Tag Archives: Conference

CfP: Medieval Echo Chambers: Ideas in Space and Time, College Art Association Annual Conference Los Angeles, 21-24 February 2018

CALL FOR PAPERS: ICMA @ CAA

Medieval Echo Chambers: Ideas in Space and Time
College Art Association Annual Conference
Los Angeles, 21-24 February 2018

Session sponsored by the International Center of Medieval Art

CFP Deadline: 14th August 2017

In recent decades, historians of medieval art and architecture have begun to think about the ways in which the interaction of objects, images, and performances were focused by particular medieval spaces. Whether directed towards a powerful cumulative spirituality, a slowly-accruing political self-fashioning, or more everyday performances of social coherence, it is clear that medieval space had the power to bind together sometimes quite disparate objects, forming their multiple parts into coherent messages for different types of viewers.

Thus far, however, such discussions have largely chosen to focus on individual moments of such consonance, thinking through the medieval Gesamtkunstwerk in only one particular iteration. This session proposes to expand this type of thinking beyond the snapshot by considering how medieval spaces could not only encourage resonance between objects in the moment but also echo these ideas over time. How did certain medieval spaces act as ideological echo chambers? How did certain spaces encourage particular recurring patterns of patronage, reception, or material reflection? How did people in the Middle Ages respond aesthetically to the history of spaces they inhabited, and how did they imagine these spaces’ future?

We invite proposals for 20-minute papers that focus on material from any part of the Middle Ages, broadly defined both chronologically and geographically.

Paper topics might address, but are by no means limited to:

  • longue durée narratives showcasing the continuous interaction of objects and architecture.
  • the resonance of particular quotidian spaces—marketplaces, bridges, squares—with objects and performances over time and across evolving audiences.
  • relationships emerging over time between certain types of space and certain types of artist or craftsman
  • documents and performances through which the evolving histories of particular spaces and objects were remembered, reiterated, repeated
  • the role of the immaterial—sound, light, smell, touch—in drawing together spaces and objects, and the issues associated with charting these relationships over time
  • medieval spaces that continue to foster relationships with objects of the classical world
  • medieval interactions between objects and space that project into the early modern period and beyond
  • ‘future spaces’, which point to times and places beyond themselves, whether an imminent reality or a more fantastical future

250-word proposals should be sent with a short academic CV to Jack Hartnell (j.hartnell@uea.ac.uk) and Jessica Barker (j.barker@uea.ac.uk) by 14th August 2017.

Accepted speakers may be eligible to apply for ICMA-Kress Travel Grants to support travel to and from Los Angeles. For more information, see: http://www.medievalart.org/kress-travel-grant

Organisers:
Dr Jack Hartnell, Lecturer in Art History (UEA, Norwich)
Dr Jessica Barker, Lecturer in Art History (UEA, Norwich)

Conf: IV Forum for the Art of the Middle Ages, Berlin & Brandenburg, 20-23rd Sep 2017

Berlin, Brandenburg an der Havel, 20. – 23.09.2017

IV. FORUM KUNST DES MITTELALTERS
BERLIN UND BRANDENBURG
360° – VERORTUNG, ENTGRENZUNG, GLOBALISIERUNG
20.–23. SEPTEMBER 2017

veranstaltet vom
Deutschen Verein für Kunstwissenschaft e.V.
mit der Humboldt-Universität zu Berlin, der Freien Universität Berlin
und dem Leibniz-Institut für Geschichte und Kultur des östlichen Europa

