“Which long their longings urged their eyes to see:” Emblematic Perspectives in the Early Stuart Masque
“Visual Agnotology: Visual Production and Maintenance of Ignorance”
“The Thick Black Line: Image and Objectivity in Roman Ondák's Measuring the Universe”
Catherine MacArthur Falls
“To Trust or Not to Trust: Telescopic (mis)Information on the Early Modern Stage”
Vivian Appler
Ginger Elliott Smith is a PhD candidate in art history at Boston University, currently researching the ideological and sociological contexts of art and technoscience. Her dissertation, 'Practicing Big Science: Art, Technology, and Institutions in 1960s and 1970s Southern California,' analyzes a group of Southern California artists who responded to, and often directly incorporated, science and technology into their studio and post-studio practices.
Matthew Allen is a PhD candidate at Harvard University whose work investigates cognitive prosthetics in architecture and science. He holds an MArch from Harvard University and previously taught at the University of Toronto.
Jeff Richmond-Moll is a doctoral student in Art History at the University of Delaware, studying nineteenth- and early twentieth-century American art. His current research investigates the role of religion in transcultural artistic exchanges, the interplay of religion and American national identity, and the contested nature of sculpture in the Protestant art-making tradition. He graduated in 2010 from Princeton University with an A.B.
Patricia K. Guiley is a graduate student in the Department of Art History at the University of Utah. Ms. Guiley’s thesis focuses on graffiti art in the 21st century with an emphasis on graffiti’s subculture. Ms. Guiley has presented papers on graffiti at both the University of Nevada and the University of Arizona’s symposiums in the winter of 2014 and will be presenting a paper at the International Conference on Street Art & Urban Creativity in Lisbon Portugal, July 2014.
Alicia Puglionesi is completing her doctoral dissertation in the History of Science, Medicine, and Technology at Johns Hopkins University. Her project, 'The Astonishment of Experience: Americans and Psychical Research, 1885-1935,' deals with the emerging boundaries between professionals and amateurs engaged in the study of the mind around the turn of the twentieth century.
Juliet Sperling is a Ph.D. candidate in the History of Art at the University of Pennsylvania. In 2014-2015, she is a Wyeth Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum, where she is at work on her dissertation, 'Animating Flatness: Seeing Moving Images in American Painting and Mass Visual Culture, 1820-1895.'
