Tag Archives: Architecture

CFP: ‘Excess,’ 34th Annual Boston University Graduate Symposium in the History of Art and Architecture, Boston University, Boston, MA, 2-3 March 2018

fixedw_large_4xCall for Papers: Excess, 34th Annual Boston University Graduate Symposium in the History of Art and Architecture, Boston University, 2-3 March 2018
Deadline: December 1, 2017

Excess conjures the idea of the extractable, left over, too much, or “extra.” Looking closely at perceptions of the extraneous reveals excess to be a historically constructed category that marks shifting notions of cultural values. Deemed peripheral, abject, deviant, and tertiary due to factors such as geographic relationships or conceptions of power at a particular moment, excess is the focal point of the 34th Annual Boston University Graduate Symposium in the History of Art & Architecture.

We invite submissions that explore themes of excess. Topics may include but are not limited to the following: opulence; decoration; the grotesque; the carnivalesque; caricature; exuberance; indulgence; exaggeration; extremes of religious or social practice and ritual; extravagant lifestyle; expressions and critiques of abundance; so-called “luxury arts”; the overbuilt.

Papers must be original and previously unpublished. Please send an abstract (300 words or less), a paper title, and a CV to bugraduatesymposiumhaa@gmail.com. The deadline for submissions is December 1, 2017. Selected speakers will be notified by December 23, 2017, and are expected to accept or decline the offer within a week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Symposium will be held Friday, March 2 – Saturday, March 3, 2018, with a keynote lecture (TBD) on Friday evening at the Boston University Art Gallery at the Stone Gallery and graduate presentations on Saturday at the Museum of Fine Arts, Boston.

This event is generously sponsored by the Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; the Boston University Graduate Student History of Art & Architecture Association; and the Boston University Art Gallery at the Stone Gallery.

For additional information, please visit:
http://www.bu.edu/ah/students/graduate-student-history-of-art-architecture-association/the-symposium/

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Job: Assistant Professor of Art and Material Culture of the Islamic World, University of California, Riverside,

ucr-sealJob: Assistant Professor of Art and Material Culture of the Islamic World, University of California, Riverside
Deadline: Dec 1, 2017
Starting Date: July 1, 2018

Salary: Commensurate with education and experience
Application Procedure: The Department of the History of Art at the University of California, Riverside invites applications for a full-time, tenure-track Assistant Professor in Art and Material Culture of the Islamic World. The department is searching for an energetic candidate whose teaching and research interests focus on Islamic Art, Architecture, and Material Cultures in the wider Mediterranean World, the Middle East, and Central and South East Asia, from the medieval period to the 20th century. The candidate will be versed in the most advanced theoretical and methodological concerns of the field, have competency in the languages the specialization requires, and will develop and offer courses that serve the Department of Art History. Collaborations with UCR’s program for Middle Eastern and Islam Studies are encouraged.
Potential for teaching excellence and teaching experience and a promising record of research and publication are required. Ph.D. required at time of appointment. Salary will be commensurate with education and experience. Position begins July 1, 2018.
Review of completed applications will begin December 1, 2017, and continue until the position is filled.

Submit materials electronically via url: https://aprecruit.ucr.edu/apply/JPF00808
Candidates must submit a letter of application, a research statement, curriculum vitae, writing sample (30 pages maximum), evidence of teaching, a statement of contributions to diversity, and three letters of recommendation.

Applicants who use Interfolio may utilize a feature provided by the Interfolio Service to allow Interfolio to upload their letters directly into AP Recruit. Applicants can input an Interfolio-generated email address in place of their letter writer’s email address. Interfolio refers to this as Online Application Deliveries. The following link on the Interfolio website shows how to set this up. http://help.interfolio.com/entries/24062742-Uploading-Letters-to-an-Online-Application-System.
For further information, please contact the Islamic Art and Material Culture Search Committee at arthistory@ucr.edu.
Advancement through the faculty ranks at the University of California is through a series of structured, merit-based evaluations, occurring every 2-3 years, each of which includes substantial peer input.
UCR is a world-class research university with an exceptionally diverse undergraduate student body. Its mission is explicitly linked to providing routes to educational success for underrepresented and first-generation college students. A commitment to this mission is a preferred qualification.
The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, protected veteran status, or any other characteristic protected by law.

