Gallery talk at University Museum on Thursday

In conjunction with the current exhibition, Milton Glaser: Modulated Patterns, a lecture entitled “Milton Glaser Illuminated” will be given at the Binghamton University Art Museum on Thursday, April 27, 5:00 pm by Steven Brower, director of the “Get Your Masters With The Masters” MFA at Marywood University. Brower is the designer/author of myriad books and former creative director for Print Magazine, and former art director for The Nation and The New York Times. He was also an associate at the Push Pin Group, co-founded by Milton Glaser.

All exhibitions and events at the museum are free and open to the public. For more information visit

Next VizCult: Annual Ferber Lecture, Laura Weigert, Rutgers University

This paper interrogates the value of the term “tableau vivant” (living picture) to describe the figural groupings that adorned processions in fifteenth and sixteenth century France and Flanders. Vital to the tradition was the arrangement of human beings to represent biblical, mythological, and historical characters. The earliest pictures and written testimonials of this artistic practice confirm, however, that it also incorporated figures composed of a variety of materials and technologies; both animate and inanimate figures could be considered enlivened. This feature helps us account for one of the most surprising aspects of late medieval stagings: the appearance of naked female figures. In turn, it challenges assumed distinctions between media and a conception of animation rooted in a human presence.

Alumni Activities: Na’ama Klorman-Eraqi in Photography and Culture

Congratulations to Na’ama Klorman-Eraqi (PhD 2013), whose article The Hackney Flashers: Photography as a Socialist Feminist Endeavour” has been published in the current issue of Photography and Culture:

This article discusses the photographic and cultural activities of the Hackney Flashers, an all-women socialist feminist photography collective that operated in the London Hackney borough during the 1970s. The paper explores this group’s ‘ photography projects, the feminist and political arguments they posed, and the various debates informing their practice. This study examines the platforms in which the Hackney Flashers exhibited their projects and their distinct political and visual strategies. The study also considers the Hackney Flashers’ disputed entrance into the Fine Arts institution through their participation in Three Perspectives on British Photography: Recent British Photography at the Hayward Gallery (1979) and the subsequent breakup of the group. It reviews the context of the Hackney Flashers’ participation in this exhibition, considers their contribution to the show, and analyzes the context of their negative reception.

Faculty Activities: Tom McDonough at the ICP

Associate Professor and Chair Tom McDonough will be speaking today at a workshop organized by Hands Off Our Revolution, hosted at the International Center of Photography in New York in conjunction with the exhibition Perpetual Revolution: The Image and Social Change:

Hands Off Our Revolution, a recently launched global coalition of artists and cultural practitioners, is dedicated to affirming the radical nature of art.

Join us for their second New York event in which artists, cultural practitioners, and public intellectuals discuss the way art counters the rising rhetoric of right-wing populism and fascism and its increasingly stark expressions of xenophobia, racism, sexism, homophobia, and unapologetic intolerance.

Faculty Activities: Tom McDonough at the Barnes Foundation

On April 15, Associate Professor and Chair Tom McDonough will take part in the symposium Flânerie and the Politics of Public Space at  the Barnes Foundation in Philadelphia, held in conjunction with the special exhibition Person of the Crowd: The Contemporary Art of Flânerie. McDonough’s talk is titled “Crowds without Company.”

Since the 1990s, French artist Philippe Parreno has explored the forms taken by the modern crowd. McDonough will discuss Parreno’s early performances, installations, and recent films as they consistently figure diverse forms of collectivity and provisional community in a contemporary moment marked by the crisis of the public sphere.