Conference: ‘Refinement and/or Reduction? Gothic Art, Architecture and Culture, c. 1250 to 1350’ (Halle, 23-25 May, 2024)

International conference, Institut für Kunstgeschichte und Archäologien Europas, Martin-Luther-Universität Halle-Wittenberg.

Cncept and organization:

  • Prof. Dr Ute Engel (Martin-Luther-Universität Halle-Wittenberg)
  • Prof. Dr Christian Freigang (Freie Universität Berlin)

The international conference aims at an interdisciplinary reassessment of Gothic art and architecture between c. 1250 and 1350 in a broad European perspective. With an increased diversity of patrons and new technical facilities, the design options for artists and architects alike extended to a virtuoso refinement across media, on the one hand. On the other hand, new modes of reduction emerge, probably originating in economic, technical or programmatic tendencies of the time. The conference elucidates and discusses the cultural background of this paradoxical situation. Additionally, the conference intends to honour Paul Frankl (1878–1962), professor of the History of Art at the University of Halle 1921–1934. Forced into American exile, he became one of the leading scholars of the Gothic, based at the Institute of Advanced Studies in Princeton from 1940 onwards.

Conference Location

The conference will take place at Martin-Luther-Universität, Halle: On 23 and 24 May 2024 at Universitätsplatz, Löwengebäude, Aula and Historischer Sessionssaal, Universitätsplatz 11, 06108 Halle (Saale); on 25 May 2025 at Steintor-Campus, Hörsaal II, Emil-Abderhalden-Straße 28, 06108 Halle (Saale).

Additionally, there will be the chance to listen to the lectures online via web-link.

Conference Registration

Please register for the conference until 12 May 2024, using the email address below.

Please note whether you will take part in presence or online: sekretariat@kunstgesch.uni-halle.de

The conference is co-sponsored by:

Fritz Thyssen Stiftung Ministerium für Wissenschaft, Energie, Klimaschutz und Umwelt Sachsen-Anhalt Saalesparkasse

Contact: ute.engel@kunstgesch.uni-halle.de | Website


Conference Programme

Thursday, 23 May 2024

15.00 – Registration

16.00 – Welcome

Panel 1: Gothic Art and Architecture c. 1250 to 1350, and its Historiography (Chairs: Prof. Dr Ute Engel and Prof. Dr Christian Freigang)

  • 16.15 – Prof. Dr Ute Engel (Martin-Luther-Universität Halle-Wittenberg): “Refinement and/or Reduction c. 1250 to 1350: An Introduction”
  • 16.45 – Prof. Dr Christian Freigang (Freie Universität Berlin): “‘Doktrinäre Gotik – Reduktionsgotik‘. Architectural History between Criticism of Academicism and Theory of Space”
  • 17.15 – Prof. Dr Beatrice Kitzinger (Princeton University): “Encountering Paul Frankl in the Princeton Archive”
  • 17.45 – Discussion

19.00 – Keynote Lecture: Prof. Dr Paul Binski (University of Cambridge): “Subtlety and Gothic Architecture”

20.00 – Reception

Panel 2: Paris and Court Culture (Chair: Dr Antje Fehrmann)

  • 9.00 – Prof. Dr Dany Sandron (Sorbonne Université, Paris): “Opus parisianum? Architecture in Paris c. 1250–1350”
  • 9.30 – Prof. Dr Lindy Grant (University of Reading): “The Aesthetics of Asceticism: Louis IX and Court Culture after the Return from the 1248–1254 Crusade”
  • 10.00 – Prof. Dr Michael T. Davis (Mount Holyoke College): “Synthesis, Invention and Transformation in French Gothic Architecture, 1250–1320 “
  • 10.30 – Discussion

10.45 – Coffee/Tea

Panel 3: Beyond Paris (Chair: Prof. Dr Ute Engel)

