Associate Professor Andrew Walkling recently reported on an ongoing project involving the collation of typographical variants in a late-seventeenth-century English book. His report, published in The Collation, the research blog of the Folger Shakespeare Library in Washington, DC, describes his work refurbishing and using the library’s Hinman Collator, a fascinating relic of mid-20th-century pre-digital technology. The project grew out of an issue first raised in his forthcoming book, English Dramatick Opera, 1661–1706, to be published by Routledge in 2019.
You can read his post at https://collation.folger.edu/2018/05/hinman-redux/
Lauren Cesiro served as the Digital Content Manager for “Itinera’s Displacements: A Roundtable,” published on Scalar and written by Christopher Drew Armstrong, Lily Brewer, Jennifer Donnelly, Alison Langmead, Vee McGyver, and Meredith North. This roundtable appeared in “Coordinates: Digital Mapping and Eighteenth-Century Visual, Material and Built Cultures,” a special issue of Journal18: a journal of eighteenth-century art and culture, co-edited by Carrie Anderson and Nancy Um.
Visit the project here: http://www.journal18.org/2741
On Thursday, May 3, 4:00-7:00 pm, the Binghamton University Art Museum will host a public event entitled “Vienna to Binghamton: A Symposium on Max Eisenstein and His Painting.” It will feature talks by Owen Pell ’80, Partner at White & Case LLP & Chairman of the Auschwitz Institute, and Tim Corbett, Inaugural Prins Foundation Postdoctoral Fellow, Museum of Jewish Heritage, as well as presentations by the co-curators of the exhibition, Karen Barzman from Art History and Neil Christian Pages from German Studies and Comparative Literature. Refreshments will be provided.
The symposium is held in conjunction with The Binghamton Nuvolone: Restoring an Object in Six Parts, an exhibition on view March 15 – May 19, 2018. The exhibition is presented as one stage in a research project that has taken team members as far away as Vienna to undertake archival research and Arizona to interview surviving family members of Max Eisenstein. Visitors to the exhibition come to understand the Binghamton Nuvolone as an object that generates multiple narratives: its creation in the seventeenth century by Carlo Francesco Nuvolone, the life of its most recent owner Max Eisenstein in Vienna, his flight in 1939 to Binghamton, his efforts over many years to restore his property, the puzzling condition of the painting that had been cut into six pieces, and its recent conservation. Many of the findings are presented on labels in the exhibition, but much more will be given by team members and invited guests at the public symposium.
Associate Professor Tom McDonough has contributed a foreword to the new English translation of The Walls Have the Floor, a collection of insurrectionary graffiti found on Parisian walls during the student-worker uprising of May ’68, first published in France fifty years ago. For more information, see https://mitpress.mit.edu/books/walls-have-floor.