Job Opportunity: Teaching Associate in Medieval Art and Architecture, Department of History of Art, University of Cambridge, Deadline 6 June 2022

Applications are invited for a temporary Teaching Associate in Medieval Art and Architecture, to start from 1 August 2022. The position is full-time and fixed term for 12 months.

The purpose of the role is to contribute to department teaching with a specialism in Medieval Art and Architecture.

Specifically, the role holder will be asked to deliver a Special Subject for Part II on aspects of Medieval art and architecture and to contribute seminars/skills training sessions as appropriate to postgraduate programmes in the department.

In addition they will be asked to plan, prepare and deliver lectures, seminars and classes for the students at relevant parts of the Tripos (undergraduate) on Medieval art and architecture, including lecture material and handouts and to contribute lectures/seminars as appropriate to the Part IIA (second-year) course Theoretical Approaches to the History of Art and Architecture and the Part IIB (third-year) course The Display of Art, and the core MPhil methodologies seminar.

The role-holder will also have a role in preparing examinations and assessing and examining students and supervising students who choose dissertation subjects in the field of Medieval art and architecture. Additional remuneration will be made for the supervision of their students by Colleges.

You will be joining a team of established lecturers and teaching associates delivering a vibrant history of art programme. Student numbers average 25 across each year of the tripos, with a maximum of 12 students in each special subject. Any enquiries should be directed to Dr Donal Cooper, Acting Head of Department, care of hoart-secretary@aha.cam.ac.uk.

Candidates must have PhD in a specialist area, with a focus on medieval art and architecture or equivalent demonstrable experience and/or a teaching qualification as appropriate and experience of successfully developing and delivering teaching at a Higher Education setting, including both lectures and seminars or smaller group work, and administrative duties as required.

Fixed-term: The funds for this post are available for 12 months in the first instance.

The closing date for applications is midnight (BST) on Monday 6 June 2022. Interviews for shortlisted candidates will be conducted online and are expected to take place on 14 June, subject to confirmation. For queries about the application process, please email sahhr@admin.cam.ac.uk.

Please quote reference GD31306 on your application and in any correspondence about this vacancy.

The University actively supports equality, diversity and inclusion and encourages applications from all sections of society.

The University has a responsibility to ensure that all employees are eligible to live and work in the UK.

For further information, or to apply click here.

Call for Journal Submissions: First Issue of the Belvedere Research Journal, Deadline 30 September 2022

We are inviting the first round of submissions to the newly founded Belvedere Research Journal (BRJ), a peer-reviewed, open access e-journal. We seek articles that shed new light on the visual culture of the former Habsburg Empire and Central Europe broadly defined from the medieval period to the present day. We especially welcome contributions that situate Austrian art practices within the broader international context. Moreover, we are interested in innovative approaches to art history, such as the decentralization of established narratives or the investigation of transnational transfers that reveal the interconnected and cross-cultural character of the art world. Finally, the BRJ seeks contributions that draw attention to artists and agents whose activities have previously been overlooked, especially women. We support interdisciplinary research that introduces novel theoretical approaches by combining art history with methodologies from other disciplines, such as the digital humanities, social sciences and cultural economics among others.

Each issue of the BRJ will consist of up to ten articles and provides two different publication formats: research articles (between 20,000 and 50,000 characters, incl. endnotes and spaces) that will undergo strict double-blind peer-review, and discoveries (approximately 15,000 characters, incl. endnotes and spaces) which are subject to editorial review and are directly focused on works in the Belvedere collection (https://sammlung.belvedere.at/). In addition to established scholars, we aim to involve early career researchers, including PhD students.

After the first issue, which has a submission deadline of Sept. 30, 2022, the BRJ will accept manuscripts on a rolling basis. The language of publication is English, with the BRJ arranging translation for accepted manuscripts. All articles receive professional copy-editing and appear in an open annual issue immediately after their final acceptance (running from Jan. 1 to Dec. 31). The BRJ manages the acquisition of image rights. We do not charge any article processing charges (APC).

Accepted submissions will be published under the Creative Commons License CC BY 4.0. The copyright remains with the author(s).

The submission deadline for the first issue is 30 September 2022.

