2018 AU/GW Graduate Art History Symposium

This year’s annual cross-collegiate symposium engaged with questions of race, gender, and sexuality.  We are grateful to our participating graduate students and attendees for opening the floor to these topics.  The following photos form the conference reflect the schedule of the conference:


Allison Burns (GW) opened the symposium with her talk, “Santiago and Pilgrimage in the Artistic Patronage of Isabel I of Castile,” in which she explored artistic patronage as a method of self-fashioning in the Renaissance. 



“Sarah Miriam Peale’s Mary Leypold Griffith and the Staging of Republican Motherhood” by Sarah Leary (AU) interrogated the forlorn hopes a Revolutionary American family held for their late daughter and the symbols of ideal womanhood Peale included within the posthumous portrait. 



James Stewart (GW) demonstrated the transnational interests of Victorian royalty in his presentation, “Courtly Connections: The Collections of Queen Anne of Denmark and her Circle.”



Olivia Rettstatt (AU) explored the transgressions of an underexamined female secessionist artist and questioned why the hanging committee of the 1908 Kunstschau excluded one of her major paintings in, “Broncia Koller’s Marietta: Facing the Viennese Secession.”



Reviewing the transnational and ethnic production of the ikat textile in the nineteenth century, Laura Ryan (AU) both identified and expounded upon the implications of this fabric in her talk, “Foregrounding the Background: Orientalism and Jewish Identity in Sonia Delaunay’s Yellow Nude (1908).”



Catherine Dolaher (GW) spotlighted a contemporary female artist and explored national identification on an international scale, raising questions of homage, tokenism, and kitsch, with her presentation, “Recasting the Divine: The Photo-Performances of Pushpamala N in Contemporary India.”



Xiaoyu Fang (AU) reconstructed the sources, national patriotism, and cultural power of a treasured-then-destroyed public mural from twentieth-century China with her presentation entitled, “When Brushes Become Weapons: The Choice of the Third Department-Home Front in the Wuhan Mural Project.”



In his presentation, “Towards a Redefinition of ‘Queerness’ in the Art of Alexander Glass,” Artie Foster (GW) both introduced the emerging artist and deconstructed the theme of bodily absence within his installation pieces, exploring their allusions to both queer death during the AIDS crisis and the desired non-homogenization of contemporary queer identity. 



We appreciate the attendance and participation of all involved in the symposium!



And our AU student speakers!



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