Crossing the Boundaries 2018 Graduate Student Conference

Binghamton University
Art History Graduate Student Union
Call for Papers

26th Annual Crossing the Boundaries Conference:

[pl.]: Exploring the Multiple

Friday, March 16 – Saturday, March 17, 2018

In his dystopian novel Hard-boiled Wonderland and the End of the World, Haruki Murakami describes two parallel worlds—one similar to our contemporary capitalist society, the other a counterfactual world where people have no names but rather distinguish each other by their professions. One particular occupation, “Dreamreader,” is assigned to read old, distant, and unremembered dreams through the touch of self-illuminating unicorns’ skulls. Situated in what seems to be the only conceivable reality, we oftentimes limit ourselves to one conventional discourse or frame of thought, and forget alternative possibilities; we forget to cross the very thin line connecting one universe to another, where the potential to read and to be illuminated by multiple dreams is promised.

Binghamton University’s Art History Graduate Student Union seeks Dreamreaders and others, from multiple disciplinary backgrounds, for the 26th annual Crossing the Boundaries conference, which will engage the concept of [pl.]: Exploring the Multiple. The recent return to issues of the real and unreal, stimulated by discourses around art objects, techno-culture, and systems theory, prompts continued searching for multiple, unstable, even incoherent statuses and possibilities, and their relocation within an ocean of networks. The making of such alternative constellations is the aim of this gathering.

Today, when dreamlands seem to be so far out of reach, we wish to invite scholars and researchers from different fields to join this exploration of the multiple: to cross discursive boundaries, to add an “-s” to every term we engage, and to once more hold close our seemingly remote dreams.

The 2018 Interdisciplinary Graduate Student Conference Crossing the Boundaries XXVI invites proposals for academic papers / creative practices from MA and PhD students, independent scholars, and artists. Potential topics for discussion include, but are not limited to:

  • Accidents and the accidental
  • Architectural free-spaces
  • Archived and unarchived histories
  • Corporeality/-ies and materiality/-ies
  • Counterfactuality
  • Cultural techniques
  • Dispositifs: cinematic, exhibitionary, photographic, or theatrical apparatuses
  • Ecological humanities
  • Heterotopias
  • Observation vs. ontology: working against speaking on images in ontological terms
  • Humanism and post-humanism
  • Soft architectures

Those interested in participating in the conference should send a one-page abstract (no more than 250 words), CV, and cover page with institutional affiliation, if relevant, and contact information (phone number and email address) to:

Submissions due by Friday, February 9, 2018


Visiting Keynote: Dr. William Schaefer and “Photographic Ecologies in China and Beyond”

Join us March 25th at 10:45 AM for Dr. William Schaefer’s visiting keynote presentation on “photographic ecologies” in contemporary China.

William Schaefer.edited

Dr. Schaefer is a faculty member at the University of Rochester in the Chinese and Modern Languages and Cultures departments and is affiliated faculty with the Visual and Cultural Studies program.

2017 Call for Papers – Crossing the Boundaries XXV: Constellations of Contact

Crossing the Boundaries XXV: Constellations of Contact
March 24-25, 2017
Binghamton University

A multidisciplinary, multi-vocal academic conference with a global geographic and broad temporal reach, presented by the Art History Graduate Student Union

The Art History Graduate Student Union at Binghamton University invites submissions for the 25th Annual Crossing the Boundaries Conference from any historical or disciplinary approach that consider the ways in which points of contact impact/constitute/engage objects and/or the discipline of art history.  Based on a foundational commitment to crossing boundaries through critical research, this year’s conference aims to explore possibilities beyond, outside, or against linear histories of art and single trajectories of influence in favor of those that consider expanding, decentering, resonances, networks, cross-pollinations, or artist’s agency: constellations of contact.  The broad nature of this topic is meant to reflect and encourage the opening of meaning made possible by re/orienting frameworks of investigation and knowledge production.

Potential topics might include, but are not limited to:

  • Hierarchies of spatial protocol
  • Historiography
  • Craft and design history
  • Replication or imitation
  • Questions of the global and how it is constituted
  • Distance and Closeness
  • Royal networks, relations of power
  • Transmission and Translation

Proposals for individual papers (20 minutes maximum) should be no more than 250 words in length and may be sent by email, with a current graduate level CV, to (Attn: Proposal). We also welcome proposals for integrated panels. Panel organizers should describe the theme of the panel and send abstracts with names and affiliations of all participants along with current CVs. A panel should consist of no more than three papers, each twenty minutes in length. Deadline for submissions is February 10, 2017.

