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Schedule

All listings Eastern Standard Time.

Day 1Friday, September 26

Day 1 panels

10:30 – 11:45 a.m.
Keynote 1 (online)
Welcome Remarks
Dorothy Price (Courtauld Institute)
1:00 – 1:50 p.m.
Session 1: Shifting Identities/Identity Shifts (online)
1:00 – 1:50 p.m.
Session 2: Images of the Female Body as Resistance I (online)
3:00 – 3:50 p.m.
Session 3: Italy: Women Artists, Feminist Art and
Their Promotion in the 20th Century I (online)
4:00 – 4:50 p.m.
Session 4: Locating Agency (online)


Day 2Saturday, September 27

Day 2 panels

9:00–9:50 a.m.
Session 5: From the Margins (online)
Session 6: Textiles I: Tradition and Subversion (online)
Session 7: Domestic Labor I (online)
10:00–11:50 a.m.
Session 8: State of the Field: Asia
10:00–10:50 a.m.
Session 9: Spectatorship in France (online)
Session 10: Historic Feminist Art Exhibitions (online)
Session 11: Colonialism and Its Afterlives (online)
11:00 a.m. – 12:30
Lunch Break
12:30–1:45 p.m.
Session 12: Mother Nature (in-person)
Session 13: Feminist Methodologies (in-person)
Session 14: Public Monuments: Feminist Protest and Canon Critique (in-person)
Session 15: Politics of Media (in-person)
1:45 – 1:55 p.m.
Caffe Pause
2:00-3:15 PM
Session 16: 1930s Germany (Hybrid)
Session 17: Images of the Female Body as Resistance II (in-person)
Session 18: Assertions of Women Artists (Hybrid)
Session 19: Domestic Labor II (in-person)
3:15 – 4:00 p.m.
Katzen Museum Visit/In-person Meetings
4:00 – 4:30 p.m.
Museum Reception
4:30 – 4:45 p.m.
Keynote 2 (in-person) Welcome Remarks
4:45 – 6:00 p.m.
Keynote 2: Joan Breton Connelly (NYU)

Day 3Sunday, September 28

Day 3 panels

9:00 – 10:30 a.m.
Special Event: Curator-led Tour at the National Museum of Women in the Arts
10:30 – 11:30 a.m.
Lunch/Transportation to Katzen Art Center at Ҵý
11:45 AM – 1:15 p.m.
Session 20: Interrogating Female Vices (in-person)
Session 21: Italy: Women Artists, Feminist Art and Their Promotion in the 20th Century II (in-person)
Session 22: Feminist Museum Initiative Today (in-person)
Session 23: Women of a Certain Age: Looking at the Overlooked (Hybrid)
1:15 – 1:25 p.m.
Caffe Pause
1:25 – 2:55 p.m.
Session 24: Crossing the Binary (Hybrid)
Session 25: Textiles II: Labors of Love (in-person)
Session 26: Lesbian Self-Fashioning in the 19th and 20th Centuries (in-person)
Session 27: 1970s Feminist Art Movement: New Contexts (in-person)

Day 1

  • Judith Rehermann: Hans Baldung Grien’s enigmatic painting Lot and his Daughters
  • Anna Savchenkova: Beauties replacing popes and crosses: the phenomena of Renaissance niello medallions
  • Pat Simons: The Amateur Woman Artist and the Myth of Irene di Spilimbergo
  • Lauryn Smith: Transcending One’s Sex: Connoisseurial Displays in the Cabinets of Amalia van Solms-Braunfels
  • Georgieva & Takeyana Jini: Embodied revolt: Gender Perspectives on the Female Body in Japanese Modern and Contemporary Art
  • Maite Luengo-Aguirre: Reimagining the Female Body: Feminist Interventions in Painting and Photography in 1990s Spain
  • Maria Garth: Zenta Dzividzinska: Nude Photography and Self-Portraiture in the Soviet 1960s
  • Gandotra Apeksha: Gender Analysis of Korean Drama Posters: Visual Representation and Stereotypes
  • Federica Arcorarci: Romana Loda's Legacy: Promoting Feminist Art in 1970s Italy Francesca della Ventura: "La lotta é FICA1!". Feminist practices of urban art and gender claims in contemporary Italy.
  • Camilla Paolino: Feminist escapes from the domestic through art making in 1970s Italy: On the work of Clemen Parrocchetti and Lydia Sansoni
  • Carmen Ruiz Vivas: Women and peace in ancient Roman art: from symbols to agents
  • Lydia McKelvie: Ghiberti’s Story of Rebecca: Women’s Agency in the Gates of Paradise
  • Monica Zavala Cabello: “Practices, rituals and agency of the ‘warrior woman’ in the ancient Mexican tradition: a gender perspective approach to Bernardino de Sahagún’s images in the Florentine Codex”
  • Emma Luisa Cahill Marrón: Bloody Mary Tudor Revisited: Queen Mary I of England in the Prado Museum's Female Perspective