CFP: L’architecture gothique. Entre réception et invention. Impact, continuité et réinterprétation (XIIe – XXe siècle), Centre André Chastel, Paris, 10 March 2018

e4172ce752979324efadeeb13ae35d66-viollet-le-duc-game-propsCall for Papers: L’architecture gothique. Entre réception et invention. Impact, continuité et réinterprétation (XIIe – XXe siècle), Centre André Chastel, Paris, 10 March 2018
Deadline: 15 November 2017
L’une des définitions les plus correctes du terme « gothique » est celle qui interprète ce phénomène architectural non comme l’expression d’une période historique mais comme un système structurel, défini en Ile-de-France à partir du milieu du XIIe siècle. Les connaissances techniques déjà expérimentées à l’époque romane sont alors intégrées dans une relation consciente entre structures portantes et structures portées, en obtenant de nouveaux effets esthétiques et symboliques.

Entre la fin du XIIe et le XIIIe siècle, l’architecture gothique se développe en Europe, particulièrement en Angleterre, Allemagne, Espagne, Italie, Hongrie et Bohème et entre en contact avec les traditions constructives locales, notamment grâce à l’activité des ordres monastiques. La synthèse entre la réception de modèles existants et l’invention de nouvelles expressions artistiques donne naissance à des œuvres neuves créées dans des contextes historiques, géographiques et socio-culturels différents par rapport au contexte français.

En Italie, par exemple, la leçon du gothique français, transmise principalement par les cisterciens, est ensuite assimilée par les ordres mendiants et, en Italie méridionale, par Frédéric II et finalement par les Angevins. Cependant, le gothique italien ne développe pas l’audace structurelle qui fut, en France, à l’origine d’un formidable élan vertical des parois et de l’effet de lux continua. Cette différence est à la fois due à la persistance de techniques constructives traditionnelles dans la filiation de l’architecture paléochrétienne et à l’impossibilité d’appliquer la technique de l’arc-boutant dans une zone fortement sismique.

Au même titre, en France, entre le début du XVe et le milieu du XVIe siècle, l’art gothique flamboyant se mêle à la tradition de la Renaissance importée d’Italie : si l’ossature des églises reste « gothique » même lorsque les formes ornementales assimilent des caractères à l’antique, l’originale rationalité structurelle est en grande partie perdue. La persistance des formes flamboyantes dans l’architecture de la Renaissance française est un phénomène intéressant qui révèle l’importance et l’influence de la tradition gothique.

Plus tardivement et à titre d’exemple, au XIXe siècle le phénomène des revivals historicistes atteste la reprise du langage gothique en Europe. Une telle tendance s’imposa d’abord en Grande-Bretagne puis se diffusa dans d’autres pays européens, parallèlement à l’intense activité de restauration des monuments médiévaux : en France c’est surtout Eugène Viollet-le-Duc qui en souligna la rationalité constructive. Le néogothique, devenu désormais partie intégrante de l’éclectisme historiciste, constitue une source fondamentale pour l’art nouveau jusqu’au début du XXe siècle.

La journée sera par conséquent consacrée à une réflexion sur la réception de l’architecture gothique comme langage flexible, à même de créer de nouvelles formes artistiques : l’objectif est de conduire l’historien de l’art et de l’architecture à enquêter sur la portée et l’influence de ce phénomène dans des contextes différents de celui d’origine. La journée vise ainsi à élargir l’analyse aux questions historiques, politiques, culturelles et urbaines, en fonction des objectifs des commanditaires et en établissant des liens entre aspects structurels, fonctionnels et formels. La journée doctorale sera l’occasion de partager les réflexions méthodologiques, les problématiques et les résultats des recherches en histoire de l’architecture de doctorants et jeunes docteurs de formations et de pays divers.

La série de thématiques suivante est destinée à suggérer des domaines et directions de recherche et n’a que valeur indicative :
– Techniques et matériaux de l’Architecture gothique : innovations structurelles, continuité et rupture avec le passé
– Cathédrale gothique et différentes formes locales en France
– Gothique français et sa diffusion en Europe
– Gothique flamboyant et Renaissance : dialectique entre survivances structurelles et décor « à l’antique »
– Réception du Gothique après le Gothique : survivance et renouveau néogothique
– L’architecture gothique, sa restauration ou sa réutilisation contemporaine
– L’architecture gothique intégrée dans les autres formes de l’art visuels (peinture, gravure, sculpture), sémantique visuelle et revival.

