2018 Schedule September 28-30

Please note that some parts of the schedule may yet be adjusted.

Registration

Register for the conference and Saturday lunch via AU Arts Tickets.

Friday, September 28

Katzen Arts Center Rotunda

Katzen Arts Center, Kreeger Lobby

Katzen Arts Center, Abramson Recital Hall

Amelia Jones, Robert A. Day Professor of Art and Design, University of Southern California
“Essentialism, Feminism, and Art: Spaces Where Woman ‘Oozes Away’”
Katzen Arts Center, Abramson Recital Hall

Saturday, September 29

IA. Activating Spaces and Geographies

Chair: Angela Ho, George Mason University
           
Anne Derbes, Hood College
Wives’ Tales in Late Medieval Italy: Gender, Agency, and Biblical Narrative in the Baptistery of Padua

Tracy Chapman Hamilton, Virginia Commonwealth University
Mapping the Medieval Woman through Object Foundation and Circulation
         
Carla D’Arista, Independent Scholar
Marrying Up: Pucci Brides, Dynastic Promotion, and Image-Building in Renaissance Florence

Michelle Moseley-Christian, Virginia Tech
Performing Female Virtue: Early Modern Dutch Dollhouses as Stage for Domestic Power

IB. The Artist and Her Publics

Chair: Juliet Bellow, American University

Thomas Moser, Ludwig-Maximilian University of Munich
Towards a New ‘Paragone,’ or Getting Hold of a Dancer
           
Sherry Buckberrough, University of Hartford
Montjoie!: Gender, Dissensus and the Avant-Garde

Rachel Silveri, University of Florida
Voilà la femme: Gabrielle Buffet-Picabia’s Writings on Dada

Kirstin Ringelberg, Elon University
This Woman Artist Who Is Not One

IC. Reimagining What Feminism Looks Like

Chair: Nika Elder, American University

Frances Jacobus-Parker, Princeton University
Is the Feminism in the Details?

Miriam Kienle, University of Kentucky
Dear Data: Feminist Information Design in an Age of Big Data

Maddy Henkin, The George Washington University
Making as Methodology: Miriam Schapiro’s Gendered Labor  

Marina Tyquiengco, University of Pittsburgh
Black Velvet: Aboriginal Womanhood in the Art of Fiona Foley

ID. Writing Queer Histories

Chair: Amelia Jones, University of Southern California

Ksenia M. Soboleva, Institute of Fine Arts, NYU
Into the Wild: Lesbian Artists and the AIDS Crisis

Jennifer Sichel, University of Chicago
‘Slouching Toward Consciousness’: Jill Johnston’s Lesbian Feminism

Oona Lochner / Isabel Mehl, Leuphana University of Lueneburg
The Voices Within: Splitting Subjectivity in Art Criticism by Jill Johnston and Lynne Tillman

Tracy Spencer Stonestreet, Virginia Commonwealth University
Irreducibly Present: Finding Subjectivity in Cassils’s PISSED

American University Museum, Katzen Arts Center

IIA. The Gendered Gaze Revisited

Chair: Mary D. Garrard, American University
                  
Maria F. Maurer, The University of Tulsa
Beyond the Reality Effect: The African Woman in Mantegna’s Oculus

Patricia Simons, University of Michigan, Ann Arbor
Re-examining the ‘Male Gaze’ by way of Tintoretto’s Susannah and the Elders

Sheila Barker, The Jane Fortune Research Program at the Medici Archive Project
Artemisia Gentileschi’s David and Bathsheba: Looking at Women Through a Woman’s Eyes

Sara Berkowitz, University of Maryland, College Park
A Martyr’s Mastectomy: The Disfigured Body and Intersections of Medicine and Religion in Giovanni Andrea Coppola’s ‘Saint Agatha’   

IIB. Bodies of Work

Chair: Sam Sadow, American University

Allison Morehead, Queen’s University
Celebrity Suite Nurses, Starring Linke Jørgensen, Nana Thaning, and Sigrid Schacke Andersen (Featuring Edvard Munch as “The Celebrity”)

Kimberly A. Smith, Southwestern University
Invisible Labor: German Modernist Art and Women’s Work

Cindy Persinger, California University of Pennsylvania
Meat is Murder: Fleisch in the Work of George Grosz

Alice M. Rudy Price, Temple University
We are Not Crones: Women Artists and their Aging Female Bodies

IIC. Collectivity and Collaboration

Chair: Sarah-Neel Smith, Maryland Institute of Contemporary Art

Joanna Gardner-Huggett, DePaul University
Barbara Ciurej and Lindsay Lochman: Feminist Collaboration and Domestic Disruption