Day 2

  • Mey-yen Moriuchi: “A Reconsideration of las señoritas pintoras from Nineteenth-century Mexico”
  • Yuniya Kawamura: Female Ukiyo-e Artists in the Male-dominated Japanese Art World during the Edo period
  • Nadine Nour el-Din: Inventing the Modern: Women Who Shaped Collecting and Patronage in Egypt: Émilienne Hector Luce and Huda Shaarawi
  • Georgina Gluzman: Decorative, useful, national and very feminine: discourses and practices around the “impure” arts (Argentina, 1920-1940)
  • Irene Bronner: ‘Eroticism as gender critique in textile art by South Africans Ilené Bothma, Kimathi Mafafo and Talia Ramkilawan’
  • Marina Vinnik: Otti Berger and Anni Albers — Bauhaus weaving workshop and architecture.
  • Smaranda Ciubotaru: Crafting Subversion: Intermediality and Artisanal Knowledge Among the Female Fiber Artists of the Ceaușescu Regime
  • Elizabeth Hawley: Intertwined: Ancestral Lands, Women’s Work, and Indigenous Sovereignty in the Photographic Weavings of Sarah Sense and Darby Raymond-Overstreet
  • Sarah Evans: Twinned Mothers Set to Work? Bharti Kher’s Mother and Child Joins the Debate About Remunerated Gestational Surrogacy in India
  • Bálint Juház: Gender and Motherhood on Eszter Mattioni’s female portraits in the 1930s. The contradictions of a Hungarian woman artist
  • Elizabeth Hamilton: “Troubled Domesticities”

Session 8: State of the Field: Asia

  • Dani Sensabaugh: Virtue and Viewership in Élisabeth Vigée Le Brun’s Julie Le Brun as a Bather (1792)
  • Heather Belnap: Homme Fatal: Female Spectators and the Male Nude in the Musée Napoléon
  • Mathilde Leichle: Looking for the male gaze in 19th century France : Armand Silvestre and Le Nu au Salon
  • Viktoriia Bazyk: The hypermasculine male nude in student works at the Académie de France à Rome viewed through a queer-feminist lens.
  • Joanna Gardner-Huggett: Beijing and Beyond: The Women’s Caucus for Art and the Fourth U.N. World Conference on Women (1995)
  • Maggie Hire: VALIE EXPORT and MAGNA FEMINISM
  • Emilie Martin-Neute: In the shadows: French Female artists groups exhibitions, the case of the Société des Femmes Artistes (1893-1908)
  • Lily Filson: From Rada’a to Rome: Elite Women of Tahirid Yemen in the Codex Casanatense
  • SaeHim Park: The Little Girl Commemorative Coin: Art, Memory, and Commodification
  • Chinghsin Wu: Womanhood and Ethnicity: Chen Jin’s Paintings of Women in Modern Japan and Taiwan
  • Sophia Merkin: Fanny van de Grift Osbourne Stevenson (1840-1914)
  • Katia Myers: Brú na Bóinne Monuments: The Female Body in Architecture, Myth and Landscape'
  • Jessica Weiss: Be Fruitful and Multiply: Vegetal Decoration and Dynastic Aspirations in Isabel of Castile’s Breviary
  • Tobah Auckland-Peck: The Mine, “Mother Nature,” and the Woman Artist: Gender and Industry in Modern British Art
  • Nina Lubbren: Women's public sculpture in Weimar Germany's regions, or: Feminist art history and canon critique
  • Nancy Gebhart: Theorizing a Nonlinear Art Historical Timeline as Feminist Practice and Pedagogy
  • Karen Leader: Critical Contexts: Getting the Art History We Deserve
  • Sierra Rooney: On the Pedestal: Gender, Representation, and Violence in Monuments to Hannah Duston (19th-Century America)
  • Francesca Gregori: The Feminist Antimonumenta Movement in Mexico: the case of “Antimonumenta - Vivas Nos Queremos”
  • Brenda Schmahmann: Between a Torch and a Wing: Liberating Women in Two Public Sculptures in Johannesburg
  • Agnieszka Anna Ficek: (Un)Fragile Passions: Maria Amalia’s Porcelain Salottino and Queenly Patronage
  • Brittany Luberda: “Forces at the Forge: 18th Century Women Silversmiths in America”
  • Isabelle Bird: “People have no trust in glue”: Eve Babitz, Amateurism, and the Art of Collage
  • Annika Richter: “Queer-feminist utopias and deviant aesthetic practices in the artist album “Die Ringlpitis,” 1931.
  • Elizabeth Otto: Designing Home: Bauhaus Designers and the Nazi Everyday
  • Shalon Parker: Two in One: Doubling of the Self in Lotte Jacobi’s Interwar-Period Portraiture
  • Theo. Triandos: Crossing: Feminist Interventions at the Intersection of Critical and Aesthetic Practice (Lynda Benglis)
  • Rachel Middleman: Revisiting “Female Imagery”: Abstract Painting and the Central Image, c. 1963-1973
  • Marissa Vigneault: “Hannah Wilke: Nice Piece of Art”
  • Ann Pleiss-Morris: “[E]embroiderers in blue, purple and scarlet yarn and fine linen” : The Reclamation of Feminine Spirituality in the Embroidered Cabinets of Early Modern Women
  • Emma Thompson: "Authorship, Agency, and Inventive Input: Claudine Bouzonnet Stella and Professional Self-Fashioning"
  • Mirja Beck: Aimée-Zoë Lizinka de Mirbel and her Networks – European Women Miniature Painters around 1800
  • Ashley McNelis: Mother Art’s Public Performances of Care
  • Oriana Mejias Martinez: "Art Revindicates Afro Latin Ҵý Households Run by Women "
  • Rebecca DeRoo: Reconsidering Motherhood and Labor in Mary Kelly's Post-Partum Document

