MARCH 5 - 6, 2021 VIRTUAL SYMPOSIUM - FSU Art History
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MARCH 5 – 6, 2021 VIRTUAL SYMPOSIUM
Friday, March 5, 2021 Saturday, March 6, 2021
2:45pm 9–11am
Welcome Welcome
Dr. James Frazier, Dean of the College of Fine Arts Dr. Adam Jolles, Chair, Department of Art History
Acknowledgments Session II: Places, Spaces, and Urbanization
Britt Boler Hunter Session Chair: Caitlin Mims
Angelica Verduci, Case Western Reserve University
Hayla May, Oklahoma State University
3–5pm Astrid Tvetenstrand, Boston University
Session I: Nineteenth and Twentieth-Century
Politics and Identity 1–3pm
Schedule of Events
Schedule of Events
Session Chair: Leigh Daniel Session III: Mor tality and Spiritualit y from
Antiquity to the Middle Ages
Hoyon Mephokee, American University Session Chair: Madison Gilmore-Duffey
Zahra Banyamerian, City College of New York
Jordan Hillman, University of Delaware Holly Bostick Miller, University of Georgia
Sheila Scoville, Florida State University Sonia Dixon, Florida State University
Mia Hafer, University of Kansas
Rebekkah Hart, University of California, Riverside
5:30pm 3:30–5pm
Introductions Roundtable: Current Trends and Best Practices
Dr. Paul Niell & Dr. Tenley Bick in Cultural Heritage Work
Moderator: Chase Van Tilburg
Keynote Lecture
Dr. Charlene Villaseñor Black Opening Remarks
Professor, Department of Art History Dr. Kristin Dowell, Director, Museum & Cultural Heritage
University of California, Los Angeles Studies
“Decolonizing Art History with Mexico’s Panelists:
‘ Tenth Muse,’ Sor Juana Inés de la Cruz” Alexis Assam, Philadelphia Museum of Art
Chelsea Dinkel, Smithsonian Institution
Ana Juarez, Tampa-Hillsborough County Libraries
Emily Thames, Florida State University
Cover: Alma Lopez, La Peor de Todas, 2013. Closing Remarks
Dr. Preston McLane, Director, FSU Museum of Fine Arts
Keynote Speaker
Decolonizing Art History with Mexico’s
Charlene Villaseñor Black
“ Tenth Muse,” Sor Juana Inés de la Cruz
Professor
Department of Art History
University of California, Los Angeles Can the tools of Chicanx studies Sor Juana’s life by writer and scholar
decolonize art history? I ask this Alicia Gaspar de Alba (1999), now a
question as I contemplate one of forthcoming opera. What can these
the most famous paintings created contemporary depictions of Sor
Charlene Villaseñor Black is Professor summer 2021. Her 2006 book, Creating in colonial Mexico, Miguel Cabrera’s Juana reveal about the risks, dangers,
of Art History and Chicana/o Studies the Cult of St. Joseph: Art and Gender 1750 posthumous portrait of Sor Juana and benefits of joining together art
at the University of California, Los in the Spanish Empire, won the College Inés de la Cruz, Mexico’s renowned history and Chicanx studies? What
Angeles, editor of Aztlán: A Journal Art Association’s Millard Meiss award. writer, scholar, and muse. Portrayed does it mean to move beyond the
of Chicano Studies, and founding at her desk, surrounded by her books boundaries of art history? Can the
editor-in-chief of Latin American and In 2016, Professor Villaseñor Black
and other scholarly accoutrements, tools of Chicanx studies decolonize
Latinx Visual Culture (UC Press). She was awarded UCLA’s Gold Shield
Cabrera created his rendition fifty- art history?