Crossing the Boundaries XXIV Schedule

Schedule for CTB XXIV: Sensation, Perception, Experience

Friday March 18th, 2016
Guest Keynote Speaker Professor Jason Middleton, “Indexical Violence, Transmodal Horror: Screening the Slaughterhouse”

Conference dinner at Chatterbox Café, Tapas, and Oyster Bar

Saturday March 19th, 2016
Breakfast served

Panel 1: Experiencing the Medium, Moderator: Amanda Beardsley

Dean Guarnaschelli, Ph.D in Modern World History St. John’s University, “Painting with Words: The role of color in the works of Lothar-Günther Buchheim”

Mariah Postlewait, PhD Binghamton University, “The Commercialization of Camera in Kodak, Brownie, and Holga as Sites of Subjugation and Resistance.”

Victoria Hepburn, MA in Art History, Cleveland University, “”Frederick Sandys and the Autumn of Empire”


Panel 2: Perceptions of the Other, Moderator: Wylie Schwartz

Kathryn Joy, MA in Art History, University of St. Thomas, “Steilneset Memorial: History Preserved Through Site and Experience”

Hye Young Min, PhD Art History, Binghamton University, “The DMZ and New Border Paradigms”

Samantha Clay, MA Art History, Columbia University, “Bearden’s 1964 Migration: Projections”

Lunch served

Panel 3: Exhibition Experience, Moderator: Zohreh Soltani

Alex Feim, MA Art History, Binghamton University, “The Phenomenology of Projection in Anthony McCall’s Solid Light Films”

Ihnmi Jon, PhD Art History, Binghamton University, “Segyehwa and the 1995 Gwangju Biennale”

Patryk Tomaszewski, MA Art History, NYU Institute of Fine Arts, Color as an Embodied Experience: A Close Reading of Donald Judd’s Untitled (1991)”


Panel 4: Affect Theory, Moderator: Jeffrey Youn

Eileen Owens, MA Art History, Temple University, “The Infinite and the Nothing: Science and Spirituality in Odilon Redon’s Noirs”

Leyla Savsar, PhD General English Literature and Rhetoric, Binghamton University, “Inside the Colonizer’s Mind: Using the Postcolonial Text and Affective Neuroscience To Revive Empathy, Colonial Consciousness, and Repressed Emotions.”

Chris Wagenheim, PhD Bowling Green State University, “De/Assembling Somatic Affect: Exploring Popular Representations of Male Bodies Onscreen in 1980s Action Films”


Binghamton Keynote Speaker, Assistant Professor Andrew Walkling, “Apprehending the Body of Power: The Royal Presence, Perceptual Coding, and the Experience of Epideictic”

After Party

Keynote Spotlight: Andrew Walkling


Apprehending the Body of Power: The Royal Presence, Perceptual Coding, and the Experience of Epideictic

Binghamton Keynote: Andrew Walkling

The seventeenth-century phenomenon of Baroque epideictic offers a lens through which to consider the collision of the somatic realities of political authority with the rhetorical strategies of the painted image in an age when both authority and image were at the height of their expressive power.  This paper seeks to explore the means by which the physical presence of the royal body was translated, through the medium of cultural production, into an object not simply of adulation, but of ideological conditioning.  Taking as my example visual and textual representations of the Stuart monarchs of England, I will investigate the processes behind the articulation of a court-centered signifying system in which the discursive energies of royalist imagery and symbolism combine with the synergies of performance to enact a form of constructed subjectivity whose efficacy lies in its selective revelation of the mysteries of power and in its ability to direct and harness the gaze. Provoked by the extreme idealization of the royal person as manifested in the visual and the literary “image,” and as embellished via modes of performance, the spectator sets in motion, through the act of viewing, a process by which the phenomenal becomes the nominal and power is reflexively constructed, and hence justified, as a product of the social formation.


Andrew Walkling is an Associate Professor of Art History, English, and Theatre at Binghamton University.  His work focuses on cultural production in seventeenth-century England, encompassing visual and material culture, literature, and musical and theatrical performance.  He is the author of two books, Masque and Opera in Restoration England and English Dramatick Opera, 1661-1706: “Most Grateful Deceptions of the Sight”, both forthcoming from Ashgate. He is currently beginning work on a new project tentatively titled “Instruments of Absolutism: Restoration Court Culture and the Epideictic Mode.”