Monthly Archives: February 2016

Call for Papers: International Workshop Relics @ the Lab (Brussels, 27-28 October 2016)

Over the past decade the scientific interest in relics and kindred artefacts has grown enormously. Without any doubt relics as well as relic shrines and associated objects have played a prominent role in European history since the introduction of Christianity. While in the past primary, secondary as well as tertiary relics were merely studied in relation to their religious and (art) historical background, recently the rise of a more scientific and archaeological approach is noticed. Nowadays researchers become more interested in the origin and nature of these sacred objects and ask different questions:

  • What information can relics give us about the people buried in the shrines? Who were these people? What do we know about the way they lived? When did they live? What about diseases and other disabilities?
  • What information can be retrieved from the objects kept with the relics and made of textile, wood, stone or metal. What was their purpose? Are they contemporaneous to the relic or are they older or younger additions? Why would they have been added? How should we preserve them?

Scientists of many different disciplines are involved in the study of relics and kindred artefacts, but till now there was no real forum for these people to exchange ideas and discuss methods. Therefore the Royal Institute for Cultural Heritage (KIK-IRPA, Brussels) is organising a two-day workshop on the scientific study of relics. 

During this meeting we want to give analytical scientists, textile specialists, conservators, anthropologists, historical researchers, people involved in 3D-reconstruction as well as radiocarbon dating specialists a forum to exchange ideas about relics.

We fully realize that, since no such meeting has ever taken place, the organisation of this symposium is a leap in the dark. We are however convinced of its necessity and cordially invite you to join us at the KIK-IRPA on27-28 October 2016.

Proposals for oral and poster presentations will be accepted until 15 June 2016. The program sessions will be chosen based on the submitted summaries. Proposals should be sent to: relicsatthelab@kikirpa.be.

A book with all summaries will be given to the participants, which will contain the contributions/lectures/posters 

The conference will be held in English, each lecture will be a maximum of 20 minutes.
By the 15th of August we will publish a list of presentations.
Poster size should be A0.

For the online registration, payment and submission of abstracts (max. 2 pages), please visit the website:org.kikirpa.be/relicsatthelab.

Scientific committee:
Mathieu Boudin, Royal Institute for Cultural Heritage
Anique de Kruijf, Museum Catharijneconvent Utrecht
Anton Ervynck, Flanders Heritage Agency
Georges Kazan, University of Oxford
Caroline Polet, Royal Belgian Institute of Natural Sciences
Jeroen Reyniers, Royal Institute for Cultural Heritage 
Fanny Van Cleven, Royal Institute for Cultural Heritage
Mark Van Strydonck, Royal Institute for Cultural Heritage

For more information see: http://org.kikirpa.be/relicsatthelab/index.php

 

Call for Papers: Tenth International Conference of Iconographic Studies – Marian Iconography East and West (Rijeka, Croatia, 2–4 June 2016)

Screen Shot 2016-02-15 at 11.42.05 PMOrganizers:
Center for Iconographic Studies – University of Rijeka (Croatia)
in collaboration with
Study of Theology in Rijeka, University of Zagreb (Croatia)
University of Thessaly (Greece)
University of Ljubljana (Slovenia)
Gregorian Pontifical University Rome (Italy)

 

The conference seeks to explore and discuss recent development in the dialogue between theology, art history, philosophy and cultural theory concerning the iconography of Mary in Eastern and Western art. We welcome academic papers that will approach this subject in an interdisciplinary and methodologically diverse way. The themes and subjects can include the following:

– early representations of Mary
– images of intercession and authority
– devotional iconography
– Mary Mother of God
– Virgin as queen
– Mary as Ecclesia
– Mary and Eve
– Life of the Virgin
– post-Tridentine iconography
– hermeneutical and phenomenological aspects of Mary

Deadline for paper proposals: March 20, 2016

Paper proposals should be submitted electronically to cis@ffri.hr

Contact person:

Sanja Jovanović
Center for Iconographic Studies
Faculty of Humanities and Social Sciences
University of Rijeka
Sveucilisna avenija 4
51 000 Rijeka
Croatia
E-mail: cis@ffri.hr

A paper proposal should contain:

  1. full name, institution, affiliation, address, phone number(s), e-mail address
  2. title
  3. abstract (maximum 2 pages – 500 words)

For more information see: http://ikon.ffri.hr/index.php?lang=Eng&action=news&ID=50

 

Symposium: The 49th Spring Symposium of Byzantine Studies (18–20 March 2016)

csm_Epigraphy_86843da101Inscribing Texts in Byzantium: Continuities & Transformations