publishes on a range of topics related Faculty Prize for Academic Excellence,
five years after Sor Juana abdicated
to contemporary Latinx art, the early bestowed annually in recognition of
her life as a scholar. I argue that
modern Iberian world, and Chicanx exceptional teaching, innovative
his version functioned as a painted
studies. Her most recent books include research, and strong commitment
vindication. What pictorial strategies
Renaissance Futurities: Art, Science, to university service. She has held
did Cabrera employ in defense of the
Invention; Knowledge for Justice: An grants from the Fulbright, Mellon,
colonial muse? How do we today
Ethnic Studies Reader (both from 2019); Borchard, Getty, and Woodrow Wilson
and how did the eighteenth-century
the new 2020 edition of The Chicano Foundations, the National Endowment
viewer understand this portrait? This
Studies Reader; and Autobiography for the Humanities, and the American
talk addresses these questions by
without Apology: The Personal Essay Council of Learned Societies. Currently,
reading colonial portraits of Sor
in Latino Studies, which she co-edited. she is Principal Investigator of “Critical
Juana in dialogue with analogous
Her monograph, Transforming Saints: Mission Studies at California’s
depictions of scholars, nuns, and
Women, Art, and Conversion in Spain Crossroads,” a $1.03 million dollar
holy women (beatas). Literature of the
and New Spain, is under contract with grant from the University of California’s
period, most notably Sor Juana’s own
Vanderbilt University Press, as is her Multicampus Research Programs and
writings, helps us unravel both the
co-edited volume, Decolonizing Art Initiatives. She was recently awarded
dangers of intellectual desire as well
History, to be published by Routledge. an exhibition grant from the Getty
as its symbolic potential. I then turn to
She is currently finalizing a book for Foundation’s Pacific Standard Time: Art
modern and contemporary Mexican
the UCLA Chicano Studies Research x Science x LA. Most recently she has
and Chicana portrayals, which I
Center’s Chicano Archives Series, The accepted the Terra Foundation Visiting
similarly position in conversation
Artist as Eyewitness: Antonio Bernal Professorship in American Art at Oxford
with literary texts, including modern
Papers, 1884-2019, forthcoming in University for 2021-22.
commentary and the novelization of
Hoyon Mephokee Zahra Banyamerian
American University City College of New York
J.B. Carpeaux’s Fontaine des Quatres-
Women of Allah and The Book of Kings:
Parties-du-Monde: A Monument for the
Neshat’s Narratives of Returning Home
French Colonial Empire
Jean-Baptiste Carpeaux’s Fontaine des place in Third Republic ideology. In In this paper, I revisit Women of Allah and reflective and restorative—the former
Quatres-Parties-du-Monde (1867–74), doing so, I make the case for broadening The Book of Kings, two photographic is a longing for home, while the latter
also referred to as the Fontaine de the consideration of nineteenth-century series by Shirin Neshat using the is the desire to return home. I argue
l’Observatoire, is a public sculpture sculpture in art-historical scholarship. framework of nostalgia. Neshat created that Neshat conveys her longing for
that adorns a fountain at the southern Women of Allah to address Iran’s 1979 home in Women of Allah and visualizes
end of the Luxembourg Gardens. The revolution, while The Book of Kings her homecoming in The Book of Kings.
monument sits on the axis between Hoyon Mephokee is a recent graduate was created in response to the Green
the Luxembourg Palace and the Paris of the art history MA program at the Movement in 2009. The events of the
Observatory. It depicts four allegorical American University in Washington, D.C., 1979 revolution, Neshat’s exile, and Zahra Banyamerian is an independent
female figures, who each represent where he specialized in postcolonial the condition of women living under curator and art administrator in Brooklyn,
one of the four continents: Europe, and decolonial studies of nineteenth- Islamic law have guided scholarship New York. She is Program Officer at New
America, Africa, and Asia. Together, century French painting and sculpture. on Neshat’s works since 1997. However, York Foundation for the Arts, Learning
the figures hold up an armillary sphere, He interrogates the diplomatic and scholarship accounting for Neshat’s department. She directly works with
around which is a band that indicates cultural threads between France and trauma from the 1979 revolution has the artists who share the experience
the positions of the zodiac, and, at the its colonial contacts through a spatial not yet received adequate attention. of immigration for NYFA’s Immigrant
center, the globe. and multimedial consideration of visual Artist Mentoring Program. Zahra also
and material culture. He has applied The 1979 event led to political and social pursues curatorial projects in alternative
In this paper, I employ postcolonial to art history PhD programs, in which changes in Iran and interrupted Neshat’s venues, creating space for emerging
and socio-historical methodologies he hopes to study a cultural history of memory of home. The revolution artists whose work may not conform to
to examine the colonialist discourse Franco-Siamese relations. stopped the correspondence of her past, the standards of mainstream art. She is
embedded in the iconography of her present, and her future, thereby trained as a painter and printmaker and
Carpeaux’s monument, its placement in triggering Neshat’s fears, discontents, holds a BFA in Painting and MA in Art
the urban geometry of Haussmannized and anxieties, which, ultimately, evoked Studies from the University of Tehran,
Paris, and its spatial relationship to her nostalgia. Neshat’s nostalgia for and a Post-Baccalaureate in Studio Art
sites that embody French political home connects Women of Allah from the School of the Museum of Fine
and scientific authority. I extend and The Book of Kings beyond their Arts, Boston.