  • 11.15 – Prof. Dr Michaelis Olympios (University of Cyprus, Nicosia): “Architecture and Ritual at the Laon Cathedral Chapels”
  • 11.45 – Prof. Dr Christoph Brachmann (University of North Carolina Chapel Hill): “The Simultaneity of the Non-Simultaneous”
  • 12.15 – Prof. Dr Etienne Hamon (Université de Lille): “The Updating of Graphic Models from the 1300s in 15th-century Architecture and Decorative Arts: Some Examples from Central France”
  • 12.45 – Discussion

13.00 – Lunch break

Panel 4: Centres in the South (Chair: Prof. Dr Christian Freigang)

  • 14.30 h Dr Markus Schlicht (Université Bordeaux Montaigne): “Refinement to Reduction: The Choir of Bordeaux Cathedral (from 1252)”
  • 15.00 h Dr Alexandra Gajewski (Burlington Magazine, London): “Becoming a Papal Residence: Churches and Chapels in Avignon, from John XXII to Clement VI”
  • 15.30 h Dr Tom Nickson (Courtauld Institute of Art, London): “Two for One? Berenguer de Montagut, Manresa, and Catalan Gothic”
  • 16.00 h Discussion

16.15 h Coffee/Tea

Panel 5: Cross-Media Figurations (Chair: Prof. Dr Juliane von Fircks)

  • 16.45 – Prof. Dr Brigitte Kurmann-Schwarz (Universität Zürich)/Prof. Dr Peter Kurmann (Université de Fribourg): “French Architecture and Stained Glass in Dialogue (1250–1350)“
  • 17.15 – Prof. Dr Tim Ayers (University of York): “More or Less? The Chapter House and its Vestibule at York Minster
  • 17.45 – Prof. Dr Evelin Wetter (Abegg-Stiftung, Riggisberg/Universität Leipzig): “Embroidered Image and Surface. On the Reduction of the Background to Colour and Material in the Works of the Opus anglicanum”
  • 18.15 – Discussion

Saturday, 25 May 2024

Panel 6: Innovation and Invention (Chair: Dr Sascha Köhl)

  • 9.00 – Prof. Dr Marc Carel Schurr (Universität Trier): “Less is more – Strasbourg Cathedral and the ‘Avant-garde’ of Architecture around 1300”
  • 9.30 – Prof. Dr Jacqueline Jung (Yale University, New Haven): “Refinements of Time in Monumental Narrative Relief Sculpture after 1250”
  • 10.00 – PD Dr Christian Kayser (Technische Universität, München): “The Western Tower of Freiburg Minster and the Invention of the Gothic Openwork Spire”
  • 10.30 – Discussion

10.45 h Coffee/Tea

Panel 7: Cityscapes (Chair: Prof. Dr Markus Späth)

  • 11.15 – Dr Tobias Kunz (Staatliche Museen zu Berlin): “Not Only Paris. Foreign Innovations and their Consequences in Cologne Sculpture”
  • 11.45 – Dr Zoe Opacic (Birkbeck College, University of London): “Erfordia turrita: ‘Reduktionsgotik’ and Urban Refinement in Fourteenth-century Erfurt”
  • 12.15 – Dr Zoltán Bereczki (University of Debrecen): “Franciscan Monasteries in the Medieval Cityscape. A Case Study of Sopron (HU) and Bratislava (SK)”
  • 12.45 – Discussion

13.00 – Lunch break

Panel 8: European Transfer (Chair: Prof. Dr Christian Freigang)

  • 14.00 – Prof. Dr Robert Bork (University of Iowa): “Reflections on Refinement: Plasticity versus Planarity between France and Germany, 1250–1350”
  • 14.30 – Prof. Dr Jakub Adamski (University of Warsaw): “Strasbourg – Wrocław – Cracow. On the Transfer of Modern Architectural Design from the Upper Rhine Valley to Southern Poland from c. 1280“
  • 15.00 – Prof. Dr Yves Gallet (Université Bordeaux Montaigne): “Refinement versus Reduction? A Showcase of Paradoxical Coexistence in 14th-Century Architecture: Matthias of Arras´s Work in Prague”
  • 15.30 – Discussion

