Monthly Archives: May 2015

Call for Papers: ‘Shared Invention: From Antiquity to the 21st Century’ (Clermont-Ferrand, Aubusson and Limoges, 6–8 April 2016)

issue_91_2015_news03[1]An international colloquium entitled ‘Shared Invention: From Antiquity to the 21st Century’ will be held 6–8 April 2016, and proposals for papers are now being accepted. The colloquium is being organized by Laurence Riviale and Jean-François Luneau, lecturers at Blaise Pascal University, Clermont-Ferrand (France), in partnership with Musée national Adrien Dubouché, Limoges (France) and Cité de la Tapisserie, Aubusson (France). It will take place in Clermont-Ferrand, Aubusson and Limoges. ‘Shared invention’, or collective creation, is the chosen theme for this international colloquium, whose aim is to enable art historians working in a range of fields to understand better creation in the fine arts and production in the decorative arts.

When an artist’s work of art is translated into another medium, if the craftsman is not himself the inventor, but only a docile workman, how can differences in two items made by two craftsmen according to the same design be accounted for, but by a margin of liberty and sensitivity in which the very personality of the maker expresses itself? This margin will be at the heart of the debate, taking into account historical, social, and cultural contexts of all the periods in question.

After the Middle Ages, during which painters and sculptors belonged to a regular, legally instituted trade, those whom we now denote ‘artists’ tried to distinguish themselves by invention, leaving execution or transposition to craftsmen, and strove to elevate their trades to the dignity of liberal arts. For Giorgio Vasari, such a claim is satisfied by the expression ‘arts of design’, which were to become the ‘fine arts’, that is, painting, architecture and sculpture. ‘Design’ thereby has became the discriminating point for all academies that were subsequently founded, from the Accademia delle arti del disegno in Florence (1563) to the French Académie royale (1648), and later on, the British Royal Academy (1768). Art historians have seldom questioned this hierarchy and have more readily studied the creations of a ‘genius’, leaving the craftsman’s production in the shadow.

But is invention only the privilege of the artist who provides the design? Recent scholarly studies have striven to understand the processes of creation at the heart of workshops through artistic documentation, such as the miscellanies of modelli and inventories of human positions collected by painters in the sixteenth century, revealing the almost universal use of what has been called, paradoxically, the ‘invention copy’ – that is, the creation of a new composition achieved by putting together heterodox bits from everywhere. This type of process highlights the role of the patron, who may be the true inventor, as he owns designs and ideas and is responsible for this aspect of the composition from beginning to end. In this case, the so-called ‘artist’ is but a kind of go-between, and can only be understood as a mere workman.

Papers devoted to etchings or engravings, stone masonry, wall-painting or paper, furnishing or fashion fabrics, chinaware, stoneware, stained glass, etc., are welcome, especially if they emphasize not only the margin of liberty mentioned above, but also the aspects of works of art appropriate to their destination and intended meaning. Summaries of 2500 or 3000 characters will be submitted, along with a short CV (three lines), before 22 June 2015, to laurence [dot] RIVIALE [at] univ-bpclermont [dot] fr, or laurence [dot] riviale [at] orange [dot] fr, or J-Francois [dot] LUNEAU [at] univ-bpclermont [dot] fr. Applicants will receive a reply in September 2015.

Languages: French, English (there will be no interpreters).

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Image Matter: Art and Materiality (Manchester, November 6, 2015)

1920295_10101429075333985_729639212555295849_n[1]Call for papers deadline: Aug 1, 2015

Image Matter: Art and Materiality
AAH New Voices Conference
MIRIAD, Manchester Metropolitan University
6 November 2015

Keynote: Professor Carol Mavor (University of Manchester)

How do art historians interpret matter? And how about artists, makers,
theorists and critics? Much recent art historical and visual culture
literature has argued for the reinstatement of the bodily and the
material in art and its encounter, rejecting the pre-eminence of a
disembodied eye in favour of a wider range of somatic responses:
touching, hearing, tasting, smelling. Similarly, the material
physicality of the art object in its myriad forms—surface, texture,
weight, spatial extension, sound etc—has recaptured our attention.