Society for the Promotion of Byzantine Studies

Exeter College, Oxford, 18–20 March 2016

In spite of the striking abundance of extant primary material – over 4000 Greek texts produced in the period between the sixth and fifteenth centuries – Byzantine Epigraphy remains largely uncharted territory, with a reputation for being elusive and esoteric that obstinately persists. References to inscriptions in our texts show how ubiquitous and deeply engrained the epigraphic habit was in Byzantine society, and underscore the significance of epigraphy as an auxiliary discipline. The SPBS Symposium 2016 has invited specialists in the field to examine diverse epigraphic material in order to trace individual epigraphic habits, and outline overall inscriptional traditions. In addition to the customary format of panel papers and shorter communications, the Symposium will organize a round table, whose participants will lead a debate on the topics presented in the panel papers, and discuss the methodological questions of collection, presentation and interpretation of Byzantine inscriptional material.

Registration and Booking:

Early registration available until 1 March 2016.

Please book using the University of Oxford’s online booking form.

Program:

Friday 18 March:

10:00: Registration, Coffee

11:00: OPENING ADDRESS: Cyril Mango

11:30: PANEL ONE: Collecting and Reading Inscriptions in Byzantium
Marc Lauxtermann: Collecting Inscriptions in Byzantium
Foteini Spingou:  Reading Inscriptions in Byzantium
13:00: Lunch

14:00: PANEL TWO: Traditions and Transitions

Anne McCabe: Traditions and Transitions in Early Byzantine Constantinopolitan Material
Sylvain Destephen: The Process of ‘Byzantinization’ in Late Antique Anatolian Epigraphy
Sean Leatherbury: Reading, Viewing and Inscribing Faith: Christian Epigraphy in the Early Umayyad Levant
16:00: Tea

16:30: PANEL THREE: Seventh-century Epigraphy Three Ways

Ida Toth: Epigraphy and Byzantine Writing Culture
Ine Jacobs: Epigraphy and Archaeology
Marek Jankowiak: Epigraphy and History
09:00: COMMUNICATIONS 1 (download abstracts for all communications here)

Fabian Stroth: Space Oddity: The Sts. Sergios and Bakchos Epigram Read Through its Manufacturing Process
Pamela Armstrong: Dipinto Inscriptions on Architectural Ceramics
Jim Crow: Lost and Found. Two inscriptions from Eastern Thrace from the District of Karacaköy
Paschalis Androudis: Byzantine Inscriptions on the Marble Cornices of the Church of Profitis Ilias in Thessaloniki
10:00: Coffee

10:30: PANEL FOUR: Place, Placement, Paratextuality

Andreas Rhoby: Inscriptions and the Byzantine Beholder: The Question of the Perception of Script
Niels Gaul: Epigraphic Majuscules and Marginalia: Paratextual ‘Inscriptions’ in Byzantine Manuscripts
Brad Hostetler: Towards a Typology for the Placement of Names on Works of Art
12:30: Lunch

13:30: PANEL FIVE: The (In)formality of the Inscribed Word

Maria Xenaki: The (In)formality of the Inscribed Word at the Parthenon: Script, Content and Legibility
Nicholas Melvani: State, Strategy, and Ideology in Monumental Imperial Inscription
Alexandra Vassiliou-Seibt: The Evaluation of the Inscribed Word on Seals
15:30: Tea

16:00: PANEL SIX: The Material Turn

Georgios Pallis: The House of Inscriptions. The Epigraphic World of the Middle Byzantine Church and its Significance
Ivan Drpic: Short Texts on Small Objects: The Poetics of the Byzantine Enkolpion
17:30-18:30: Reception

18:30-19:30: SPBS Exec meeting

20:00: Dinner

09:00: COMMUNICATIONS 2
Sukanya Raisharma: Reading Early Texts and Codices as Epigraphical Evidence
Arkadii Avdokhin: Inscriptions Imagined and Narrated – Textual Evidence for the Perspective of the Viewer on Early Byzantine Epigraphy
Antonio Felle: Some Examples of Funerary Non-exposed Writings (Italy and Byzantium between VI and IX centuries)
Eileen Rubery: Making and Meaning in the Inscriptions Found in the Frescoes in the Church of Santa Maria Antiqua in the Roman Forum (600-800 AD)
Maria Lidova: Word of Image: Textual Frames of Early Byzantine Icons
Emmanuel Moutafov: Epigraphy and Art: Corpora of Byzantine and Post-Byzantine Monumental Painting in Bulgaria. Is Epigraphy an Auxiliary Discipline?