the understanding of Carpeaux’s visual and thematic correspondence.
relationship to the Second French Svetlana Boym’s The Future of Nostalgia
Empire and question his monument’s distinguishes two kinds of nostalgia:
Jordan Hillman Sheila Scoville
University of Delaware Florida State University
“ That Guy:” Chicano Art and Modernism
Between Authority and Visibility:
in César Augusto Martínez’s Bato
Policing Space in Vallotton’s Paris
con Sunglasses
In 1903, Félix Vallotton contributed of actual urban spaces into print, The painting Bato con Sunglasses by modernist tenets and unassimilated
a lithograph to the satiric journal Vallotton produced powerful visual César Augusto Martínez articulates the expressions of minority experience.
Le Canard sauvage that depicts a commentaries on the instabilities of incommensurable position of artists Bato con Sunglasses intersects
policeman on a Paris street. Empty police authority and the dynamics of who have germinated their practices the specificity of being Mexican-
space fans out around the officer as its visibility and invisibility in the streets in solidarity with communities alienated American with the universality of
the other figures in the scene flee in of Paris in the decades around 1900. by white normativity. In the late 1970s, being “modern.” The artist’s heterodox
the opposite direction of his post. Here, after pursuing political art and activism use of the color field diversifies and
the policeman’s presence alone proves for the Chicano Movement, Martínez revives the format, while his humanized
capable of altering the street from a site Jordan Hillman is a fifth-year doctoral began painting barrio characters modernism historicizes and disabuses
teeming with life to an emerging void candidate in Art History at the University isolated against planes of color. With abstraction of its professed neutrality.
overseen only by authority. This print of Delaware. She earned her BA in Art the prospect of code-switching for a
is just one of many Vallotton produced History with University Honors from cultural establishment with apolitical
that contend with the increasing American University in 2012, and her pretensions, Martínez balances loyalty Sheila Scoville is a doctoral student and
presence, and omnipresence, of police MA in Art History from the University of to La Raza and his ambiente, or barrio a Patricia Rose Fellow in Art History at
in Paris. Indeed, in other pictures, Delaware in 2016. Jordan was awarded sensibility. This tension wrangles Florida State University. She studies the
Vallotton registers their presence a 2020-2021 University of Delaware an uncanny union of aesthetic and Indigenous sources of Latin American
through absence, entirely removing the Doctoral Fellowship to support work ideological opponents on canvas, a culture in the United States and abroad,
policeman’s image, but acknowledging on her dissertation, “Mediating Authority: lampoon or a dream, in which a Brown focusing on Mesoamerica. The scope of
the ways in which his palpable presence Representations of the Police in person photobombs the sacrosanct Sheila’s work traverses the geography
continues to shape the experience of Paris, 1881-1918,” which explores the space of high art. and history of the Americas to connect
the urban environment. construction and disruption of police different regions and to relate antiquity
authority through image-making in the Although color fields are a signature of to the present. Sheila holds an MA in Art
This paper considers how the unusual French capital during this period. She the Bato series, they have not prompted History from the University of Houston
perspective, dramatic cropping, and is spending the year abroad in Paris extended discussion. Rarely do stylistic and a BA in English from Rollins College.
pictorial wit in Vallotton’s prints of pursuing this project. assessments position US artists of Latin During her tenure at UH, she was the
police worked against the orderly American descent in a synchronous assistant art editor of Gulf Coast: A
arrangements of official images of the view of American abstraction. Situating Journal of Literature and Fine Arts.
police produced at this time. Through Martínez in dialogue with abstract
his distorted and violent translations art exposes the conflicts between
Angelica Verduci Hayla May
Case Western Reserve University Oklahoma State University
Sight, Sound, and Silence at the Islam in the New World: Subversive
Oratorio of San Bernardino in Clusone Architecture in Colonial New Spain
The Oratorio of San Bernardino in and holds scrolls bearing the words Many sacred spaces from late medieval convergence actively participated in.
