Tag Archives: art history

Funding: Shohet Scholars Grant Program 2018/19, International Catacomb Society

vt-4kdr4_400x400Funding: Shohet Scholars Grant Program 2018/19, International Catacomb Society
Various Locations, July 01, 2018
Application deadline: January 15, 2018

The Shohet Scholars Grant Program of the International Catacomb Society is now accepting applications to the Shohet Scholars cohort of 2018-2019. Submission deadline is January 15, 2018.

This annual grant program funds research on the Ancient Mediterranean from the Hellenistic Era to the Early Middle Ages. Shohet Scholars may do their research in the fields of archeology, art history, classical studies, history, comparative religions, or related subjects. Of special interest are interdisciplinary projects that approach traditional topics from new perspectives.

One or more Shohet Scholars will be selected each year. The primary intent of the grant is to support significant, innovative research that can be completed and reported upon within and shortly after the award period. Grants may be made to seed innovative approaches and new ideas or to cover specific expenses or phases of a larger project under the direction of the applicant. At this time, awards in the range of $2,000 to $30,000 will be made. The Shohet Scholars Program reserves the right not to make a grant in a year in which there are no applications meeting the requirements of the program. A complete history of past and present Shohet Scholars awards is available on the ICS webpage, www.catacombsociety.org.

Eligibility
Scholars of all institutional affiliations and independent scholars may apply for Shohet Scholar funding if they are individual or institutional members of the ICS at the time of the application submission deadline of January 15, 2018 and in possession of a doctoral degree or the equivalent. Preference will be given to applicants in the early postdoctoral or launching stage of their careers (i.e., persons awarded the doctorate within six years prior to the application deadline).

Non-U.S. citizens may apply if a co-applicant is a legal resident or native or naturalized citizen of the U.S.A., meets all eligibility requirements, and has a genuinely collaborative and credited leadership role in the proposal. Co-applicants must submit as individuals all the necessary forms except for the research proposal, list of permissions, and budget proposal, which may be filed jointly.

Employees, contractors, and members of the Board of Directors or Advisory Board of the ICS and their families are ineligible. No applicant will be denied consideration or selection because of race, religion, or ethnic origin. Any fraudulent misrepresentation of self and information about a proposal will result in a disqualification.

Reporting Requirements
Shohet Scholar grant recipients are expected to: 1. acknowledge the Shohet Scholars Program of the International Catacomb Society in all publications and activities that are funded in part or in whole with the award with direct notification to the Society when these events occur and 2. provide the Shohet Scholarship Committee no later than three months after the end of the fellowship year with a brief, illustrated report of the work carried out or in course, suitable for publication on the ICS website.

Deadlines and Decisions
The application deadline for the 2018-2019 academic year is January 15, 2018. The award announcement for the 2018-2019 academic year will be made by May 1, 2018, for funding to be disbursed on July 1, 2018. Please note: starting in 2018, all funding is awarded directly to the USA-based awardee, for distribution among project co-applicants and collaborators. The ICS will no longer wire or transfer money to bank accounts outside of the USA.

Questions ?
If you have any questions about the suitability of proposed projects, application procedures, or any other matters related to the Shohet Scholars Program, please consult our FAQ page or contact us at shohetscholars@catacombsociety.org.

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Job: Assistant Professor of Early Modern Art in Italy, Dartmouth College, starting July 1, 2018

1024px-dartmouth_college_shield-svgJob: Assistant Professor of Early Modern Art in Italy, Dartmouth College, starting July 1, 2018
Deadline: 30 November 2017

The Department of Art History at Dartmouth College invites applications for a scholar of early modern art in Italy (c. 1400 – 1700) for a tenure-track position at the rank of Assistant Professor. We are especially interested in candidates who situate early modern Italy within broader European and global contexts, such as cultural exchanges with the Americas, North Africa, the Eastern Mediterranean, and/or Asia. We seek a scholar-teacher who is committed to innovative research and undergraduate education. In addition to specialized courses, the successful candidate will also participate in our general survey sequence, our foreign study program in Rome, and our advanced seminar in Art Historical Theories and Methods. A PhD in Art History or a related field is required at the point of hire (July 1, 2018).

The Art History Department has eight and one-half tenure line faculty and regularly sponsors post-doctoral fellows. While the number of majors is small, our courses enjoy strong enrollments from a broad constituency of students and we have a strong record of placing students in top PhD programs and related professional fields. Many of our courses are cross-listed with other programs such as Women’s, Gender, and Sexuality Studies; Latin American, Latinx, and Caribbean Studies, Middle Eastern Studies; Asian Societies, Cultures and Languages; and Comparative Literature. Current Art History faculty members participate in a variety of campus research and pedagogical initiatives such as digital humanities and experiential learning.  We welcome applicants interested in forging research and curricular links with other campus units.

Students at Dartmouth College are diverse by many measures. We particularly seek applicants with an interest in teaching and mentoring of students from all backgrounds (including first-generation college students, low-income students, racial and ethnic minorities, women, LGBTQ, etc.). We are especially interested in candidates who will contribute to Dartmouth’s diversity initiatives that focus on undergraduate research. Notably, four recent Art History majors have been awarded the Mellon Mays Undergraduate Fellowship.