La journée donnera la priorité aux interventions des doctorants et jeunes docteurs. Elle se déroulera le 10 mars 2018 au Centre André Chastel (INHA, 2, rue Vivienne, 75002 Paris).

How to apply:  Les propositions de communication (300 mots maximum), en français ou en anglais, accompagnées d’un bref curriculum vitae (2 pages maximum), sont à envoyer, le 15/11/2017 au plus tard, à Camilla Ceccotti et Emanuele Gallotta aux adresses suivantes :
camilla.ceccotti@uniroma1.it
emanuele.gallotta@uniroma1.it

Islamic Art Circle @ SOAS: Lecture Programme, 2017/2018

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Islamic Art Circle @ SOAS, London: Lecture Programme, 2017/2018
All lectures begin at 7.00 p.m. in the Khalili Lecture Theatre (Main School Lecture Theatre) –  unless indicated otherwise – Philips Building, SOAS, Thornhaugh Street, Russell Square, London, WC1H 0XG

 

  • 11 October 2017: The Palace of Pedro I in Seville, ‘very much like the residence of the Muslim kings,’ Dr Tom Nickson, Lecturer in Medieval Art and Architecture, The Courtauld Institute of Art, London
  • 15 November 2017: Reviving Islamic Architecture in Khedivial Cairo, and Beyond: a Collector’s Passion, Dr Mercedes Volait, CRNS Research Professor at INHA, Paris
  • 6 December 2017: Takht-e Soleyman/Iran – From Sasanian Fire Temple to Ilkhanid Summer Palace. New Evidence from Old Excavations, Dr Ute Franke,                                       Deputy Director, Museum für Islamische Kunst, Berlin
  • 10 January 2018: The Hadassah and Daniel Khalili Memorial Lecture in Islamic Art and Culture: The Calligrapher, the Painter, and the Patron: A New Perspective on the Freer Khusraw u Shirin, Dr Simon Rettig, Assistant Curator of Islamic Art, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.
  • 21 February 2018: In the service of religion? The display of ‘science from the Islamic world’ in the museum, Dr Silke Ackermann, Director, Museum of the History of Science, Oxford
  • 14 March 2018: The Seventh Bahari Foundation Lecture in Iranian Art and Culture: Decagonal and Quasicrystalline Geometry in the Architecture of Medieval Persia and Its Influence in the Greater Islamic World, Dr Peter J. Lu, Department of Physics and SEAS, Harvard University, USA
  • 25 April 2018: Islamic Textiles from Iberia: Re-evaluating Their Role in the Mediterranean Context, Dr Ana Cabrera-Lafuente, Marie S.-Curie Fellow, Victoria and Albert Museum, London
  • 9 May 2018: Ilse Sturkenboom
  • 13 June 2018: Ahmet Ersoy

For further information please contact Rosalind Wade Haddon: 07714087480 or                 rosalindhaddon@gmail.com

 

 

 

CFP: Medieval Eurabia: Religious Crosspollinations in Architecture, Art and Material Culture during the High and Late Middle Ages (1000-1600) at Annual Conference of the Association for Art History, UK, Courtauld Institute of Art, University of London, UK, 5th-7th April, 2018

800px-french_ciborium_with_rim_engraved_with_arabic_script_and_islamic_inspired_diamond_shaped_pattern_limoges_france_1215_1230Call for Papers: Session on Medieval Eurabia: Religious Crosspollinations in Architecture, Art and Material Culture during the High and Late Middle Ages (1000-1600) at Annual Conference of the Association for Art History, UK, Courtauld Institute of Art, University of London, UK, 5th-7th April, 2018
Deadline:
1st November, 2017

