Fotógrafos Independientes
Denise Birkhofer
Converting the System into Poetry
Susannah Gilbert

Pop, Race, Class: Consumption and Contradictions
Saturday, February 12, 2:30 PM–5:00 PM
Regent Parlor, 2nd Floor, Hilton New York
Chairs: Anthony E. Grudin, University of Vermont; Binta Ayofemi, California College of the Arts
“You Know Where They Got Their Money, Don’t You?” Class, Taste, and Pop Art in the 1960s
Sara Doris
Poor! Black! POP!
Colette Gaiter
Noah Purifoy’s 66 Signs of Neon
Yael Lipschutz
Liking, Likeness, and the Color Line in Warhol
Jonathan Flatley
Discussant: Anthony E. Grudin, University of Vermont

Dark Matter of the Art World, Part II
Saturday, February 12, 2:30 PM–5:00 PM
Trianon Ballroom, 3rd Floor, Hilton New York
Chair: Susan Elizabeth Ryan, Louisiana State University
Dark Matter: Art and Politics in the Age of Enterprise Culture
Gregory Sholette, Queens College, City University of New York
The Waag Society’s Productivism: Possibilities and Problems of a Utilitarian Practice
Philip Glahn, Tyler School of Art, Temple University
The Second Whiskey Rebellion: A Distillation of the American Spirit
Jim Costanzo, Pratt Institute
“Monster Institutions”: Occupied Social Centers in Europe
Alan W. Moore, independent scholar
Furtherfield.org Inside Out
Charlotte Frost, Writtle School of Design, University of Essex
Discussant: Nato Thompson, Creative Time

 

… as well as selected individual papers pertaining to contemporary art history:

  

“We Must Be Still and Still Moving”: On the Concept of Time in Sam Taylor-Wood’s “Still Life and the Last Century”
Ece Aykol, Virginia Commonwealth University

John Cage and the Task of the Translator
Jeffrey Saletnik, Columbia University

Yinka Shonibare’s Enlightenment: Revising British Art for the Twenty-First Century
Mark A. Cheetham, University of Toronto

Class and Gender Struggles in the Workplace: Militant Video by Women Collectives in France in the 1970s
Stéphanie Jeanjean, The Graduate Center, City University of New York

Arazzi: Alighiero Boetti and Afghanistan
Christopher G. Bennett, University of Southern California

Joy without Hope (or Despair): Henry Darger’s Weird Utopianism and Contemporary Art
Michael Moon, Emory University

Art History, Tourism, Experience, and Event
Caroline A. Jones, Massachusetts Institute of Technology

Getting (to) Marfa: An Encounter with Judd’s Mill-Aluminum Works

Anna Chave, Queens College and The Graduate Center, City University of New York

Prop Art: African Imagery in 1960s and 1970s Cuban Posters
Kristine Juncker, University of Nottingham

The Contemporary Present and Its Modernist Past: Mapping a Transition in African Art History
Ugochukwu-Smooth Nzewi, Emory University

Mirrors of the Social: Narcissism as Politics in the Art of Yayoi Kusama
Jonathan D. Katz, State University of New York, Buffalo

Narcissus in and on the Work of Felix Gonzalez-Torres
Jennie Hirsh, Maryland Institute College of Art

Concrete and Steel: Grupo Frente’s Exhibit of Concrete Art at the Brazilian National Steelworks Company, 1956
Aleca Le Blanc, University of Southern California

Asger Jorn’s Eccentric Archives
Karen Kurczynski, Northeastern University

The Veiled Woman as Visual Myth: Contemporary Iranian Artists’ Reappropriations of a Problematic Sign
Cara Smulevitz, University of Illinois, Chicago

On Intersectionality and Cultural Appropriation: The Case of Postmillennial Black Hipness
Robin James, University of North Carolina, Charlotte

Contemporary Arab Representations
Chad Elias, Northwestern University

Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early Artist’s Books

Lucy Mulroney, University of Rochester

Falling Apart: Fred Sandback at the Kunstraum Munich

Edward A. Vazquez, Middlebury College

The Daily “Difference and Repetition” of Post-1968 France in Didier Bay’s Mon Quartier Vu de Ma Fenêtre (1969-1973)

Lily Michelle Woodruff

Rebuilding Revolution

Hannah Feldman, Northwestern University

Bio Art Predecessors: Counter-Culture Artists in the 1960s and 1970s

Linda Weintraub

Repeating Exhibitions: Charles Esche’s 2010 Van Abbe Museum and El Lissitzky’s 1927 Cabinet of Abstraction

Reesa Greenberg, independent scholar

Expansion of the Discursive Field: Harald Szeemann’s “documenta 5” (1972)

Ursula Frohne, University of Cologne, Germany

Global Perspectives of Modern and Contemporary Art in Indonesia

Thomas Berghuis, University of Sydney

Producing the Commensurable Other: Contemporary Indian Art and the Lure of the Decorative

Atreyee Gupta, University of Minnesota

Locating Nationality: Attempting to Translate Contemporary Chinese Calligraphy

Shaolan Hertel, Free University, Berlin; and China Academy of Art, Hangzhou

Art History after Humanism: Ecocriticism, Otherness, and Post-Katrina Aesthetics

Alan Braddock, Tyler School of Art, Temple University

From Agit Prop to Elegy: William Kentridge’s Designs for Shostakovich’s “The Nose”

Pam Allara, Brandeis University

Dissolution, Disillusion, and Deflation: Damien Hirst’s Double Act

Elyse Speaks, University of Notre Dame

An Oral Hermeneutics: Orality and Interpretation in Contemporary American Art

Margo Machida, University of Connecticut

Warhol’s Rococo

Allison Unruh, independent scholar, New York