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.”

Keynote Spotlight: Jason Middleton

Indexical Violence, Transmodal Horror: Screening the Slaughterhouse

Visiting Keynote: Jason Middletonjason_middleton

This talk examines the affective and political implications of animal slaughter imagery through a relational analysis of its framing in fictional horror film, mainstream expository documentary, activist video, and internet “reaction videos.” Depictions of the slaughterhouse challenge distinctions among fiction and documentary modes and between figurative and literal registers, producing distinctive forms of horror and spectatorial discipline. For example, animal imagery literalizes The Texas Chain Saw Massacre’s (Tobe Hooper, 1974) central metaphor of worker dispossession and its aftermath, redoubling the film’s horrifying effects. Conventional viewer identification with the characters’ vulnerability slides into a felt sense of shared vulnerability and mortality with the animals that serve as metaphor for these characters. In a corresponding but inverted relation between the figurative and the literal, Shaun Monson’s documentary film Earthlings (2005) and its viewer reaction videos reinvent the collective performance of terror and disgust among theatrical horror film audiences for a documentary context and for online platforms like YouTube. My analysis of horror as transmodal affect suggests new perspectives on discourses of animal rights and ethics, examining the potentials and limitations of a politics that proceeds from the collective experience and performance of horror and disgust.


Jason Middleton is an Associate Professor in the Department of English and Director of Film and Media Studies at the University of Rochester. His work is inspired by his interest in the materiality of the medium and intersections of theory and practice. Middleton is the author of the monograph Documentary’s Awkward Turn: Cringe Comedy and Media Spectatorship (Routledge, 2014), coeditor with Roger Beebe on Medium Cool: Music Videos from Soundies to Cellphones (Duke University Press, 2007) and has published in the Cinema Journal, The Journal of Visual Culture, Popular Music, The Velvet Light Trap, and Afterimage. His current book project is Documentary’s Body: Instructional Aesthetics and Transmodal Affects, which examines film and media objects whose intimate pedagogies of bodily transformation operate through their transmodal properties.