Binghamton University Libraries showcase exhibitions each semester to increase awareness of the libraries’ rich and varied collections, services and events, as well as to promote university-wide activities. Current exhibits include:
• “Inspired by Nature,” on the second floor of the Glenn G. Bartle Library, showcasing Nature Preserve photos by Binghamton University alumnus Matthew A. Kull and book selections from the Bartle Library collections on art, poetry and literature that feature nature as the theme.
• Mark Sennett, “King of Comedy,” outside of Special Collections in the North Reading Room on the second floor of the Glenn G. Bartle Library, featuring information about the producer and director’s work and stills from his movies taken from the John K. McLaughlin Collection of Popular Culture.
• “Showcasing the Intrinsic Role of Art within Science,” in the Information Commons on the first floor of the Science Library, showcasing and celebrating the roles that visuals play in science.
These exhibits are free and open to the public. Ideas for future exhibits are welcomed via e-mail. For more information, contact Andrea Melione or Jean Green.
Please join us for the opening reception of two exhibitions curated by Binghamton University students from 5:00-6:00 p.m., Thursday, October 16, in the Nancy J. Powell Gallery.
“Some of These People”: Marking the Other in Soviet Russia features Soviet posters on loan from the Binghamton University Libraries Special Collections and is curated by Michael Kosowski ’16, who majors in art history and Russian. Yarikata: Making Japanese Prints focuses on the art of Japanese printmaking and is curated by Christopher Lane ’14, a fine arts major.
The Spanish Forger: “Medieval” Paintings from the Collection of William Voelkle ’52 is an exhibition of known fakes and is mounted in conjunction with a symposium, Hidden Clues: Detecting Fakes and Forgeries in Art. The symposium will be held from 2-5 p.m. Saturday, Nov. 22, in FA-258, with a reception following. Presenters include William Voelkle ’52 (curator of medieval and renaissance manuscripts, The Morgan Library & Museum, New York City); Patrick McGrady ’92 (curator, Palmer Museum of Art, Pennsylvania State University); Luisa Casella (photograph conservator, West Lake Conservators, Skaneateles, N.Y.); and Betty Krulik (president, Appraisers Association of America). The symposium is free, open to the public and sponsored by the Kenneth C. Lindsay Study Room Fund.
Admission to the museum is free. For directions and museum hours, visit artmuseum.binghamton.edu.
Join us Wednesday, October 15, for the next event in the IASH Fellows’ Speaker Series. Assistant Professor of Music Drew Massey will present “Thomas Adès and the Dilemmas of Musical Surrealism” at noon in the IASH Conference Room (LN 1106).
Few scholars of Adès’s music would debate the significance of surrealism in the forging of his public image over the course of the last 25 years. Yet the essentially unquestioned absorption of surrealism as a meaningful discursive frame for Adès’s music ought to give us pause, and it is the goal of this presentation to explain why that is the case.
First, Massey suggests that surrealism has achieved such purchase in the critical conversation surrounding Adès because of its ability to work so effectively as a proxy vocabulary for other debates. In the first part of this presentation, Massey considers how the idea of surrealism has provided a means to discuss various degrees of “queerness” in Adès’s music (including but not limited to gender and sexuality) while avoiding a rhetoric which uses alterity and identity politics as its primary argumentative fulcra. Although Adès is hardly the only openly gay composer writing today, Massey suggests that critics’ preoccupation with Adès’s relationship to surrealism has served a powerful symbolic role in depicting Adès as a gay composer who simultaneously avoids conspicuous markers of difference.
In the second half of this presentation, Massey considers the historiographic work that is performed by the rhetoric of surrealism that has swirled around Adès and his music. Adès’s surrealist works close off an apparent “problem” in the history of modernism insofar as surrealism – unlike other component movements in modernism like futurism and impressionism – has struggled to find its proper corollary in music, and hence enjoy status as a fully realized dimension of modernism with active practices across the arts. Yet such a situation is not without its historiographic dilemmas. On the one hand, the reliance on surrealism vis-à-vis Adès is a somewhat anachronistic approach, situating a large part of Adès’s significance in terms of a movement that has mostly run its course. On the other hand, it provides an aesthetic and historical basis for Adès’s prominence today, while being ambiguous enough to leave him plenty of room to maneuver in the future without shedding this marker of canonical belonging.
The Institute for Advanced Studies in the Humanities was established in 2009 in order to support research, teaching, and programming in the humanities and about topics relevant to the humanities, inspire the cross-pollination of ideas, encourage emerging knowledges and ways of knowing, and spark meaningful campus-community engagement at Binghamton University.
More information at http://www2.binghamton.edu/iash/.
The Undergraduate Art History Association will be hosting a meeting and potluck dinner today, Thursday, October 9, at 6:00 p.m. in Fine Arts 218. See the UAHA’s Facebook page for more information or send a message to firstname.lastname@example.org.
“Street Life: The Portico in Renaissance Italy”
Wednesday, October 15, 5:15 pm
Libro di matematica di Giuliano de’ Medici, fol. 122v, ca. 1490. Florence, Biblioteca Riccardiana, ms. 2669.
Porticoes and loggias heralded the regeneration of cities in late medieval Italy. Historians usually view these open edifices as public amenities that signaled the vitality and prosperity of urban life in the Renaissance. A closer look at the nature of the activities porticoes housed – manual trades, banking, gaming, civic rituals – reveals that these pursuits were linked by ethical and moral quandaries that surfaced as Italy entered the early modern period. Sexton argues that porticoes, rather than passively sheltering such events, actively displayed emergent social, economic, and political lifestyles to the public. In so doing, porticoes became active tools of visual rhetoric in urban spaces, endowing new and unfamiliar practices with a patina of legitimacy. Sexton’s research situates post-classical porticoes deeply in cultural history, in the processes that informed their construction, and in the mentalities and collective attitudes of the citizens that used them.
Kim Sexton is Associate Professor of Architecture at the University of Arkansas.
Co-sponsors: Alumni Association, German & Russian Studies, CEMERS, Romance Languages, History
Lyno Vuth, Screening in the Park, 2014.
On September 30, Master’s student Lyno Vuth presented a talk on contemporary photography, video and performance art in Cambodia to the Film, Photography and Video Program at Hampshire College in Amherst, Massachusetts. For more information, click here.