24th annual CROSSING THE BOUNDARIES 2016
Interdisciplinary Graduate Student Conference
March 18th and 19th, 2016
Multidisciplinary, multi-vocal academic conference with a global geographic and broad temporal reach, presented by the Art History Graduate Student Union
Andrew Walkling, Binghamton University
Jason Middleton, University of Rochester
CALL FOR PAPERS
Sensation: the ability of a living organism to physically detect information exterior from its self
Perception: the cognitive process of interpreting exterior information into something meaningful
Experience: entering meaning into one’s stored memories
The Art History Graduate Student Union at Binghamton University invites submissions for our twenty-fourth annual Crossing the Boundaries Conference. This year’s conference focuses on the visceral, mental, and emotional response to a variety of stimuli, and asks the following questions: how do human senses impact reception? How are memories triggered? How does perception change across varying cultures, epochs, geographic locations, genders or sexual orientations? These questions are meant as jumping-off points from which we invite submissions from any historical or disciplinary approach that considers the body or mind’s interaction and reaction to external stimuli.
Potential topics might include (but are not limited to):
- Perception of space and time
- Affect theory
- Materiality and De-materiality
- Cultural and social factors as influencing perception
- Biological factors impacting experience
- Linguistic perception
- Sensations of reality or illusion
Kevin Hatch received his MA from the University of Delaware and PhD from Princeton University, both in the History of Art. He joined the faculty at Binghamton in 2011. His teaching and research traverses the twentieth century, with particular attention paid to the intersections of art, cinema, and new media in the postwar period. His book Looking for Bruce Conner investigates Conner’s influential but insufficiently understood work while exploring the artist’s position on the geographical, cultural, and critical margins. Hatch is currently working on two projects. The first investigates new media practices since the 1990s, in particular those that trouble the outwardly stable categories of cinema and visual art; the second examines the chiasmic relationship between Mexican artistic culture and American artists’ interactions with that culture in the postwar period.
Andrés Mario Zervigón is Associate Professor of the History of Photography at Rutgers, The State University of New Jersey. He is author of John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage (University of Chicago Press, 2012) and coeditor with Tanya Sheehan of Photography and Its Origins (Routledge, 2014). He is currently working on a second book project Die Arbeiter-Illustrierte Zeitung — The Worker’s Illustrated Magazine, 1921-1938: A History of Germany’s Other Avant-Garde, for which he received the 2013-14 Paul Mellon Senior Fellowship at the Center for Advanced Study in the Visual Arts. He is also writing Photography and Germany for the Exposures series at Reaktion Books. Zervigón has published numerous articles and reviews in New German Critique, Visual Resources, History of Photography, Rundbrief Fotografie, Études Photographiques, October, and Art Journal, and he has contributed to recent anthologies, such as Getting the Picture: The History and Visual Culture of the News (Bloomsbury, January 2015), Photography, History, Difference (University Press of New England, November 2014) and Das Auge des Arbeiters. Arbeiterfotografie und Kunst um 1930 (Spector-Verlag, May 2014). Zervigón leads The Developing Room, an academic working group at Rutgers that promotes interdisciplinary dialogue on photography’s history, theory and practice. It has staged numerous symposia and generated 2 publications.
Crossing the Boundaries XXIII: Cut and Paste
Interdisciplinary Graduate Conference Presented by the Art History Graduate Student Union at Binghamton University
Friday, March 27, 2015
1:00-2:15 | Undergraduate Panel | Location: Binghamton University Art Museum (Fine Arts Building) Lower Galleries
- Colleen Stapleton, “Collaged Anonymity: A Portrait of Delay”
- Kara Nandin, “Ojibwa Birchbark Scrolls and Rock Art: The Misappropriation of Forms in Nineteenth-Century Aesthetic”
- Daniel Bontempi, “Duane Hanson: A Study of Modernist Expression through Minimalism and Post-Minimalism”
2:15-2:30 | Break
2:30-3:45 | Panel 1: Sound, Space, Time | Location: Binghamton University Art Museum (Fine Arts Building) Lower Galleries | Moderator: Amanda Beardsley
- Alana Wolf-Johnson, University of Rochester, “Re-Recording History: Jacob Kirkegaard’s Four Rooms and the Sonic Unconscious”
- Mopelola Ogunbowale, University at Buffalo, “Cutting and Pasting the ‘Riddim’: A Case Study of Diaspora Music in Urban Lagos”
- Elise Trucks, Binghamton University, “Expansive Collaborations: Carolee Schneemann, James Tenney and 1960s Experimental Arts”
3:45-4:00 | Break
4:00 | Keynote Address | Location: Fine Arts 258
Andrés Mario Zervigón, Associate Professor of Art History, Rutgers University, “Die Arbeiter-Illustrierte Zeitung — The Worker’s Illustrated Magazine, 1921-1938: The Cut and Paste of Germany’s Other Avant-Garde” Click here to read the abstract!
