Tag Archives: Call for Paper

CFP: 3 Sessions at ICMS, Kalamazoo 2019 (Deadline 15 September 2018)

The Restoration of the 14th-century Painted Ceiling of the Sala Magna in Palazzo Chiaromonte-Steri in Palermo, 3 linked sessions

Organizers: Licia Buttà (Universitat Rovira I Virgili, Tarragona) Costanza Conti (Università di Palermo) and Antonio Sorce (Università di Palermo)

Sponsored by the Italian Art Society

The restoration of the 14th-century wooden ceiling of the Sala Magna in PalazzoScreen Shot 2018-08-29 at 9.56.39 AM Chiaromonte—known as Steri—began in September 2017. The ceiling was crafted between 1377 and 1380, as attested by the inscription that runs along two sides of the ceiling between beams and lacunars, in which the name of the patron is also mentioned: the powerful and noble ruler of Palermo—Manfredi Chiaromonte (d. November 1391). The surface area of the wooden ceiling measures 23 x 8 meters. The iconography is displayed uninterrupted on the three sides of the 24 beams and on the 100 coffered lacunars. After the fall of the Chiaromonte family, the palace was first occupied by King Martin I, the Humane (29 July 1356 – 31 May 1410), then by the Viceroys of Aragon, and the House of Bourbon. Between 1601 and 1782 it became the Palace of the Inquisition and later the halls of the palace were used as the Court of Appeal. Today the building is home to the rectorate of the University of Palermo. The three linked sessions seek to be a fruitful occasion to study the ceiling of the Sala Magna in Palazzo Chiaromonte-Steri and medieval painted ceilings in the Mediterranean in general, in terms of conservation as well as visual culture through a multidisciplinary perspective.

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CFP: New Directions in Carolingian and Ottonian Art: Assessing the Field (I-II) (Kalamazoo, 2019)

54th International Congress on Medieval Studies University of Western Michigan, Kalamazoo, Michigan May 9-12, 2019

Session Organizers: Joseph Salvatore Ackley (University of Arkansas) and Eliza Garrison (Middlebury College)

Long marginalized in the anglophone tradition of medieval art history, the study of Carolingian and Ottonian art has recently generated, over the last two decades, a striking chain of pathbreaking studies that have shaped and inflected the discipline in decisive ways. If earlier studies of Carolingian and Ottonian material were devoted to questions of dating, attribution, and the localization of workshops, more recent inquiries have considered questions of gender, representation, materiality, religious reform, temporality, and the role of the artist. As we approach the twentieth anniversary of the publication of Adam Cohen’s pioneering The Uta Codex: Art, Philosophy, and Reform in Eleventh-Century Germany, which appeared in 2000, the organizers of this double session seek papers from historians of Carolingian and Ottonian art and architecture that display a broad range of innovative methodological approaches to artworks created in all media. Papers that attend to issues of historiography – a particularly charged and complicated conversation for these monuments – and to artworks created and built at the edges of the Carolingian and Ottonian empires are especially welcome.

To propose a paper, please send an abstract of no more than 250 words, together with a completed Participant Information Form (https://wmich.edu/medievalcongress/submissions), to Joseph Salvatore Ackley (jackley@barnard.edu) and Eliza Garrison (egarriso@middlebury.edu) by September 15, 2018.

CFP: ICMA-sponsored session at 54th ICMS (Kalamazoo, 9-12 May, 2019)

The Other Half of Heaven: Visualizing Female Sanctity in East and West (c. 1200-1500) I-II

An ICMA-sponsored session at the 54th ICMS (International Congress of Medieval Studies) Kalamazoo, 9-12 May 2019

If, according to the well-known Chinese proverb, women hold half the sky, did medieval female saints hold half of heaven? In her book of 1998, Forgetful of their Sex: Female Sanctity and Society, ca. 500-1100, Jane Schulenburg calculated that of over 2200 female and male saints examined, only one in seven (or 15%) were women. Although documentation on medieval women is notably scarce, this gender-based asymmetry in the celestial realm clearly reflected the values and hierarchy of earthly society.