Panel organised by Sami De Giosa, Oxford University and Nikolaos Vryzidis, British
School at Athens
Email: aahchristianmuslimpanel2018@gmail.com
The coexistence of Christianity and Islam in the Medieval Mediterranean led to a
transfer of knowledge in architecture and material culture which went well beyond
religious and geographical boundaries. The use of Islamic objects in Christian
contexts, the conversion of churches into mosques and the mobility of craftsmen are
manifestations of this process. Although studies beginning with Avinoam Shalem’s
Islam Christianized (1996), have dealt extensively with Islamic influence in the West
and European influence in the Islamic Mediterranean, sacred objects, and material
culture more generally, have been relatively neglected. From crosses found in
Mosques, to European-Christian coins with pseudo/-shahada inscriptions, medieval
material culture is rife with visual evidence of the two faiths co-existing in both
individual objects and monuments.
This panel invites papers from scholars working on intercultural exchange in art,
architecture and material culture. We particularly welcome contributions that focus
on sacred objects that have been diverted or ‘converted’ to a new purpose, whether
inside or outside an explicitly religious context.
Papers should present original research, which expands the boundaries of
knowledge and which the scholars would like to be considered for publication.
Abstract should be no more than 250 words long.
 

 

6 CfP for ICMS Kalamazoo 2018

[1] Venice, Materiality, and the Byzantine World

[2] De-Centering the Romanesque

[3] Creative Modes of Activating the Early Medieval Manuscript

[4] Creative Strategies of Intellectual Engagement with Tradition and the Auctores

[5] “Manuscripts in the Curriculum”: New Perspectives on Using Medieval Manuscripts in the Undergraduate Classroom from Special Collection Librarians, Faculty, and Booksellers (A Roundtable)

[6] Moving People, Shifting Frontiers: Re-contextualising the Thirteenth Century in the Wider Mediterranean

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[1]

Venice, Materiality, and the Byzantine World

Sponsored by the Italian Art Society, 

Deadline: Sep 15, 2017

The Dumbarton Oaks Byzantine Symposium leading to the 2010 publication of San Marco, Byzantium, and the Myths of Venice introduced new perspectives on Byzantine and Venetian visual and material culture that extended Otto Demus’s survey of Saint Mark’s basilica. The authors’ application of more recent approaches—such as the social function of spolia, the act of display, the construction of identity, and cultural hybridity—brought fresh analyses to a complex and richly decorated monument. This panel seeks to expand this methodological discourse by taking into account questions related to materials, materiality, and intermediality between Venice and Byzantium. The arrival of material culture from the Byzantine world to Venice as gifts, spoils, or ephemera during the centuries surrounding the Fourth Crusade allowed for both appropriation and conceptual transformation of material culture. In light of the renewal in interest of Venice’s Byzantine heritage, this panel seeks to reflect on the interaction of material culture between la Serenissima and the Byzantine world, especially during the eleventh through fifteenth centuries. Topics may be wide-ranging, including, but not limited to: issues of reception and cultural translation; changing concepts of preciousness; different valuation of materials between Venice and Byzantium; the fluctuating simulation of material visual effects; the transformation of Byzantine objects incorporated into Venetian frames; intermedial dialogue between Byzantine and Venetian art; and the process and technique of manufacture of works between Byzantium and Venice. Some points of departure may include: the building of San Marco itself; Byzantine objects in the Treasury; Byzantine manuscripts included as part of the Cardinal Bessarion gift to the Republic; the monuments on Torcello; or issues raised as a result of recent conservation projects. New cross-cultural methodologies from art historical, anthropological, or sociological fields are welcome.
Please submit a 300-word abstract and a completed Participant 
Information Form (http://www.wmich.edu/medievalcongress/submissions) by 

September 15 to the session organizers:

Brad Hostetler, Kenyon College, hostetler1@kenyon.edu, Joseph Kopta, Pratt Institute, jkopta@pratt.edu
In addition to the travel awards available to all Congress participants (http://www.wmich.edu/medievalcongress/awards), the Italian Art Society offers competitive travel grants: http://italianartsociety.org/grants-opportunities/travel-grant-information/

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[2]

De-Centering the Romanesque

Dommuseum Hildesheim & The J. Paul Getty Museum

The canonical emphasis of Romanesque studies on regional centers and monuments has overshadowed aspects of transregional exchange that defined the art and culture of medieval western Europe circa 1000-1250. One of the key characteristics of this period is movement — of peoples, ideas, and materials. This session will explore the themes of portability and exchange, with possible topics addressing Mediterranean and Baltic trade networks, transcultural objects in the western treasuries, pseudo-scripts and their varied meanings, and hoards versus monuments. Participants are encouraged to address the concept of nexus versus center and the pedagogical implications for presenting a de-centered and global Romanesque, with papers that either challenge or affirm the Romanesque frame for teaching medieval art, both in the classroom and in the museum.