5:00-7:00 | Opening Reception: “The Inner Landscape of Dance: Photographs by Barbara Morgan 1935-1944” | Location: University Art Museum
6:30 | Dinner | Thai Basil Restaurant, 29 Washington Ave., Endicott, NY
Saturday, March 28, 2015
Location: All Saturday panels will take place in Fine Arts 258, and all meals will take place in the adjacent Fine Arts Grand Corridor
9:00-9:30 | Breakfast | Fine Arts Grand Corridor
9:30-10:45 | Panel 2: Assemblage, Construction, Contingency | Moderator: Nicole Wagner
- Addie Gordon, Binghamton University, “‘Rewriting the Past’: Peter Eisenman’s City of Culture, Galicia”
- Rachel Julia Engler, Columbia University, “A Perfect Kind of Incoherence: Theo van Doesburg’s Dada Geometries”
- Allison Leigh, The Cooper Union, “Typological Montage in the Nineteenth Century: The Alienation of Everyday Life”
10:45-11:00 | Break
11:00-12:15 | Panel 3: Texts of Resistance | Moderator: Lena Mei
- Andrea Ennis-Booth, University of Toronto, “Heisler’s Alphabet: Between Interpretation and the Threat of Destruction”
- Wylie Schwartz, Binghamton University, “Asger Jorn’s Collective Creating”
- Debora Faccion, Binghamton University, “Malasartes: The Short Life of an Art Magazine in Brazil”
12:15-1:15 | Lunch | Fine Arts Grand Corridor
1:15-2:30 | Panel 4: Books and Materiality | Moderator: Zohre Soltani
- Amy Breimeier, University of Massachusetts Amherst, “Grace Fisher and the Art of the Commonplace Book”
- Victoria Gao, University of Rochester, “Image and Materiality: Man Ray’s Atget Album”
- Olivia Crough, Harvard University, “Glue as Such: The Collaged Books of Aleksei Kruchenykh and Olga Rozanova, 1915-1917”
2:30-2:45 | Break
2:45-4:00 | Panel 5: American Narratives | Moderator: Josh T. Franco
- Kasia A. Kieca, Binghamton University, “Industrial Visions: The Politics of Assemblage in Lewis Hine’s Men at Work (1932)”
- Nushelle de Silva, Massachusetts Institute of Technology, “Assembling ‘Smallness’ at the American Small Industries Exhibition, Ceylon 1961”
- Evelyn Kreutzer, Northwestern University, “Intermediality and Montage in the Depiction of the 9/11 Trauma: Observations on Works by Carolee Schneemann, Galway Kinnell and John Adams.”
4:00-4:30 | Break
4:30 | Keynote Address | Fine Arts 258
Kevin Hatch, Assistant Professor of Art History, Binghamton University, “‘O Mexico/My Own’: The Semina Circle Encounters Mexico” Click here to read the abstract!
7:00 | Closing Reception | 25 Birch St., Binghamton, NY
We are pleased to announce the theme for our twenty-third annual conference: Cut and Paste!
Andrés Mario Zervigón, Rutgers University
Kevin Hatch, Binghamton University
CALL FOR PAPERS
The phrase “cut and paste,” in its most fundamental definition, is the process of selecting and combining fragments. Inspired by an established commitment to critical research, this year’s conference aims to explore the assortment of thematic, methodological, and sociopolitical interpretations derived from the traditional concept of extracting and adhering.
The twenty-third annual Crossing The Boundaries Conference, hosted by the Art History Graduate Student Union at Binghamton University, invites submissions from any historical or disciplinary approaches that involve a literal or conceptual appropriation achieved through cutting and pasting.
Potential topics might include (but are not limited to):
- Collage, bricolage, assemblage, montage
- Authorship, plagiarism, imitation
- Censorship and editing
- Fragments / Fragmentation
- Cultural traditions and historical change
- Sociopolitcal statements
- Accumulation and composites of found objects
- Invention or production through appropriation
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 email@example.com (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 January 30, 2015.
A ‘Cabaret of Curiosities’: The Landscape Aesthetics of “Mondo Utah” and the Mormon Panorama
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).