09:00: COMMUNICATIONS 3
Georgios Deligiannakis: Epigraphy and Early Monasticism
Pawel Nowakowski: The Cult of Saints Database as an Instrument of Study for the Cult of Saints in Anatolia
Efthymios Rizos: The Emperor and the Great Shrines of the Empire: The Testimony of Inscribed Imperial Pronouncements
Mirela Ivanova: Krum’s Triumphal Inscriptions and the Community in Early Medieval Bulgaria (c. 803-14)
Archie Dunn: Institutions, Socio-economic Groups, and Urban Change in the Sigillographic Inscriptions of Byzantine Corinth
Christos Stavrakos: Epigraphy as a Source for Rare Iconography and the Society of Lakedaimon in the Late Byzantine period

10:30: Coffee and SPBS Annual General Meeting

11:30: ROUND TABLE: SPBS Debate on Byzantine Epigraphy (Chair: Elizabeth Jeffreys)

Dennis Feissel
Charlotte Roueche
Marlia Mango
Scott Redford
Sophia Kalopissi-Verti
Tony Eastmond

For more information see: http://www.byzantium.ac.uk/events/spring-symposium-2016.html

Call for Applications: Dante and the Visual Arts: a Summer Symposium at UCLA and the J. Paul Getty Museum (August 22 – 24, 2016)

dante_visual_arts-640x200

 

 

 

The UCLA Center for Medieval and Renaissance Studies (CMRS) invites applications from graduate students and post-doctoral scholars to attend the Dante and the Visual Arts Summer Symposium. The symposium, organized by CMRS and the journal Dante e l’Arte in conjunction with the J. Paul Getty Museum, will take place August 22–24, 2016 in Los Angeles with sessions at UCLA and at the Getty Center.

The symposium is part of the larger research project Envisioning the Word: Dante and the Visual Arts 1300-1500 which is an ongoing collaboration between the UCLA Center for Medieval and Renaissance Studies and the Institut d’Estudis Medievals at the Universitat Autònoma de Barcelona. The project’s goal is to demonstrate and document how Dante’s imagery, particularly that associated with the Divine Comedy, draws upon the visual traditions of Dante’s own time and gives them a new form. It also examines the way that Dante’s Comedy influenced the visual arts of the fourteenth and fifteenth centuries and the culture of early modern print.

The Dante and the Visual Arts Summer Symposium will consist of a day at the Getty Museum focusing on manuscripts and printed books of the fourteenth through the sixteenth centuries, concentrating on the long visual tradition associated with Dante and his milieu. Participants will also learn how books and manuscripts were made, illuminated, and illustrated. The symposium will then move to UCLA for two days of presentations and discussions focusing on the most important editions of Dante’s Comedy analyzing such factors as the relationship between text and image, the hermeneutic importance of the image, and the criteria by which a particular description in the text has been selected to be represented visually. An exhibit of early books and manuscripts will be on display in UCLA Library Special Collections in conjunction with the symposium.

ELIGIBILITY
Applicants must be graduate students or post-doctoral scholars who are doing research or specializing in some aspect of Dante studies. An ability to speak and to understand spoken Italian is preferred, but not required. Please note that applicants who are not US citizens will be responsible for obtaining the appropriate visa if required. If selected for the award, the UCLA-CMRS staff will assist with this process.

AWARD
A total of 12 applicants will be selected to attend the symposium. Six of these applicants will be chosen from the southern California region. An additional six from outside the greater Los Angeles area will be selected to receive funding in the form of roundtrip, economy class travel to/from Los Angeles (i.e., airfare and ground transportation) and 5 nights lodging.

APPLICATION PROCEDURE
There is no application form. An application consists of these items:

1. A cover letter with the following information: Name, mailing address, email address, telephone number, affiliation and status (school you attend or graduated from; highest academic degree and date awarded), and citizenship status. Please address the cover letter to Professor Massimo Ciavolella.

2. A short description (500 words) of your academic or research interests and an explanation of how theDante and the Visual Arts Summer Symposium will help you achieve your academic goals. Please describe your fluency with the Italian language.

3. Curriculum vitae.

4. Transcript(s) from all colleges or universities attended.

5. Two letters of recommendation from faculty or scholars familiar with your academic work.

SUBMISSION GUIDELINES
Submit application items 1-4 as a PDF email attachment to cmrs@humnet.ucla.edu. Use the subject line “Dante Application.” Letters of recommendation should be submitted by the recommender to the same email address. All applications and letters will receive an email confirmation of receipt.

 
DEADLINE
April 15, 2016

If you need more information about the symposium or the application process, please contact Karen Burgess (UCLA-CMRS Assistant Director) at kburgess@ucla.edu.