To apply, please provide a letter of application, curriculum vitae, three letters of recommendation, evidence of teaching experience, a dissertation abstract, and a chapter of the dissertation or a published article. All materials should be submitted through Interfolio apply.interfolio.com/44946 .

Application review will begin December 1, 2017 and continue until the position is filled. Preliminary interviews will take place at the CAA conference in February 2018 and by Skype for those unable to attend the conference. Inquiries can be directed to Samantha S. B. Potter, Department of Art History, 6033 Carpenter Hall, Dartmouth College, Hanover NH, 03755-3570.  email: Samantha.SB.Potter@Dartmouth.edu

 

Fellowships at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies

220px-villa_i_tatti2c_ext-2c_giardino_05Villa I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence, Italy is now accepting fellowship applications for the 2018–2019 academic year.
Deadline: November 15

Wallace Fellowship (four or six months; deadline November 15) for post-doctoral scholars who explore the historiography and impact of the Italian Renaissance in the Modern Era (19th–21st centuries).

Berenson Fellowship (four or six months; deadline November 15) for post-doctoral scholars who explore “Italy in the World”. Projects should address the transnational dialogues between Italy and other cultures (e.g. Latin American, Mediterranean, African, Asian, etc.) during the Renaissance, broadly understood historically to include the period from the 14th to the 17th century.

Digital Humanities Fellowship (four or six months; deadline November 15) for projects that cut across traditional disciplinary boundaries and actively employ digital technology. Applicants can be scholars in the humanities or social sciences, librarians, archivists, and data science professionals. Projects should apply digital technologies such as mapping, textual analysis, visualization, or the semantic web to topics on any aspect of the Italian Renaissance.

Villa I Tatti – Boğaziçi University Joint Fellowship (one year; deadline November 15) for post-doctoral research focusing on the interaction between Italy and the Byzantine Empire (ca. 1300 to ca. 1700). Scholars will spend a semester at Villa I Tatti and a semester at the Byzantine Studies Research Center of Boğaziçi University.

Craig Hugh Smyth Fellowship (four or six months; deadline November 15) for curators and conservators. Projects can address any aspect of the Italian Renaissance art or architecture, including landscape architecture.

David and Julie Tobey Fellowship (four or six months; deadline November 15) for research on drawings, prints, and illustrated manuscripts from the Italian Renaissance, and especially the role that these works played in the creative process, the history of taste and collecting, and questions of connoisseurship.

For more information on all fellowships at Villa I Tatti please visit http://itatti.harvard.edu/fellowships

Job: tenure-track position in History of Art (Visual Culture and Cultural Studies), Pompeu Fabra University, Barcelona

logo_upfJob: Tenure-track position in History of Art (Visual Culture and Cultural Studies), Pompeu Fabra University, Barcelona
Application deadline: Nov 17, 2017

The Department of Humanities at Pompeu Fabra University in Barcelona has opened a call for a tenure-track position in History of Art (Visual Culture and Cultural Studies).

Vacancy description
The postdoctoral tenure track position in History of Art (Visual Culture and Cultural Studies) is a combined research and teaching position. This announcement is part of the UPF-Department of Humanities strategy to recruit talented researchers in high priority research disciplines.
The candidate must hold a Ph.D. qualification in the field of History of Art. He or she will need to have developed research within the spheres of cultural studies and visual culture without being limited to a specific historical period, though it would be desirable for the candidate to have explored a contemporary perspective. A track record of publications with a reflective interest in the History of Art will be appreciated, along with interdisciplinary methodological openness and an ability to work within more than one historical context. An interest on the part of the candidate in debates that critically analyse the social, cultural and political dimensions of art will be viewed in a highly positive light.
The candidate will need to meet the following requirements: having taken part in research projects within the framework of national or international programmes; having published papers internationally; and being prepared to embark on new research projects, ideally as lead researcher.
The following shall be expected from the candidate: to join the Faculty team in the area of the History of Art; to teach in the sphere of Humanities and Global Studies; to take part in the Department’s research activities; and to ultimately hold management positions.
A command of English and Spanish or Catalan is essential and knowledge of other languages would be an asset.
In terms of additional distinctions: professional expertise in museums and experience as curator for exhibitions or social projects involving practices associated with art and its disciplines would be an advantage.

Specific requirements
– To hold a Ph.D. qualification in the field of History of Art
– If the Ph.D. qualification was issued by UPF, the candidate will need to have been contractually separated from the institution for at least two years since securing the Ph.D. qualification
– Three years’ post-doctoral research activity
– Languages: Catalan and/or Spanish and English

Advantages
Salary: up to 60,000 euros. The salary depends on the successful candidate’s qualifications and experience.
The position involves a fixed-term contract for six years. One year before the contract expires, the candidate will be assessed by the Department’s Teaching Staff Committee. The outcome will determine whether the candidate is recommended to stay in the position as a permanent researcher or whether the contract will be terminated at the end of the year.