Conclusion (Chair: Prof. Dr Ute Engel)

15.45 – Prof. Dr Bruno Klein (Technische Universität, Dresden): “Conclusion and Perspectives on Gothic Art, Architecture and Culture c. 1250 to 1350”

16.15 – Coffee/Tea, End of conference

Call for Sessions: Mary Jaharis Center Sponsored Panel, 50th Annual Byzantine Studies Conference, deadline 3 April 2024

As part of its ongoing commitment to Byzantine studies, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for Mary Jaharis Center-sponsored sessions at the 50th Annual Byzantine Studies Conference, which will be held in New York City from October 24 to 27, 2024. We invite session proposals on any topic relevant to Byzantine studies.

Session proposals must be submitted through the Mary Jaharis Center website by April 3, 2024.

If the proposed session is accepted, the Mary Jaharis Center will reimburse a maximum of 5 session participants (presenters and chair) up to $800 maximum for scholars based in North America and up to $1400 maximum for those coming from outside North America. Funding is through reimbursement only; advance funding cannot be provided.

For further details and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/50th-bsc

Contact Brandie Ratliff, Director, Mary Jaharis Center for Byzantine Art and Culture, with any questions.

CFP: ‘Marginalia: Frontiers of Connection’, University of São Paulo, deadline 30 April 2024

XIV International Seminar, The Medieval Image: History and Theory
7-9 August 2024, University of São Paulo

Margins are not mere blank spaces: they can bear various marks of the actions of manuscript producers and consumers. In them, for example, the colouration of the parchment becomes more evident, and sometimes holes for ruled lines can be seen. More importantly, annotations and images of various kinds may have been included there. The margins thus could function as spaces of multiple exchanges both within and outside of the book.

However, margins are not exclusive to manuscripts: they can be physical spaces on a geographical scale or in an architectural sense, as well as symbolic spaces. Travelers, the hungry, prostitutes, lepers, and other marginalised individuals inhabit the margins of the city, not only subverting social norms [1] but also reinventing them, becoming vehicles for the circulation of cultural practices between the center and the periphery and among different peripheral regions. They constituted spaces for the production of counter-hegemonic discourses and resistance [2], while simultaneously producing, disputing, and defining the center as a “social field” [3]. As borders of connection, margins were the first territory to be reached by famine, epidemics, outsiders, and commercial exchanges. It was the space where intentional marginalised individuals – such as the pauperes Christi – could build connections with unintentional marginalised individuals – such as the pauperes inviti.

[1] HOOKS, Bell. Choosing the margin as a space of radical openness. Framework: The Journal of Cinema and Media, n. 36, p. 15-23, 1989.
[2] BOURDIEU, Pierre. Razões práticas: sobre a teoria da ação. São Paulo: Papirus, 1996.
[3] SCHMITT, Jean-Claude. A história dos marginais. In: LE GOFF, Jacques. A História Nova. São Paulo: Martins Fontes, 1990. p. 261-290.

Aim of the conference

The Conference “Marginalia, Frontiers of Connection” aims to be, through the study of images and their modes of production in the Middle Ages, a space for discussion about margins and marginality as connected frontiers. The event will welcome papers that analyze strategies of connection between center/periphery and among different peripheral spaces, as well as the center-margin dichotomy. The fundamental question to be addressed is: How did the margins both produce and reveal spaces of connection in the Middle Ages?

Find out more here.

Call for Paper Submission instructions

Paper proposals must be submitted to the email lathimm.usp@gmail.com by April 30th, 2024. Written as expanded abstracts, they are to be published in a specific booklet, having to include a title, a summary of 5,000-7,000 characters (with spaces), 3 keywords, an indication of 4 essential bibliographic references, and the intended axis for the presentation.