Female saints were exceptional women who gained social status, popular recognition and enhanced visibility through sainthood. Medieval female sanctity is a multi-faceted phenomenon, which has been mainly explored through words. Historians and literary scholars have fruitfully mined historical and hagiographical texts not only to draw ‘facts’ about the lives of female saints but also to elucidate social mentalities and highlight gender issues. Holy women, however, were also represented on a variety of media, most notably on icons, frescoes, manuscript illuminations and other artworks. Nevertheless, despite the wealth of historical and hagiographical scholarship on female saints, their visual representations have been exploited almost exclusively in stylistic or iconographic terms.

The aim of this session is to consider female sanctity in visual terms both in Western Europe and the Byzantine East. By exploring representations of women saints and their changing iconography, it aspires to shed light on their status and experience in late medieval society. It will examine images of holy women as embodiments of cultural models and explore the social and religious environment that shaped their visual constructions. In the highly symbolic world of the Middle Ages, representations of female saints can become a vehicle for multiple interpretations, including social status, gender, identity, ethnicity and collective memory.

Some of the issues to be addressed include but are not restricted to:

  • Visual narratives and iconographic attributes defining female sanctity
  • The corporeality of female saints and the representation of the holy body
  • The iconography of transvestite holy women
  • Out of sight, out of mind: forgotten saints and newcomers
  • The relation between female holy images and text in illuminated manuscripts
  • The influence of mendicant literature on picturing female sanctity
  • One saint, many images: changes in iconography and meaning
  • Iconographic variations of the Virgin in East and West


Participants in ICMA-sponsored sessions are eligible to receive travel funds, generously provided by the Samuel H. Kress Foundation. The Kress funds are allocated for travel and hotel only. Speakers will be refunded only after the conference, against travel receipts.

Please send paper proposals of 300 words to the Chair of the ICMA Programs Committee, Beth Williamson (beth.williamson@bristol.ac.uk) by September 1, 2018, together with a completed Participant Information Form, to be found at the following address: https://wmich.edu/medievalcongress/submissions#papers 

Please include your name, title, and affiliation on the abstract itself. All abstracts not accepted for the session will be forwarded to the Congress administration for consideration in general sessions, as per Congress regulations.

CFP: Intersectional Medievalisms (54th International Congress on Medieval Studies, 9-12 May 2019)

Intersectional Medievalisms

54th International Congress on Medieval Studies, Kalamazoo, MI, May 9 to 12, 2019

Organizers: Bryan C. Keene (The J. Paul Getty Museum) and Benjamin C. Tilghman (Washington College)

Sponsored by The J. Paul Getty Museum

The close ties between medieval revivalism and the construction of cultural identities have long been recognized. The appropriation of the medieval past by white supremacist and nationalist groups has especially attracted comment over the past two years, and many scholars of medieval studies have traced those appropriations and highlighted the myths and misconceptions upon which they are built. The association of medievalism with the construction of normative (white, heterosexual, cisgender, Christian) identity has come to be so strong that it is often assumed that those who fall outside such identity groups would (or even should) have little or no interest in the Middle Ages. That this belief, which can troublingly be found in in the scholarly community just as much as the general public, is patently false could readily be seen at The Metropolitan Museum of Art’s 2018 “Heavenly Bodies” Gala. But similar to the invocation of the medieval past by such artists as Kehinde Wiley and Ron Athey, the medievalism of the Met Gala was treated somewhat superficially, with more concern for the glamor of the event than the complex coding of the fashion and its wearers. These sessions will consider the important, if often unmentioned, intersectional practice of medievalism in contemporary culture through papers and discussion about the use of medieval motifs and themes in contemporary works in any media by writers, performers, musicians, and artists of color and by queer and trans-identifying creators. As such, these sessions seek to be a first step towards a fuller consideration of medievalisms that range outside the customary assumptions about to whom the Middle Ages presents a usable past.