See the Author Guidelines here: https://journals.ub.uni-heidelberg.de/index.php/brj/about/submissions

The editors welcome informal enquiries regarding potential proposals. Articles and enquiries should be sent to: journal@belvedere.at. For further information, please see the website of our journal: https://journals.ub.uni-heidelberg.de/index.php/brj/index

Managing Editor: Christian Huemer (Belvedere, Vienna)

Editors: Johanna Aufreiter, Anna Ewa Dyrko, Anna-Marie Kroupová (Belvedere, Vienna)

Editorial Board: Éva Forgács (Art Center College of Design, Pasadena), Ivan Gerát (Slovak Academy of Sciences), Julie M. Johnson (University of Texas at San Antonio), Eva Kernbauer (University of Applied Arts Vienna), Lukas Madersbacher (University of Innsbruck), Nicholas Sawicki (Lehigh University, Pennsylvania), Matthew Rampley (Masaryk University, Brno), Mirjana Repanić-Braun (Institute of Art History, Zagreb), Werner Telesko (Austrian Academy of Sciences, Vienna), Markéta Theinhardt (Sorbonne University, Paris), Anselm Wagner (Graz University of Technology)

The journal is published in collaboration with arthistoricum.net / Heidelberg University Library.

For more information visit: https://journals.ub.uni-heidelberg.de/index.php/brj/index

Fellowship (Pre-announcement): Early Career Fellowships in Cultural and Heritage Institutions, Arts and Humanities Research Council (AHRC), Deadline March 2023

This is a pre-announcement and the information may change. The opportunity opens in late 2022. The closing date is to be confirmed.

Apply for funding to conduct research at cultural and heritage institutions.

You must:

  • be an early career researcher
  • have either a doctorate in a relevant subject or equivalent professional experience and skills
  • have the support of an eligible host, such as an independent research organisation in the culture and heritage sector
  • co-design your research project with your host organisation.

Fellowships should start between 1 October 2023 and 1 January 2024 and last between one and two years (longer if part-time).

For more information visit: https://www.ukri.org/opportunity/early-career-fellowships-in-cultural-and-heritage-institutions/?utm_source=Twitter&utm_medium=social&utm_campaign=Orlo

Job Opportunity: Associate Lecturer in History of Medieval Art, University of York, Deadline 19 June 2022

Department

The Department of History of Art at the University of York seeks to appoint an Associate Lecturer in History of Medieval Art for a 17-month period from September 2022, to provide replacement teaching for Dr Hanna Vorholt, who has been awarded a Leverhulme Trust Research Fellowship.

The Department of History of Art is one of the largest and most dynamic communities of art historians in the UK, with seventeen research-active colleagues who cover all periods from late antiquity to the present. We teach approximately 180 undergraduate, 40 Masters and 80 PhD students, who follow a broad range of programmes, including our recently established BA in Curating and Art History, supported by a friendly atmosphere, small-group teaching methods, regular study trips, and spectacular historic locations. Our Masters students registered 93% and our undergraduates 89% overall satisfaction in the most recent surveys. The Department has initiated a number of innovative partnerships with museums, galleries, and heritage organisations (including the National Gallery, Tate, the Victoria and Albert Museum, York Museums Trust, York Minster, and the Yorkshire Country House Partnership), which are coordinated through York Art History Collaborations. The Department has a strong commitment to the study of medieval art and is an active participant in the University of York’s Centre for Medieval Studies, one of the world’s leading centres for postgraduate study and research into the Middle Ages.

Role

  • To lecture, lead seminars, tutorials and other forms of undergraduate and postgraduate teaching.
  • To develop and apply innovative and appropriate teaching techniques and material which create interest, understanding and enthusiasm amongst students.
  • To carry out on-going curriculum review, including module content and materials and contribute to the development of teaching and learning strategies.
  • To undertake effectively a range of administrative responsibilities.