Presentations can be delivered in Portuguese, English, or Spanish. The minimum academic level required for paper submissions is to be a Master’s graduate student.

Based on a specific or comparative case study, all presentations should aim to answer the same question: How did the margins produce spaces of connection in the Middle Ages? Presentations will be arranged into three axes, as detailed below:

MARGINAL TERRITORY: the margin as space

  • Marginal regions on maps or georeferencing data in digital maps.
  • Manuscript margins as spaces of creativity or interaction with center-page contents or other works. Studies on illuminations, ornamented margins, glosses, or doodles.
  • Frames, binding, and/or architectural features with supportive functions and their interactions with the image.
  • Images of travelers, modes of transportation, informal trade, and commercial routes in spaces of marginality.

MARGINAL NONCONFORMITY: the margin as strangeness

  • Marginal/dissident iconographies. Survivals of Antiquity in the Middle Ages.
  • Images of marginalized groups: sick or disabled individuals, gender and sexual minorities, prostitutes, drunkards, wanderers, the poor, the famished, charitable institutions, or of voluntary poverty.
  • Tools, practices and evidence regarding fixing material defects in image production (cuts, holes, scars, etc.).

MARGINAL SUBVERSION: the margin as dispute

  • Images of groups in dispute against hegemonic powers: enslaved individuals, minorities, and political oppositions. Heretical movements, religious disputes, criminalities, and the justice system.
  • Images and revisions/notes in manuscripts supplementing/altering the content of the center of the page.
  • Graffiti, iconoclasms, scrapings, erasures subverting the content of the text/image.

Schedule

  • Proposal submission until April 30th, 2024.
  • Announcement of approved submissions and program details by May 10th, 2024.
  • Publication of the abstract booklet by July 31st, 2024.
  • Event to be held from August 7th to 9th, 2024.

PARTICIPATION MODALITIES
The event will take place in person at the Nicolau Sevcenko Auditorium – Department of History – FFLCH, USP, São Paulo. In-person attendance is mandatory for researchers in Brazil. Remote participation will be allowed only for researchers in other countries. Questions, clarifications, and requests for remote participation should be sent to the email lathimm.usp@gmail.com.

ORGANISATION

  • Laboratory of Theory and History of Medieval Media (LATHIMM-USP).
  • Thematic Project “A Connected History of the Middle Ages: Communication and Circulation from the Mediterranean Sea” (FAPESP 21/02912-3).
  • Supplementary aide:
  • Faculty of Philosophy, Letters, and Human Sciences, University of São Paulo

CFP: ‘Carving Collective Practice: Working Against Monolithic Scholarship on Stone’, deadline 5 April 2024

We seek participants for Thinking with Stone, an interdisciplinary, experimental roundtable exploring collaborative methods and conversational approaches to studying stone in the medieval period. We welcome five- to ten-minute presentations on ideas for a work in progress on a stone object or structure, a particular methodological approach to stone, or new pedagogical ideas for engagement with stone. The session provides a forum for collaborative development of these projects in a way that looks outside traditional modes of single-authored expertise.

Thinking with Stone is Session III of a three-part series at IONA 2024 on Carving Collective Practice. Session I: Viewing Stone is a site visit and discursive workshop on early medieval stone sculpture, introducing questions about these multivalent and polyvocal monuments that will be further explored in Sessions II and III. Session II: Handling Stone is an immersive and interactive lab on the haptic qualities of stone. Used as we are to thinking about stone monuments as things not touched or moved, this hands-on lab focuses on the physical, material, and tactile properties of stone as a worked substance that was handled, carved, and subject to changes from weather and use.

Please include in the following Google form

  • Google Form
  • Name, contact details, a short CV, and a 200-word max abstract & title of a project that you would like to share in a five-minute roundtable discussion in Session III.
    • This should focus on your ideas for a work-in-progress, an object of focus, and your methodological approach to the stone object/architecture of your choice.
  • Any questions may be sent to Dr Jill Hamilton Clements at jclements@uab.edu.
  • DEADLINE FOR SUBMISSION: Friday 5 April 2024

We intend to inform participants of their participation by April 15th. We welcome applicants from postgraduates, non-traditional scholars, independent scholars, those holding non-faculty positions, and those underrepresented in the field of medieval studies.