Intersectional Medievalisms I: Creators of Color

Even as medievalists have become much more attuned to the presence of people of color in medieval Europe, they have yet to fully consider the presence of the Middle Ages in the art, poetry, music, and other cultural expressions of contemporary people of color. While the references to medieval (and early modern) culture in such works as Kehinde Wiley’s paintings and Jay-Z’s Magna Carta… Holy Grail have been widely recognized, the arguably more complex reworkings of medieval culture by Rashaad Newsome, RAMMΣLLZΣΣ, and Derrick Austin have thus far gained little notice. What is the medieval in the work of these artists? A contested source of oppression? A tool for cultural renegotiation and redefinition? A seductive space of myth and beauty? Must their use of the medieval past be understood necessarily as a pointed appropriation, or can it be seen as the mining of just another source of raw cultural material? Speakers are encouraged to consider not only the stakes of medievalism in this particular cultural moment, but also other aspects of these creators’ intellectual projects, such as the explorations of semiotics, phenomenology, intermedia creation, ornament and surface, and temporality that run through many of these works.

Intersectional Medievalisms II: Queering the Medieval

The scholarly approach of “queering” the past has revealed otherwise invisible, erased, or censored facets of medieval identity and relationships. This methodology also disrupts the cisgender and heteronormative binaries that all-too-often remain pervasive in the academy and in the popularly imagined Middle Ages. LGBTQ+ artists have also addressed these issues, at times turning to broadly-conceived medievalisms. Ron Athey, Gabriel Garcia Roman, and others evoke the cult of saints in their work, a poignant commentary about acceptance by the Catholic (and broader Christian) community. The relationship between medieval chant and the vocal performances of Meredith Monk and Oblivia deserves greater attention, as does the architectural and advertising medievalism of queer clubs, lounges, and Pride events (a project begun by the late Michael Camille). By focusing on the relationship between a creators’ identity and their conception of the medieval, we encourage speakers to consider how medievalism is practiced in contemporary culture and how to open the academy or museum as spaces of greater inclusion and dialogue.

While the two sessions will be split to allow for a sharper focus on the role of race and of gender and sexual identity in contemporary creative medievalism, the aim of these sessions is for all the work presented to be resolutely intersectional, looking to trace and illuminate connections rather than delineating borders.

To propose a paper, please send a one-page abstract and a completed Participant Information Form (available via the Congress website) by September 15 to Bryan C.Keene (BKeene@getty.edu) and Benjamin C. Tilghman (btilghman2@washcoll.edu). More information about the Congress can be found here: https://wmich.edu/medievalcongress

CFP: NUME Research Group on Latin Middle Ages Florence, Italy (June 3-4, 2019)

1. NUME, Research Group on Latin Middle Ages, organizes the V Cycle of Medieval Studies, June 2019.

2. The goal is to offer a broad overview of the current situation of Italian and international medievalist studies. Issues which are related to many different aspects of the medieval period (V-XV century) can be addressed: history, philosophy, politics, literature, art, archeology, material culture, new technologies applied to medieval studies and so on;

2.1 Contributions with two or more speakers are accepted;
2.2 Contributions already structured in panels and leaded by 1 coordinator are accepted;
2.3 All contributions will be structured in specific panels.

3. The conference will be held from 3rd to 4th June 2019 at the ex Convento Il Fuligno, Florence, via Faenza 48n.

4. Participation proposals must have abstract format, written on a single pdf file in english, not exceeding 300 words. Furthermore, 5 keywords identifying the topic will have to be reported in the same file. Proposals must be accompanied by a short CV (no more than 1000 words), and sent by October 1st, 2018 to the e-mail address:


4.1 In the case of panels, the proposal must include a general title with a general presentation not exceeding 300 words, followed by abstracts of all the interventions (presented as in point 4.)

5. Proposals will be evaluated by the Review Board on the basis of quality, interest and originality. The judgment of the Commission will be unquestionable.