For more information see: http://cmrs.ucla.edu/news/dante-and-the-visual-arts/

 

CFP: Espacio, Tiempo y Forma, Issue: Treasures of the Sea

Deadline: Oct 31, 2016

We invite all members of the global medieval academic community to submit original manuscripts for the FIFTH issue of Espacio, Tiempo y Forma. Serie VII. Historia del Arte, New Era. Submissions in English are welcome for the themed dossier. The deadline for submissions is October 31, 2016.

THEMED DOSSIER: “Treasures of the Sea: Art Before Craft?” by Avinoam Shalem

“Treasures of the Sea: Art Before Craft?” is the title of the themed volume for the fifth issue of the journal that has recently entered a New Era. It will be guest-edited by Avinoam Shalem, Professor of the Arts of Islam at the Columbia University of New York, who has proposed the following thematic framework for this special issue:

Questions about identities of patrons and artisans, including even therole of artifacts in supporting and reinforcing such identities—in short, the politics of visual cultures—seem to have dominated scholarly investigations in the field of art history. “Art comes before gold and gems, the author before everything,” claims a twelfth century inscription on a shrine commissioned by Henri of Blois and manufactured by a Mosan goldsmith; “The workmanship surpassed the material,” declared Abbot Suger famously in his ‘De Administratione’—both clearly suggesting a medieval hierarchy for the state of materials vis-à-vis craftsmanship. “Treasures of the Sea: Art Before Craft,” aims at reconsidering and perhaps even challenging this presupposition by focusing on the exploitation of the varied treasures of the sea, their artistic use and reuse, in the medieval and early modern eras (between circa 300-1400) in both the Christian and Muslim worlds.

The sea, like an embryo or a foetus, seems to represent “a sort of first stage in the advancement of superior life forms.” Its fluid character suggests an early age of our world’s foundation, before fluid turns to stone. It appears as an archaic cosmos into which one descends in order to find hidden treasures in its depths. How did artisans work, shape, and integrate the varied materials of the sea into an artistic oeuvre? Which meanings were attached to these materials? When, how and why were the materials’ fluid origin remembered?

This volume will consider original papers that address the subject: “Treasures of the Sea: Art Before Craft?” We welcome contributions that investigate artistic engagement with the varied materials of the sea. These include precious materials like pearls; coral; amber; tortoiseshell; mother of pearl; crocodile skin; narwhal, walrus and fish teeth; ambergris; etc. Other contributions that concern medieval depictions of mythical sea creatures or discussing medieval stories about legendary sunken treasures will be welcomed too.

Contributions can focus on a particular example or discuss a group of objects. They should engage in rethinking ‘Art before Craft?’ and the artistic strategies of the cultivation of these materials. Proposals will be evaluated and accepted according to quality, but also spread and variety.

Once you have registered and consulted the submission guidelines, please send your proposal on the online journal platform: http://revistas.uned.es/index.php/ETFVII/index
http://revistas.uned.es/index.php/ETFVII/about/submissions#authorGuidelines

If you have any enquiries, please contact the journal editor, Inmaculada Vivas, serie7.revista-etf@geo.uned.es; for queries regarding the e-platform, contact Jesús López, revista-etf@geo.uned.es

Job: Curator of European Glass (Corning Museum of Glass)

Curator of European Glass

Location: Corning Museum of Glass, Corning, New York

The Corning Museum of Glass is seeking an accomplished European decorative arts specialist with significant curatorial and collections experience and a deep interest in working with one of the world’s great collections of glass objects. She/he is a member of the Museum’s senior staff that includes the Curators of American Glass, Modern & Contemporary Glass, Ancient & Islamic Glass and Science & Technology. The Curator of European Glass’s primary responsibilities are to provide leadership and vision for the Department’s continued curatorial excellence, oversee acquisitions in her/his area, represent the Museum at national and international professional meetings and take an active role in grant development.

The Corning collection represents every country and historical period in which glassmaking was practiced. The European Collection on exhibit is divided into four special areas: Early Northern European Glass; The Rise of Venetian Glassmaking; Glass in 17th to 19th Century Europe; and 19th Century European Glass. A comprehensive collection of paperweights adds a unique dimension to the European collection. The collection continues to expand through gifts and acquisitions. The acquisition budget provides ample funds annually for significant additions to the collections and an array of important publications for the Library.

