2020 Symposium

We are excited to share our symposium this spring, Lives/Afterlives/Futures: Engagements with the Archive.

As assembled repositories of knowledge, archives provide unique insights into personal, communal, and institutional histories. Art historians frequently interact with archives in their practice: as researchers in search of primary sources, as curators of exhibitions, and in studying art that mimics or critiques archives themselves. Though philosophers have been engaging with archive theory since the early 20th century, art historical investigation of archive theory is a more recent phenomenon. Hal Foster’s seminal essay, “An Archival Impulse,” (2004) catalyzed the conscious art historical engagement with archives as a methodology. Today, archive theory intersects with broader, ongoing art historical discourses that include feminist, postcolonial, and queer perspectives to critique dominate ideologies. These intersections have rearticulated the archive as a malleable, constructed, and curated entity, recognized for its potential to reveal, and in some cases conceal, these unaddressed histories. Simultaneously, art historians increasingly utilize archival tools and methodologies to conduct their research. With the proliferation of new and digital technologies, as well as a broadened art historical narrative, the question still remains: to what extent does the archive impact art history?

This conference investigates art historical engagement with generative lives, adaptive afterlives, and speculative futures of the archive. We invite graduate students in all areas of study to critically explore engagements with the archive as it relates to art historical scholarship. Possible topics include but are not limited to:

  • Archives and archival theory
  • Artworks or artists that engage with archives
  • Artist collectives
  • Alternative art histories
  • Speculative realism and futures
  • Canonization in art history
  • Digital humanities and art history
  • New media technologies and their impact on art historical methods
  • Exhibitions and curation
  • Documentation as practice

Applicants should submit an abstract of no more than 300 words, a paper title, and a current CV to The deadline for submissions is Friday, January 17, 2020. Selected speakers will be notified by February 1, 2020, and are expected to accept or decline the offer within one week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Symposium will be held on Friday, April 3, 2020, with a keynote lecture by Dr. Kristine Tanton, assistant professor of medieval art in the département d’histoire de l’art et d’études cinématographiques at the Université de Montréal. Her research focuses on two principal areas: the dynamic relationship among sculpture, architecture, and ritual activity in the Middle Ages, and the material processes in medieval art and architecture, specifically through 3D reconstructions of medieval monuments.


Symposium deadline extended

The Symposium Committee has chosen to extend the deadline for the annual symposium to January 31! For the full Call for Papers please look to the 2020 Symposium page.

Applicants should submit an abstract of no more than 300 words, a paper title, and a current CV to The extended deadline for submissions is Friday, January 31, 2020. Selected speakers will be notified on February 1, 2020, and are expected to accept or decline the offer within one week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Symposium will be held on Friday, April 3, 2020, with a keynote lecture by Dr. Kristine Tanton, assistant professor of medieval art in the département d’histoire de l’art et d’études cinématographiques at
the Université de Montréal. Her research focuses on two principal areas: the dynamic relationship among sculpture, architecture, and ritual activity in the Middle Ages, and the material processes in medieval art and architecture, specifically through 3D reconstructions of medieval monuments.

AHSA Meetings and Events Uncategorized

Transitions and Thanks


As the academic year comes to a close, the 2017-2018 executive board would like to extend our heartfelt gratitude towards everyone who helped make this year such a pleasure and success! The year has been filled with hard work, friendship, and forward movement. We are so proud of what the AHSA has accomplished.

2017-2018 Board: Emily, Lucy, Alex, Leanns, Caroline

Re-caps of this year’s many events can still be found under the Meetings and Events heading and our final calendar updates for campus and local events will hold space until updates begin again in the fall.

Before signing off for the summer, let us congratulate the graduates of 2018 (pictured left) and introduce the Executive Board for the 2018-2019 academic year (below):

• Zoe Lalonde: Graduate Co-Chair, Faculty Liaison + GTFF Rep

2018-2019 Board: Yinxue, Zoe, Landry, and Liam (not pictured, Carolyn and Casey)

• Undergrad co-director: Chloe

• Carolyn Hernandez: Treasurer, Fundraising

• Landry Austin: PR/Social media

• Casey Curry + Chloe: Professional Development

• Liam Machado + Yinxue Chen: Symposium Co-Chairs

• Casey Curry + Landry Austin: Art Show Co-Chairs

Thank you everyone for your support and participation, we couldn’t do this without you!


