#CTB13: John Tagg and Ariella Azoulay in Conversation

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

FRIDAY, APRIL 26


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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#CTB13: Undergraduate Panel

Our annual graduate conference is proud to host an undergraduate panel, launching the 21st edition of Crossing the Boundaries.

Read about our past conferences and find information about the 2012 Undergraduate Panel right here.

Please join us in hearing the work of three of Binghamton University’s own Art History undergraduate majors and members of the Undergraduate Art History Association. This year, the panel will be held in the art museum. The panel members will each present 10-15 minute papers followed by a question and answer session.

11:00 – 12:00
Moderator: Katerina Acuna

The Naturally Lit Cube: Dia:Beacon’s Natural Light and Perceptual Experience
Alex Feim
The Dia:Beacon is a museum unlike most others, in that it uses almost entirely natural light when displaying its collection. The work within this museum environment is supposedly one without frames, pedestals, or wall texts. However, despite this, the museum still contextually frames the art. Looking to three case studies within the museum, I examine how the art exists not at a distance from the visitor, but rather in the same space. Dan Flavin’s untitled red and blue light sculpture is situated in front of a large window, which creates a fascinating juxtaposition of artificial and natural light.
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#CTB13: Meet Our Participants

For schedule and titles, click here

Amanda Beardsley is currently pursuing her Ph.D. in Art History at Binghamton University. She received her M.A. in Art History from the University of Utah where she completed a thesis entitled “This is the Place: Site-Specificity in Ernesto Pujol’s Awaiting (2010),” which explores the reconfiguration of cultural and individual identity based on the body’s relationship to geographic location. In addition to teaching several courses at the University of Utah and Utah Valley University, Amanda co-curated an exhibition of European Prints titled Collecting Knowledge: Renaissance Cabinets of Curiosity at the Utah Museum of Fine Arts in 2010. She is currently the president of the Art History Graduate Student Union at Binghamton University.

Ionit Behar is a candidate for a master’s degree in Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Her thesis on Michael Asher investigates the strategy of displacement in his Chicago projects from 1979 at the Art Institute and the Museum of Contemporary Art. Asher strove to expose museums’ function and distribution by displacing what was already in the permanent collection rather than adding new work to the museum display. Ionit holds a BA in Art Theory from Tel Aviv University and a degree in Art Administration and Cultural Management from the Bank Boston Foundation in Montevideo. She is involved in a variety of curatorial projects in Chicago, New York City, Montevideo and Tel Aviv.

Sule Can is a second year Cultural Anthropology PhD student at State University of New York at Binghamton. She got her MA degree in Cultural Studies from Istanbul Bilgi University. Her research interests are anthropology of borders and border cities, anthropology of the Middle East, Islamic minorities in Turkey, ethnic conflicts, nationalism, imperialism and state. Her dissertation focuses on Turkish-Syrian border particularly Hatay. She looks at the ways in which border conflict and refugees impact the city from local, national and global perspectives.

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#CTB13: Conference Schedule

Crossing the Boundaries XXI: DIS/PLACE
April 26-27, 2013

Art History Graduate Student Union Annual Interdisciplinary Graduate Conference Binghamton University

Keynote Speakers:

Ariella Azoulay, Assistant Professor of Comparative Literature and Modern Culture and Media, Brown University

Julia Walker, Assistant Professor, Art History, Binghamton University

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FRIDAY, APRIL 26
(All panels located in the University Art Museum)

11:00 – 12:00   Undergraduate Panel
Moderator: Katerina Acuna
The Naturally Lit Cube: Dia:Beacon’s Natural Light and Perceptual Experience
Alex Feim

Openings and Closures, Doorways to Expression in State Mediated China. Zhang Dali’s Dialogue
Eric Wuu

The Necessity of Thought: Thomas Hirschhorn’s Bataille Monument
Rachel Rapp

12:00 – 12:30   LUNCH   (Rosefsky Corridor)

12:30 – 1:45   Performance & Performative Spaces
Moderator: Josh Franco

Persepolis 2530: Viewing the Modern Ruins at Persepolis
Maria Salva, Binghamton University

Imagibility and Communicability in Archigram’s City Projects
Joo Yun Lee, Stony Brook University

Recontextualizing the Atomic Southwest
Deanna Sheward, New York University

The Aesthetics of Indifference: Andy Warhol’s 1967 Utah ‘Hoax’ as Performance and Self-Portraiture
Scotti Hill, University of Utah

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Keynote: Ariella Azoulay, “Revolutionary Moments and State Violence”

AriellaAzoulay_4

Ariella Azoulay is an Assistant Professor of comparative literature and modern culture and media in Brown University. She will present her talk on Saturday, April 27, 2013, 6:15pm.



Abstract:

A few years ago, when I began my research on the revolutions of the 18th century, I was guided by the intuition that revolution is a special type of language, and created an archive of its different manifestations. This intuition was initially based on my reading of texts and pamphlets written by protestors deprived of civil rights – mainly women and blacks, alongside images from the same context. The archive became a laboratory for further exploration of this intuition. I started by identifying statements, forms, body gestures, grammar and rules, and re-conceptualizing some of the notions related to the discourse of revolution. Through a reading of a few photos, I’ll historicize the link between revolution and violence, and question its unavoidability.

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