Megan Hines, Stony Brook University
Bay Area Media Ecologies and 1970s Feminist Collectivity

Claire L. Kovacs, Augustana College
Love and Fangs. SisterSerpents in Chicago (and beyond)

Milena Tomic, OCAD University
Against Hysterical Productions: Marina Gržinić and Aina Šmid’s Collaborative Video Art and the Networked Copy in Yugoslavia

IID. Performance and Identity

Chair: Tobias Wofford, Virginia Commonwealth University
                  
Anja Foerschner, PerformanceHUB Belgrade
Finding a Body: Performance as Practice and Theory in the Work of Barbara T. Smith

Marissa Vigneault, Utah State University
Temporary Inhabitant: Hannah Wilke at P.S. 1

David Sperber, Yale University
Mikva Dreams: Mierle Laderman Ukeles’s Jewish Feminist Art, 1970s through 1980s

Jamie L. Ratliff, University of Minnesota, Duluth
Are We the People?: Jessica Sabogal’s Women Are Perfect and the Amplifier Foundation

Coffee, tea, cookies
Location TBA

IIIA. Embodying Identities

Chair: Catherine Roach, Virginia Commonwealth University
           
Meredith P. Nelson, Bard Graduate Center
Gold and Silk: Erotic Dress and Female Status in the Early Empire

Priscilla Sonnier, University College Dublin
Playful Pantheon: Self-Fashioned Sexual Narratives in Joshua Reynolds’s Mrs. Musters as Hebe and Lady Sarah Bunbury Sacrificing to the Graces
           
Jennifer Germann, Ithaca College
Between History and Representation: Gender, Race, and Social Rank in Georgian Portraiture

Danielle Ezor, Southern Methodist University
Women’s Work: Reinterpreting Chardin    

IIIB. Reinventing Sculpture

Chair: Linda Kim, Drexel University
                       
Louise Siddons, Oklahoma State University
‘Freedom from Coquetry’: Tanagra Figurines, Feminist Hellenism, and Modern Sculpture, 1905-1925

Emily Francisco, National Gallery of Art
Granite Resistance: Cornelia Van Auken Chapin’s Giant Frog in Paris and Philadelphia, ca. 1937-1941

Lesley Shipley, Randolph College
Weaving Together: Community and Collaboration in Ruth Asawa’s Art

Susan Richmond, Georgia State University
Winsor’s Slow Work

IIIC. New York/Not New York

Chair: Joshua Shannon, University of Maryland  
           
Elizabeth Lee, Dickinson College
Gaps in the Photographic Archive: Looking for Lida Moser

Amy Von Lintel and Bonnie Roos, West Texas A&M University
Networking Beyond New York: Women Abstract Expressionists and the American West

Rachel Middleman, California State University, Chico
Women Artists in the San Francisco Counter-Culture of the 1950s

Amy Rahn, Stony Brook University
‘This Particular Very Dark Thing’: Joan Mitchell’s Black Paintings

IIID. Art as Activism

Chair: Christa Noel Robbins, University of Virginia
           
Ming-tsuey Ni, National Taipei University of Education
A Passage Away from Trauma: Ishiuchi Miyako’s ひろしま/hiroshima Photographs
 
Claire Raymond, University of Virginia
Shelley Niro’s Sisters: An Indigenous American Female Gaze
                     
Shannon Flaherty, University of Minnesota
The Spectacular Confession: Coco Fusco’s Interrogation Works

Nicole F. Scalissi, University of Pittsburgh
Still Carrying That Weight: Emma Sulkowicz and the Burden of Biography

Sunday, September 30

IVA. Networks and Partnerships

Chair: Vanessa Schulman, George Mason University

Kelsey Frady Malone, Henderson State University
Alice Barber Stephens and Charlotte Harding: Reevaluating the Importance of Artistic Partnerships Amongst Female Colleagues

Debra J. DeWitte, Edith O’Donnell Institute of Art History
The Exhibition of Drawings as Feminist Outlet: Drawings by Female Artists in the Second Half of the Nineteenth Century

Alison McQueen, McMaster University
Labour, Equity, Opportunity: The Shifting Roles of Female Artists in a 19th-Century Porcelain Factory

Jessica L. Fripp, Texas Christian University
Gendered Friendship in Eighteenth-Century France: Adélaïde Labille-Guiard’s and Élisabeth Vigée-Lebrun’s Portraits of Artists

IVB. Photography and Gender Roles

Chair: Dorothy Moss, National Portrait Gallery
                       
Kris Belden-Adams, University of Mississippi
Composita, the ‘Mascot’ of the Smith College Class of 1886: ‘Homosociality,’ Biometrics, Galtonian ‘Aristogenics’