Clusone, Italy was once the domus of pronounced by Death in the song. By and early modern Iberia integrate a These readings show the variegated
the Disciplini Bianchi. There, these lay seeing painted verses from the lauda, multiplicity of visual cultures from experiences of the visual world in
brothers expiated their sins through the flagellants would have recalled Latin and Arabic spheres. Churches, Mexico. Ecclesiastical spaces were
ritual self-flagellation and the singing and recited aloud other lines, thus mosques, and synagogues erected informed by, participated in, and shaped
of laude. These vernacular songs, when activating a dialogue with Death. between the eleventh-century perceptions of New Spain in ways
structured as a dialogue between Almoravid dynasty and sixteenth- that can be traced to Islamic design.
the personification of Death and century Habsburg Spain synthesize
a disciplino, elicited meditation on Angelica Verduci is a fourth-year doctoral spatial motifs found commonly in both
death’s power over earthly vanity. In candidate in medieval art at Case the Middle East and Western Europe. Hayla May is a second-year graduate
1484, the flagellants commissioned Western Reserve University. Angelica’s I argue that these unique architectural student pursuing an MA in Art History at
a fresco for the outer facade of their interests lie at the intersections of designs which fold together conventions Oklahoma State University. She obtained
domus, depicting the Triumph of Death macabre and eschatological imagery, of Islamic and Christian structures a BA in Studio Art with a minor in Art
accompanied by some verses of the performance, and vernacular culture. contributed to a multifaceted sense of History from the University of Arkansas
lauda, “Io son per nome chiamata morte,” Angelica earned both her BA and MA Spanish identity in the sixteenth century – Fort Smith in 2015 with projects
(I am called Death by name). in Art History at Università Cattolica that was repeated and redefined in the engaging with spatial experience. She
in Milan. In 2020, she received the New World. is currently completing a thesis on the
In this paper, I explore how the Clusone International Center of Medieval Art religious intersection of spatial design
mural, by displaying images that Travel Grant to fund a research trip for Religious buildings in cities central in the Cathedral of Seville. Her research
foreground the senses of sight and her dissertation on Italian “Triumph to occupancy in Spain – such as focuses on architectural interchange
hearing, becomes a visual meditation of Death” imagery, on which she is the cathedrals of Seville, Zaragoza, between Christianity and Islam in the
on this vernacular song. I argue that currently working. and Cordoba – set visual paradigms late Middle Ages and Early Modern
the conversation between Death and that have largely been referred to in period.
the disciplino, conveyed in this lauda, scholarship as mudéjar architecture. I
is visualized in the image of Death will complicate this narrative to suggest
standing on a sarcophagus at the an understanding of the intersection of
top of the fresco. Death establishes Islamic and Christian architecture that
eye contact with its viewers, the acknowledges the complex matrix of
disciplini, opens its jaw as if to speak, Spanish identity that this architectural
Astrid Tvetenstrand Holly Bostick Miller
Boston University University of Georgia
“It Must’ve Been a Pineapple:” Henry
Hero or Heroized? Contextualizing Greek
Morrison Flagler, Martin Johnson
Banquet Scenes within the Votive and
Heade, and the Development of
Funerary Landscapes of Classical Attica
Coastal Florida
During the nineteenth century, the profitable and aesthetically beneficial Numerous marble reliefs of scenes that paper I explore how this marble relief
territory of the United States expanded bond that endorsed the ideal Floridian prominently feature a reclining male would have been contextually displayed,
and consequently reimagined the scenery and simultaneously created a banqueter were dedicated in Greece identified, and interpreted by Athenian
boundaries of the nation. While many site of human exchange, intervention, during the late fifth to fourth centuries audiences as a new kind of dedication
Americans traveled to the West, a select and commerce. BCE. An unpublished relief from the to a local hero in this period.
