PhD Candidate in Art History & Criticism at Stony Brook University Independent Curator Writer

Conferences

 
 
 
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Panel Co-Organizer, Association for Art History Conference April 2019

Fugitive Visions: Art and the Eidetic Image

Organizers: Elizabeth Buhe, Institute of Fine Arts (NYU) and Amy Rahn, Stony Brook University (SUNY)

Eidetic imagery – vivid pictures seen ‘in the mind’s eye’ – has been a powerful and ongoing source of artistic inspiration. Yet, modernist privileging of disembodied vision and positivist opticality has suppressed the realm of the eidetic: an expansive category that includes subjective spiritual, mystical, synesthetic, hallucinatory, and visionary experience.

This panel solicits papers addressing artists past and present who have employed eidetic imagery in the creation or content of their work, as well as from scholars crafting methodological approaches for understanding and historicising artists’ visionary processes. Can art stimulate eidetic experience in its beholders? How might a hermeneutics of the eidetic contribute to a more expansive art history? How do artists represent the invisible? What perceptual modalities and sensory crossovers are engaged in creating or apprehending such art? Can the highly individual nature of reverie or inner vision paradoxically allow artists to communicate with art’s diverse audiences?

Many art historical moments invite such questions. Prehistoric rock art’s intricate patterning is believed to derive from forms visualised during altered states, while, in the 19thcentury, Symbolists instrumentalised individual visions in pursuit of sweeping artistic insight. More recently, Joan Mitchell claimed she painted ‘from remembered landscapes that I carry with me’. Following the work of scholars like Marcia Brennan, Todd Cronan, Linda Dalrymple Henderson, and Martin Jay, this panel invites papers that implement or productively critique methodologies such as affect, feminism, neuroscience, new materialism, and phenomenology to excavate traces of eidetic experience that haunt art’s past, but not yet its history. 

 
 Irene Rice Pereira, 1938 Aug. 16 / Cyril Mipaas, photographer. Federal Art Project, Photographic Division collection, circa 1920-1965, bulk 1935-1942. Archives of American Art, Smithsonian Institution.

Irene Rice Pereira, 1938 Aug. 16 / Cyril Mipaas, photographer. Federal Art Project, Photographic Division collection, circa 1920-1965, bulk 1935-1942. Archives of American Art, Smithsonian Institution.

Panelist, Southeastern College Art Conference (SECAC) 2018

Panel organized by Catherine Dossin, Purdue University

Paper: "'I Hope You Do Not Think It Too Bold of Me’: Women Artists on Women Artists of America, 1707 – 1964"

 
 Joan Mitchell,  Untitled , 1960. Oil on canvas, 63 3/4 x 51 1/8 inches (161.9 x 129.9 cm). Collection of the Joan Mitchell Foundation, New York. © Estate of Joan Mitchell

Joan Mitchell, Untitled, 1960. Oil on canvas, 63 3/4 x 51 1/8 inches (161.9 x 129.9 cm). Collection of the Joan Mitchell Foundation, New York. © Estate of Joan Mitchell

Panelist, Feminist Art History Conference 2018

Paper: “’This Particular Very Dark Thing’: Joan Mitchell’s Black Paintings”

 
 Joan Mitchell with her painting Untitled (1951) in her parents' apartment in Chicago, Michael Goldberg papers, 1942-1981, Archives of American Art, Resource URI: http://data.aaa.si.edu/object/8696

Joan Mitchell with her painting Untitled (1951) in her parents' apartment in Chicago, Michael Goldberg papers, 1942-1981, Archives of American Art, Resource URI: http://data.aaa.si.edu/object/8696

Panelist, College Art association (CAA) Conference 2018

Paper: “Joan Mitchell’s Equivocal Feminism”