K E Y N O T E   S P E A K E R S
Edward S. Casey
, Distinguished Professor of Philosophy, Stony Brook University, USA
Christophe Charle
, Professeur of Contemporary History, Université de Paris I Panthéon-Sorbonne, France
Thomas DaCosta Kaufmann
, Frederick Marquand Professor of Art and Archaeology, Princeton University, USA
James Elkins
E. C. Chadbourne Professor of Art History, Theory, and Criticism, School of the Art Institute of Chicago, USA
Ségolène Le Men
, Professor of Art History, Université Paris Ouest Nanterre-La Défense, France
David Lubin
, Charlotte C. Weber Professor of Art, Wake Forest University, USA

O R G A N I Z I N G   C O M M I T T E E
Catherine Dossin
 Assistant Professor of Modern and Contemporary Art History, Purdue University, USA
Béatrice Joyeux-Prunel
, Associate Professor of Modern and Contemporary Art History, École Normale Supérieure, Paris, France
Sorin Matei
, Associate Professor of Communication at Brian Lamb School of Communication, Purdue University, USA



Ahmed Idrissi Alami
Assistant Professor, Arabic Program Director, Purdue University, USA
Ahmed Idrissi Alami is an assistant professor of Arabic studies and comparative literature in the School of Languages and Cultures at Purdue.  In his research, he explores questions of cultural identity and constructions of subjectivities through North African, Middle Eastern, Maghrebi and Arab diasporic writings.   His forthcoming book Mutual ‘Othering’: Islam, Modernity and the Politics of Cross Cultural Encounters (SUNY Press) examines the construction of modernity through relational discourses of representation in texts of travel written by North African and European authors in the 19th century.

Anna W. Brzyski
Associate Professor, University of Kentucky, Lexington, USA
Anna Brzyski is Chellgren Endowed Associate Professor of Art History and Visual Studies at University of Kentucky. She has published broadly on Central/Eastern European, in particular Polish, art and art discourse. Her research interests focus on the dynamics of cultural and economic value, especially on the role played by institutions, discourses, and art groups within those processes.  She the editor of Partisan Canons (Duke UP, 2007), and of three special issues of the journal CentropaCentral European Art Groups, 1880-1914 (January 2011), Parallel NarrativesConstruction of National Art Histories in Central Europe (September 2008), and Modernism and Nationalism, Postmodernism and Postnationalism? (September 2001).  Her research has been supported by grants from the Whiting, Luce, and IREX foundations. She is also a recipient of the Fulbright and Fulbright-Hays Fellowships. Her work has appeared in Art Criticism, Centropa, 19th Century Art Worldwide, RESn-Media, and a number of anthologies. She is currently completing work on a book project National Modernism: Polish art on the International Stage, 1870-1914 and is serving as the guest project editor for Central & Eastern Europe at Grove Art On-Line (Oxford UP).

Sophie Cras
Ph.D. Student, Université Paris I Panthéon-Sorbonne, France
With a background in both economics and art history, Sophie Cras is a French doctoral candidate at the Université Paris I Panthéon-Sorbonne.  Apart from her interest in artistic geographies, she is finishing a dissertation entitled “L’économie au miroir de l’art, 1955-75” which considers how money, finance, and economics in general became a focus for artistic experimentations in the 1960s. Her publications include a study of the notion of value in the work of Yves Klein (Marges, n°11, 2010) and her recent article on “artistic shareholding experiments” among conceptual artists in the late 1960s was recently awarded the Terra Foundation International Essay Prize (to be published in American Art, Vol.27, N°1, Spring 2013).

Courtney Dorroll
PhD Student, University of Arizona, USA
Courtney Dorroll is a current Jacob K. Javits Fellow and PhD student in the department of Middle East and North African Studies at the University of Arizona.  Her work focuses modern Turkey and contemporary issues of the Turkish diasporic community in Germany. Through a critical cultural approach, her research examines the power dynamics of the arts and cultural policy issues in Turkey and Germany.
She previously studied Arts Administration and Cultural Policy at Indiana University (Master’s Degree) and German and Sociology at Purdue University (Bachelor’s Degree).  After obtaining her MAAA she spent a year as a research fellow at the Max Planck Institute of Economics in Jena, Germany.

