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Abstracts2022

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© 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

organization devoted to the pursuit of independent scholarship, CAA does not condone theft or plagiarism of

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.

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1976

Cover design: Allison WaltersBlac

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This content is current as of Monday, December 20, 2021.

CAA 2022 Session Abstracts

In her 1979 Heresies essay "Criticism/or/Between the Lines," multimedia artist Howardena Pindell impugned the art press for all too frequently taking Black women artists' racial identities as the single determinant of the meaning and value of their work. Navigating the siloed art worlds of 1970s New York, where she was rendered invisible as often as she was pushed forward as a token, Pindell struggled with collectivity even as she labored within several of the era's major groups and institutions (A.I.R., MoMA, and JAM, among them). Pindell constantly negotiated the ways in which identity-based group allegiances irrevocably shaped not only the interpretation of her works, but her very identity as an artist.

Her Heresies piece asks: Who gets to claim artistic authorshipand through which formal languages are they able to do so?Alongside her text, Pindell's abstract, punched paper worksfrom this period are also interventions into masculinist andracist conceptions of artistic authorship. In this talk, I will arguethat by using both conceptualist and painterly process-basedmethods in works such as "Carnival at Ostende," 1977, Pindell

was claiming expressive authorship and questioning the construct of authorship itself—a position that reflects the intersectionality of her own identifications. My project seeks to offer a more nuanced look at Pindell"s critique of what she called “the (white) women"s movement" as well as a new understanding of the way that feminist artists in the period complicated the supposed incompatibility of conceptual and embodied styles of making. In the late 70s and early 80s, few venues existed where feminists of color could engage in acute critiques of heteropatriarchy, white supremacy, power, and domination. women could convene for the work of dismantling the master"s house. Although the “mother" collective was, as self- described, a group of college-educated, white, middle-class lesbians, they were open to critique of how they performed their politics and solidarity. The publication of “Lesbian Art and Artists" (#3) was particularly problematic for its omission of lesbian artists of color. The Combahee River Collective"s protests led to the publication of “Third World Women" (#8) and “Racism Is the Issue" (#15). While Issue #8 and Issue #15 might be viewed as tokenism, this paper argues that the two issues are key documents in the discourse on not only women of color feminism/womanism but also on contemporary art. This paper particularly explores these two issues for the anti- racist visual politics presented by the artists who contributed original artwork to the journal at the time. Founded in New York in 1977, Heresies was a feminist journal the structures that contributed to the absence of artists of color 'Heresies' and Other Mythologies In November 1977, members of the Combahee River Collective Heresies journal issue #3, "Lesbian Arts and Artists." Noting that "[f]eminist and lesbian politics and creativity are not the exclusive property of white women," Combahee's critique is one of many that have expanded histories of the women's movement in the seventies. Heresies, however, was structured through lively debate and dissent, a result of tensions between editorial collectives formed to edit each issue, and the main "mother" collective. These multiple tiers of dialogue, and the journal itself,

often function as symbols of failed feminist unification, even asthe most recent major overview, the 2008 documentary The

Heretics, serves as an homage to the group's supposed unanimity. Departing from either perspective, this panel proposes Heresies as a site of conflict that manifested real critique of racist, capitalist heteropatriarchy, however messy, and exceeds the lens of white-identified feminism so often ascribed to it. We seek papers exploring contributions to the journal by artists such as Vivian E. Browne, Michelle Cliff, Emma Amos, Ana Mendieta,

Lorraine O"Grady, Lois Red Elk, and many others; and thematicissues such as “Third World Women" (#8),

"Earthkeeping/Earthshaking: Feminism & Ecology (#13), and “Racism Is the Issue" (#15) to name a few. We also welcome papers that interrogate collectivity as it relates to Black, womanist, Indigenous, and decolonial feminisms; networks of artists in dialogue with Heresies; and theories of the maternal in radical struggles.