Skills, Experience & Qualification needed

You will have a PhD in the History of Art (or equivalent experience), and an appropriate academic professional and teaching qualification, or a willingness to complete the Postgraduate Certificate in Academic Practice. You will have detailed knowledge of the history of medieval art sufficient to develop research-led teaching and provide relevant learning support to students across different levels of academic ability. Ideally, you will have significant teaching experience in the history of medieval art. You will have highly developed communication skills to engage effectively with a wide-ranging audience, using a range of media; ability to design and deliver teaching material across a range of modules; ability to supervise the work of students, provide advice on study skills, and assist with learning problems; ability to contribute to the design of course material, content, and new teaching approaches; and ability to manage and deliver your own teaching. You will have strong interest in developing our partnerships and collaborations with external bodies to enhance our students’ experience and employability.

Enquiries to Professor Liz Prettejohn (liz.prettejohn@york.ac.uk), telephone 01904 322978.

Interviews will be held 27th July and the post is available from 1st September 2022. The post is fixed-term to 31st January 2024.

For more information and to apply visit: https://jobs.york.ac.uk/vacancy/associate-lecturer-in-history-of-medieval-art-487521.html

Job Opportunity: Associate Lecturer (Teaching) in Medieval Manuscripts and Documents, Department of History, UCL, Deadline 24 June 2022

Part Time: 7.3 hours per week (20% FTE)

Fixed Term: The post is available from 1 September 2022 and funded for 12 months in the first instance.

UCL History is recruiting for the post of Associate Lecturer (Teaching) to teach the following MA level module:

Medieval Manuscripts and Documents

Medieval Manuscripts and Documents introduces UCL MA students in medieval studies to palaeography, codicology and diplomatic.

In addition to this, the successful candidate will supervise a number of students in the Manuscripts and Documents add-on course ‘Medieval Manuscripts and Documents: Skills and Sources’. This course requires students to make a catalogue entry for an assigned manuscript from the British Library. The tutor should provide supervision to these students, in the form of additional meetings in the British Library in Term 1 (4-5 hours to cover supervision and assessment).

Additionally, the successful candidate will:

Act as Personal Tutor to an allocation of students.

Carry out administrative responsibilities within the department, as directed by the Head of Department.

The post is available from 1 September 2022 and funded for 12 months in the first instance.

Applicants must have; previous experience of teaching undergraduate and/or graduate students in this period and specialism in the UK; previous experience of small group teaching; a commitment to high-quality teaching, fostering a positive learning environment. Applicants must have demonstrable ability to teach paleography, including late medieval manuscripts.

Applicants should apply online. To access further details about the position and how to apply visit: https://www.jobs.ac.uk/job/CQB535/associate-lecturer-teaching-in-medieval-manuscripts-and-documents

If you have any queries regarding the vacancy or the application process, please contact the Departmental Manager, Claire Morley (email claire.morley@ucl.ac.uk), (tel. +44 (0)20 7679 1341).

Latest time for the submission of applications: 23:59.

UCL Taking Action for Equality

We will consider applications to work on a part-time, flexible and job share basis wherever possible.

Our department is working towards an Athena SWAN award. We are committed to advancing gender equality within our department.

Call for Papers: International Conference ‘Metamorphoses and uses of the same past and formation of identities in Europe from the 14th century to the 1980s: shared, in competition, or antagonistic memories’, AGRELITA, Deadline 15 September 2022

The ERC research program AGRELITA (The Reception of Ancient Greece in pre-modern French Literature and Illustrations of Manuscripts and Printed Books (1320-1550) : How invented memories shaped the identity of European communities) is a transdisciplinary research program : literature, art history, political, cultural and social history, memory studies, European studies. It focuses on different modes of reception of Greek antiquity in the premodern era (1320-1550) and analyses how the creation of memories of ancient Greece in textual and visual cultures was exploited to support the formation of political and cultural identities at several levels (local, regional, (pre)national, transnational and European ones) in Western Europe from the 1320s to the 1550s.


The 2023 conference (Thursday, 14 September and Friday, 15 September 2023, Palais des Beaux-Arts, Lille, France) aims to broaden the reflection on these issues of the uses of the same recomposed/reinvented past to form political and cultural identities at several levels, by opening it :
-to other pasts (ancient, medieval, or modern ones)
-to a wider period of reception and exploitation of these pasts, from the 14th Century to the 1980s, and throughout Europe.


