Congratulations to Hala Auji (PhD 2013), Assistant Professor at the American University Beirut, who received honorable mention for the 2014 Malcolm H. Kerr Dissertation Award in the Humanities at the annual meeting of the Middle East Studies Association for her dissertation Between Script and Print: Exploring Publications of the American Syria Mission and the Nascent Press in the Arab World, 1834-1860.
See Associate Professor Nancy Um‘s chapter “1636 and 1726: Yemen after the First Ottoman Era,” in Asia Inside Out: Changing Times, vol. 1, ed. by E. Tagliacozzo, H. Siu, and P. Purdue (Cambridge, MA: Harvard University Press, 2015), 112-134. For more about the volume, visit http://www.hup.harvard.edu/catalog.php?isbn=9780674598508.
Doctoral candidate Angelique Szymanek and alums Jen Kennedy (PhD 2014) and Trista Mallory (MA 2009) traveled to San Juan, Puerto Rico this past weekend for the National Women’s Studies Association Annual Conference. Angelique moderated the panel Impossible Justice, during which Jen and Trista both presented papers, respectively titled “Baise Toi: Feminist Vigilante Justice in Virginie Despentes’ King Kong Theory and Baise Moi” and “Watching Photographs.” For more information, see the conference website.
A Canadian artist and one of the most important experimental filmmakers of his generation, Snow was born in 1928, in Toronto, where he currently lives and works. First a painter and sculptor, he has been intensely involved since 1962 in creating videos, films, slide and audio installations, and photographic and holographic works, as well as public art. His work, particularly his experimental films such as the landmark “Wavelength” (1967), has had international exposure at prestigious institutions and events. His photography-based work is currently the subject of a major museum exhibition at the Philadelphia Museum of Art.
Congratulations to Associate Professor Karen Barzman, who was recently re-elected to a three-year term (2015 – 2017) as Art History Discipline Representative in the Renaissance Society of America. The appointment includes sitting on the RSA’s Council and the Editorial Advisory Board of Renaissance Quarterly (University of Chicago Press), the premier English-language journal for interdisciplinary work in early modern studies.
More information at the link.
“Hidden Clues–Discerning Fakes and Forgeries in Art”
Saturday, November 22, 2-5 pm with reception
In conjunction with the current exhibition, “The Spanish Forger: ‘Medieval’ Paintings from the Collection of William Voelkle ’52”, four short presentations will address the problems of fakes and forgeries in art.
Na’ama Klorman-Eraqi (PhD 2013, currently a postdoctoral fellow at Tel Aviv University) will be presenting a paper, titled “Resisting Advertisements: Feminist Media Politics in Late 1970s Britain” at Ms/representation: Mass Media & Feminisms in Historical Context, the seventh annual conference of the Society for the History of Women in the Americas (SHAW) at the University of Westminster, in London. The conference will take place Saturday, November 29, 2014.
Karen Barzman is Associate Professor of Art History at Binghamton University. Trained as an early modern Italianist, she has developed a set of critical concerns informed by semiotics and continental philosophy. Discipline Representative for Art History and Architecture at the Renaissance Society of America (RSA), she also serves on the editorial board of the Society’s journal, Renaissance Quarterly.
She is currently working on two books – The Limits of Identity: Venice, Dalmatia, and the Representation of Difference, which looks at borderlands as thresholds of difference, and Cartography and the Paper Management of the Early Modern State, a genealogy of mapping in the context of the imperial archive.
For more information, visit http://www.maxwell.syr.edu/hist.aspx?id=36507230239.
““Going Deeply to Search and Select”: Socialist Realism and Photography in the People’s Republic of China in the late 1950s”
Wednesday, November 12, 5:15 pm
In December 1959, the headquarters of the Xinhua (New China) News Agency—the largest state-owned Communist Party mouthpiece in the People’s Republic of China (PRC)—issued its lengthy “Conclusive Comments on the Discussion of the Question of Photojournalistic Truthfulness.” The “conclusive” commentary put an end to the debates about photographic reality that had been launched in August 1958 by the professional monthly, Xinwen sheying (Photojournalism), by laying out, for the first time in China, the theoretical parameters for a photographic practice allied with socialist realist principles. Why did the leadership of the Xinhua News Agency feel so strongly that a theoretical and political solution to the problem of photography was needed? This was a moment when China found itself at odds with the Soviet Union over Kruschev’s denunciation of Stalin at the Twentieth Party Congress of 1956, but it was also a moment when, internally to China, the Communist Party had begun to shift from the anti-Rightist political campaign to rapid promotion of industrialization under the Great Leap Forward. This presentation will challenge the oversimplified assumption that Chinese socialist realism was simply inherited from Soviet cultural politics under Stalin. Against this, it will seek to trace the complex discursive and institutional conditions under which photography was purposefully incorporated into the cultural mechanisms of the single-party state as part of the effort to construct a new social and cultural order in the PRC.
Dengyan Zhou is a doctoral candidate at Binghamton University.
CALL FOR PAPERS
Crossing the Boundaries, 2015
A multidisciplinary, multivocal academic conference with a global geographic and broad temporal reach,
presented by the Art History Graduate Student Union
Andrés Mario Zervigón, Rutgers University
Kevin Hatch, Binghamton University
The phrase “cut and paste,” in its most fundamental definition, is the process of selecting and combining fragments. Inspired by an established commitment to critical research, this year’s conference aims to explore the assortment of thematic, methodological, and sociopolitical interpretations derived from the traditional concept of extracting and adhering.
The twenty-third annual Crossing The Boundaries Conference, hosted by the Art History Graduate Student Union at Binghamton University, invites submissions from any historical or disciplinary approaches that involve a literal or conceptual appropriation achieved through cutting and pasting.
Potential topics might include (but are not limited to):
- Collage, bricolage, assemblage, montage
- Authorship, plagiarism, imitation
- Censorship and editing
- Fragments / Fragmentation
- Cultural traditions and historical change
- Sociopolitcal statements
- Accumulation and composites of found objects
- Invention or production through appropriation
Proposals for individual papers (20 minutes maximum) should be no more than 250 words in length and may be sent by email, with a current graduate level CV, to firstname.lastname@example.org (Attn: Proposal). 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 January 30, 2015. For more information, see our website or follow us on twitter.
A range of Professor of Cinema Vincent Grenier‘s films will be screened Sunday, November 9 and Monday, November 10 at Anthology Film Archives as part of Show & Tell: Richard Tuohy/Vincent Grenier/Roberta Friedman and Grahame Weinbren. For more information about the screenings, click here, or read Tony Pipolo’s review of Grenier’s work on artforum.com.
On November 19, 2014, Master’s student Lyno Vuth will be a contributor to the Visual and Critical Studies department’s Wednesday Forums at California College of the Arts. He will speak about his experience as an artist, curator and art project organizer in Cambodia. For more information, click here.