Visiting Film and Video Artists and Speakers Series: John Knecht

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Special installation at the University Art Museum: Ambra Polidori

The University Art Museum is showing a newly acquired work by Mexican artist Ambra Polidori (b. 1954) that challenges official evasions and inactivity around the 2014 disappearance of forty-three students in the Mexican state of Guerrero. The work has been sensitively installed by Juanita Rodriguez Congote, a doctoral student in the Department of History, in a way that also invites participation via the museum’s Facebook page as a digital parallel to the original’s sharable postcard format. There will be a gallery talk on the installation. Watch the museum’s Facebook page for details.

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

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.

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 binghamton.edu/art-museum.

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.