As part of his activities as the Andrew Carnduff Ritchie Visiting Scholar at Yale University, Distinguished Professor of Art History John Tagg has organized an international conference on photography and Britishness, to be held at the Yale Center for British Art on November 4-5. Follow the link for the complete program, which includes talks from Martin Parr, David Alan Mellor, and doctoral candidate Rotem Rozental.
Congratulations to doctoral candidate Melissa Fitzmaurice, who has been awarded the Gill Family Graduate Student Fellowship for travel to the Society of Architectural Historians Annual Conference in Glasgow to present her paper Fascist Medievalism: Architecture, Authority and Dissent in Rome.
Diane Butler, director of the Binghamton University Art Museum, will give a tour of the museum from noon-1 p.m. Thursday, Oct. 25, highlighting the fall 2016 exhibitions now on view, including “Baseball in Cuba,” “The Bard in Bold” and mini-exhibitions downstairs curated by graduate students. She will talk about important research initiatives currently under way and give a sneak peek “behind the scenes” to show the daily operations of an art museum.
Faculty and staff can register with the University Center for Training and Development and University retirees can register with Retiree Services at 607-777-5959 or via e-mail.
For more information, contact Corinna Kruman or call 607-777-5959. This program is co-sponsored by University Retiree Services and the Employee Assistance Program. Any retirees requiring a garage parking pass for the event should stop at the Information Booth at the University’s main entrance.
Vivian Maier (American, 1926 – 2009) New York City, September 10, 1955. Gelatin silver print; printed later. Image size: 12 x 12 inches / Paper size: 20 x 16 inches. ©Vivian Maier/Maloof Collection, Courtesy Howard Greenberg Gallery, New York.
On October 20, Distinguished Professor of Art History John Tagg will present a lecture at the Des Moines Art Center titled “The Camera and The Street,” in conjunction with the current exhibition Vivian Maier: Through a Critical Lens:
Stepping back to set the street photographs of Vivian Maier in a larger context, John Tagg examines the long and varied history of the camera and the street and the complicated issues of performance and pleasure, property and privacy, power and the public domain this history raises.
Born in the North-East of England and trained at the Royal College of Art in London, John Tagg writes on forms of photographic practice not previously considered part of the history of photography, including police and prison photography, social surveillance, urban records and other archival systems in which the photograph is made to serve as a document. From here, his interests have extended to the ways we construct histories of cultural technologies and visual regimes, and to the theoretical debates that have transformed the history of art and photography since the 1970s. Author of The Burden of Representation, The Disciplinary Frame and other books, Tagg lives and works in upstate New York, where he is Distinguished Professor of Art History at Binghamton University, State University of New York.
Associate Professor Nancy Um will be speaking at today’s Learning @ Lunch on strategies for gauging student learning in large classes. Learning @ Lunch is an open, informal lunchtime forum to discuss instructional topics with campus experts. This gathering, co-sponsored by the Binghamton University Libraries and the Center for Learning and Teaching, is open to all who would like to attend.
Congratulations to Andrew Walkling, Dean’s Associate Professor of Early Modern Studies, whose book Masque and Opera in England, 1656-1688 was recently published by Routledge as part of the Ashgate Interdisciplinary Studies in Opera series:
Masque and Opera in England, 1656–1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688–89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood.
A companion volume will explore the phenomenon of “dramatick opera” and its precursors on London’s public stages between the early 1660s and the first decade of the eighteenth century.