Contested Memories

The 14th Annual AHSA Graduate Student Research Symposium and accompanying Art Show were a tremendous success!

Rapt audience during the afternoon panel

On Friday April 20th, nine graduate students from across the country gathered in the atmospheric Gerlinger Alumni Lounge to present their research on the intersection of art and memory. Their hard work, professionalism, and  intelligence made for a phenomenal day filled with inspiring insights and critical conversations, engaging an audience with students, faculty, and alumni. Two morning panels focused on the making of memory, and the relationship between personal and collective memory. The third and final panel in the afternoon engaged with the topic of monuments and memory.

Thomas Price



Thomas Price, from Williams College began the morning with his engaging talk on “Tracing Memory on the Wilderness Battlefield.” He was followed by Fiona Dang of Tufts University, sparking important conversations with “Remembering 97 Orchard St.” Valeria Serrano from the University of Colorado Boulder closed out the first morning panel with an inspiring chapter of her thesis, “Re-membering for Remembering: The Sacred Role of Things in Colombian Artworks Dealing with Trauma.”

Sara Stepp

After a quick break, allowing excited faculty to speak with the first three panelists, the day continued with Yue Dai from University of Illinois at Urbana-Champaign and the “Changing Role of Xu Fang’s ‘Jianshang Thatched Cottage.'” From the University of Kansas, Sara Stepp discussed her research “Personal Memory, Global History: World War II in the Art of Lynne Yamamoto.” The final presentation of the morning was curtesy of Allison Raper, a doctoral student at the University of Florida, who discussed an enigmatic 2014 installation at the Tower of London in her paper “Loss and Remembrance in Blood Swept Lands and Seas of Red.”


Whitney Kite


After lunch, the afternoon panel began with the University of Oregon’s own Alexandra Schneider, a Master’s student in the Department of the History of Art and Architecture, presenting a section of her thesis, “The Construction of Public Memory: Augustus’ Victory Monument at Nicopolis, Greece.” Haley Clouser from Virginia Commonwealth University continued with her presentation “Using the Past for Now: A methodological analysis of the management of Richmond’s Confederate monuments.” The final panelist of the symposium was Whitney Kite, a Master’s student from Tufts University, with an intriguing discussion on Soviet-Era monuments in her paper “Contending with Communism: The Fate of Soviet-Era Monuments in Present-Day Budapest.”

After a brief break in which panelists were able to explore the current exhibitions at the Jordan Schnitzer Museum of Art, an afternoon reception was held in Lawrence Hall preceding the final event of the day, a Keynote Address from the charismatic and thoroughly entertaining Tobias Wofford from Virginia Commonwealth University. His talk, “Contested Heritage, Contested Communities” explored the complexities and lineage of the African Diaspora, infused with relevant examples from the highly popular hit movie Black Panther.





The accompanying art show, curated by Lucy Miller and Alexandra Schneider, showcased work from students here at the university, exploring complex themes of identity, history, and memory. Photographs of the installation, works, and reception can be viewed on the Art Show Homepage.


Symposium Co-Chairs Emily Shinn and Caroline Phillips are indebted to staff and faculty in the College of Design, the Department of the History of Art & Architecture, ASUO, and Oregon Humanities Center. Please visit our Symposium Homepage more detailed information.



AHSA Meetings and Events Events

Re-Cap: Alumni in the Arts Panel

On Thursday February 1st, we held our annual Alumni Career Panel!

Stacey Ray, from the Lane Arts Council; Jonathan Bagby, the LaVerne Krause Gallery Director; and Danielle Knapp, McCosh Associate Curator of Art at the JSMA joined us for an fun and informative discussion about the ever-winding academic and professional roadmap. Transcript below:


How did you end up in your current career/position?

SR: I circled around the arts from all sides and firmly settled in community arts. Arts, art history, curation, commercial side, but sought work with deeper meaning and community investment. After a position as a sale director for PNW artist, I applied for an Arts Management Degree which opened up the possibilities for community arts. I was interested in broadening my impact. We focus on arts advocacy at Lane Arts Council and supporting the community to grow and develop.

