The University Art Museum invites students, faculty and staff to examine and make beautiful things from noon-4 p.m. Saturday, Dec. 1. Get inspired by looking closely at exquisite Chinese snuff bottles and 18th-century Wedgwood ceramics, then make a pair of earrings for yourself and a friend. The museum will provide all supplies. A $5 fee will be matched by the museum and donated to support those affected by Hurricane Sandy.
Binghamton’s art history graduate students cordially invite submissions for the undergraduate panel of the 21st Annual Crossing the Boundaries Conference. Please submit abstracts of individual papers (400 words) along with a brief bio to ctb2013undergrad@gmail.com. Deadline for submissions is February 8, 2013. Selected papers (15 minutes maximum) will be presented on April 26, the first day of the conference. Please see below for the full conference description.
CALL FOR PAPERS
April 26-27th, 2013
Binghamton University
A multidisciplinary, multivocal academic conference with a global geographic and broad temporal reach, presented by the Art History Graduate Student Union
Keynote Speakers:
Ariella Azoulay, Brown University
Julia Walker, Binghamton University
DIS/PLACE: To remove or shift from its place; to put out of the proper or usual place; to remove from a position, dignity, or office; to remove, banish; to oust (something) from its place and occupy it instead; to take the place of, supplant, ‘replace.’
The Art History Graduate Student Union at Binghamton University invites submissions from any historical or disciplinary approach that consider the subject of the placement and/or displacement (of knowledge, people, groups, and objects) for the 21st Annual Crossing the Boundaries Conference. Propelled by a longstanding commitment to bring forth exceptional critical research, this year’s conference aims to investigate shifts and transformations in global societies, while aspiring to position them in a historical perspective. Specifically, we aim to consider how technologies, migration, archiving and visibility are not only utilized by and incorporated into apparatuses of power, but also how they have been (re)presented, understood and conceptualized from pre-modern eras to the present day. Current civic and international disputes warrant an investigation of historical gatherings, modes of circulation and dissemination vis-à-vis the politics and mechanism of the visual (whether of the photographic image, technologies of surveillance, portraiture and so forth) and their possible appropriation into practices of governance.
Potential topics might include (but are not limited to):
The wide scope of this theme reflects our interest in creating a multi-disciplinary, geographically and historically unbounded forum for critical examination of the roles images have played in shaping both the past and the present.
**We additionally welcome submissions from artists whose work encompasses similar themes and concerns.
Proposals for individual papers (20 minutes maximum) should be no more than 400 words in length and may be sent by email, with a current graduate level CV to buctb2013@gmail.com (Attn: Proposal). Those wishing to submit hard copies of the proposal and CV should forward them to: Art History (Attn: Crossing the Boundaries), Binghamton University, P.O. Box 6000, Binghamton, NY 13902-6000. We also welcome proposals for integrated panels. Panel organizers should describe the theme of the panel and send abstracts with names and affiliations of all participants along with current CVs. A panel should consist of no more than three papers, each twenty minutes in length. Deadline for submissions is February 8, 2013.
For more information, please visit the conference website at http://ctbconf.wordpress.com/.
Underwood and Underwood. The Stereograph as an Educator-Underwood Patent Extension Cabinet in a Home Library, 1901. Photographic print on stereo card. Library of Congress Prints and Photographs Division.
The Spring 2012 issue of Grey Room features an essay by Professor John Tagg titled “The Archiving Machine; or, The Camera and the Filing Cabinet.” Follow the link for more information.
The Undergraduate Art History Association and Binghamton University Art Museum present:
MUSEUM TALKS
Thursday, November 29, 6:00 p.m.
Binghamton University Art Museum Study Gallery, First Floor
Lorna Simpson, III, 1994.
Please join us as members of the Binghamton University Art History Department host a series of discussions about selected works from the Art Museum’s permanent collection. This Thursday, Assistant Professor Kevin Hatch will present a talk titled “Wishbones and Wonder: Lorna Simpson’s III.”
These events are free and open to the public.
“‘Can’t you see I’m burning?’: Sacrifice and Indifference in Claire Denis’ Trouble Every Day (2001).”
Wednesday, November 14, 5:15 pm
FA 218
James Quandt in Artforum associates Claire Denis’ Trouble Every Day (2001) with what he calls the New French Extremity in film, due to two very nearly unwatchable sequences which depict the conflation of sex and cannibalism in graphic detail. Undeniably, these disturbing images have set the terms for the film’s reception. But what has gone largely unremarked in a film that places so much emphasis on these acts of violence and excess is a curious reticence, evident when, near the climax, one of the film’s leads, Coré (Béatrice Dalle) is engulfed in flames, to the camera’s palpable disinterest. But such an image cannot but evoke a whole filmic lineage of burning women, from Dreyer’s La Passion de Jeanne d’Arc (1928) forward–that is, a whole cinematic lineage of women sacrificed. Why this image should be so ambivalently conjured here will be our starting point.