6. The Commission will notify the convocation for the speakers considered suitable by November 15th, 2018. The previous membership of the NUME Association does not necessarily imply the convocation.

7. The selected speakers will be asked to prepare an oral intervention, accompanied by any images or videos, not exceeding 15 minutes (+5’ discussion time). Contextually, they will be asked to send a paper of their contribution for the Conference Proceedings by February 1st, 2019.

8. The selected speakers will be required a registration fee as follows:

– NUME members (enrolled before June 29th, 2018): 80 EURO each
– Other speakers: 100 EURO (+20 EURO of membership) each

The participation will entitle to 1 free copy of the Conference Proceedings.

9. The Conference program will be published by April 30th, 2019.

10. The deadlines set out in this call must be strictly observed, otherwise the contribution will be excluded from the call.

CFP: Fuerstbischoefliche representation (Passau, 5-6 Oct 18)

Oberhausmuseum Passau, 05. – 06.10.2018
Deadline: May 25, 2018

Call for Papers
Fürstbischöfliche Repräsentation im Spätmittelalter und der Frühen Neuzeit

Die oberhalb Passaus gelegene fürstbischöfliche Veste Oberhaus wird erstmals 1219 schriftlich fassbar. Zum 800jährigen Jubiläum wird 2019 im Oberhausmuseum Passau die Entwicklung der Burganlage zur Residenz- und Festungsanlage in einer Sonderausstellung thematisiert. Ergänzend werden in einer Multimediainstallation im Observationsturm der Festung die neuesten Forschungsergebnisse des EU-Projekts ViSIT zur Bau- und Burggeschichte der Veste Oberhaus präsentiert. Begleitet wird das Vorhaben von einer Tagung zum Thema “Fürstbischöfliche Repräsentation im Spätmittelalter und der Frühen Neuzeit”, die am 5./6. Oktober 2018 in Passau stattfindet. Der Fokus liegt auf der Untersuchung der Repräsentations- und Inszenierungsstrategien geistlicher Herrscher in der profanen Architektur.

Auf der Tagung soll die Funktions- und Nutzungsgeschichte von Burganlagen, die zu Residenzen und/oder Festungsanlagen ausgebaut worden sind, untersucht werden. Hierbei spielt auch die mitunter wechselvolle Beziehung zwischen Burg und Stadt sowie dem Umland eine wichtige Rolle. Ebenso gilt es, das Wechselverhältnis der Burganlagen zu anderen fürstbischöflichen Residenzen, Jagd- und Lustschlössern vergleichend in den Blick zu nehmen. Welche Möglichkeiten hatten die Fürstbischöfe ihr Herrschaftsamt in der Architektur zu visualisieren? Inwiefern orientierten sie sich architektonisch an den weltlichen Herrschern? In welchem funktionalen Verhältnis stehen Burgen, Residenzen, Jagd- und Lustschlösser hinsichtlich ihrer Nutzung zueinander und bilden dadurch eine Residenzenlandschaft aus? Welche architektonische Infrastruktur (Treppen, Kapellen, Repräsentationsräume und Raumfolgen, Gärten, Lustgartenarchitekturen, Theater etc.) benötigte ein geistlicher Fürst? Wie und in welcher Form mussten die Burganlagen verändert und angepasst werden, um als repräsentativer Wohnsitz weiter genutzt und den wechselnden Bedürfnissen des Fürstbischofs gerecht zu werden?

In diesem Kontext können auch die unterschiedlichen fürstbischöflichen Repräsentations- und Inszenierungsstrategien in der Architektur und Innenausstattung behandelt werden. Welche Optionen hatten die geistlichen Herrscher ihre weltliche Macht ohne Rückverweis auf die Dynastie und Aussicht auf Etablierung einer Erbfolge zu unterstreichen? Wie trägt hierbei beispielsweise die Inszenierung und Präsentation von Kunstsammlung, Harnischkammer, Zeughaus, Silberkammer oder Porträtsammlung zur Herrschaftslegitimation der geistlichen Fürsten bei?