few ventured south to industrialize Memphis Brooks Museum of Art, dating
and establish the state of Florida. around the late fifth century BCE, is an
Encompassing a unique environment, Astrid Tvetenstrand studies the history of interesting and little-known example Holly Bostick Miller earned her MA in
Florida was foreign to elite Americans American painting, decorative arts, and of the type. Most such reliefs have May 2020 from the University of Georgia
of the period. In 1845, Florida was architecture. She explores these fields been identified as modest funerary where she specialized in Ancient Art
admitted to the Union, thereby solidifying through practices of collection, economic monuments representing the deceased and Architecture. She was the President
its value for the country. Contemporary development, and the consumption of at his funerary banquet and have been of UGA’s Association of Graduate Art
perceptions of Florida were grounded American property. She investigates classified as examples of the so-called Students and has both curatorial and
in nineteenth-century actions and connections between the role of nature in Totenmahl or “death feast.” Recent archaeological field experience. Holly
events. An increase in commerce was the lives of nineteenth-century Americans research, however, has demonstrated received her BA in Art History from
a direct result of the profound impact and how it influenced the creation of art that this tradition of funerary reliefs Oglethorpe University in Atlanta in
that industrialist Henry Morrison Flagler and commerce in the United States. Astrid actually stemmed from the imagery of 2015 where studying abroad in Greece
had upon the region. received her MA in American Fine and an earlier series of votive dedications sparked interest for her current research.
Decorative Art History from the Sotheby’s featuring banquets that honored Holly plans on pursuing a PhD in Bronze
Central to Flagler’s process of Institute of Art in New York City and her traditional local Athenian heroes. Age Aegean Art and Archaeology.
development was a heightened BA in English Literature from St. Lawrence
association with the arts and, more University in Canton, NY. Although the Brooks relief has been
specifically, with landscape painting. identified as a “grave” monument, my
This concept is best articulated through research demonstrates that it is, in
Flagler’s professional relationship fact, a rare example of a hero votive
and personal friendship with noted relief produced in Athens circa 415
nineteenth-century American landscape BCE. It has close parallels in objects
artist Martin Johnson Heade. The origins from the Athenian Agora and from the
of commerce in the region created a southern region of Laureion. In this
Sonia Dixon Mia Hafer
University of Kansas
Florida State University
Reexamining Syncretism in Late Antique Indices in Ivory: Inspiring Affective
Salvific Iconography Piety with a Walrus Ivory Christ
In this paper I revisit the identity of of shift and continuity. I argue that in Though a stunning example of the artisan’s manipulation of the material
a Late Antique vault mosaic located order to properly view and interpret fourteenth-century ivory carving, the traits of walrus ivory heightens both
in Room M of the Vatican Necropolis the charioteer we must decenter Metropolitan Museum of Art’s Crucified the work’s agency and the reciprocal
beneath Saint Peter’s Basilica. Evidence Christianity. I argue that the image Christ remains understudied. This is, relationship between Christ and
suggests that this room originally is purposefully syncretic, and will perhaps, due to its medium: walrus worshipper, allowing the piece to shape
functioned as a pagan burial site in demonstrate the ways in which it could ivory. Its variable color has led many the viewer’s devotional experience.
the second century CE. The current have been viewed by members of any to label walrus ivory as a cheap elephant
decorative mosaic program dates to cult, including Christianity. ivory substitute. In this paper, I argue
the mid-third to fourth centuries. The that the artist’s choice to use walrus Mia Hafer is a first-year PhD student in
walls feature images of Jonah, the ivory is due not to its market value but the History of Art at the University of
Good Shepherd, and the Fisherman– Sonia Dixon is a Patricia Rose Teaching how the material lends itself to affective Kansas. She is particularly interested in
all standard Christian funerary Fellow and third-year doctoral student contemplation of Christ’s humanity. representations of identity and otherness
iconography during the third to fifth in the Department of Art History at in medieval art, and how markers of
centuries. On the vault, the scene Florida State University. Her doctoral Walrus ivory consists of two sections: gender, sexuality, and nationality inform
continues with a beardless, robed male research focuses on the evolution of a white outer layer, similar to elephant secular imagery. She received her MA
with a radiant nimbus, holding a globe the function and meaning of the Chi-rho ivory, and an inner portion discolored in art history and her BA in art history
in his left hand and riding in a horse- from the reign of Constantine to the by red and brown streaks. The tusk and anthropology from Case Western
drawn chariot. reign of Justinian across time and space. used for the Crucified Christ was Reserve University, where her paper “At
She examines the material, placement, carved so that its surface forms the Home, Abroad, and on the Wade Cup”
Scholars generally argue and accept form, and variations of the Chi-rho in lifeless front of Christ’s body, while its received the Noah L. Butkin award. Mia
that the Christian narrative conveyed order to fully understand its function white layer composes his face, back, has previously served as the Collections
by images on the walls required a and meaning in the context of the Late and loincloth. The sculpture beckons Management intern for the CWRU
Christian image in the vault, and Antique and Early Byzantine period. onlookers to visually experience its Putnam Sculpture Collection and the
therefore, identify the charioteer as Sonia is also a Captain and Army tactile qualities, all while suspending Special Collection Exhibition Coordinator
Christ with the attributes of Helios. Monuments Officer in the U.S. Army Christ in the liminal space between for Holden Arboretum.