Day 3

  • Michelle Moseley-Christian: Eve as Glutton: Appetite & Sensory Embodiment in Fifteenth-Century Netherlandish Imagery
  • Stephen Speiss: Representing Whoredom in the Early Modern Visual Arts
  • Maria Maurer: Imagining the Mistress: Renaissance Portraits and Modern Fantasies
  • Annelies Verellen: Michaelina Wautier, Judith Leyster, and Maria Schalcken
  • Greta Boldoroni: “Ashes to Ashes”: An intimate work by Adrian Piper from US to Italy
  • Allison Belzer: Shared Origins, Distinct Paths: The Nathan and Modigliani Sisters in Post-Risorgimento Italian Art
  • Jennifer Griffiths: Adriana Bisi Fabbri: Caricatures and Cartoons of the Feminist Avant-garde
  • Giulia Colombo/Zompa: Photography in the journals by Milanese feminist collectives (1972-1978)
  • Bryn Schokmel: A Feast of Fruit and Flowers: Women Still Life Painters of the Seventeenth Century and Beyond, on view at The Hyde Collection in Glens Falls, New York (from October 25, 2025 to March 8, 2026)
  • Élenore Besse: AWARE: Archives of Women Artists, Research & Exhibitions proposes to present its missions, history and research
  • Maria Holtrop & Charles Kang: Point of view, Gender at the Rijksmuseum
  • Carolyn Russo: Art, Space, and Gender: The Evolution of Women Artists in the NASA Art Program
  • Jessica Fripp: The “Critical Age” during a Critical Time: Older Women and the French Revolution
  • Alissa Adams: “From Telling to Reading Stories: Older Women and the Disembodiment of Knowledge in 19th-Century Art”
  • Ruth Iskin: Mary Cassatt’s “Splendid Old Woman”: Aging as a Feminist Issue in Cassatt’s Art and Time
  • Alice Price: Aging Bodies, Mature Careers: Intersectionality of Modernism, Gender, and Aging
  • Robin O’Bryan: A Female Dwarf as a Warrior Maiden: Poetry and Performance in a Venetian Portrait
  • Consuelo Lollobrigida: Amaryllis and Mirtillo: did women have in 17th century Europe their same sexual love affair code of representation?
  • Yukina Zhang: Vogue Chang’an: Fashion, Gender, and New Female Beauty in Tang China, 618-907 C.E.
  • Kathrine Kiltzanidou: Women as Patrons of Ecclesiastical Institutions in the Balkans and Cyprus during the Late Medieval and Early Modern Periods
  • Amy Rahn: Affiliative Threads: Made-to-Measure Clothes as Circuits of Care
  • Stephanie Strother: Jeanne Goehring, Agnès Jallat, Gabrielle Rousselin, Alice Rutty
  • Diletta Haberl: Herta Wedekind zur Horst / Herta Ottolenghi Wedekind
  • Margot Yale: At the Seams: The Labor Politics of Sewing in Elizabeth Catlett’s Prints
  • Justine De Young: Public Selves, Private Lives: Lesbian Self-Fashioning in Louise Abbéma’s Portraiture
  • Toni Armstrong: Beauty Contest: Florine Stettheimer and Queer Modernism
  • Julie Cole: Lesbian Collaboration as Subterfuge in the Works of Marcel Moore and Claude Cahun.
  • Rachel Silveri: Sapphic Surrealism: Valentine Penrose’s Dons des féminines
  • Susana Pomba: Smoke & Dust Bodies: Judy Chicago’s Atmospheres and Antonioni’s Zabriskie Point
  • Jennifer Kruglinski: Eleanor Antin’s Exiled King in Solana Beach
  • Stephanie Seidel: Temporary Constellations: The Installations of Betye Saar
  • Lesley Shipley: “Making Whiteness Visible: The Protest Paintings of Vivian Browne, Faith Ringgold, and May Stevens