Please send your proposal of up to one page with your Participant Information Form (PIF) http://wmich.edu/medieval/congress/submissions/index.html#PIF to the organizers: Kristen Collins, J. Paul Getty Museum, KCollins@getty.edu or Gerhard Lutz, Dommuseum Hildesheim, gerhard.lutz@dommuseum-hildesheim.de

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[3] and [4]

Deadline: Sep 1, 2017

Two sessions for, “Identifying Creative Impulses in Early Medieval Art and Culture,” will convene at the 53rd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, MI.

Papers are solicited that encourage novel—even experimental—approaches, to the exploration and identification of various conceptions of early medieval, creative cultural activity. 

The first panel seeks to engage with the actual haptic and experiential practice of manufacturing, reading and studying the early medieval book.

The second panel focuses upon culturally apposite forms of interpretative and compositional fashioning that can be discerned in manuscripts belonging to the liberal arts traditions of the Early Middle Ages.

Abstracts and paper proposals of not more than 250 words can be submitted via email on or before September 1, 2017 to the session organizers: Eric Ramírez-Weaver (emr6m@virginia.edu) and Lynley Anne Herbert (lherbert@thewalters.org). Please copy both co-organizers when submitting a proposal, posing a question, or requesting additional information via email.

Complete panel descriptions follow. We particularly encourage inventive strategies promising new approaches to the investigation of early medieval creativity.

Identifying Creative Impulses in Early Medieval Art and Culture
Special Sessions organized by Eric Ramírez-Weaver (emr6m@virginia.edu) and Lynley Anne Herbert (lherbert@thewalters.org)

I. Creative Modes of Activating the Early Medieval Manuscript

The way a manuscript behaves when used “in the flesh,” so to speak, can at times reveal layers of creativity built into them, which must be actively experienced rather than passively seen. Often as modern scholars we work from digitized images of individual folios, or at best openings, and “page flipping” technologies (such as the Walters’s “Ex Libris” platform or the British Library’s “Turning the Pages” program) provide a false sense that we are experiencing the physical book. Evidence of the performative qualities of a manuscript can at times be rediscovered, not just in the sense of how a reader might perform the text written in the book, but how the user activated the book as an object during use. Does an image show through a page and become part of the visual experience on the other side, and was there intentionality there? Do images interact across an opening? Does imagery function together from recto to verso? How is the artist creating an experience for the user, or conversely, how did the user alter the book to create a personal experience? This session seeks papers that explore creative approaches that open up new possibilities regarding how early medieval manuscripts functioned as objects.
II. Creative Strategies of Intellectual Engagement with Tradition and the Auctores

Recent scholarship (consider Benjamin Anderson, Lynda Coon, Paul Edward Dutton, Rosamond McKitterick, Lawrence Nees, Eric Ramírez-Weaver, and Immo Warntjes), has increasingly emphasized the creative strategies for intervention and manufacture of meaning that were acutely linked to early medieval eastern and western engagements with various aspects of the liberal art traditions. From star pictures to poetic acrostics, devotion to erudition and pious personal reform transformed the possibilities for innovation that proliferated during the Carolingian period. Interlocking networks of artists, chroniclers, historians, and poets communicated their translations, textual redactions, and visual records of classical tradition and contemporary study with one another, engaged in debate or collaboration, but advancing science. This session seeks papers willing to reconsider methodologically apposite ways to reinterpret the various brands of early medieval creativity manifest in texts pertaining (as broadly as possible) to the seven liberal arts, including texts of astronomical, computistical, rhetorical, geometric, arithmetic, musical, lyrical, philosophical, diagrammatic, or historical significance.