Chairs: Abbe Schriber, Crystal Bridges Museum of

American Art; Montana Marie RayDisassembling Artistic Authorship in Howardena Pindell's

Punched Paper Paintings

Ashton Cooper, USCHeresies: An Anti-Racist Visual Politics

Crystal am Nelson

, Penn State University We are alive and creating, too: Returning to the Third

World Women's Issue of Heresies and Zarina

Sadia Shirazi

from feminist histories of art, while also making space for the possibilities of social life and refusal as demonstrated by the artist. From sex hotlines, to crisis hotlines, to psychic hotlines, to tip hotlines, the anonymous telephone call is a poignant example of intimacy without proximity. But what makes the line “hot"? What kinds of things do we ask each other, confess to each other, or create with each other in the absence of an image? In 2020, I was commissioned by the Shelley & Donald Rubin Foundation to make a work for their Performance-In-Place series, responding to the conditions of the pandemic. In response to this, I made Hotline: a "choose your own adventure" narrative distributed through a voicemail menu. The number is live and able to receive calls 24 hours a day at (866) 696-0940. Participants are invited to call, choose from set options, and leave an anonymous message. Messages are accessible to audiences to listen to when the piece is exhibited via image QR code paintings (on view at A.I.R. Gallery in November 2020). Printed on square canvases, the QR codes reference iconic moments of mediation in pop culture and frame a tension extending from the trajectory of

20th century painting to contemporary screen culture: is the

surface of a screen or canvas a portal for connection, a

window to an elsewhere place, or a mirror that returns us tothe space and conditions of viewing? For this presentation, Iwould like to discuss the work, its reception, and offer somereflection on what kinds of connections the face precludes andthe voice allows.

In Barbara Browning"s The Gift liquid language flows through the e-mail exchanges recorded in the book. Messages come in ‘floods" or when the character of Sami stops responding to Barbara, she says he has ‘evaporated." In the deluge and droughts of their conversations the boundaries that might define a distant relationship between people dissolve with the immediate intimacy enabled by online exchange. The complication of these boundaries is emphasised by the videos accompanying the novel. Hands embrace like a dancing couple and Barbara"s body moves with the rhythms of Sami"s speech in moving images inferring touch despite these people never meeting in person. These fluidly shifting boundaries shape connections, but also differences between Barbara and Sami. They are woman and man, neuro-typical and neuro- divergent. These markers of difference are established by Luce Irigaray whose theorisations of elemental passions disrupts a concept of a gendered ‘other" and instead situates differences as a mutual exchange flowing back and forth. Could this fluid exchange be applied as a metaphor for online intimacy that dissolves the conception of interactions mediated by technology and redefines the binaries between distance and proximity, telepresence and physical touch? This paper will superimpose the fluid exchange proposed by the likes of Irigaray onto the disruption of boundaries presented within Browning"s work, including both text and visual material. I will develop comparisons to similar multimedia projects; the 2013 exhibition Liquid Autist and Cecile B. Evan"s Sprung a Leak (2016), that show how fluid exchanges enabled by networked technologies reshape binaries. Today, the search for stranger relationality on the internet feels automatic, even effortless, the frisson of risk introduced only when we choose to become vulnerable. Yet while the primary function of computer networks has always been to facilitate interpersonal connection, the horizon of those relations has not always seemed so open, their intimacies so tactile and available. In the 1990s, as the growth of the web was just starting to bring large numbers online, embodiment remained an abstraction and erotics thrived only along the fringes. It was during these years that Auriea Harvey and Michaël Samyn encountered each other as strangers on the now-defunct platform hell.com, and embarked upon an experiment with the elision of artistic and intimate collaboration inside the network. Separated by an ocean—as well as IRL promises to other people—the pair began to exchange secret dHTML letters with messages of longing and desire woven through image, sound, and the poesis of code. Eventually Harvey and Samyn came together and formed the artist group Entropy8Zuper!, releasing the collected web letters under skinonskinonskin (inappropriate) digital intimacies This session takes its title and ethos from Barbara Browning"s

2017 metafictional novel, The Gift (Or, Techniques of the Body).

The narrator/protagonist Barbara revels in seizing “inappropriate intimacies:" replying to junk email with heartfelt sincerity, spamming strangers with cover songs on ukulele, developing an intense relationship with a man online, of whose veracity she can never be sure. Browning"s character and this friend collaborate on dance videos, her hands moving to music and voicemail that he had created—“digital intimacies," twice-over. The reader engages these through description and black and white screen- captures, but is also invited to view them on Vimeo. In this way, Browning redoubles her effort for radical forms of stranger intimacy online and the possibility of virtual touch, with gifts that disrupt logics of capital and heteronormative patriarchy, as well as the bounds between “reality" and “fiction." In the pandemic, causal and erotically-charged interactions with strangers IRLquotesdbs_dbs19.pdfusesText_25

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