Michelle Facos
Professor of Art History, Indiana University, Bloomington, USA
Michelle Facos is a professor of Art History and Adjunct Professor of Jewish Studies at Indiana University, Bloomington. For more than 20 years, she has been working on issues of identity and migration, with particular emphasis on Scandinavia. Her publications include: Nationalism and the Nordic Imagination: Swedish Art of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siecle Europe (2003, co-authored with Sharon Hirsh), Symbolist Art in Context (2009), and An Introduction to Nineteenth-Century Art (2011). Two of her current projects include a co-authored volume (with Thor Mednick) on Symbolist roots of Modernism, and the role played by Jews in promoting Swedish national identity circa 1900.

Clarisse Fava-Piz
Curatorial Intern, Department of Photography, National Gallery of Art, Washington, USA
Clarisse Fava-Piz recently received her MA in Art History at the Université Paris Ouest Nanterre-La Défense, where she defended her thesis, “In search of recognition: Spanish sculptors at the Salons in Paris 1880-1914.” Her research explores questions of transnationalism and cultural transfers brought about from the migration of Spanish sculptors from Madrid and Barcelona to Paris -via Rome- at the turn of the 20th century. She is currently a curatorial intern in the Department of Photography at the National Gallery of Art in Washington DC.  She previously worked at the INHA (National Institute of Art History) as a research-assistant for the program “Histoire de l’histoire de l’art;” and was also the assistant of the Secretary of the CIHA (International Congress of Art History) in Paris.

Michele Greet
Associate Professor of Art History, George Mason University, USA
Dr. Michele Greet is Associate Professor of 20th-century Latin American art history at George Mason University in Fairfax, Virginia. Her first book, Beyond National Identity: Pictorial Indigenism as a Modernist Strategy in Andean Art, 1920-1960, came out with Penn State University Press’s Refiguring Modernism Series in 2009. She is currently working on a new book on Latin American artists in Paris between the two World Wars with the support of a National Endowment for the Humanities Fellowship (2012-2013). Selected publications include: “From Indigenism to Surrealism: Camilo Egas in New York, 1927-1946” in Nexus: New York, 1900-1945: Encounters In The Modern Metropolis. (Yale University Press, 2009); “Manifestations of Masculinity: The Indigenous Body as a Site for Modernist Experimentation in Andean Art,” Brújula, Dec. 2007, 6: 1; “Inventing Wifredo Lam: The Parisian Avant-Garde’s Primitivist Fixation.” Invisible Culture: An Electronic Journal for Visual Culture. 5, Jan. 2003. She has lectured widely at museums and universities across the United States on modern Latin American art

Carolyn C. Guile
Assistant Professor, Colgate University, USA
Carolyn Guile is Assistant Professor in the Department of Art and Art History at Colgate, where she teaches courses on Early Modern East-Central and Southern European architecture and arts, “borderlands,” historiography, and cultural property.  She earned her PhD and MA in the History of Art from Princeton University. Her research examines cross-cultural exchange within early modern Europe’s eastern-most borderlands with an emphasis on the former Polish-Lithuanian Commonwealth.  She has completed a book manuscript on an eighteenth-century Polish architectural treatise, and has written on the relationship between painting and optics in the writings of Francesco Algarotti. She is Reviews Editor for the quarterly, Eighteenth-Century Studies, and an affiliate of the Center for Arts and Cultural Policy Studies, Woodrow Wilson School, Princeton University.

Emmanuel Guy
Research fellow at the BnF and curator of the “Guy Debord” Exhibition, France
Former student of the Ecole Normale Supérieure (Paris), Agrégé de Lettres Modernes, Emmanuel Guy teaches Literature and Art History at Université Paris Nord, and works on the Guy Debord Archives at the Bibliothèque nationale de France where he will curate a Guy Debord exhibition in 2013. He also co-organizes with Sophie Cras the seminar “1955-1975: sources et méthodes / if you remember anything from the sixties you weren’t really there” at the Ecole Normale Supérieure, Paris; the seminar will be published as a book in 2013, with the support of EPCAF and Artvenir éditions. His research for his doctorate in Art History and Comparative Literature focuses on Guy Debord’s strategic theory and practice (Thesis title: “By all means, even artistic ones: Guy Debord, strategist, and his troops, the International Situationists.”).

Christine Ithurbide
PhD Student in Geography, Université Paris Diderot, France
Christine Ithurbide studied Art History at Paris-Sorbonne and Indian modern and contemporary art at Jawaharlal Nehru University, New Delhi. She also graduated in Geography of Emerging Countries at Paris Diderot in 2010. Currently she is preparing a PhD on the « Geography of contemporary Indian art: cities, actors and circulations » (SEDET Laboratory). She is associated with the research group Cultural Industries: artistic and literary Indian scenes at the CEIAS- EHESS, Paris and with the program Research and Globalization at the Centre Pompidou. She keeps an activity of independent art critic and curator.