In Late Antique Rome, pagan images Reserve. life and death. Christ’s discolored body
were juxtaposed with Christian ones, evokes memories of his crucifixion,
and Christian imagery appropriated while his pure white face hints at his
pagan iconography during this period eventual resurrection. I will explore how
Rebekkah Hart Cultural Heritage Panelists
University of California, Riverside Alexis Assam (MA FSU 2018) is in her second year as
the Constance E. Clayton Fellow in the Contemporary
Art Department at the Philadelphia Museum of Art. She
was the 2018-19 Romare Bearden Graduate Museum
Fellow at the Saint Louis Art Museum. While there she
Alabaster Flesh: Materiality in English co-curated the exhibition, The Shape of Abstraction:
St. John’s Heads Selections from the Ollie Collection (Sept. 2019–Oct.
2020), which presented the work of five generations of
black artists who have revolutionized abstract art.
The translucent surface of polished and a wide range of associations
alabaster not only resembles glowing, repeated throughout the stone’s rich
Chelsea Dinkel (MA FSU 2017) is a Collections Specialist
pale skin but also invites flesh-to- literary tradition. My reevaluation of the at the Smithsonian Institution in Washington, DC.
flesh contact between the living and sculpted heads’ properties furthers the Chelsea has previously interned at The John & Mable
material worlds—a tantalizing quality research on alabaster as material and Ringling Museum of Art, the National Museum of African
that the famed English alabaster carvers adds nuanced meaning to the popularity Art, and at the Newseum. Recently she has worked
repeatedly employed in the fourteenth of English alabaster St. John’s Heads in on projects related to collection moves, storage, and
inventories for the National Air and Space Museum, the
through sixteenth centuries. My European trade.
Anacostia Community Museum, the National Museum
research focuses on alabaster carvings of American History, and the National Postal Museum.
of St. John the Baptist’s decapitated
head commonly produced in England Rebekkah Hart is a graduate student in
from 1417 to 1550. Often encased in Art History at the University of California,
Ana Juarez (MA FSU 2017) is the Fine Arts Registrar
wood or cloth which further isolated Riverside. Her thesis investigates at Tampa-Hillsborough County Public Libraries.
the exposed stone face, these tablets alabaster’s medicinal associations and She previously served as the Barancik Community
were used in private devotional settings, its later role as a sculptural material in Engagement Fellow at The John and Mable Ringling
medieval and early modern England. Museum of Art. In her current role as registrar she
in which their tactile appeal heightened
She hopes to continue these avenues cares for a diverse art collection spread among over
the worshiper’s spiritual experience. twenty library branches. Juarez manages cataloguing,
of investigation in her doctoral research.
preservation, display, and inventory efforts related to this
In the visual culture of late medieval Rebekkah’s research has been funded by collection.
and early modern England, with its Brigham Young University’s Humanities
predominance of brightly polychromed Grant program as well as the Richard
sculpture, the pronounced use and G. Carrott Award at UCR. Rebekkah’s Emily Thames is a doctoral candidate in Art History at FSU
display of luminescent, white stone interest in pedagogy has also led her specializing in the visual and material culture of the colonial
invites tactile encounters and brings the to teach elementary and secondary Atlantic World, with a focus on the Spanish Americas
materiality of alabaster to the forefront. students throughout California about and the Caribbean. In 2016–17 she was a Joe and Wanda
Corn Predoctoral Fellow at the Smithsonian American
The material produces meaning. In the Aztec codices and language systems
Art Museum. In 2018, Emily was the Object Research
case of St. John’s Heads, my research as a two-time Gluck Fellow of the Arts. and Teaching Programming Intern at the Crystal Bridges
examines how the use of alabaster Museum of American Art.
highlights certain religious ideologies
2020–2021 Graduate Symposium Committee:
Thank You
Our special thanks to the student speakers who made time to share
their research with us, to the roundtable panelists for sharing their
expertise, and to the keynote speaker, Professor Charlene Villaseñor
Black, for presenting her wide-ranging and influential work.