DK: I went to Eastern Washington University and there was only one art history professor. Dr. Miller was amazing, but four years of the same professor means you lack the breadth of discussion that you get with the multiple professors. I followed what I was interested and interned at museums and galleries. I called and asked if they had positions. My career has been based on building relationships with incredible mentors, more than academic prowess. Relationships in a museum setting can carry you a long way. I came to Oregon for grad school because I was interested in teaching and museum work. I wanted to work with people and objects. I was an intern at the JSMA for the 3 years (MA + AAD certificate). I wanted to do Northwest art but the faculty tried to wedge me into 19th century topics. Larry Fong, the director of the JSMA at the time, asked me to research a potential acquisition on Ambrose. I ended up writing my thesis on him. As I graduated there was a job posting at the JSMA for an MA curatorial fellowship on PNW art. What was supposed to be a short-term position became a permanent job. When people said no to me, I found people who said yes. That’s why I am a curator.

JB: As a child and young adult I was involved in the arts. 13-year-old me would have said I want to own a gallery. There are a lot of transitionary points where you have to recommit to the arts. At my college orientation I found out my father signed me up to be a business major. I said no. I wanted my undergrad to be broader than visual arts. My first job after college was as a fry cook. It’s a nice kick in the butt to make decisions. I applied to grad school. I was interested in the transparency of what UO would offer and those opportunities. As an MFA I would be able to teach classes. I ended up in the LVK and Washburne serendipitously. The previous director was an alum and going on a year-long residency. For that position, it was passed down internally to graduating students.


What is your work day like?

SR: My day has been the same across all the positions I’ve had. It’s a lot of being at the computer, programming, project management, prioritizing tasks, community outreach, press releases, content writing, building community around projects, pitching ideas. I might be talking to an artist, writing a press release, fixing the router, making a poster on any given day. That’s what I love about this work. At Lane Arts Council my position is Communications Manager. It’s tedious tasks but also big picture. I am working with other staff to identify strategy as we go, sitting in meetings to discuss our direction. To go from grad school to then balance different projects was a good lesson about not being a perfectionist. My work is invigorating and a lot of fun.

DK: Everything Stacey described is true. We have three curators, plus our director who curate. It’s a lot of managing relationships and being the constant face of the museum. 80% of my projects fall into the category of learning as I go. A lot of my time is staying on top of my projects and becoming an expert on the fly. A lot of prioritizing and strategizing on how to connect people to the museum. I would have never expected how much time I spend being the face of museum. You don’t say no to things (like talks, interviews) so I had two weeks to get over my fear of speaking. I tackle things as they come up and the outside world never sees the frantic behavior behind the scenes.

JB: I’m glad you brought up scale. The larger the organization, the more specialized you get to be. The smaller the organization, the more hats you have to wear. I’ll break down a week’s cycle of work. I represent the school to other areas of campus, I’m a liaison to students, and I keep all sides informed. There’s of course a lot of e-mails. I have four work studies that I need to keep informed about what’s going on. There’s a lot of sharing of information. I jump boundaries between being formal and presentable, then an hour later I’m painting a wall. I document the shows and help oversee the social media promotion. There’s a lot of working parts to the organization. It keeps me interested to not be a robot and be presented with a challenge. I’m always amazed how much easier it is to do things in person, rather than over e-mail.


How did you find your career position? Advice on how to find a job? Resources?

JB: If you want a job you have to be flexible. When I started down the path of an MFA, I knew eventually I’d have the clout to get the job in the place I wanted but I’d have to pick one or the other. My partner was working on a PhD so I had to stay in Eugene. Being willing to be young and take a position in a new city is the biggest advice I have. RACC (regional but PDX central) for NW art jobs ( Another thing people miss is staying connected to their cohort. They are going to do interesting things and may be able to send opportunities your way.

Be genuine in your connections. Also, make sure to research prospective jobs/institutions before speaking with them.

DK: That’s a good point. When I think about the cohort I graduated with, they are all working in the arts – curators in AZ, HI, writing in NY, if they aren’t working in the arts it’s because they chose to live where they want rather than the job. It’s a time and numbers equation. Focus on making a living, acquiring skills, and keeping up professional connections. I still see job postings and send them to people I knew years ago. It takes me a second to forward things and I’m happy to make connections for you. First, find the job posting. Second, get a thank you in the hands of the people who interviewed you, e-mail IMMEDIATELY. At the JSMA that’s our culture, did they thank us for our time? Show up to events and be present, it allows you to draw on institutional knowledge (passive relationship building). People notice. In museum settings, ask questions about the collection or end of year reports based on research.