New Voices 2015 will explore approaches to materiality and the material
in light of developing discourses that implicate art history, as well
as visual and material culture studies. Even if there has been a
‘material turn’, James Elkins (2008) argues that art history remains
fearful of the material: ‘art history, visual studies,
Bildwissenschaft, and art theory take an interest in materiality
provided that the examples of materiality remain at an abstract or
general level …’. If the sensorium of seeing, tasting, feeling and
hearing exceeds the rationality of disciplinary categories and the
systematisation of knowledge, how can writing about and through art
accommodate affective objects? How have artists negotiated the conflict
of a spectatorship, which disregards hapticity, surface and substance?
How do traditions of connoisseurship engage with contemporary theories
of materiality?

As a ‘somaesthetic’ approach of beholding (re)gains currency the
primacy of sight decreases (for example, in the re evaluation of
medieval artefacts that were touched, kissed and smelled).
Alternatively, vision may at least be understood as opening haptic and
experiential exchanges between object and maker, object and viewer. But
perhaps the questionable pre-eminence of visuality also evidences an
increased derogation of manual labour in lieu of what is perceived as
more cerebral, more elevated from the yucky material of bodily
production. New Voices 2015 takes place within the intellectual and
creative space of the art school, the messy realm of art production. It
therefore asks how (the) material and its associated places of
production and ‘consumption’—from the studio to the gallery—can be
integrated in the discourses of art history and its objects.
New Voices welcomes contributions from all periods and contexts which
address the relationship between visual and material studies and
practices. Topics may include, but are not limited to:

•    Haptic encounters with artworks (incl. performative, virtual,
conceptual works)
•    Historiographic reflections on attitudes towards material(ity)
•    Explorations on the relationships between visuality and materiality
•    Historiographic and methodological approaches to the material of
art (and its making)
•    Social, technological, historical and cultural contextualisations
of the material turn
•    Art and materiality in a digital age

Abstracts of no more than 300 words for 20-minute papers should be
submitted along with a 100-word biographical note to
ImageMatterAAH@gmail.com by 1 August 2015. Although the conference is
open to all, speakers are required to be AAH members. Convenors: Liz
Mitchell, Rosalinda Quintieri, Tilo Reifenstein and Charlotte Stokes.

New Voices are annual, one-day conferences of new doctoral scholarship
that take place at different universities throughout the UK.

The Bishop Otter Scholarship (Chichester and King’s College London, Deadline 22 May 2015)

St Cuthbert, DarwenThe trustees of the Bishop Otter Trust seek to appoint a person of proven
academic ability to a new scholarship for exploration of theology and the
arts, based in Chichester, working in partnership with the Centre for Arts
and the Sacred at King’s (ASK), London.

The scholarship will be for two years. The successful candidate will be ready
to undertake some original, post-graduate work of research that will generate
theological debate (seminar, lecture, blog, etc), provide a research resource
for the bishop of Chichester, and achieve publication that will constitute
serious scholarship. Residential accommodation (including utilities, etc) is
provided. The scholarship is for £7,000 per annum. The time commitment to
the scholarship is three days a week residence in Chichester, the equivalent
of a .5 part-time post of 20 hours. Holiday is pro rata for a .5 part-time
post.

Applications close at 12.00 noon on Friday 22 May, 2015.
Interviews will be held at The Palace, Chichester, on Tuesday, 2 June, 2015.

Details are available from Mrs Margaret Gibson, The Palace, Chichester, West
Sussex, PO19 1PY
applications@chichester.anglican.org

Stained Glass PhD Summer Symposium 2015 (University of York, United Kingdom, May 21-22, 2015)

Stained%20glass%20symposium-218x675[1]The Stained Glass Research School at the University of York warmly
invite postgraduate students to attend their two-day PhD Summer
Symposium.

