Panelist: Jessamine Batario

Jessamine BatarioJessamine Batario’s presentation, “Screams and Sunday Afternoons: The Occupy Art History Movement,” centers around an Internet meme that occurred in November 2011. Through close readings of two particular doctored images – Edvard Munch’s The Scream and Georges Seurat’s Dimanche Après-Midi sur l’île de la Grande Jatte – Jessamine analyzes how incongruous humor leads to a phenomenological and structural inversion of power that fulfills the ideology not only of the 99%ers of the Occupy Movement, but their detractors as well. Ultimately, her paper posits a rethinking of the traditional spatial binaries of public vs. private through a discussion of the Internet as a viable stage for the performance of pluralistic identities.

Jessamine received her B.A. in art history from the University of California, Berkeley and is currently an M.A. candidate at the University of Texas at Austin. Broadly speaking, her interests lie in nineteenth-century European painting, history of art history, phenomenology and hermeneutics. Jessamine’s thesis is on Francisco de Goya’s Untitled (Saturn Devouring one of his Children) and its “afterlife.”

Ms. Batario will present “Screams and Sunday Afternoons: The Occupy Art History Movement” during Panel #3.

Panelist: Yasmine Van Pee

Yasmine Van Pee is a Ph.D. candidate at the University of California, Berkeley, where she studies modern and contemporary art, with a particular interest in colonial and post-colonial Africa. Somewhat to her own surprise, her native Belgium has come to dominate her work these past years. Her dissertation is tentatively titled “Phantom Africa: Imagining Territory in Belgium and Congo, 1885-1975” and focuses on the work of Herzekiah Andrew Shanu, Gaston-Denys Périer, and Marcel Broodthaers. In her free time she enjoys tinkering with translations and vintage motorcycles.

Ms. Van Pee will present “Mining Katanga: Sammy Baloji’s “Mémoires” during Panel #3.

Panelist: Kjell Wangensteen

Kjell WangensteenKjell Wangensteen will present “On Vasari’s Vite and Kano Einō’s Honchō gashi: An Historiographical Experiment” during Panel #1.

Are there aspects of an history of art that might be considered “universal” (i.e., shared across cultures), or is each tradition necessarily distinct and culturally-specific?  This paper concentrates on two foundational art texts–one from Renaissance Italy, the other from Edo-period Japan–and addresses the basic question of how (art) historical narratives are constructed and interpreted, both within and across very different cultural contexts.

Kjell Wangensteen is a second-year graduate student at Princeton focusing on Northern European Renaissance and Baroque art.