SR: My career choices have been guided by where I want to live. It has caused me to be diligent about pursuing positions. The end piece of submitting the application is the very last part, all of your work comes before that. Building relationships is important. Don’t always worry about having a job being the perfect fit. When I graduated from undergrad I knew the exact day I was going to run out of money. There was a $15/hr office assistant position at Lane Arts Council. It’s not what I wanted but in the interview I found out that another position was opening up and I was hired for that.


What advice would you give to your college self? 

SR: Build relationships, stop worrying as much about academics.

DK: Don’t over analyze what your professor thinks. Nobody cares about grades.

JB: I got 4.0 but I don’t put it on my CV. I thought it was so important at the time, but it doesn’t matter now. I always have in the back of my head an exit strategy to allow myself to do something else if I’m not happy. It’s a competitive, stressful field. It’s easy to dream of a 9-5 from this side.


How do you negotiate a salary?

SR: Have an idea of what you want and value yourself. Look for healthy organizational cultures. Know your limits and boundaries.

DK: I am so wrapped up in a job as my identity. You may not realize the American Alliance of Museums survey the different salary ranges of different sized institutions. They revise them regularly so you can see what you the possibilities. Always counter-offer: salary and timeline. It shows you are thinking about longevity. Knowledge is power and make yourself indispensable. Often temporary positions become permanent. It doesn’t look bad when you ask for more, it looks smart.

JB: Being eager at new job, it’s easy to take on too much. Set clear boundaries about what the position is/isn’t. If you are maxed out, don’t take on something new. It’s easy to say yes and you end up doing too much.


What are the benefits/drawbacks of being in a smaller community?

JB: There’s a lot more out there in larger cities but it’s becoming more accessible to be involved in the arts remotely. It’s possible, there’s just less in small cities.

SR: There is a lot of art outside of metropolitan areas. You can have real impact working outside of a big city. You are part of a community and seeing impact.



Alumni in the Arts Panel

February 1, 2018 @ 6pm, Lawrence Hall 278

Join us for the first AHSA event of 2018! Our annual Alumni Panel is a great resource for both undergraduate and graduate students, whether you are considering graduate programs, a future in academia or the arts, seeking to network, or just curious about the possibilities that await you upon graduation!

We are pleased to welcome Stacey Ray from the Lane Arts Council, Danielle Knapp from the JSMA, and Jonathan Bagby, a practicing artist who runs the LaVerne Krause Gallery.

Please come and enjoy some free food and friendly informal conversation with your local community!



Mid-Term Events Recap

Now that Fall term is officially in full swing (and half over), it’s a great time for an update on everything these past weeks have contained and things coming in the weeks ahead!

UO Flock Party


The term got off to a great success at the Flock Party during the week of welcome. We met many wonderful undergraduates eager for information  and a community dedicated the appreciation of art.

We’ve added everyone to our newsletter, which we will use to notify of upcoming events (social and academic). If you aren’t sure if you are on the list, please subscribe here or send us a quick email and we’ll add you!

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AHSA Fall 2017 Book Sale


On October 11th & 12th, while the rain gods were showering their love on the street fair, we held our first book sale of the year in Lawrence Hall.

zoe books.jpg

For those unable to visit, this is a thrice-annual fundraising event during which we sell used books (and some new) donated by professors and the Design Library. The stash consists of magazines, books, and even some dvds on subjects in architecture, art, design, and art history.

The sale was a great success. We sold the majority of our trove and raised more money than expected, making room for donations awaiting us in the library. We look forward to future sales and hope to see even more people stop by!

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AHSA 2017 Fall Mixer & Faculty Panel

On October 17th, professors Derek Burdette, Akiko Walley, and Maile Hutterer  joined us for an evening of candid conversation and generous advice (and lots of laughs). Read the transcript if you weren’t able to make it!


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We are now busy brainstorming some exciting events for the second half of the term. On the table is a creative evening at the craft center and a screening of the upcoming Loving Vincent movie at the Bijou. If these sound like fun, or if you have other ideas, please let us know via email or facebook!


** if you missed these events, and don’t want to miss more, be sure you are subscribed to our newsletter and follow our facebook page, instagram, and twitter for future announcements!