More information can be found here

New Publication: ‘A Spectacle for a Spanish Princess: The Festive Entry of Joanna of Castile into Brussels (1496)’, ed. by Dagmar H. Eichberger

This volume introduces the reader to the festive entry of princess Joanna of Castile into Brussels (1496) that marks the dynastic union between Spain and the Burgundian Netherlands.

Based on the Berlin manuscript 78 D5, the first illustrated report of an entry concentrating on one single lady. This study includes a reproduction of this manuscript in full colour with sixty-three folios.

On the evening of 9 December 1496, Princess Joanna, Infanta of Castile, reaches the outskirts of Brussels where a procession of secular and ecclesiastical dignitaries welcomes her. After having been married to Philip the Fair in Lier, Joanna travelled to Brussels by herself. Equipped with torches and processional crosses, the citizens accompany her all the way to the heart of the city, the large market square with its magnificent town hall. The Berlin manuscript 78 D5 is the first illustrated report of an entry concentrating on one single lady. The manuscript is a treasure to all those interested in urban culture of the Early Modern period. The author of the festival booklet compares the well-lit city with the splendours of Troy and Carthage. Twenty-eight stage sets, or Tableaux Vivants, and an elaborate procession mirror the costly intellectual program presented to the sixteen-year-old princess. The carefully planned theatrical productions underscore themes of marriage, female virtues and the politics of war and peace. The program includes entertainments, soundscapes, and pyrotechnic amusements. The Latin texts are made available in English translation. The entire manuscript, with its sixty-three folios, is reproduced in colour. Eleven leading scholars present their new findings on this spectacular entry from an interdisciplinary approach.

Editor Biography:

  • Dagmar H. Eichberger taught at the Universities of Canberra, Melbourne, Heidelberg, Jena, Konstanz, Paris, Giessen and Vienna. She is the leading expert on Margaret of Austria, Joanna of Castile’s sister-in-law. She has published on Renaissance culture in the Netherlands and Germany and co-edited several volumes on Jan van Eyck, Albrecht Dürer, Religion and Visual Culture, Burgundian Women and Visual Typology. Further research on art objects as material culture and the history of early collections is in progress.

Find out more about the book here.

CFP: ‘Moving Pictures, Living Objects’ , CAA Conference 2025, deadline 22 April 2024 (5pm GMT)

ICMA (International Center for Medieval Art)-sponsored session at CAA (College Art Association)
New York City, 12-15 February 2025
(Travel expenses will be reimbursed)

Organisers: 

  • Prof. Heather Pulliam, University of Edinburgh  
  • Prof. Kathryn Rudy, University of St. Andrews

Many premodern objects require human interaction to animate them and reveal their contents: turning the pages of manuscripts, moving the hinged limbs of figurative sculpture, unrolling scrolls, or opening screens. Others involve the dynamic effects of natural light. Like films or music, many medieval works invite sequential viewing that incorporates repetition and revelation. In art historical research, images do not merely illustrate arguments, they evidence them as much as written text does. Art historians abandoned their slide projectors long ago and have recently embraced e-publishing, but static imagery remains the dominant format for illustrating conference talks and academic publications. However, static images fail to capture aspects of performance essential to the function and meaning of many medieval objects. This session proposes to experiment with a shift in format, one that uses videos or the many tools now available for the analysis of artworks: rotational 3D scans, IIIF, Augmented Reality, Virtual Reality and 3D reconstructions. The session will be the first on premodern art to be exclusively illustrated with moving pictures, testing the boundaries of performativity and reception and questioning how we analyse, discuss, illustrate, and display artworks. This conversation is timely, as we move away from art histories that prioritised European fine art—traditionally static and displayed in galleries—to a more inclusive and diverse definition of art.  We are planning a special-issue journal on this theme, illustrated by moving images.  