Brian Wall is Assistant Professor of Cinema and Art History at Binghamton University.
Charles Rennie Mackintosh, Buttress, Siena Cathedral, 1891; Watercolor sketch, 5 1/4 x 13 1/2. Courtesy of Archivision.
The Visual Resources Collection is pleased to announce the addition of the 16,000 digital images that make up the Archivision Base Collection to its on-line catalog. The Archivision Base Collection is a core architecture collection representing major Greek, Roman, Medieval, Renaissance, Baroque, 18th & 19th Century and Modern sites. The collection also includes gardens & parks, city skylines, cityscapes and public art as well as other design related topics, such as C.R. Mackintosh furniture drawings, etc.
Visit the VRC page and search the collection using the keyword “archivision”, or combine that term with a site or building you are interested in, such as Rome, Versailles, or Louvre to get a sample of some of the images.
Questions? Contact Marcia Focht, Curator of Visual Resources at mfocht@binghamton.edu.
Anyone interested in participating in the Undergraduate Art History Association should meet this Thursday, November in FA 218 at 6:00.
“‘Can’t you see I’m burning?’: Sacrifice and Indifference in Claire Denis’ Trouble Every Day (2001).”
Wednesday, November 14, 5:15 pm
FA 218
James Quandt in Artforum associates Claire Denis’ Trouble Every Day (2001) with what he calls the New French Extremity in film, due to two very nearly unwatchable sequences which depict the conflation of sex and cannibalism in graphic detail. Undeniably, these disturbing images have set the terms for the film’s reception. But what has gone largely unremarked in a film that places so much emphasis on these acts of violence and excess is a curious reticence, evident when, near the climax, one of the film’s leads, Coré (Béatrice Dalle) is engulfed in flames, to the camera’s palpable disinterest. But such an image cannot but evoke a whole filmic lineage of burning women, from Dreyer’s La Passion de Jeanne d’Arc (1928) forward–that is, a whole cinematic lineage of women sacrificed. Why this image should be so ambivalently conjured here will be our starting point.
Brian Wall is Assistant Professor of Cinema and Art History at Binghamton University.
“The Artist as Typographer”
Wednesday, November 7, 5:15 pm
FA 218
Ron Terada, Concrete Language, 2006. Pigment ink print, 44 x 55″. Courtesy Catriona Jeffries.
Recent years have seen a proliferation of younger artists whose work employs typography – printed characters, or even the very institution of printing. We have been accustomed to the predominance of language in art at least since the rise of Conceptual practices in the early 1970s, but the current turn represents something different: it takes up not language per se, but language’s material realization and the particular histories carried within its forms. In artists and collectives such as Dexter Sinister, Shannon Ebner, Matt Keegan, and Adam Pendleton, typography has become a central element of aesthetic practice.
Tom McDonough is Associate Professor and Chair of the Art History Department at Binghamton University.
Join us tomorrow, November 7, for the next event in the IASH Fellows’ Speaker Series. Andrew Walkling, Dean’s Assistant Professor of Early Modern Studies, will give a presentation titled ‘From Pole to Pole Resounding: Epideictic, Performativity, and Musical Rhetoric in John Dryden’s “Albion and Albanius”’ at noon Wednesday, Nov. 7, in the IASH Conference Room, LN-1106. Dryden and Grabu’s 1685 operatic extravaganza “Albion and Albanius” constitutes the high-water mark of multimedia theatrical spectacle in the English Restoration period. At the same time, it has long been denigrated — by contemporary critics and modern scholars alike — for its alleged literary and musical superficiality. Yet the work in fact represents a significant contribution to the operatic form, offering innovative approaches to musical characterization, structural articulation and the establishment of overlapping but complementary systems of allegoresis. Through an exploration of these factors, this paper seeks to reposition “Albion and Albanius” as a generically and politically pioneering work — offered up by two of the leading artistic figures of the day — whose importance in the history of English opera has not hitherto been fully appreciated.
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/.
A recent study by Academic Analytics ranks Binghamton’s graduate art history program in the top third along with Duke University, Boston University, the University of Chicago and the University of Illinois-Urbana-Champaign!
Read the full story here.
Image courtesy of Jen Kennedy and Liz Linden, http://www.contemporaryfeminism.com.
Doctoral student Jennifer Kennedy co-chaired a panel (with alum Trista Mallory, MA 2009) at the Universities Art Association of Canada annual conference in Montreal, Nov. 1-3, titled “Feminism in Practice in Canada.” Jen has also continued to collaborate with Liz Linden on the project The New York Times Feminist Reading Group, which meets periodically to discuss feminist issues and problems raised by that day’s issue of The New York Times. Most recently, the group convened from October 22-26 as part of “Visions and Voices: The USC Arts and Humanities Initiative.”
Binghamton Art History 