Asia Adomanis presented “Beyond Hybridity: Abstraction and Racial Legibility in Seong Moy’s Inscription of T’Chao Pae II (1952),” as part of a session titled “Sinophone Art in the Global Cold War” at the College Art Association (CAA) Annual Conference in February 2024; and “Subjectivity, Materiality, and Belonging: Seong Moy’s Abstract Landscapes” at the Provincetown Art Association and Museum’s Inaugural Symposium on American Art: Land, Place, Identity, in November 2024.
Karin Flora presented “Roman Goddess and Mary: Material Mediation at the Threshold of Contrasting Worlds” at the International Congress of the History of Art in Lyon, France in June 2024.
Cole J. Graham published a peer-reviewed article entitled “Inefficient, Unsustainable, and Fragmentary: The Rauschenberg Combines as Disabled Bodies” in react/review: a responsive journal for art & architecture out of UC Santa Barbara.
Liz Heise-Glass presented “Music/Television: Experiments in Sound and Image in the 1980s” at the Society for Cinema and Media Studies (SCMS) Annual Conference in Boston in March 2024.
Dareen Hussein contributed an essay entitled “Thinking through Fragments: Speculative Archives, Contested Histories, and a Tale of the Palestine Archaeological Museum” for the collected volume FUTURE/PRESENT: Arts in a Changing America, edited by Daniela Alvarez, Roberta Uno and Elizabeth M. Webb (Duke University Press, 2024); and a short text on Sarah Maldoror’s film Et les chiens se taisaient [And the Dogs Were Silent, 1978] for Tënk France’s online film program “Années 70s: des images se lèvent” from Feb. 9-April 6, 2024. She also presented “Tracing Palestinian Representation on Screen: From Orientalism Towards a Militant Counter-Image” at No Evil Eye Cinema’s virtual symposium Cinematic Interventions to Freeing Palestine & The Global South in December 2023; “Resurrecting the ‘Songs of Oblivion’: Assia Djebar’s Theory of Counter-Cinema” at the Society for Cinema and Media Studies Annual Conference in Boston in March 2024; and “After the Defeat: New Realism and the Aesthetics of Disillusionment in Arab Cinema after 1967” at the annual Middle East Studies Association conference in November 2024.
Mia Kivel won the 2024 Chino Kaori Memorial Essay Prize from the Japan Art History Forum, for her essay, “The Jōmon Imaginary in Postwar Japanese Art.”
Allie Mickle presented “Aesthetic Kitsch as Global Commodity in Mika Rottenberg’s Cosmic Generator” at the College Art Association Annual Conference in Chicago in February 2024.
Hannah Slater presented “Post-disaster or Post-war? Reading Hatakeyama Naoya’s Rikuzentakata photographs through 1960s fūkeiron Discourse” at the Midwest Art History Society Conference in Chicago in April 2024.
Peter Smyth presented their research on cartooning at Comics Crossroads Columbus (CXC) as part of the graduate student panel in September 2024.
Emilela Thomas-Adams presented “Tender Destruction: Recycling and Repair in a Late Medieval Object” as part of the symposium on Ruin and Reparation: (Dis)Repair in Art and Architectural History at the University of Pittsburgh in March 2024.
Maggie Wilson presented “Christ and John’s Apocalyptic Intimacy in Bodley 401” in the two-part panel, Queer(ing) Medieval Art, at the International Congress on Medieval Studies in Kalamazoo, Mich. in May 2024.
Keyu Yan published an exhibition review of “Xu Bing: Word Alchemy” in Burlington Contemporary in July 2024; as well as a peer-reviewed article entitled “Contested Traditions: Contemporary Chinese Fiber Art and Gu Wenda’s Wisdom Comes from Tranquility (1986)” in World Art in March 2024. He also presented “Remaking Spaces: Agency and Queerness in the Art of Tseng Kwong Chi (1950-1990)” at the Global Asias Interdisciplinary Conference in Irvine, California, in February 2024.