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[5]

“Manuscripts in the Curriculum”: New Perspectives on Using Medieval Manuscripts in the Undergraduate Classroom from Special Collection Librarians, Faculty, and Booksellers (A Roundtable)

Deadline: Sep 10, 2017

Integrating medieval manuscripts into an undergraduate curriculum changes the game. Students are transformed from passive learners to active scholars; observing objects and seeking to understand and interpret their context teaches critical thinking. Implementing programs to give students this opportunity requires the cooperation of special collection librarians and faculty, two disciplines that speak slightly different languages. Inspired by Les Enluminures’s new program Manuscripts in the Curriculum<http://www.textmanuscripts.com/curatorial-services/manuscripts&gt;, this session will also introduce a third perspective and explore the practical issues of how to build collections for teaching.

The session organizers wish to bring people together from these communities to share their experiences, to discuss successful results, to analyze problems, and to envision future directions. We invite papers that explore efforts to bring manuscripts into the classroom, and the challenges of implementing these programs at specific institutions from the perspectives of librarians, faculty, and booksellers. The session will be structured as a roundtable with a series of short ten- and fifteen-minute papers (the number and duration to be determined depending on response), with ample time for discussion.

Please send abstracts of no more than a page, along with a current CV and the Participation Information Form (available on the Medieval Congress Submissions page: http://wmich.edu/medievalcongress/submissions) to lauralight@lesenluminures.com<mailto:lauralight@lesenluminures.com> by September 10, and sooner if possible.
Emily Runde, Text Manuscripts Specialist

Les Enluminures

http://www.lesenluminures.com&lt;http://www.lesenluminures.com&gt;

http://www.textmanuscripts.com&lt;http://www.textmanuscripts.com&gt;
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[6]

Moving People, Shifting Frontiers: Re-contextualising the Thirteenth Century in the Wider Mediterranean

Deadline: Sep 10, 2017

(Courtauld Institute of Art) and Katerina Ragkou (University of Cologne). Deadline: 10 September 2017

Every day we witness people moving, with them objects and skills, knowledge and experience; either forcibly or willingly; for work or for pleasure. The communities living along the shores of the Mediterranean and the hinterlands of the Balkans during the thirteenth century share many of the characteristics of our contemporary world: military campaigns and religious wars; the intensification of pilgrimage and the relocation of refugees; the shifting of frontiers and the transformation of socio-political orders.

The transformations of the thirteenth century span from east to west, from northern Europe to the Byzantine Empire and from the Balkans to the Levant. The geographic breadth is paralleled by crucial events including the fourth crusade, the fall of Acre, the empowerment of the Serbian Kingdom and the Republic of Venice, the loss and following restoration of the Byzantine Empire, and the creation of new political entities, such as the Kingdom of Naples and that of Cyprus, the Empire of Trebizond, and the Principality of Achaia. Eclectic scholarly tradition has either focused geographically or thematically, losing sight of the pan-Mediterranean perspective. These societies had multifaceted interactions, and comprised a variety of scales, from the small world of regional and inter-regional communities to the broader Mediterranean dynamics.

This session aims to address questions such as which are the various processes through which military campaigns and religious wars affected the urban landscape of these regions and their material production? Is there a difference in economic and artistic trends between “town” and “countryside” in the thirteenth-century wider Mediterranean? What observations can we make in regards to trade, diplomatic missions, artistic interaction and exchange of the regional, interregional and international contacts? How did these shape and transform cultural identities? How did different social, political and religious groups interact with each other?

This session welcomes papers focused on, but not limited to: the role played by economic activity and political power in thirteenth-century artistic production and the shaping of local and interregional identities; the production and consumption of artefacts and their meaning; the transformation of urban and rural landscapes; religious and domestic architecture and the relationship between the private and public use of space.

Proposals for 20 min papers should include an abstract (max.250 words) and brief CV. Proposals should be submitted by 10 September 2017 to the session organizers: Katerina Ragkou (katerina.ragkou@gmail.com) and Maria Alessia Rossi (m.alessiarossi@icloud.com).

Thanks to a generous grant from the Kress Foundation, funds may be available to defray travel costs of speakers in ICMA-sponsored sessions up to a maximum of $600 ($1200 for transatlantic travel). If available, the Kress funds are allocated for travel and hotel only. Speakers in ICMA sponsored sessions will be refunded only after the conference, against travel receipts. For more information visit: http://www.medievalart.org/kress-travel-grant/