An opening reception for “Affinities, Dialogues & Divergences,” showcasing the work of Binghamton University art faculty members, will be held April 24 from 5:00-7:00 p.m. at the Binghamton University Art Museum. The show officially opens today.
Admission to the museum is free. For directions and museum hours visit artmuseum.binghamton.edu.
Material and Visual Worlds Transdisciplinary Area of Excellence
Spring 2014 Lecture Series
Associate Professor of Art, The Cooper Union
April 24 at 6:00 PM in Lecture Hall 6
For more information, visit http://www.binghamton.edu/tae/material-and-visual-worlds/index.html
Sharon Smith (PhD, 2009) presented a paper, “Gather Knowledge: Evolving Systems of Documentation in Islamic Environmental Design”, this past weekend, April 11-12, 2014, at the Aga Khan Program for Islamic Architecture at MIT conference on “The Orangi Pilot Project and Legacy of Architect Perween Rehman.” For more information, visit http://web.mit.edu/akpia/www/symporangi.htm.
Sharon C. Smith is the Program Head at the Aga Khan Documentation Center at MIT and Co-Director of Archnet. Her areas of specialization include Middle Eastern art and architecture, and Early Modern Italian art and architecture. Sharon sits on several boards, including the Middle East Outreach Council (MEOC), and was recently named a Fellow of the Institute, Tangier American Legation Institute for Moroccan Studies (TALIM). In addition, Sharon serves as image editor for Muqarnas: An Annual on the Visual Cultures of the Islamic World. She has presented widely on issues of documentation, digitization, and the dissemination of knowledge, as well as on art historical topics primarily focused on visual and material culture in the Early Modern Mediterranean.
Doctoral student Amanda Beardsley participated in the annual Ohio University Graduate Symposium this past Friday, April 11, presenting her paper “A ‘Cabaret of Curiosities’: The Landscape Aesthetics of ‘Mondo Utah’ and the Mormon Panorama.”
More than just the aestheticization of natural phenomena, the panorama has functioned as both optical surrogate for nature, simulator, and generator of affect—an apparatus for teaching people how to survey and perceive the world while also situating them in it. Such characteristics of panoramic vision have carried over into current museological practices in an effort to unveil and reconcile socio-cultural landscapes, while also encouraging tourism. This was seen specifically in the 2013 Utah biennial, “Mondo Utah,” whose title referenced the controversial genre of Mondo cinema. The biennial attempted to decipher a visual language of contemporary art specific to the region. Pavilions surveyed objects ranging from the marginal (golden life-masks and mummiforms of the Summum group), to the aggregate (work from the collective holdings of the Church of Jesus Christ of Latter-day Saints).
This paper looks at the Utah biennial in relation to Mormon frontier artist C.C.A. Christensen’s Mormon Panorama (1878), a series of twenty-three large paintings sewn together into a 175-foot scroll depicting the history of the religion. The artist used the device for missionary work in the late nineteenth century as he traveled America, encouraging prospective members to join his community in Utah. Christensen’s panorama encompasses a genealogy of landscape aesthetics and spectacles packaged in consumable form to encourage geographic and ideological mobility. Acting as commentary on Utah’s landscape and as the lens that shapes it, both “Mondo Utah” and Mormon Panorama become significant when considering the technology and optics that not only fashion a particular perspective of a given place, but, in addition, have the authority to translate what might—or might not—already be there.
Join us today for the second day of Crossing the Boundaries XXII: Political Topographies! Please see http://ctbconf.wordpress.com/ for a full schedule of events.
Join us today for the first day of Crossing the Boundaries XXII: Political Topographies! Please see http://ctbconf.wordpress.com/ for a full schedule of events.