In other words, this conference aims to explore how, at the same period or at different periods, the same past is reinterpreted or even reinvented and may be used to form several political identities : the same past may be instrumentalized to strengthen the identity of a particular political entity, to federate the elements that make it up, to enforce it against other competing political powers, as well as to unite several political entities, to create shared memories, supranational and particularly European ones.


We defined the 14th Century as the starting point, because an increasingly sustained exploitation of the past is emerging during this period in political practices, literature and the arts ; stronger assertions of political and cultural identities appear – whether local, regional, or pre-national –, as well as new expressions of the idea of Europe, particularly in the context of the mobilization against the Ottomans.


We defined the 1980s as the terminus ad quem, because new relations to the past (the new ‘regime of historicity’ of ‘presentism’, F. Hartog) and to memory occurred during these years. The 1980s constitute the very beginning of a period marked by the multiplication of readings and exploitations of the past by more diverse people, hence the birth of new forms of memory rivalries and also of sharing of memories. They precede the eastward enlargement of the European construction, a movement of reinterpretation of many national histories, and at the same time the implementation of incentive policies to assert the formation of transnational memories and a European memory. They also consist in the very beginning concerning the phenomena of globalization and the creation of a worldwide memory.


Policies and uses of memory, whether they emanate from political powers, from communities, associations, and increasingly diverse people, have given rise and still give rise to numerous studies about contemporary history : how regional, national and transnational political identities interact. Exploiting the past and the memory created from it as a political tool has of course existed for centuries, with forms and means that have undergone profound changes ; many studies have also been devoted to the elaboration of memories that reinforce national identities under construction in the Modern era, as well as to expressions of the idea of Europe. The six-volume edition by S. Berger and J. K. Olick, A Cultural History of Memory (2020), has recently highlighted the evolution of different forms of memory from antiquity to the present day.


Memory studies, examining how regional, national and transnational identities interact, is a field in which we think that investigations are still to be carried out, especially concerning the precise question that we are associating with it for this conference : metamorphoses and uses of the memory of the same past by different people, considering the long period that goes from the 14th Century to the 1980s.


AGRELITA welcomes proposals from various displinary fields (literature, history, art history, archaeology, geography, philosophy, sociology, political science, anthropology, memory studies, European studies) and from various periods across the whole European geographical area. Applying multi-disciplinary approaches and crossed analysis, perspectives and concepts, AGRELITA means to offer new insight into this question.

AGRELITA invites submissions of papers that address any of the following questions:

– Dynamics of elaboration of plural memories of the same past and their links with the formation of several political and cultural identities. We aim to investigate shared, complementary, in competition, or antagonistic instrumentalization of the same past by various people, which aims to assert several political and cultural identities, reveals a wide range of strategies (process of narratives, discourses, images, spectacles, symbols, commemoration, heritage formation, museification… ) ; how they are received, recomposed and reinterpreted, sometimes even imagined ; how diverse they are ; how they reflect different values attributed to the past in memory.
– In this context, we should also consider the interactions between local, regional, (pre)national, and transnational identities as they assert through convergent or differentiated exploitations of the same past. In other words, how, confronted with the question of values which are attributed to the past, memory is modified by various people and for various audiences, in order to construct, assert, inflect and renew political and cultural identities, and how metamorphoses and uses of the same past may meet an identity renewal or change. We will examine both the competing memories of the same past and the rise, during the defined period, of transnational memories and identities, as well as whether they conciliate or not with other memories and identities. These transnational memories are then affirmed as memories shared between two or more political communities (for example, shared memories of a sovereign ; memories of wars : conflicting and then reconciled) and/or as a European memory in connection with the affirmation of the idea of Europe.
– The historical periods, events, intellectual movements, figures, and places that have given rise to differentiated or convergent appropriations by two or more political and cultural communities : memorial issues of much debated periods, events, figures, and places ; memorial issues of periods, events, figures, and places that several communities appropriate to forge shared memories and reinforce transnational identities. We are interested in essays that focus on the plurality of memorial uses of the same past through two or more case studies, to analyze how the recomposed memories of the same past make it possible to invent, reinterpret and reinforce one or more particular identities, and/or to create a transnational and particularly European memory.