AHSA Fall Faculty Panel & Mixer


Questions compiled and asked by our  members, answered by Professors Derek Burdette, Akiko Walley, and Maile Hutterer from the Department of the History of Art & Architecture in the School of Design.


What did you do this summer?

 DB: I spent most of my summer leading a study abroad program in Rome. We took 16 students from the UO to Rome for 8 weeks. It was great.

 AW: I went to Japan and Korea twice, mostly for research but also to participate in a conference. We had to cut the trip short because my husband fell off a staircase.

MH: I spent my summer madly finishing revisions on my book and then I played with my children Matilda and Phoebe. Then came back to make syllabi.


How did you figure out this is what you wanted to do?

DB: When I went to university I thought I would study print-making. The basic art class was miserable. It was designed for people who had never done anything. Can I test out of “where is the front end of the pencil?” The answer was: No. Art history classes were the ones I wanted to do the homework in. Art History degrees are non-linear and they don’t require a sequence. Like a lot of major life decisions, it just seemed like it happened. When you decide to go to grad school is when you make a plan.

AW: I have BA and MA from a Japanese University. Usually art history in a philosophy department but it happened that art history was in the history department. I drifted towards art history in my junior and senior year. I wanted to go to a program that was totally open so I could do other things and take anything related to Regional studies: East Asia. No matter what I did, all my papers came out to be art history.

 MH: UCSB for undergraduate and went to be pre-biology because her family was “science or fail.” I was in chemistry lab and I hated it. I took art history and hated it too and wanted to drop it. I ended up really enjoying it. My professor was a short, animated guy and was obsessed with Romanesque architecture. I felt a sense of community that I didn’t find in science. Art History gave me the time and resources I needed. I had a great mentor at NYU and was able to find a great community. That’s how it happened.


How did you pick an advisor?

DB: I don’t have an illustrative story that would be helpful. My undergrad, the faculty was selected for me. In grad school, you have to do things for the first time. By the time it’s over you are on to the next thing. I picked two schools and my advisor was already selected. But check before you go.

AW: For my BA, it was simple, there was one professor. My advisor was one of the most prominent scholars of Buddhist art. When I chose to go to grad school in the US, he said “It’s not really about advisors, it’s about facilities and opportunities.” Harvard has a good library and it turned out to be good advice for me. I like to do things on my own. When you go to a school because you are a fan of your advisor, it may be hard to get out of his shadow. All of my advisors had something related to what I wanted to do. Because my mentor was the expert in my field, it was hard to get out of his methodology. The lesson is: whatever worked is the right way. Do whatever is best for you. Now that we are on the other side, we try to look beyond the application. Apply to places that are right for you.

MH: I did a senior thesis in my undergrad. I highly recommend it. I gravitated towards my advisor because of the classes I was taking. I didn’t know how to apply for graduate school, no one taught me. I didn’t understand that you went to faculty that were working on things you are interested in. I went to NYU to work on trecento painting when no one was working on that. My path became a natural fit over time. Embrace the happy accidents.


How do you write a statement of purpose?

DB: Pick who are going to work with based on the topic they study. The best you can do is articulate what is motivating you to try to get there. There must be a reason that you are applying, try to figure out how to be honest with yourself and write a compelling essay. The challenge is to create the narrative of “this is where I am now” and “this is how I will leave when I exit your institution.” The number one pitfall is to make it all personal and not enough statement.

AW: If something personal is so important, but you have to be a really good writer, so we don’t just skip this part. Every paragraph counts, why are you telling us this? If you can fit it in, then great it might grip us. Customize for each school. Don’t send ten of the same statements. If you have the means, visit the school so you have something to write about. Arrange a visit with a graduate student and ask them to show you their statement of purpose as a model. We are looking for the trajectory, everything has to make sense. Think about your statement early. Take classes that convince the school you want to go to, that they should pick you. Think backwards as soon as possible. Know exactly what you want to do so you can maximize your time and resources. I didn’t do it, but you should!

MH: I think that the personal statement is the one document that you will write over and over (grants, internal to the department). People get hung up on the personal, it is not in fact personal, but professional. You are providing a narrative example of your resume. What you have done (academically) and what you want your academic achievements to be in the future and how going to that school will help you in the future. I’m not looking for someone to tell me how struck they were by a beautiful painting, I’m looking for can you come into this difficult program and be successful. We are going to expend resources on you, can you achieve success?


