University Art Museum to host object-making event this Saturday

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.

Call for undergraduate papers, Crossing the Boundaries XXI: Dis/Place

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 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.


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):

  • Production of visual knowledge and meaning
  • Civil history of zones of conflict and their presentation in media
  • Revolutions and visual media
  • Archiving machineries and procedures
  • Photographic and visual technologies of surveillance
  • Political economies
  • Mechanisms of visual representations
  • Cultural traditions and historical change
  • Migration of knowledge and peoples
  • Discourses of identities and differences
  • Museum practices and recontextualization
  • Consumption and dissemination of representations
  • Political positions and their emergence in art
  • Cultural exchange
  • Representations of social and political memory

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 (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

Faculty Activities: John Tagg in Grey Room

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.

This Thursday: Kevin Hatch to speak at University Museum

The Undergraduate Art History Association and Binghamton University Art Museum present:


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.

Reminder: VizCult with Brian Wall, TODAY

“‘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.

Visual Resources Collection adds 16,000 new images from Archivision

Howarth Collection: Mackintosh Sketches in Italy

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