#CTB14: Conference Abstracts


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A ‘Cabaret of Curiosities’: The Landscape Aesthetics of “Mondo Utah” and the Mormon Panorama
Amanda Beardsley

More than just the aestheticization of natural phenomena, the panorama has functioned as both optical surrogate for nature, simulator, and generator of affect—an apparatus for teaching people how to survey and perceive the world while also situating them in it. Such characteristics of panoramic vision have carried over into current museological practices in an effort to unveil and reconcile socio-cultural landscapes, while also encouraging tourism. This was seen specifically in the 2013 Utah biennial, “Mondo Utah,” whose title referenced the controversial genre of Mondo cinema. The biennial attempted to decipher a visual language of contemporary art specific to the region. Pavilions surveyed objects ranging from the marginal (golden life-masks and mummiforms of the Summum group), to the aggregate (work from the collective holdings of the Church of Jesus Christ of Latter-day Saints).

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Faculty Keynote Speaker, Karen-edis Barzman


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Join us for Professor Karen-edis Barzman’s talk, titled “Political Topographies and Counter-Practices of Place: A Case Study in Mapping.”

The talk will be held on Saturday, April 5, at 4:30pm (FA 258). For the complete conference schedule, click here.
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#CTB14: Meet our Participants


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Meet this year’s presenters, who will join is on April 4-5, 2014. All events are free and open to the public. For more info about the schedule, click here.

Sara Champlin specializes in classical art and archaeology at the University of Wisconsin, Madison.  Her research interests include elite dining practices, hybrid architectural forms, and various social, political and economic factors that affect urban landscapes.  Her masters research at the University of Massachusetts, Amherst focused on the appropriation and re-use of Greek myth for Roman funerary contexts.  More recently she has been working with wall frescoes and floor mosaics to determine ancient systems of organizing space.  Her paper Town Planning in the West: Metapontum, Megara Hyblaea, and Akragas developed out of a graduate seminar on the topic of Greek Colonization with Professor Nicholas D. Cahill.

Nicole Wagner is currently pursuing her Ph.D. in Art History at Binghamton University. Her work focuses on Early Modern Italian painting and culture, with an emphasis on Confraternal patronage, Catholic Reformation, conventual space, and devotional art.  Nicole received her BA in Art History from the University at Geneseo and her MA in History and Museum Education from the University at Buffalo.

Rotem Rozental explores the intersections of photography, social networks and nationalism, focusing on Zionist photographic archives. She is currently pursuing her PhD in the art history department of Binghamton University. Rotem is the editor of The Shpilman Institute for Photography Blog (thesip.org), and co-artistic director of “We, Festi-conference for Creative Collectives” (2012-2013), held annually as part of the Jerusalem Season of Culture (jerusalemseason.com). She also edits the Season’s website, blog and social media. In addition, Rotem writes exhibition reviews for Arforum.com and other magazines.

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#CTB14: Conference Schedule


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All events are free and open to the public. Join us!

Friday, April 4th:

Undergraduate Panel: 1-2:15pm || In the Lower Galleries of the Binghamton University Art Museum

Michael Kosowski
Dual Faith: The Pagan Vestiges in the Religions of Eastern Europe

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#CTB14: Keynote Speaker, Elena Shtromberg


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We are delighted to present a talk by Elena Shtromberg, who will join us from the University of Utah. Her talk, titled “Alternative Cartographies: Space and Place in Brazilian Art” will be held on April 4 at FA 258 (4:30pm).

Elena Shtromberg is Assistant Professor in the Department of Art and Art History at the University of Utah. She received her Ph.D. from the Department of Art History at the University of California in Los Angeles. She specializes in modern and contemporary Latin American visual culture, with a specific focus on Brazil and the U.S.-Mexico Border region.

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Undergraduate Panel: Abstracts and Bios


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We are delighted to launch our 22nd annual conference with a panel presented and moderated by the undergraduates of the Art History Department.

The panel will be held on April 4 in the Lower Galleries of the Binghamton University Art Museum (1-2:15pm).

Here is more information about the presenters and their talks:


Mikey Kosowski is a sophomore who is majoring in art history and Russian studies. Mikey sees art history as a way in which he can develop a deeper and older passion, British history and visual culture, and is now beginning to explore his interests in Eastern Europe. His current research interests range from the interiors of Victorian Anglo-Catholic churches to the modern restoration of synagogue murals in Poland.

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#CTB13: John Tagg and Ariella Azoulay in Conversation


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AHGSU is delighted to present a conversation between Prof. John Tagg (Binghamton University) and this year’s keynote speaker, Ariella Azoulay (Brown University).

JTphotoThe conversation will take place on Friday, April 26, 2013, at 3:30, in the Fine Arts Museum. The event is free and open to the public. A live stream will be made available through our website.

Azoulay’s keynote address will be held on Saturday at 5:00, in FA 258. Read the abstract here.

Ariella AzoulayThe event will be followed by a reception.
The keynote address by Juiia Walker will be held at 5:30, in FA 258.
Read her abstract here.

#CTB13: Abstracts


For abstracts from the Undergraduate Panel, click here.
For the full schedule, click here.

12:30 – 1:45   Performance & Performative Spaces

Moderator: Josh Franco

Persepolis 2530: Viewing the Modern Ruins at Persepolis

Maria Salva, Binghamton University
This paper will explore the place of Persepolis as a modern preserved ruin, itself created as an ancient site within the context of broad modernization, and its displacement in a contemporary art installation by British artist Michael Stevenson at the 2007 Basel Art Fair.

In order to get at some of the problems that Stevenson’s project suggests, I am looking at some of the recent writing on ruins and the idea of ruins in the context of modernity, especially two edited volumes on the topic, by Julia Hell and Brian Dillon, respectively. Ruins embody a set of paradoxes about time and power, that can have political implications. Ruins represent a society or power group that is gone, but by definition, the ruin survives, a presence to remind us of an absence. Ruins show the collapse of a past, but also point forward: like a vanitas image, ruins tell of the ephemerality of power, and suggest that current powers, too, will find themselves in ruination.

Under the Pahlavis in Iran, much of this paradox was overlooked as Persepolis was utilized as a performance space, suggesting a past glory whose revival was already manifest. Following Talinn Grigor, I interpret this unique situation as following from the process by which Persepolis was, itself, created in its modern form, and for its modern uses, by modern excavation, restoration, and building.

Stevenson’s project, Persepolis 2530, consists of an installation at the 2007 Basel Art Fair, and a book, “Celebration at Persepolis,” which documents the ruins of the tents built at Persepolis by the Pahlavis, and the installation of a replica of one of the tents at the Basel Art Fair, and recounts the 1971 celebration at Persepolis for which the tents were built. I will investigate what it means for these ruins to be replicated (and preserved) in photography, replicated and recontextualized in a contemporary arts setting, recreated as more fragile, more temporary, and in effect, more invisible than the original.
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