SCIENTIFIC COMMITTEE

Martine Benoît, Université de Lille
Stefan Berger, Ruhr-Universität Bochum
Hélène Casanova-Robin, Sorbonne Université
Gerard Delanty, University of Sussex
Sophie Duchesne, Sciences Po Bordeaux
François Hartog, École des hautes études en sciences sociales
Tuuli Lähdesmäki, University of Jyväskylä
Elena Musiani, Università degli Studi di Bologna
Cédric Passard, Sciences Po Lille, Université de Lille
Alain Schnapp, Université Panthéon-Sorbonne
Aline Sierp, University of Maastricht

Please submit a short abstract (title and around ten lines of presentation, along with a brief CV) before 15 September 2022 to Catherine Gaullier-Bougassas at the following addresses:
catherine.bougassas@univ-lille.fr
erc-agrelita@univ-lille.fr
Travel and accommodation costs will be covered according to the terms of the University of Lille.
Papers will be published. Papers are due by 15 February 2024.

For more information about the ERC AGRELITA Project, please see our academic Blog: https://agrelita.hypotheses.org/
Projet ERC Advanced Grant AGRELITA
The Reception of Ancient Greece in Pre-modern French Literature and Illustrations of Manuscripts and Printed Books (1320-1550) : How Invented Memories Shaped the Identity of European Communities
Direction : Catherine Gaullier-Bougassas

The AGRELITA project ERC n° 101018777 was launched on October 1st, 2021. It is a 5-year project (2021-2026) financed on an ERC Advanced Grant 2020 through the European Union’s Research and Innovation Programme Horizon 2020.

For more information visit: https://agrelita.hypotheses.org/1349

Job Opportunity: Associate Lectureships in Art History Pre-1800, University of St Andrews, Deadline 27 May 2022

The University of St Andrews is seeking to appoint two full-time Associate Lecturers with expertise in the history of art, architecture, urbanism or visual culture in the period before 1800. These are fixed-term posts replacing permanent members of staff on leave. We encourage applications from candidates whose work takes a transnational, cross-cultural or multidisciplinary approach.

Informal enquiries can be directed to the Head of School, Professor Linda Goddard: ljg21@st-andrews.ac.uk

Start date: 1 September 1 2022

End date: 15 January 2023

Application deadline: 27 May 2022

To apply visit: https://www.jobs.ac.uk/job/CPM132/associate-lecturer-in-art-history-pre-1800-aoac1807rxnb

Roundtable: ‘Rethinking the Legacies of 1492’, with Jerrilynn Dodds, Charlene Villaseñor Black, Giuseppe Marcocci, and Tom Nickson, Department of History of Art, University of Oxford, 30 May 2022, 4:00-6:00 BST

When: 30 May 2022, 4:00-6:00 BST

Where: Old Library, All Souls College, Oxford

A roundtable exploring events and exhibitions in the US, Spain & Italy. With Jerrilynn Dodds, Charlene Villaseñor Black, Giuseppe Marcocci, and Tom Nickson.

Chaired by Gervase Rosser.

Organised by Costanza Beltrami.

Open to all, no booking required.

Fellowship: Post-Doctoral Fellow in Byzantine Coins, Dumbarton Oaks, Deadline 15 June 2022

Dumbarton Oaks invites applications for a Post-Doctoral Fellow to work with the museum team on projects relating to cataloging, publication, and exhibition of the coin collection. The successful candidate will receive training in digital cataloging, collections management, and exhibition planning. They will catalogue the newly acquired Mansfield and Shaw collections of early Byzantine coins, describing, recording, and publishing these coins in the Online Coin Catalogue. They will also work with the Collections Manager and Registrar to accession and house the coins. Building on the work of nomisma.org the Post-Doctoral Fellow will be involved in the establishment of a federated database to catalogue and digitize Byzantine coin holdings in various collections worldwide. In partnership with the Associate Curator and the Manager of Exhibitions, they will help to create temporary exhibits of the coin collection and take part in the planning and execution of educational activities. The fellowship offers unique opportunities to build career skills in digital humanities, museum curation, and collections-based education. The Fellow will participate fully in Dumbarton Oaks’ dynamic community of scholars and programming in Byzantine Studies and will devote 20% of the fellowship time to personal research.