Robert Jensen
Associate Professor, University of Kentucky, Lexington, USA
Robert Jensen is Director of the School of Art and Visual Studies at the University of Kentucky.  His primary research interests have been in the economics of art and quantitative research methodologies for art history.  “Why the School of Paris is not French” is part of a larger suite of essays to be published under the general title, The Geography of Innovation: Essays on Artists’ Market Practices.

Béatrice Joyeux-Prunel
Associate Professor, Ecole normale supérieure, Paris, France
Béatrice Joyeux-Prunel is an associate professor of Modern and Contemporary Art History at the École Normale Supérieure, Paris, France. She specializes in the history of the international Avant-Garde and in methodology, particularly quantitative and cartographic methods. She is the founder and current director of ARTL@S. She published Nul n’est prophère en son pays? L’internationalisation de la peinture avant-gardiste parisienne, 1855-1914 (A Prophet Hath No Honour In His Own Country?The Internationalisation of Parisian Avant-Garde Painting, 1855-1914) (Paris, Musée d’Orsay Price, 2009); and (ed.) L’art et la mesure. Histoire de l’art et méthodes quantitative: sources, outils, bonnes pratiques, Paris, Editions Rue d’Ulm, 2010. She is finishing a socio-spatial history of modern art (1848-1968), to be published by Éditions Gallimard. She represents France in the “Art and Cartography” commission of the International Cartographic Association (ICA).

Małgorzata Lisiewicz
Instructor, University of Gdansk, Poland
Małgorzata Lisiewicz received her Ph.D. from the University of Chicago in 2007 and M.A. from Bard College, Center for Curatorial Studies, Annandale, New York in 1998. In 1995 she graduated from Art History Department at the University of Adam Mickiewicz in Poznan and she also holds a degree of G.P. which she received in 1988 from the University of Medicine in Gdańsk. Until 2009 she worked for several years at the University of Adam Mickiewicz in Poznań. From 1995 till 2003 she worked as a curator of contemporary art exhibitions. In the period 2001-2003 she ran Laznia Center for Contemporary Art in Gdańsk.

Sorin Adam Matei 
Associate Professor, Brian Lamb School of Communication, Purdue University
is an expert in digital humanities and in the study of social uses of communication technologies. The creator of Visible Past and Visible Effort, his work extends spatial-statistical analytic techniques into the realm of humanities (see The Triumph of American Art in Europe, created in collaboration with Catherine Dossin and Chris Miller). He is the digital humanities strategy director for the Artl@s project and the co-Pi of the grants that made the Spaces of Arts conference possible. He published papers and articles in Journal of Communication, Communication Research, Information Society, and Foreign Policy and his research has been supported by the National Science Foundation.

Katarzyna Murawska-Muthesius
Associate Lecturer, University of London, Great Britain
Dr Katarzyna Murawska-Muthesius is freelance art historian and Associate Lecturer in History of Art in the Department of History of Art and Screen Media of Birkbeck College, University of London. Before her arrival in the UK, she worked at The National Museum in Warsaw, becoming its Deputy Director (2009-2011). In 2009 she was Guest Professor at the Institut für Kunst- und Bildgeschichte at the Humboldt Universität Berlin. Her publications include: Europäische Malerei aus dem Nationalmuseum Warschau (Braunschweig 1988); Trionfo barocco (Gorizia 1990); Borders in Art: Revisiting Kunstgeographie (Warsaw 2000); National Museum in Warsaw Guide: Galleries and Study Collections (Warsaw 2001); Jan Matejko’s “Battle of Grunwald”: New Approaches (Warsaw 2010); Kantor was Here: Tadeusz Kantor in Great Britain (London 2011).