Auf der Tagung sollen die genannten Aspekte für die geistlichen Fürsten im Heiligen Römischen Reich deutscher Nation mit Schwerpunkt auf den süddeutschen Raum im Spätmittelalter und der Frühen Neuzeit eruiert werden.

Die Veröffentlichung der Tagungsbeiträge wird gemeinsam mit den Forschungsergebnissen des EU-Projekts ViSIT im Ausstellungskatalog zur Sonderausstellung geplant. Da der Band zur Ausstellungseröffnung am 1. Juni 2019 vorliegen soll, müssen die Beiträge bereits vier Wochen (5. November 2018) nach der Tagung vorliegen.

Der Call for Papers richtet sich explizit auch an NachwuchswissenschaftlerInnen (DoktorandInnen und PostdoktorandInnen), die ihr Forschungsthema in einem 20minütigen Vortrag präsentieren möchten. Angesprochen sind WissenschaftlerInnen aus der Kunstgeschichte und der Geschichtswissenschaft sowie aus verwandten Fachbereichen. Interessierte senden bitte ein kurzes Abstract von maximal 2000 Zeichen und einem kurzen Lebenslauf sowie Kontaktdaten per E-Mail bis zum 25. Mai 2018 an Marina Beck (marina.beck@passau.de)

Dr. Marina Beck (Oberhausmuseum Passau, EU-Projekt ViSIT – Virtuelle Verbundsysteme und Informationstechnologien für die touristische Erschließung von kulturellem Erbe)

CFP: ‘Peaks-Passages-Ponti’, Deutscher Verein für Kunstwissenschaft (deadline 1 June 2018)

5. Forum Medieval Art: Peaks-Passages-Ponti

The fifth Forum Medieval Art will take place in Bern on 18th-21st September 2019. Bern – looking out to peaks Eiger, Mönch, and Jungfrau, situated at the border to the Romandy, and having a long-standing tradition in bridge-building – embodies certain notions of translations, entanglements, and interactions. The conference will highlight such themes, focusing on forms and means of exchange, infrastructure, political and religious relationships, and the concrete reflections of these connections through objects. Methodological challenges will also be paramount, such as questioning how to write a history of encounters between artists, artworks, materials, and traditions.

Many mountain regions, and especially the Alps, have a long history as sites of transfers and interferences. Today, mountains and glaciers are the locations revealing most rapidly the consequences of climate change. They raise our awareness of similar changes in the past. Mountain regions were and are traversed by several ecological networks, connecting cities, regions, and countries, as well as different cultures, languages, and artistic traditions. Mountains, with their difficult passages and bridges, structured the ways through which materials and people were in touch. Bridges were strategic targets in conduct of war, evidence of applied knowledge, expression of civic representation, and custom points—both blockades and gates to the world.

Peaks in the historiography of Art History mark moments of radical change within artistic developments, the pinnacles of artistic careers, and high moments in the encounters of different traditions. Since the unfinished project of Walter Benjamin, who obtained his PhD in Bern, the passage has also been introduced as a figure of thought in historiography. The passage describes historical layers as spatial constellations, in which works of art, everyday culture, religious ideas, definitions of periods and theories of history encounter.

Please send your submission until June 1, 2018, to

Find more information here: http://mittelalterkongress.de/mittelalterkongress/wb/pages/startseite.php

German call for papers:

In Bern – mit Blick auf Eiger, Mönch und Jungfrau, als Passage zur Westschweiz und mit einer langen Tradition im Brückenbau – wird das fünfte Forum Kunst des Mittelalters die Schnittstellen, Transfer-, Entanglement- und Überlagerungsprozesse selbst ins Zentrum stellen. Es thematisiert die Formen und Wege des Austauschs, die Infrastruktur, die Verbindungen der politischen und religiösen Kontexte, die konkreten Reflexionen dieser Beziehungen in den Objekten und die methodische Herausforderung, die Geschichte von Begegnungen von Künstlern, Werken, Materialien und Traditionen zu schreiben.

