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CAA 113th Annual Conference
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Christy Anderson is the Editor-in-Chief of The Art Bulletin and a professor in the history of architecture at the University of Toronto. Her most recent project is a study of the ship as an architectural type by exploring the spaces and environments that connect the sea to the shore. Her books include Renaissance Architecture (Oxford University Press, 2013) and Inigo Jones and the Classical Tradition (Cambridge University Press, 2006). She has published on the complicated history of classicism and gender, the failure of architectural language, and the politics of wonder.

Christy has raised funds for the Scott Opler Fellowship at Worcester College, Oxford University, has been a leader in the field as a board member of both the Society of Architectural Historians and the Renaissance Society of America, and is committed to developing opportunities for early-career scholars.  

In 2010, she received a John Simon Guggenheim Fellowship in the field of Architecture, Planning, and Design. She received her PhD from MIT, and was a Senior Research Fellow at Worcester College, Oxford University. 

Christy’s recent talks include:   

  • "Writers and Readers: Publishing in Art History Now," Centre Andre Chastel, Sorbonne University, Paris (April 2024) 
  • Chair: “Queering the Interior: Shame, Masculinity and Twentieth-Century Interior Design,” an event organized in conjunction with The Art Bulletin special feature with essays by John Potvin, Alice Friedman, Timothy Rohan, and Kevin Murphy (March 2024) 
  •  “A Community of Strangers: Ships at Sea," for Transmission, Containment, Transformation: A Comparative Approach to Architecture and Contagion in Early Modern Cities, Sawyer Seminar, Pennsylvania State University (March 2022) 

Halle O’Neal is a Reader in Japanese art in the History of Art department and Co-Director of Edinburgh Buddhist Studies at the University of Edinburgh. She serves as chair for The Art Bulletin. Her book, Word Embodied: The Jeweled Pagoda Mandalas in Japanese Buddhist Art (Harvard Asia Center 2018), explored the intersections of word/image and relics/reliquaries as well as the objecthood of Buddhist texts. Her recent edited volume, Reuse and Recycling in Japanese Visual and Material Cultures (Ars Orientalis 2023), examined the reuse, recycling, and repurposing of a diverse range of objects across Japanese history. Her current monograph project, “Dead Letters: Reuse, Recycling, and Mourning in Japanese Buddhist Manuscripts,” explores the materiality of mourning, the visualisation of memory, and the haptic experience of Japanese palimpsests as seen through the reuse of handwritten letters. This project has been funded by the ACLS Robert H. N. Ho Foundation, Leverhulme Trust, and British Academy. 

Nachiket Chanchani is an Associate Professor in the Department of the History of Art at the University of Michigan, Ann Arbor. He studies South Asian, Himalayan, and Southeast Asian art, architecture, and visual culture. He has authored three books: Mountain Temples and Temple Mountains: Architecture, Religion, and Nature in the Central Himalayas (2019, reprinted 2021), Amarushataka and the Lives of Sanskrit Love Poems (2022), and India's Composite Heritage (2022, reprinted 2023). His journal articles have attracted acclaim and his opinion pieces in leading newspapers have helped shape India's historical preservation policies. Nachiket has curated exhibitions and been involved with museum projects. His past research has been supported by numerous fellowships from premier institutions. Currently, he is working on a monograph on vessels as sites of mediation between humans and their environments. Nachiket is member of editorial board of The Art Bulletin.

Rachel Catherine Patt, Assistant Professor of Art History, Department of Art, Art History, and Design, University of Notre Dame.
Rachel Catherine Patt is assistant professor of art history at the University of Notre Dame. She received her Ph.D. from Emory University in 2022 with a focus on the material and visual culture of ancient Rome. Her research focuses broadly on forms of artistic production outside of painting, sculpture, and architecture in the Roman Empire and Late Antiquity. This research has been supported by fellowships at the Center for Advanced Study in the Visual Arts and Princeton University. Patt is especially interested in issues of representation, materiality, and scale. She is presently at work on a monograph on intimate forms of Roman portraiture.

Jennifer Van Horn, Associate Professor, University of Delaware 
Jennifer Van Horn holds a joint appointment as associate professor in Art History and History at the University of Delaware. She is the author of The Power of Objects in Eighteenth-Century British America (2017) and Portraits of Resistance: Activating Art during Slavery (2022). She co-edited a special double issue of Winterthur Portfolio entitled “Enslavement and Its Legacies” and is now co-editing the collected volume The Disabled Gaze: Multi-Sensory Perspectives of Art, Bodies & Objects. She serves as the president of HECCA (Historians of Eighteenth-Century Art and Architecture).  

Maggie Cao, Associate Professor, University of North Carolina at Chapel Hill  
Maggie Cao is an associate professor of art history and David G. Frey Scholar of American Art at the University of North Carolina at Chapel Hill. Her research focuses on the history of globalization with particular interest in intersections of art with histories of technology, natural science, and economics in the eighteenth and nineteenth centuries. She is the author of The End of Landscape in Nineteenth-Century America, which examines the fate of the nation’s preeminent artistic genre after the Civil War. Her forthcoming second book, Painting US Empire: Nineteenth-Century Art and its Legacies, will be the first synthetic treatment of early US imperialism in the global context. This year, she was a Guest Scholar at the Getty Research Institute.

James Pilgrim is an Assistant Professor of Art History at the University of Illinois Urbana-Champaign. A specialist in early modern European visual and material culture, he researches the ways in which artists of the period contributed to the emergence of a new environmental consciousness, a new global imaginary, and a growing skepticism about the reliability of the ‘visual’—themes that are as important today as they were in the sixteenth and seventeenth centuries. His work has appeared in the Mitteilungen des Kunsthistorischen Institutes in Florenz, Grey Room, Renaissance Quarterly, and The Art Bulletin. Under contract with The University of Chicago Press, his book project “Pastoral’s End: Art, Ecology, and Disaster in Renaissance Italy” situates the work of the sixteenth-century Italian painter Jacopo Bassano within a context of aggressive agricultural expansion and dramatic environmental transformation.