The Symposium will take place Thursday 21st – Friday 22nd May,
encompassing a day of research papers at King’s Manor with a set site
visits, in York and the surrounding area, to stimulate further
discussion.

PROGRAMME

21st May

10.30-11.00
Registration, King’s Manor, University of York

11.00-11.15
Welcome

11.15-12.45 – Group 2. Theme: Text and Image

1. Amanda Daw – “St Anne, the Virgin and the Eucharist: image and text
in the stained glass of Thomas Spofford”
2. Dr. George Younge – Old English in the Twelfth Century Glass at
Canterbury Cathedral
3. Katie Harrison – “Unravelling the narrative of the St Cuthbert
Window, York Minster”

12.45-13.45
Lunch

13.45-15.45 – Group 1. Theme: Style and Craft

1. Anya Heilpern – “Early 16th-century glass from Winchester Cathedral:
the problem of style”.
2. Oliver Fearon – “Glazier, Patron and the Virtuoso Crafting of
Heraldry in Fifteenth and Sixteenth Century England.”
3. Jo Dillon, “…et plana et rade…” Challenging persistent theories of
medieval lead came production, with particular focus on evidence for
the form and facture of English medieval window lead pre-c1548
4. Alishka, ‘Crafting With Light’

15.45-16.15
Tea Break

16.15-17.45 – Group 3. Theme: Appropriation and Re-appropriation Chair:
Katie

1. Hilary Moxon – “Presenting and Patterning Virginities in York
Minster’s Chapter House: the cases of Margaret and Katherine”
2. Emma Woolfrey – “The stained glass in the clerestory apse of
Westminster Abbey: perception and reappropriation of the Gothic in
early 18th Century England.”
3. Catherine Spirit, ‘Continental Stained Glass in East Anglia:
Deciphering Early Nineteenth-Century Glazing Schemes.’

17.45
Closing Remarks

18.00
Wine Reception

22nd May

– St. Michael-le-Belfry (Lisa Reilly giving presentation and
discussion) 9.00-10.45
– Depart Union Terrace 11am
– Arrive at St. John the Baptist, Kirky Wharfe 12.15 (journey time 1h
15 mins)
– Depart St. John the Baptist, Kirkby Wharfe 13.15
– Arrive for Comfort Break at Sainsbury’s Tadcaster 13.30
– Depart Tadcaster 14.30
– Arrive at All Saint’s, Bolton Percy 14.50
– Depart All Saint’s, Bolton Percy 15.50
– Arrive Holy Trinity, Acaster Malbis 16.30
– Depart Holy Trinity, Acaster Malbis 17.30
– Arrive in York 18.00

Please see the following link for further informations:
https://www.york.ac.uk/history-of-art/news-and-events/events/2015/stained-glass-summer-symposium/

All postgraduate students with research interests in stained glass are
welcome! Registration is free but limited! Please do so  follow the
Doodle Poll link to sign up for the two-day event:
https://doodle.com/85qs2p3r8sst3857

Please direct any queries to Katie Harrison
keh504@york.ac.uk and Oliver Fearon of509@york.ac.uk

Job: Editorial assistant for Speculum (Deadline 15 June 2015)

SPC[1]QUALIFICATIONS

Applicants must have strong computer and editorial skills, together with a background in any area of the humanities with a particular specialty in Medieval Studies, and must be available to start work in the fall of 2015 in Cambridge, MA. Strict attention to detail and excellent communication skills are particularly important. Reading ability in French, German, Spanish, Arabic, Latin and/or Italian is also highly desirable.

JOB DESCRIPTION

This internship will provide experience with the book review process of Speculum, the journal of the Medieval Academy of America. Duties include: sorting books; mailing books to reviewers; compiling information in a database from print books and online resources; transmitting information to the book review editors; receiving, organizing, and proofreading reviews for publication; and using an Excel-based management system (or other appropriate software).