The 90-minute session will consist of an introduction by the session organizers; 5 speakers each presenting a 5-minute video and a 7-minute analysis/discussion; and a Q&A. Those who go over the time limit will be publicly shamed and removed from the stage. We have hired a bouncer.

To apply to be one of the speakers, please send a 250-word abstract to Heather Pulliam h.pulliam@ed.ac.uk and Kathryn Rudy kmr7@st-andrews.ac.uk with ‘ICMA-CAA Abstract’ in the subject line. Deadline: 22 April at 17:00 GMT. In your abstract, be sure to tell us why the academic argument you are making can only be illustrated by moving images.

The ICMA through the Kress Foundation is able to offer reimbursements for domestic travel to New York for up to $600; overseas travel for up to $1200. For the full description of qualified travel expenses, please check the full Kress Travel Grant site: https://www.medievalart.org/kress-travel-grant.

Call for Submissions: ‘White and Whiteness in the Medieval Period, 400-1400 AD’, deadline 1 April 2024

The editors for the upcoming book Deep White: Unsettling White in Western Art History and Aesthetics (Brill, 2025) are seeking contributions concerning examination of white and whiteness from the period 400-1400 AD. The notion of Western will be interpreted broadly and contributions that focuses on material or locations that have traditionally been considered peripheral are particularly welcome. This could include histories of material exchange, cultural and religious encounters and the circulation of objects and techniques.

About the book:

The book Deep White: Unsettling White in Western Art History and Aesthetics will delve into an examination of the different entanglements of whiteness in western art. Whiteness is one of today’s key societal and political concerns. Within and beyond academia worldwide, actions of revolt and regret seek to cope with past and present racist mindsets and structures. In the pivotal works in whiteness studies within art and architecture history, whiteness is understood as cultural and visual structures of privilege. This book, however, addresses a distinctively different battleground for politics of whiteness in art and architecture. Deep White critically investigates the cultural, ideological, and aesthetic preconditions of an ambivalent and challenging segment of Western art history, namely the colour white itself. 

While numerous scholars have engaged with the colour white in art history, few systematic research has been carried out to unfold the correlations between materiality and ideology of the colour white in Western art history. Two core premises underpin the book: Whiteness is not only a cultural and societal condition tied to skin color, privileges, and systematic exclusion, but materializes everywhere around us. Second, this materialization is intimately linked to Western arts and aesthetics.  

The aim of this book is to uncover how the myths, materialities, and ideologies of white colour in Western art history has been caught up in different unsettling ambivalences and to map and disentangle these different transhistorical frameworks. The book is written with an experimental methodological approach that merges art history, artistic research, and research-by-design (the chapters are written by art historians, artists, and designers). In addition to conventional academic book chapters, the book also induces shorter artistic essays and photographic essays which explore and contextualize white in art history with and through contemporary art and design practices.

The book is edited by Ingrid Halland, Tonje Haugland Sørensen, and Helene Engnes Birkeli and will be published as part of Brill’s book series Studies in Art & Materiality. It is set to be published in 2025 and funding for the book is secured.

Interested authors are asked to send a max 800 word abstract and biographical details before 1. April 2024 to tonje.sorensen@uib.no

Notification of acceptance will be given within the first week of April. Deadline for full chapter (5000 words) will be 1. October 2024.

Scholarships and Essay Prizes with ARTES, deadline 30 April 2024

ARTES are pleased to invite submissions for the 2024 Juan Facundo Riaño Essay Prize and ARTES-CEEH Scholarships. The deadline is midnight on 30th April 2024. 

The Juan Facundo Riaño Essay Prize is awarded to students and early career scholars for the best art-historical essay on a Hispanic theme, kindly supported by the Office for Cultural & Scientific Affairs of the Spanish Embassy in London. Full details are available here.