The successful candidate will have at least 5 years of senior curatorial and collections experience at an art museum with a significant collection and strong curatorial program in European decorative arts. Master’s degree in art history or a related field is required; a PhD is strongly preferred. A publications record is required. Knowledge of an additional art historical field, specifically Asian, would be ideal. In addition s/he will have:

  • In-depth knowledge of European decorative arts
  • Outstanding verbal and written communication skills; ability to speak to groups of all sizes
  • Ability to represent the Museum in a professional manner
  • Excellent research skills
  • Demonstrated ability to work as part of a team
  • Excellent interpersonal skills
  • Ability to cultivate important collectors and tactfully solicit gifts for the collection
  • Reading knowledge of at least two European languages
  • Ability to plan strategically and long-range for the exhibition schedule
  • A commitment to the interrelatedness of art and education
  • The personality to enjoy social and community interaction
  • High energy, strong motivation and a hands-on work ethic

To Apply:

Address all inquiries and recommendations in confidence to the retained search consultants (e-mails are preferred).
Please do not send printed catalogues or material.

Freda Mindlin or Nancy Kaufman
Opportunity Resources Inc.
196 East 75th Street, Suite 14H
New York, NY 10021
search@opportunityresources.net
www.opportunityresources.net

For more information see: http://www.cmog.org/employment-opportunity/curator-european-glass

Application to join the ICMA Student Committee

Click here to apply to the ICMA Student Committee. The deadline for applications is April 1, 2016.

About the Student Committee

The Student Committee of the International Center for Medieval Art advocates for all members with student status and facilitates communication between both between ICMA student members and between student members and the ICMA. Our group annually sponsors at least two sessions at academic conferences, most frequently at the International Congress on Medieval Studies in Kalamazoo, MI, and at the International Medieval Congress in Leeds, UK. As a committee that addresses the concerns of students, we see our sponsored sessions as forums for discussion and informal mentorship within our field. The Student Committee also contributes to the ICMA newsletter, which has recently been expanded to include submissions from all ICMA student members. Additionally, the Student Committee maintains various online presences in order to establish digital forums for student communication and to disseminate information regarding student conferences, sessions, and the ICMA Student Essay Prize.

Current Members (with end of term)

Jennifer Grayburn ’16 (Chair; University of Virginia)

Sanne Frequin ’17 (Vice-Chair, University of Amsterdam, Netherlands)

Lehti Keelman ’16 (Newsletter Chair & Conference Chair; University of Michigan)

Kyle Sweeney ’16 (Digital Presence Chair; Rice University)

Ashley Paolozzi ’18 (Membership Chair, Queen’s University, Canada)

Ashley Laverock ’16 (Emory University)

Pablo Ordás ’16 (Universidade de Santiago de Compostela, Spain)

Diana Olivares Martinez ’16 (University Complutense of Madrid, Spain)

Meg Bernstein ’18 (University of California, Los Angeles)

Join the ICMA Student Committee

Student Committee (hereafter SC) members are generally appointed for three-year terms, but actual appointments often range from 2-4 years based on the student status of the SC member. Prospective SC members apply by submitting a brief questionnaire explaining their interests and past experiences.  Official appointments are extended by the ICMA President and conclude in spring after the International Congress on Medieval Studies (ICMS) in Kalamazoo.

At the annual SC Spring Meeting in Kalamazoo the Chair will go over the varied tasks for the upcoming year and will find agreement within the SC as to who will be responsible for each task. The responsibilities can be divided up however the group thinks best in order to best distribute the workload. Traditionally the tasks are divided as follows:

1) Chair

2) Public Relations (P.R.)

4) Newsletter

5) Digital Presence (D.P)

6) Events/Programs

History of the ICMA Student Committee

In spring 2005, a group of graduate students were recognized as a pilot committee – the Graduate Student Committee – aimed at advocating for and involving graduate student members within ICMA. In May 2008, Colum Hourihane (ICMA President 2008-2011) and Larry Nees (ICMA President 2011-2014) met with the ICMA Graduate Student Committee to announce that the GSC would be made an official ad hoc committee under its new designation, the Student Committee. The Student Committee mission widened from supporting graduate students to keeping all ICMA members informed about student statuses: graduates, undergraduates, interns, conservation trainees, etc. Along with its new designation, the Student Committee was asked to continue sponsoring annual sessions at Kalamazoo; to regularly submit an article to the ICMA newsletter; to participate in the development of the ICMA website; and to establish a listserv specifically geared to discussions regarding student opportunities, issues, and questions.

Contact Information

Jennifer Grayburn

ICMA Student Committee Chair

Ph.D. Candidate

History of Art and Architecture

McIntire Department of Art

University of Virginia

Email: studentcommittee@medievalart.org

Follow the ICMA Student Committee on Facebook.