Rosemary O’Neill
Associate Professor, Parsons The New School for Design, USA
Rosemary O’Neill is Associate Professor of Art History at Parson The New School for Design.  She is a specialist in Postwar European Art with a focus on the arts and design on the French Riviera and as well as Twentieth Century Latin American Art.  O’Neill recently published Art and Visual Culture on the French Riviera 1956-1971 (Ashgate Publishing 2012), “La Cédille qui Sourit: Aesthetic Research under the Sign of Humor,” in Parody and Festivity in Early Modern Art (Ashgate Publishing 2012) as well as “Pierre Restany’s ‘On Integral Naturalism’: Disciplined Perception and the Dematerialization of the Object,” in Le demi-siècle de Pierre Restany (Paris: INHA and Editions des Cendres, 2009).  She has also contributed to catalogues for the Corcoran Museum, Washington, D.C, and the Southbank Center, London.  She has participated in numerous conferences nationally and internationally, and her reviews have been published by College Art Association’s reviews on-line and in Art Journal.

Nikoo Paydar
PhD, Courtauld Institute of Art, London, Great Britain
Nikoo Paydar completed a PhD in Art History from the Courtauld Institute of Art, University of London, in 2012. Her thesis, supervised by Christopher Green and titled ‘Performing the Oriental Female: Schéhérazade, Society Women in Orientalist Dress, and Matisse’s Odalisques,’ argues for a new way of looking at Matisse’s odalisques in relation to the Ballets Russes Schéhérazade, which premiered in Paris, 1910, and the fashion for Orientalist dress amongst society women in the 1910s. She has an MA from the Courtauld Institute and a BA from Tufts University, and during her BA she studied for one year at the School of Oriental and African Studies, University of London.

Lea Saint-Raymond
Artl@s Research Fellow, Ecole Normale Supérieure, Paris, France.
Léa Saint-Raymond is a former student of the Ecole Normale Supérieure. She received an MA in Economics with a thesis on  the French art market of the 19th century, based on Robert Jensen’s research, and a second MA in Art History, both from the Université Paris IV-Sorbonne. Her thesis, La Galerie Beaubourg: Un électron libre entre 1973 et 1993?, examined Parisian avant-garde galleries from the 1970s to the present. She finished first in the 2012 aggrégation exam in Economics and Social Sciences. She currently holds a position as an Artl@s research fellow. In this capacity she is working on the project Exposer à Paris de 1850 à nos jours. In parallel, she is starting work toward her Ph.D. degree, which will be devoted to the socio-history of the international art world between the two World Wars.

Helena Shaskevich
Ph.D. student, City University of New York
Helena Shaskevich is a Doctoral Candidate in Art History at the Graduate Center, CUNY studying postwar American and European art. Her research explores the relationships between land, art and politics, with an emphasis on issues of borders and spaces of political contestation. She holds a B.A. in Art History from Loyola University Chicago, and an M.A. in Art History from Stony Brook University.

Eric M. Stryker
Assistant Professor Southern Methodist University, USA
Eric M. Stryker received his Ph.D. in Art History from Yale University.  He is a scholar of modern and contemporary art, film, and photography, with particular interest in post-war Britain and Europe. His research focuses primarily on the use of visual media as techné in reconfigurations of social identity and human geography. Technologies of the body, visual rhetoric, and the production of space are recurrent strains in his teaching and scholarship. His current book project is titled After the Blitz: Figuration and Social Space in Reconstruction London. The recipient of the Metropolitan Museum’s Theodore Rousseau Pre-Doctoral Fellowship, Stryker co-curated the exhibition London Pop Art at the Yale Center for British Studies and was a consultant for and contributor to The Aesthetics of Terror, an exhibition at the Chelsea Museum of Art.

Elizabeth Sutton
Assistant Professor, The University of Northern Iowa, USA
Dr. Elizabeth Sutton is Assistant Professor of Art History at the University of Northern Iowa. She specializes in Early Modern European art and African art. She is particularly interested in the nature and implications of Dutch exploration and trade in the Atlantic and how print culture produced as a result of these interactions affected the process of knowledge and identity formation in the Netherlands. Her current project examines Dutch printed maps and landscapes of New Netherland, New Holland (Dutch Brazil), and West Africa. Her book Early Modern Dutch Prints of Africa is forthcoming from Ashgate Press
Elizabeth Sutton’s Website:

Barbara Turquier
Ph.D. Student, Université Paris Diderot, France
Barbara Turquier is currently completing a PhD in American Civilisation at universities Paris-Diderot and Paris Ouest Nanterre, entitled: “The Redemption of the City: New York and Underground Cinema (1960-1975)”. A former student of École Normale Supérieure in Lyons, France, and former visiting scholar at University of California Berkeley, her research topics include avant-garde cinema, documentary film and urban theory. She’s a member of the editorial board of Tracés, and publishes regularly.