Many thanks to the members of the Graduate Symposium Committee
of the Department of Art History and their advisors, Tenley Bick and
Jean Hudson, whose assistance was essential for the success of the
symposium. The Committee would like to thank James Frazier, Dean
of the College of Fine Arts, Adam Jolles, Chair of the Art History
Department, and Paul Niell, Kristin Dowell, and Preston McLane for
their generous contributions. The Department of Art History is also
Acknowledgments
grateful to Sheri Patton, business administrator, and intern Alexa Patton
for their cheerful assistance.
Leigh Daniel, Madison Gilmore-Duffey, Anneliese Hardman, Britt Boler Hunter,
Caitlin Mims, Mallory Nanny, Chase Van Tilburg. Faculty Advisor: Jean Hudson.
Anti-Racism and Equity Committee Representative: Dr. Tenley Bick. Günther Stamm Prize
The Department of Art History faculty evaluates the student papers on
the basis of originality and presentation, and recognizes one participant
Land Acknowledgement with the Günther Stamm Prize, in memory of a founding professor of
the Department of Art History.
We acknowledge that the William Johnston Building at Florida State University,
home to the Department of Art History, is located on land that is the ancestral and Athanor
traditional territory of the Apalachee Nation, the Muscogee (Creek) Nation, the Papers presented at our symposium are considered for inclusion in
Miccosukee Tribe of Florida, and the Seminole Tribe of Florida. We pay respect to Athanor, a publication for art history graduate students sponsored by
their Elders past and present and extend that respect to their descendants, to the the Department of Art History. Athanor is indexed by the Bibliography
generations yet unborn, and to all Indigenous people. of the History of Art and is held in the collections of research libraries
worldwide.
We recognize that this land remains scarred by the histories and ongoing legacies of
settler colonial violence, dispossession, and removal. In spite of all of this, and with
tremendous resilience, these Indigenous nations have remained deeply connected
to this territory, to their families, to their communities, and to their cultural ways of
life. We recognize the ongoing relationships of care that these Indigenous Nations
maintain with this land and extend our gratitude as we live and work as humble
and respectful guests upon their territory. We encourage you to learn about and
amplify the contemporary work of the Indigenous nations whose land you are on
and to endeavor to support Indigenous sovereignty in all the ways that you can.Department of Art History Florida State University 1019 William Johnston Building Tallahassee, FL 32306-1233 arthistory.fsu.edu
Thank You
Günther Stamm Prize
Our special thanks to the student
speakers who made time to share The departmental faculty
their research with us, to the evaluates the student papers
roundtable panelists for sharing their on the basis of originality and
expertise, and to the keynote speaker, presentation, and recognizes
one participant with the
Professor Charlene Villaseñor Black,
Günther Stamm Prize,
for presenting her wide-reaching and
in memory of a founding
influential work. professor of the Department
of Art History.
Many thanks to the members of the
Acknowledgments
Graduate Symposium Committee of
the Department of Art History and
their advisors, Professor Tenley Bick
and Jean Hudson, whose assistance Athanor
was essential for the success of the Papers presented at
symposium. The Committee would our symposium are
like to thank Dr. James Frazier, Dean considered for inclusion
in Athanor, a publication
of the College of Fine Arts, Professor for art history graduate
Adam Jolles, Chair of the Art History students sponsored by the
Department, and professors Paul Department of Art History.
Athanor is indexed by the
Niell, Kristin Dowell, and Preston Bibliography of the History
McLane for their participation. The of Art and is held in the
Department of Art History is also collections of research
libraries worldwide.
grateful for the contributions made by
Sheri Patton, business administrator,
and intern Alexa Patton.You can also read
