Crossing the Boundaries XXIII: Cut and Paste
Interdisciplinary Graduate Conference Presented by the Art History Graduate Student Union at Binghamton University
Click here for a printable schedule!
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
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).
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.
Here’s a gentle reminder: the deadline for submitting abstracts is February 1, 2013. The graduate conference hosted by The Art History Department in Binghamton University is marking its 21st year in 2013. The annual conference will take place in April 26-27, 2013.
This year’s Crossing the Boundaries focuses on themes related to Dis/Place and invites submissions from a vast array of disciplines and periodical interests. The keynote speaker is Ariella Azoulay (Brown University).
For more information about the conference and our call for papers, click here.
For our past conferences, click here.
We also invite you keep in touch via Facebook, or our departmental blog. For the art history department Facebook page, click here.
10:20-11:40am Panel One
“Papal Archeology and the Catacombs: Early Christian Shrines and the Modern Italian State”
Natalie Espino, Binghamton University Department of History
During the second half of the nineteenth century, liberalism, revolution, and nation-state building challenged the spiritual authority, political power and historical prestige of the Roman Catholic Church. New ruling systems called into question the temporal sovereignty and political privileges of the clergy in general, and the papacy above all. For Italy in particular, the papacy and its temporal dominions represented the final obstacle to the unification of the peninsula and the establishment of a new capital at Rome. For the Catholic leadership, clashes with modern secular powers evoked the accounts of the ancient Roman state’s persecution of the early church. This paper examines the birth of modern Christian archaeology within this context of the nineteenth-century church-state crisis during the Italian Risorgimento. Papal-sponsored exploration of the early Christian Catacombs took place within the larger program of artistic and spiritual revival that commemorated the early Christian communities in Rome, their persecution by the Roman state, and their eventual triumph over paganism.