For more information see: https://www.euraxess.org.cy/jobs/220155

In order to apply to this call for applications, you will need to send the following documentation by email to seleccio.humanitats@upf.edu quoting reference number 2017-HUMA/TT01:
– Ph.D. qualification, or a receipt confirming it has been applied for
– Full CV
– Document specifying the applicant’s 5 foremost contributions in the field of research (journal articles, books, book chapters, etc.)
– Descriptive report on the applicant’s background as a teacher based on the following format:
– Teaching activity report
– Teaching activity assessment: results of student surveys charting their satisfaction with teaching given (or positive assessment certificate issued by the teaching institution)
– Professional development
– Training activities followed and taught
– Teaching innovation activities
– Experience in teaching coordination

Descriptive report on the applicant’s background as a researcher based on the following format:
– Publications and dissemination of research results (participation in conferences, seminars, etc.)
– Supervision and/or participation in research projects and resulting scientific output
– Dissertation supervision (completed and in progress)
– Other merits: awards and prizes, research stays, positions of scientific responsibility, etc.
– A summarised statement of the applicant’s teaching and research interests in keeping with the specific field to which the six-year vacancy contract pertains (no more than 5,000 characters including spaces)
– Five recommendation letters (at least one of which must be by an academic representative)
– A teaching project relating to the specific field to which the six-year contract vacancy pertains (no more than 100 pages)
– A research project relating to the specific field to which the six-year contract vacancy pertains (no more than 50 pages)

Schedule
– Submission of applications: the application needs to be submitted no later than 17/11/2017 (before midnight Spanish time)
– Results on candidates chosen in the first distance stage: second half of January 2018
– Live interview stage and results: January and February 2018
– Results of live interview stage: February-March 2018
– Incorporation of successful candidate: September 2018
– Results of the selection process

The list of candidates chosen in each stage will be published on the website https://www.upf.edu/web/humanitats/convocatoria-de-places

Job: Post-Graduate Fellow, Art of the Islamic Worlds, Museum of Fine Arts, Houston, USA

782d789e-a8f1-42c6-b71f-3400b47c1f83Job: Post-Graduate Fellow, Art of the Islamic Worlds, MFAH, Houston
Deadline: 19 November 2017
Title: Post-Graduate Fellow, Art of the Islamic Worlds
Reports To: Curator, Art of the Islamic Worlds
Pay Type: Full-Time, Regular, Exempt, 35 hrs/week
Salary: Commensurate with Experience and Education
Benefits: Group Medical and Dental Insurance, Life and Long Term Disability Insurance, Retirement Plan, Flexible Spending Plans, Paid Time Off, Reserve Time Off, Holiday Pay, Museum Membership and Discounts
Work Schedule: MondayFriday, 9am – 5pm; This Fellowship is from September 2017- July, 1 2018
Work Location: Beck Building, a non-smoking facility
Responsibilities:
∙ Provides curatorial assistance to Curator, Art of the Islamic Worlds
∙ Collection management: on-going collection research; research of new acquisition proposals; creation and maintenance of collection files; label writing
∙ Exhibition and catalogue projects: research and documentation; creation and maintenance of checklists
∙ Performs other duties as necessary to support the curator with reports, scholarly articles, lectures, catalogue manuscripts, collection-based support and general office responsibilities
∙ Library: checks out books from Library for curator
Skills, Knowledge and Abilities:
∙ Broad knowledge of art history, particularly of Islamic art
∙ Sophisticated research and writing skills essential
∙ Writing sample required
∙ Excellent organizational and computer skills, including Microsoft Office, TMS (The Museum System)
∙ Strong verbal and written communication skills
∙ Foreign language skills: Persian, preferred, or Arabic
Education and Experience:
∙ Minimum of BA in Art History required
∙ MA or PhD in Art History with emphasis on Islamic Art, preferred
∙ Some museum experience and a demonstrated interest in developing a career in museum work
How to Apply:
Send resume to Human Resources, Job-18-041CUR, P.O. Box 6826, Houston TX 77265-6826; Fax 713-639-7508 or email:jobs@mfah.org.

Exclusively Medieval, Online & Open Access: 2017 special issue of British Art Studies

The latest issue of British Art Studies (an open access, online Art History journal published by the Paul Mellon Centre for Studies in British Art), is entirely devoted to Medieval Britain. The content is derived from a conference held at the British Museum in 2014: Invention and Imagination in British Art & Architecture, 600-1500.

It opens with an editorial by guest editors Sandy Heslop and Jessica Berenbeim, followed by twelve articles in traditional format: 

Thanks to the digital platform, it is possible to reference the articles to the nearest paragraph using the DOI link. The platform’s scope is further tested through the Conversation Piece and Handling Digital Objects portions of this special issue: 

Another innovative feature is a virtual simulation of the object sessions held at the 2014 conference. In actuality, these took the form of guided sessions with objects in the seminar rooms at the conference venue. In the journal, they are recreated via four interactive 3D models of objects, each accompanied by a short essay: 

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/