Critical Visualities III: March 28-29, 2019


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Participants : 
  • Sara Blair, University of Michigan
  • Zahid Chaudhary, Princeton University
  • Kimberly Juanita Brown, Mt. Holyoke College
  • Joan Kee, University of Michigan
  • Vera Grant, University of Michigan
  • Sarah Bay-Cheng, Bowdoin College
  • Hayley O’Malley, University of Michigan
  • Jasmine An, University of Michigan
  • Sally Clegg, University of Michigan
  • Ani Bezirdzhyan, University of michigan
  • Kyle Frisina, University of Michigan
  • Michelle May-Curry, University of Michigan 
Event Date: 
March 28, 2019
Event Time: 
9:30am to 4:45pm
3222 Angell Hall

The Visual Culture Workshop (VCW) convenes the third annual Critical Visualities Conference in order to ask the timely questions: “What are the political dimensions of the affective charge between art and its audience? Between the critic and the art she engages? How does it feel to look ‘critically’ now?”

THURSDAY, MARCH 28 (3222 Angell)

9:30-11:30am | Panel 1: Absence, Abstraction, and Photography

  • Sara Blair (U-M), “Seeing Without Empathy”

  • Zahid Chaudhary (Princeton), “Aesthetics of Expropriation: Abstraction in Fazal Sheikh’s ‘Desert Bloom’ Series”

  • Kimberly Juanita Brown (Mt. Holyoke), “You and Eye in the Afterlife of Images”

1:00-3:00pm | Panel 2: Everyone’s a Critic! (What’s a Critic?)

  • Joan Kee (U-M), “Smile, Bitch!”

  • Vera Grant (U-M), “The Critic’s Tear: Disorder and Ordinary Flatness”

  • Sarah Bay-Cheng (Bowdoin), “Everybody’s Historiography: Playing the Digital in Museums”

3:15-4:45pm | Graduate Student Works-in-Progress

  • Hayley O’Malley, “The Black Arts Movement and Film as Propaganda”

  • Jasmine An, “Follow the Chicken: The Possibilities of Parody and Passion to Reimagine Racial Representation”

  • Sally Clegg, “Art of Auto-Affection: Intimate Aesthetics of Self-Touch and Supplement”

  • Ani Bezirdzhyan, “Dual Citizenship: Subverting the Documentary Gaze and Bifurcating the Spectacle”

  • Kyle Frisina, "White Cube, Black Box: Rankine’s Citizen as Theatrical Gallery”

  • Michelle May-Curry, “‘That Image Business:’ Loving v. Virginia and the Iconography of Interracialism”