Binghamton University, and particularly the Department of Art History, was amply represented by faculty, staff, current graduate students, and alumni at the 2017 Digital Humanities Summer Workshops at the University of Guelph. Participants included (from left to right) Julia Glauberman (Reference/Instructional Librarian), Eve Snyder (PhD candidate, History), Tracy Stuber (BA, Art History, 2011), Jeannine Keefer (PhD, Art History, 2013), Marcia Focht (Curator, Visual Resources), Nancy Um (Associate Professor, Art History), Lauren Cesiro (PhD program, Art History), and Mariah Postlewait (PhD program, Art History). They took courses such as “Get Down with your Data,” “Introduction to Digital Humanities Pedagogy,” “Spatial Humanities,” “Omeka Workshop,” “Making Manuscripts Digital,” and “Online Public Intellectual Work through Social Media.” More at #dhatguelph2017
From April 7-8, doctoral candidate Nicole Wagner participated in the Brown-Harvard Graduate Chiasmi Conference in Italian Studies, “E(x)pressing Play,” where she presented her paper, “Disrupting Social Practice and Spatial Order: Women Gambling in Early Modern Italy.”
Abstract: In 1493 Beatrice d’Este Sforza traveled from Milan to Venice on the bucintoro (barge) gifted to her by her parents, on official business for her husband, Ludovico “Il Moro” Sforza (Duke of Milan, 1494-99). In letters to Ludovico, Beatrice reported that while on board she triumphed against her mother, the Duchess of Ferrara Eleonora of Aragon, and her sister-in-law, Anna Sforza, winning a large sum of money in the card game buttino. Other letters disclose that over the course of one year Beatrice won 3,000 gold ducats while playing scartino, another game of wager involving a deck of cards, and that Beatrice’s sister, Isabella d’Este Gonzaga (Marquess of Mantua, 1490-1539), also gambled in a variety of times and spaces, often to great profit. This paper looks at the conjunction of a novel form of material culture (the paper card deck) and the practice of gambling on boats (the preferred means of transport for elites in northern Italian courts connected by waterways) – mobile spaces that became ambiguous with respect to “place” when in transit and thus elusive with regard to the reach of sovereignty and surveillance. Boats were far from the exclusive site of female gambling in early modern Italy, but distinguishing them was their “placelessness,” which made them ideal as (provisional) heterotopias where women, I argue, rehearsed a new kind of social and economic independence as actors in material, spatial, and temporal fields long overlooked by scholars.
The paper will begin with the introduction of the card deck into late medieval and early modern Italy, where women’s card play originated as a “virtuous” leisure-time activity recommended and supervised by men in the regulated spaces of the palace or protected haven of enclosed gardens. Working with largely unpublished primary sources it will then turn to the bucintori and the unsupervised practice of women “working the table” in their sumptuously appointed interiors.
Congratulations to doctoral candidate Nicole Wagner, who has been awarded the Renaissance Society of America-Kress Beinecke Library Fellowship for 2017 for research on her dissertation, “Women Working the Table: The Material Culture, Gendered Spaces, and Visual Representations of Early Modern Female Card Players.” She will visit Yale in September of this year. Nicole has also recently received the Rosa Colecchio Travel Award, the IASH Graduate Fellowship, and the Foundation Travel Grant, all through Binghamton University.
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.
Associate Professor and Chair Tom McDonough will be speaking today at a workshop organized by Hands Off Our Revolution, hosted at the International Center of Photography in New York in conjunction with the exhibition Perpetual Revolution: The Image and Social Change:
Hands Off Our Revolution, a recently launched global coalition of artists and cultural practitioners, is dedicated to affirming the radical nature of art.
Join us for their second New York event in which artists, cultural practitioners, and public intellectuals discuss the way art counters the rising rhetoric of right-wing populism and fascism and its increasingly stark expressions of xenophobia, racism, sexism, homophobia, and unapologetic intolerance.
On April 15, Associate Professor and Chair Tom McDonough will take part in the symposium Flânerie and the Politics of Public Space at the Barnes Foundation in Philadelphia, held in conjunction with the special exhibition Person of the Crowd: The Contemporary Art of Flânerie. McDonough’s talk is titled “Crowds without Company.”
Since the 1990s, French artist Philippe Parreno has explored the forms taken by the modern crowd. McDonough will discuss Parreno’s early performances, installations, and recent films as they consistently figure diverse forms of collectivity and provisional community in a contemporary moment marked by the crisis of the public sphere.