This is a two-stage part-time paid internship. For the first three months the intern will sort and mail the review books while training under the current senior intern (12 hours per week). In January the intern will share the duties of the senior intern, including managing the database of reviews, working with the Book Review Editors, and coordinating and proofreading the reviews (up to 28 hours per week at a higher rate).

The position will begin in September 2015 and run for one year, with a possible renewal for a second year.

Preference will be given to applicants residing in the Boston area during the tenure of the job.

Submit cover letter, together with resume and up-to-date contact information for two referees to Sarah Spence, Editor, Speculum, sspence@themedievalacademy.org. Applications completed by June 15 will be given full consideration.

For more information about Speculum, click here.

Conference: Frankfurt als Zentrum unter Zentren? Kunsttransfer und Formgenese am Mittelrhein 1400 – 1500 (Frankfurt, Historisches Museum, 5-6 June 2015)

Frankfurt_Am_Main-St_Bartholomaeus-Kreuzigungsgruppe-Backoffen-Original[1]Die Auf- und Abwertung der „Kunstlandschaft“ als Terminus operandi ist ein Dauerthema der Kunstgeschichte. So fragte die ältere Diskussion der Kunst am Mittelrhein beispielsweise vor allem danach, wie der Mittelrhein als Kunstlandschaft geografisch zu bestimmen und die „mittelrheinische Kunst“ formal zu spezifizieren sei. Die Entwicklung
der spätgotischen Kunst am Mittelrhein, die bekanntlich von
wiederholtem, strukturellem Wandel begriffen war, wird jedoch besser
fassbar, wenn man sie als dynamische Einheit im engen Verbund mit
verschiedenen kulturellen Faktoren sowie überregionalen Einflüssen
betrachtet. Der Begriff der Kunstlandschaft versteht den Mittelrhein in
dieser Sichtweise als Kommunikationsgefüge durchlässiger Grenzen
zwischen mehr oder wenig stark ausgebildeten (über-)regionalen
Kunstzentren. Die Kategorie „Stil“ stellt sich hierbei als Medium
historischer, ästhetischer und kultureller Kommunikation dar. Mit Blick
auf die Kunst am Mittelrhein kann Stil einerseits als Ausdrucksform
sich wandelnder regionaler Repräsentationsformen bestimmt werden,
andererseits als Vermögen, sich vorgegebenen Bildkonventionen zu
entziehen und so eine reflexive ästhetische Identität zu erzeugen.

Entscheidend ist zudem, dass beide Aspekte „Kunsttransfer“ und
„Formgenese“ im Zusammenhang produktiver, nicht selten sich sprunghaft
wandelnder Netzwerke unterschiedlicher Kulturträger gesehen werden. Es
wird davon ausgegangen, dass die frappierende künstlerische
Heterogenität, die sich formal äußert, ihre Grundlage in der
spezifischen Transfer- und Kommunikationsstruktur am Mittelrhein hat
und auf diese zurückwirkt und dass sich darin beispielsweise die
innovativen Formexperimente um 1400 beschreiben lassen, in der
Neugierde am Fremden, an der Verbindung verschiedener Gattungen etc.
dominieren. Demgegenüber steht wiederum die passive Heterogenität der
lokalen Kunstproduktion um 1500.

Die dynamischen Netzwerke – etwa der Auftraggeber und Künstler – am
Mittelrhein aufzuspüren und repräsentative Ausdrucksformen in ihrem
kausalen Facettenreichtum zu rekonstruieren, ist Ziel der
internationalen Tagung. Erstmals soll insbesondere auch die Rolle der
Freien Reichs- und Messestadt Frankfurt als Produktions- und
Distributionsort spätmittelalterlicher Kunst genauer beleuchtet und zur
Debatte gestellt werden. Es wird weiterhin gefragt, ob die Betrachtung
der Kunst am Mittelrhein unter den Parametern der Vernetzung und des
(über-)regionalen Kunsttransfers zu übergeordneten Erkenntnissen über
die Formgenese im Allgemeinen führen kann.

