Abi Shapiro (McGill) ‘On-The-Road Studios’: Reading labour and mobility in women artists’ notebooks and sketchbooks
Susan Richmond (Georgia State University) Ree Morton’s Spaces
Kimberly Lamm (Duke University) Consuming and Undoing Woman as Sign: In the kitchen with Martha Rosler and Carrie Mae Weems
Sarah Evans (Northern Illinois University) Woman in Peril? Cindy Sherman’s Untitled Film Stills and the plight of the professional
Karen Tam (Artist and Independent Scholar) Flying Cormorant Studio, or the Re-Imagining of a Migrant Artist’s Studio
Taneesha Ahmed & Annie Carpenter Observing (the Work of Amateurs)
(Hannah Klarenbeek - withdrawn from original listing)
http://www.aah.org.uk/annual-conference/sessions2015/session16
◇ NIU School of Art and Design | Faculty | Art History | Sara Evans
Assistant Professor, Art History
Ph.D. University of California-Berkeley
Contemporary Art
Office: Art Building 203B
sevans@niu.edu
Sarah Evans is Assistant Professor of contemporary art history. Having completed a B.A. in film studies and an M.A. in critical theory, Professor Evans earned her Ph.D. (2004) in art history at University of California at Berkeley. She has held post-doctoral fellowships in the College of Letters and Science at UC Berkeley (2004-2006) and at Cornell University’s Society for the Humanities (2006-2007).
Her current project focuses on appropriation art of the 1970s, situating the early work of avant-garde artists like Cindy Sherman, Sherrie Levine, Robert Longo and David Salle within a broad context that includes pop-cultural phenomena like repertory cinema and television sit-coms, as well as the punk and No Wave music and film cultures of Lower Manhattan. Her goal is to analyze the social, professional and private dimensions of citation-based art, music and film, which, until now, has been interpreted primarily in terms of its contribution to postmodernism.
Professor Evans’ research interests include: theories of modernism and post-modernism; the relationship between modernism and mass culture; the connection between art and radicalism or revolutionary projects; the history of bohemianism and the concept of subculture; irony as a modern mode; humor, deadpan delivery and in-jokes in post-WWII art; crossovers among visual art, music, and film; collaborative practices, community-based and community-building art, and artist communities; art, art markets and art-working in the era of globalization; feminist theory; theories of photography; the historic and thematic association of women with photography; and the work of Edouard Manet and Cindy Sherman. Her article “There’s No Place Like Hallwalls: Alternative-space Installations in an Artists’ Community” is forthcoming in the Oxford Art Journal.
http://www.niu.edu/art/Faculty/Art-History/sara-evans.shtml
◇ Art Museum top examine ‘Afterlife of Appropriation’ | NIU Today
A slide lecture titled “The Afterlife of Appropriation” is the next program in the NIU Art Museum’s spring educational series.
Sarah Evans, assistant professor of contemporary art history at NIU, will speak from 5 to 6 p.m. Wednesday, April 22, in Room 315 of Altgeld Hall.
This lecture examines themes of appropriation in contemporary Eastern and Western art practice including the work of Yasumasa Morimura, a contemporary Japanese appropriation artist who inserts his own image into the portraits of other artists.
Appropriation art is characterized by this reuse and reference to borrowed images recontextualizing them into new works of art. Morimura’s work is held in the major collections of the J. Paul Getty Museum, Museum of Contemporary Art in Chicago, and the Whitney Museum.
http://www.niutoday.info/2015/04/13/art-museum-top-examine-afterlife-of-appropriation/