Have you worked in exhibitions or with a gallery?

DB: There are lots of jobs in museums that no one talks about: registrars, prep, art handling.

AW: After I did my MA in regional studies, I spent a year working interning in a museum, Asian art gallery and art specialized library. The library was incredible exposure to new books, more than any other time in my life. Becoming a librarian wasn’t for me. I wasn’t meticulous enough. Interning for the museum was a nightmare. The amount of non-art related work was enormous. You need interpersonal skills that I didn’t feel comfortable having. The gallery was wonderful. I got along with owner quite well but it’s harsh because the economy was going down and sales were dwindling. It felt like it wasn’t the reality I was ready to face. You have to have the aesthetic sense to display the works. Once I got into a PhD program I felt teaching was right for me. I thought maybe this is what I want to do right now. No one has a skill set for the job when you get into a job. An internship helped me decide if I want to develop this skill set.

MH: If you want to do museum work, do it as soon as possible. They (grad schools/museums) are going to want to see experience. I have many friends who taught as grad students and instead they went into museums. We are a subset because we like teaching.


Most rewarding/challenging of academia?

DB: It is a hard process to re-evaluate success. Hearing how to get better is hard. All three of us like to teach and there’s something that feels good. For me teaching, I like the creative aspect of course design.

AW: If you become a professor you will be on a nine-month salary, that surprised me. That’s tough. You will be evaluated/paid based on your teaching and you have to do research. That feels disjointed.

MH: Perpetual rejection. I was a high performing student and I had a reasonable amount of success in graduate school. Sometimes it’s not just rejection but critical feedback. I am constantly coming to terms with my areas for growth. None of us our perfect and at every place we are told where we are wrong. It is a continual process of learning. I thought that I would get to a place where everything would be gold, but it’s not like that.


How do you prevent burn out?

MH: Take a month off to play with your kids. I’ve been working on my book for years. I turned it into my editor and it wasn’t practical for me to keep working on it. Crossfit.

AW: I have 5 different projects simultaneously to prevent burnout. That way I’m working without over working. During the school year you have certain obligations but outside of those times, you can decide what to do with your time. The sooner you learn your limit, the better.

DB: As a professor, you have more time and flexibility but there is some pressure to take all the free time and turn it into work time. In a 9-5 you go home and you are done. With academia you can always be working. It’s cyclical. Balance, have loving partners, you have friends and family, social engagements. Have other people in your life.


Hidden Talents

DB: I have no talents.

MH: I learned how to do a handstand push-up this summer.

AW: I can speak Japanese, I am fluent.


AHA Annual Symposium 2016-17

C A L L   F O R   P A P E R S

Symposium Date: Friday, April 28, 2017

The University of Oregon’s Department of the History of Art and Architecture invites papers for its 13th Annual Graduate Student Research Symposium. This cross-cultural, interdisciplinary symposium will explore the relationship between art and politics interpreted in the broadest sense to include considerations of political art across a variety of regions and time periods. We invite graduate students of all disciplines and areas to submit papers.
Political power and the visual arts have long been intimately intertwined. Across many cultures, artists have taken on active roles in the political sphere, either by upholding the status quo through official state patronage or engaging in active artistic protest or resistance. The political influence of art is not limited by overtly political imagery, as many works have involuntarily formed sites of debate, controversy, and change. Proposed paper topics may address, but are not limited to, the relationship of art to identity politics (including considerations of the body, gender, and race), political satire in visual culture (e.g., cartoons, prints), spatial power (e.g., nationalist architectural styles), art’s role in revolution and protest (e.g., posters and graffiti), and political propaganda of parties, states, or regimes (e.g., campaign ephemera).
The Symposium will be held on Friday, April 28, 2017 at the Jordan Schnitzer Museum of Art at the University of Oregon. Graduate presentations will take place during the day and conclude with a keynote lecture.
For consideration, please submit a 300-word (maximum) abstract and a curriculum vitae as PDF attachments to by January 1, 2017. Selected participants will be notified by February 1, 2017, and the full paper will be due no later than April 10, 2017. We look forward to your submissions.
Please contact Alexa Goff, Symposium Co-Chair, at with any questions.