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
Distinguished Professor John Tagg‘s essay “Everything and Nothing: Meaning, Sense and Execution in the Archive” appears in issue 21 of the anthology Sinij Divan (Blue Divan), translated by Alexei Garadzha. The anthology is published by Mockba in Moscow, and this issue is devoted to contemporary art and theory.
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.
In 2003, North Korea released a comedy film called Our Fragrance, which polarized Korean and Western cultures, particularly in regards to food. The film is premised on the importance of defending the Korean tradition from foreign impositions, reflecting North Korea’s withdrawal from the Non-Proliferation Treaty in 2003. The film uses kimchi as that which symbolizes cultural homogenization, nationalism, and cosmopolitanism by projecting two interrelated points: first, kimchi is an indigenous Korean tradition that needs to be preserved to reify national identity; and second, kimchi signifies revolutionary ideals of defending the country from foreign powers.
Our Fragrance defines state identity and the governing Juche ideology (North Korea’s appropriation of communist thought) through the consumption of cultural products such as food and clothes. The visuality of such cultural products in the film serves to differentiate, disparage, and refute the imposition of Western imperialism in the DPRK. By asserting the nationalist discourse of consuming North Korea’s traditional culture, the film maps out the binary opposition of moral/immoral, Korean/Western, and communism/capitalism for the North Korean audience.
Paradoxically, Our Fragrance blurs the apparent binary oppositions by presenting North Korea’s active engagement with the international community through the proliferation of its cultural goods. While maintaining national identity is the overarching theme of the film, there are also competing visions of cosmopolitanism and cultural exchange that are equally considered to be the revolutionary ideals of North Korea’s current political agenda. In this presentation, I examine the discourse of kimchi in Our Fragrance as that which opens up the possibilities of understanding North Korea’s political culture and the state’s persistent engagement with the international community to legitimate its statehood and perpetuate national division.
Milton Glaser: Modulated Patterns and The Piero Project
Opening reception: Friday, March 31, 2017, 5:00-7:00pm.
Both the Main Gallery and the Susan M. Reifer ’65 and Stanley J. Reifer ’64 Mezzanine Gallery will feature artwork by renowned American graphic designer and illustrator, Milton Glaser. The Main Gallery will show sketches, prints and printed designs in an exhibition entitled Milton Glaser: Modulated Patterns, curated and designed by Blazo Kovacevic, assistant professor of art and design at Binghamton University. Although Glaser might be best known for his commercial work – the ubiquitous I ❤ NY logo or the psychedelic Bob Dylan album cover – the exhibition features work in which Glaser experiments with pattern and perception. He works out his thoughts graphically in a series of prints of landscapes and images that celebrate modern masters such as Cézanne, Toulouse-Lautrec and Klimt. Milton Glaser: Modulated Patterns is accompanied by a catalogue, published by the Binghamton University Art Museum, which includes an introduction by the curator and an interview with Milton Glaser by Tom McDonough, Associate Professor of Art History at Binghamton University. In conjunction with Modulated Patterns, another exhibition of watercolors by Milton Glaser will be on view in the Susan M. Reifer ’65 and Stanley J. Reifer ’64 Mezzanine Gallery. Entitled The Piero Project, the selection of 37 drawings pay homage to paintings by Italian Renaissance artist, Piero della Francesca.
Further insight into the work of Milton Glaser will be given in a lecture at the 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 also was an Associate at the Push Pin Group, co-founded by Milton Glaser.