 Major Responsibilities

  • Work with representatives of the Numismatic Collection of the Firestone Library Collections, Princeton University, and nomisma.org to establish and implement a linked-open data platform for Byzantine coins.
  • Research and establish unique issue identifiers for Byzantine coins for the period 717–1204.
  • Aid in the accessioning and housing of the newly acquired Mansfield and Shaw collections of early Byzantine coins.
  • Catalogue the newly acquired Mansfield and Shaw collections into the Dumbarton Oaks Online Coin Catalogue.
  • Help prepare museum displays of numismatic material.
  • Take part in educational activities involving the coin collection.

Qualifications

Basic

  • PhD in History, Art History, or Archaeology with a specialization in Byzantine Studies.
  • Excellent research skills, particularly in the areas of numismatic cataloging.

Preferred

  • Experience in a museum, special collection, or comparable environment.
  • Strong computer skills including using relational databases and collection management software.

Term

This is a one-year fellowship, with the possibility of renewal for two additional years. The Post-Doctoral Fellow will have access to the outstanding resources of the institute and become part of the larger research community at Dumbarton Oaks.

The Post-Doctoral Fellow would report to the Associate Curator of Coins and Seals and the Registrar and Collections Manager.

 How to Apply

Please send a cover letter, resume/CV, and two letters of reference to FellowshipPrograms@doaks.org by June 15, 2022.

Lecture: ‘Memento mori Imagery and the Limits of the Self in Late Medieval Europe’, The Courtauld Research Forum, London and Online, 26 May 2022, 5:30 BST

When: Thursday, 26 May 2022, 5:30 – 7:00 BST

Where: Lecture Theatre 1, Vernon Square, and online via Livestream

Book here: https://www.eventbrite.co.uk/e/memento-mori-imagery-and-the-limits-of-the-self-in-late-medieval-europe-tickets-330551748177

Objects bearing memento mori themes were abundant in Europe in the decades immediately around the year 1500. The material properties of these objects – the matter from which they were formed, the apparent care or negligence with which they were fashioned, and the ways their physical condition betrays signs of heavy use or careful conservation – can point us toward a better understanding of the diversity of interests that inspired their creation and use. These motivations range from pious apprehensions about the fate of one’s soul to arguably less anxious ruminations on the nature of image-making and the role of an emerging sense of aesthetic engagement. Taken together, they encapsulate one of the central fascinations and anxieties of their age: in an era committed to the notion that deep truths could be conveyed through surface appearances and that individual identity could be captured, communicated, and preserved through static imagery, memento mori objects resisted the notion of a stable self, reminding their viewers of the anonymity that awaits us all in the grave.

About the speaker: Stephen Perkinson’s scholarship focuses on Medieval and Renaissance art of Northern Europe. He has published on topics ranging from the 13th to the 16th centuries. His 2009 study of the origins of portraiture (The Likeness of the King, Univ. of Chicago Press) was the recipient of the 2009 Morris D. Forkosch Prize for Best Book in Intellectual History. He has also collaborated extensively with art museums. Most recently, he was curator of The Ivory Mirror: The Art of Mortality in Renaissance Europe (Bowdoin College Museum of Art, 2017; catalogue distributed by Yale University Press), a major loan exhibition that shed new light on memento mori imagery and ivory carving in Northern Europe around the year 1500. Prior to that project, he produced work in conjunction with exhibitions of material from London’s Victoria and Albert Museum (Object of Devotion, 2010) and the Metropolitan Museum of Art (Set in Stone, 2006). He is also the author of essays that have appeared in The Art Bulletin, Speculum, Gesta, and elsewhere. At Bowdoin, he teaches courses that cover material ranging from the late antique world of the Mediterranean to the Renaissance in Northern Europe, and addressing the artistic traditions of Judaism, Christianity, and Islam.

Organised by Dr Jessica Barker (The Courtauld) and Dr Tom Nickson (The Courtauld). 

This event is kindly supported by the ICMA.