Viele Gebirgsregionen, und insbesondere der Alpenraum, haben als Transfer- und Überlagerungsraum eine lange Geschichte. Zugleich sind Berge und Gletscher in der Gegenwart Orte, an denen die Folgen von Klimaveränderungen besonders rasch sichtbar werden. Sie sensibilisieren daher auch für ähnliche Veränderungsphänomene vergangener Zeitschichten. Bergregionen waren und sind durchzogen von verschiedenen Netzwerken, in denen herausfordernde Passagen, oft mit Pässen und Brücken, Städte, Regionen, Länder, und damit verschiedene Kulturen, Sprachen und ihre künstlerischen Traditionen verbanden. Sie strukturierten die Wege, über die Materialien, Menschen, Regionen miteinander im Austausch standen. Brücken waren strategische Ziele in der Kriegsführung, Zeugnis angewendeten Wissens, Ausdruck städtischer Repräsentation, Zollstellen, und Tore zur Welt.

Gipfel markieren in der Kunsthistoriographie Momente des Umbruchs einer längeren Entwicklung, Höhepunkte in künstlerischen Karrieren und zentrale Momente in der Begegnung von verschiedenen Traditionen. Seit dem unvollendetem Projekt Walter Benjamins, der in Bern promoviert wurde, ist die Passage auch als Figur der Geschichtsschreibung eingeführt, die historische Schichten von Räumen als Konstellation begreift, an der sich Kunstwerke, Alltagskultur, religiöse Vorstellungen, Definitionen von Epochen und Geschichtstheorie begegnen.

Ihre Vorschläge für Sektionen richten Sie bitte bis spätestens 1. Juni 2018 an

French call for papers:

5. Forum Medieval Art

Face aux sommets de l’Eiger, du Mönch et de la Jungfrau, représentant un lieu de passage entre Suisse allemande et romande et héritière d’une longue tradition de la construction de ponts la ville de Berne va accueillir le cinquième “Forum d’art médiéval” pour discuter les processus de transfert, d’échange et d’interférences culturels au Moyen Âge. Il abordera les problématiques des formes et voies d’échange, de l’infrastructure, des liens politiques et religieux qui sont reflétés dans les œuvres et lancera le défi méthodologique d’écrire une nouvelle histoire de l’art comme histoire des rencontres entre les hommes, les œuvres, les matériaux et les traditions.

Beaucoup de régions montagnardes, et notamment l’arc alpin, ont une longue tradition d’espaces d’échange et de transfert. En même temps, les montagnes et les glaciers représentent des lieux où le changement climatique se manifeste très vite. Ils sensibilisent à l’étude de changements comparables qui eurent lieu dans le passé. Les montagnes sont depuis toujours traversées d’un réseau de chemins et de routes intégrant des passages difficiles, souvent par des cols et des ponts. Ce réseau établit le lien entre villes, régions et pays, mettant en relation les diverses cultures avec leurs langues et leurs pratiques artistiques différentes. Les régions montagnardes comprennent les voies de transport et d’échange de matériaux et d’hommes entre régions. Les ponts devinrent souvent la cible pendant les guerres, représentaient une démonstration du savoir-faire et symbolisaient la barrière douanière tout comme la porte qui s’ouvre au monde.

Dans l’historiographie de l’histoire de l’art ce sont les apogées qui désignent un changement profond dans une évolution en cours, un sommet d’une carrière d’artiste ou un moment crucial d’une rencontre entre traditions différentes. Depuis le projet inachevé de Walter Benjamin, qui a soutenu sa thèse à l’université de Berne, le terme de “passage” fait partie de la pensée d’historiens qui cherchent à comprendre les stratifications historiques d’un espace comme des lieux de rencontre entre objets d’art, culture du quotidien, idées religieuses, définitions d’époques et théories d’histoire.

Les propositions de séance sont à soumettre jusqu’au 1er juin 2018 par
e-mail à l’adresse suivante :