Sasha Nicholas, City University of New York
‘One hand in the dishpan, the other in the darkroom’: Motherhood and Modernism in Imogen Cunningham’s Portraits, 1917-1925

Georgina G. Gluzman, Consejo Nacional de Investigaciones Científicas y Técnicas
Annemarie Heinrich’s Modern Women: Photography, Glamour, and Women’s Visibility in Modern Buenos Aires

Ayelet Carmi, Tel Aviv University
Wounded Men: Black and White Masculinities in Sally Mann’s Photography

IVC. Feminist Monuments and Commemorative Art

Chair: Sarah Gordon, American University
           
Katherine Poole-Jones, Southern Illinois University Edwardsville
Gender, Power, and Public Space: The United Daughters of the Confederacy and the Confederate Memorial in Forest Park, St. Louis

Brenda Schmahmann, University of Johannesburg
Gender and Public Art in South Africa: Usha Seejarim’s Commemorations of Mahatma Gandhi and Nelson Mandela

Delia Solomons, Drexel University
Marisol’s The Generals: An Alternative Equestrian Monument

Sierra Rooney, Stony Brook University
‘A Woman’s City’: Hear Us, Boston Women’s Memorial, and Contemporary Public Monuments to Women

IVD. Transnational Conversations in Theory and Practice

Chair: Michele Greet, George Mason University
           
Doris Sung, The University of Alabama
The Global Experience and Patriotic Virtue of Chinese Artist Jin Taotao (1884–1939)
   
Assumpta Bassas and María-José González-Madrid, University of Barcelona
Pop Art and Women Artists in Catalonia in the 60s and 70s: Sexual Politics in the Spanish Transition

Katie Anania, Georgia College
Vision and Hunger: Marta Minujín’s Edible Futures

Kimberly Lamm, Duke University
Inheriting Letters of Exile: Gayatri Chakrovarty Spivak and Women’s Art Practices in the 1980s and 1990s

Coffee, tea, cookies
Location TBA

VA. Gender Appropriations

Chair: Joanne Allen, American University
           
Maeve K. Doyle, Eastern Connecticut State University
Following Her Lead? Men at Prayer in Thirteenth-Century Books of Hours
           
Jutta Sperling, Hampshire College
The Anachronic Madonna Lactans: Works by Cindy Sherman, Catherine Opie, and Vanessa Beecroft

Jacqueline Marie Musacchio, Wellesley College
Sarah Freeman Clarke’s Dante Pilgrimage                

Erin Giffin, Ludwig-Maximilians-Universität München
Mater Ecclesia(e): Papal Symbolism and the Madonna of Loreto

VB. Advancing Impressionaism: Femail Voices

Chair: Norma Broude, American University
           
Ruth E. Iskin, Ben-Gurion University of the Negev
The Power of Feminist Association: The Case of Mary Cassatt and Louisine Havemeyer

Claire Hendren, Université Paris Nanterre
Women Critics and Impressionism: A Case Study of Mariana Van Rensselaer

Kristan M. Hanson, University of Kansas
‘Undomesticated Ground’: Artistry and Agency in Berthe Morisot’s Intérieur
       
Nicole Georgopulos, Stony Brook University
Before Her Own Mirror: Reflections in and on the Work of Mary Cassatt 

VC. The Politics of Medium

Chair: Bibiana Obler, George Washington University

Natalia Keller, Museo Nacional de Bellas Artes in Santiago de Chile
‘Mainly girls study it’: Chilean Women Artists as Printmakers in the Beginning of the 20th-Century

Elizabeth S. Hawley, Boston University
Issues of Race, Gender, and Pueblo Tradition in the Art of Tonita Peña

Jacqueline Witkowski, University of British Columbia
Textile Experiments in South American Conceptual Art

Elyse Speaks, University of Notre Dame
A Labor of Love and the Politics of Process

VD. Women Take the Lead

Chair: Kate Lemay, National Portrait Gallery
           
Berit Potter, University of San Francisco
‘Widely Curious’: Grace Morley and Exhibiting Modern Art’s Difference
           
John-Michael H. Warner, Kent State University
Running From/For Capitalism: Jeanne-Claude, CEO of the Running Fence Corporation

Kara Li, Stony Brook University
Alternate Spaces: Women Artists in Contemporary Chinese Art

Margaret Laster, Independent Scholar
Catharine Lorillard Wolfe: First Owner of Winslow Homer’s “The Life Line”

Brunch sponsored by Feminist Studies
Presentation and Q&A with Ashwini Tambe (University of Maryland), Editorial Director
Location TBA

Amelia Jones

Keynote: Amelia Jones.