Konzeption: Martin Büchsel, Hilja Droste, Berit Wagner
(Goethe-Universität Frankfurt am Main)

Programm:

Freitag, 05. Juni 2015

09.30 Uhr Corinna Engel/Historisches Museum Frankfurt, Begrüßung der
Tagungsteilnehmer

09.40 Uhr Begrüßung und Einführung: Formgenese und Kunsttransfer
Martin Büchsel (Frankfurt am Main)

Sektionsleitung: Berit Wagner (Frankfurt am Main)

10.15  Uhr Regina Schäfer (Mainz): Lokale Zentren ohne Mitte –
herrschaftliche Heterogenität und überregionale Vernetzung am
Mittelrhein im Spätmittelalter

11.00  Uhr Uwe Gast (Freiburg): Von mittelrheinischer Kunst zur Kunst
am Mittelrhein – Glasmalerei um 1430 – 1450 in Frankfurt, Oppenheim und
Partenheim

11.45 – 13.30  Uhr Mittagspause

13.30  Uhr Marc C. Schurr (Straßburg): Die stilgeschichtliche Verortung
der spätgotischen Architektur des Mittelrheins – ein Problem von
Zentrum und Peripherie?

14.15  Uhr Ute Engel (München/Mainz): Virtuosentum. Hängemaßwerk als
Import-/Exportgut der Gotik am Mittelrhein

15.00 Uhr Kaffeepause

Sektionsleitung: Jacqueline Jung (New Haven)

15.30  Uhr Bruno Klein (Dresden): “Die Sippe der Eseler“

16.15 Gregory Bryda (New Haven): Raum, Rahmen, und Reliquie: die
Eselers am Mittelrhein und in Mittelfranken

17.00  Uhr Assaf Pinkus (Tel Aviv): Materia and Res of Late Medieval
Wooden Sculpture in the Middle Rhine

Samstag, 06. Juni 2015

Sektionsleitung: Martin Büchsel (Frankfurt am Main)

09.00  Uhr Juliane von Fircks (Berlin): Vernetzt: Bildaufgaben,
Auftraggeber und Formfindung in der Skulptur um 1400 am Mittelrhein

09.45  Uhr Hilja Droste (Frankfurt am Main): Konservatismus als
Statement? Die zögerliche Aufnahme von Neuem in der Retabelkunst um
1500 am Mittelrhein

10.30 Kaffeepause

11.15  Uhr  Berit Wagner (Frankfurt am Main): Gemälde und Skulpturen
für den Kunsthandel? Die Frankfurter Messe als Drehscheibe für den
Kunsttransfer im 15. Jahrhundert

12.10  Uhr Michaela Schedl (Bozen): Tafelmalerei in Frankfurt um 1500:
eigene Kunstproduktion und Importe

12.45 – 14.30 Uhr Mittagspause (ab 13.30 Kaffee im Rententurmfoyer vor
dem Sonnemann-Saal)

Sektionsleitung: Hilja Droste (Frankfurt am Main)

14.30  Uhr Stephan Kemperdick (Berlin): Ein unbekanntes Zentrum der
Malerei im 15. Jahrhundert: Frankfurt am Main

15.15   Uhr Martin Büchsel (Frankfurt am Main): Das Gothaer Liebespaar
oder Theseus und Ariadne?

16.00 Abschlussdiskussion

Im Anschluss besteht für die Tagungsteilnehmer die Möglichkeit einer
gesonderten Turmführung im Kaiserdom St. Bartholomäus im Rahmen der
Veranstaltung: „Domturmtag – 600 Jahre Grundsteinlegung“ (Organisation
Dommuseum).

Veranstaltungsort: Historisches Museum Frankfurt, Leopold Sonnemann-Saal
Kontakt: bwagner@kunst.uni-frankfurt.de sowiedroste@kunst.uni-frankfurt.de
Eintritt: frei, verbindliche Anmeldung nicht erforderlich