ARTES also awards several scholarships to students working on any aspect of Spanish visual culture before 1900. The awards are made possible by the generous support of CEEH (Centro de Estudios Europa Hispánica), and further guidelines are below: 

Travel scholarships

Final year undergraduates and postgraduate students registered for a full or part-time degree course at a UK university may apply for up to £1000 towards the costs of travel to Spain for research purposes (which may include field work, attendance at a conference, or other recognised forms of research). 

£3000 scholarship for PhD students at a UK university 

ARTES offers one scholarship each year to a student registered for a full- or part-time doctoral degree at a UK university. The scholarship is intended to contribute towards the costs of tuition, living and/or research, and therefore students with full funding are not eligible. 

£3000 scholarship for PhD students or post-doctoral scholars who wish to conduct research in the UK 

Doctoral students or those who received their doctorate less than four years before the application deadline may apply for this scholarship provided that they were or are registered for doctoral study at a university in Spain. 

Journal of Historic Buildings and Places, 2024 Stephen Croad Prize (Deadline 2 August 2024)

Do you have a new discovery on historical buildings of England and Wales?

Stephen Croad was an author, researcher, and archivist of architectural history. During his career and in his voluntary roles, he made a profound impact on our knowledge and understanding of the UK’s architectural history.

In Stephen’s memory, Historic Buildings & Places now run an annual competition, with a prize award of £500, to encourage new architectural research and writing.

In the spirit of Stephen’s own research and practice, the essay should be on factually verifiable, documented new discoveries on the historic buildings of England and Wales, whether less examined or part of the established canon.

The award winner will be presented with a certificate at the Historic Buildings & Places’ Annual Lecture, usually held in December. We ask that the winner attend the Annual Lecture to give a brief talk about their essay and to receive the certificate.

The deadline for submission is 2 August 2024.

There is no age limit for contributors, and we welcome all contributions. Submissions should include the author’s full name and contact details, and be sent to: editor@hbap.org.uk with the subject heading Stephen Croad Prize 2024.

More information can be found in the following pdf and on their website.

CFP: ‘Texture in the Medieval World’, deadline 30 March 2024

Interdisciplinary Conference, Centre for Medieval Studies, University of York.
1-2 June 2024

Building on the past success of EMICS events, this, the 21st conference of this research series, considers the possible visual and conceptual approaches to Texture in the Medieval World in its widest possible contexts, through examining written, archaeological, pictorial, architectural, geographical, cartographical and liturgical material in order to shed new light on the uses, understanding, purposes, and transformations of texture in the Middle Ages.

The interdisciplinary, two-day conference focuses on the visual, conceptual and haptic qualities of textual and visual material and their importance and use in the medieval world. In order to explore the relationship between text, texture and materiality papers will explore ideas of; decoration, colour or luxurious materials; manipulation of texture and materiality through skeuomorphism and symbolism or as exegetical devices; the role of texture and materiality in conveying status, wealth and power in textual, social and material contexts and physicality, presence and scale whether actual, imagined or implied.

Themes will include: craft, technique and process; finished/unfinished; fragments; fraying; fabric; threads; woven, interwoven; embroidered and embellished; edges and borders; webs; networks and exchanges; thus lending itself as a topic to multiple interpretations across various media. This conference (re)considers various facets of textural constructions and understandings in the medieval past, as viewed from the present, seeking an interdisciplinary approach to this topic – including ideas of how texture and depictions of it change over time, and the significance of these changes to the construction of past structures and narratives. By reaching across boundaries of discipline and period, this conference provides a forum for the sharing of ideas, and the exploration of new thoughts on texture. The conference crosses various disciplines and periods, bringing together emerging scholars working across several fields of research with established academics, to provide a platform for the reconsideration of the idea of “texture” in its widest possible connotations.

We invite 20-minute papers related to the theme of texture.

250-word proposals should be sent to texturesconference24@gmail.com by no later than 30 March 2024.