Das vierte Forum Kunst des Mittelalters widmet sich schwerpunktmäßig
Themenbereichen, die an den geographischen und methodischen Grenzen
klassischer Mittelalterforschung angesiedelt sind. Ausgangspunkt sind
die Veranstaltungsorte Berlin und Brandenburg an der Havel, wo
einerseits lokale mediävistische Themen zu verhandeln, andererseits
reiche Sammlungsbestände zu byzantinischer und vorderasiatischer Kunst
vorhanden sind. Entsprechend geht es um die Interaktion
zentraleuropäischer Kunst des Mittelalters mit künstlerischer
Produktion in anderen Regionen: von Osteuropa über den byzantinischen
Bereich, den Vorderen Orient, die Kaukasusregion und den Mittelmeerraum
bis hin zu den britischen Inseln und dem Ostseeraum einschließlich
Skandinaviens. Damit werden auch Forschungsbereiche wie die
Byzantinistik oder die Islamische Kunstgeschichte in den Fokus des
mediävistischen Bewusstseins gerückt, gerade vor dem Hintergrund der
massiven Gefährdungen künstlerischer und architektonischer Denkmäler im
Vorderen Orient. Thematisiert sind etwa Phänomene wie Migration,
Medientransformation und kulturelle Paradigmenwechsel. Indem wir nach
kulturell prägenden Regionen an den Grenzen „Europas“ und nach
transkulturellen Kontaktzonen fragen, werden auch Definitionen von
Mittelalter zur Debatte gestellt. – Als Pendant zu diesem Rundblick
präsentiert sich auch die Forschung zur Region Brandenburg/Berlin. Dazu
gehören ebenfalls Themen der museologischen und kunstwissenschaftlichen
Geschichte Berlins, wo die Erschließung von Zonen kulturellen
Austauschs eine lange Tradition hat.

MITTWOCH, 20. SEPTEMBER 2017
HUMBOLDT-UNIVERSITÄT ZU BERLIN (HU)

CfP: New Directions in the Study of Medieval Sculpture, Leeds, 16-17 Mar 2018

Henry Moore Institute, Leeds, March 16 – 17, 2018
Deadline: Sep 30, 2017

New Directions in the Study of Medieval Sculpture

Focusing on the materiality of medieval sculpture has proven crucial to
its study and has expanded our historical understanding of sculpture
itself. Whether monumental relief sculpture in stone, wooden sculptures
in the round, sculpted altarpieces, ivory plaques or enamelled
reliquaries, the possibilities for research on medieval sculpture now
extend far beyond the established canon.

Contemporary medieval sculpture studies have opened the field to
comparative and inclusive research that embraces the social,
performative, gendered and ritual uses of medieval sculpture. These
developments have inspired the organisers of the conference New
Directions in the Study of Medieval Sculpture to reflect on the field
and ask how do we investigate medieval sculpture today and what might
come ‘after’ materiality?

This two-day conference seeks to assess and critique the state of the
field on medieval sculpture and to investigate new directions,
approaches and technologies for research. A consideration of the state
of the field could be approached through, but is not limited to, the
following topics:

    Processes and techniques of medieval sculpture
    The sensory experience of medieval sculpture
    The ephemeral and intangible aspects of medieval sculpture
    Medieval sculpture, photography and digital reproduction
    Archives, casts and reconstructing medieval sculpture
    Sculpture and medievalism
    Historiography of medieval sculpture studies
    Exhibition histories of medieval sculpture

This conference is hosted by the Henry Moore Institute, a centre for
the study of sculpture, and is convened by Dr Elisa Foster, 2016-18
Henry Moore Foundation Post-doctoral Fellow.

Accommodation and reasonable travel expenses within the UK will be
reimbursed.

Paper proposals should be sent via email to Dr Elisa Foster:
elisa.foster@henry-moore.org by 30 September 2017.

CFP: Archaising/Classicising/Medievalising (Oxford, 17 Jun 17)

downloadCentre for Classical Studies, Corpus Christi College, Oxford, June 17, 2017
Deadline: May 2, 2017

Call for Papers:
Archaising/Classicising /Medievalising:
Self-Historicisation and its Discontents

Saturday June 17,
Centre for Classical Studies,
Corpus Christi College,
Oxford

Texts, songs, buildings, or objects that consciously refer to themselves using the visual, aural, or architectural vocabulary of a previous era present both interesting historical and critical, as well as historiographic, questions. This one-day symposium intends to ask what self-historicising means in the widest possible variety of contexts and media, and to address some the of theoretical gaps in the study of objects that are aware of their own temporality. Medievalising tendencies in the text style or decoration of Early Modern printed books, for instance, raise questions about what constitutes ‘humanist’ or ‘Renaissance’ content, and the geographic assumptions of Italianate origin often associated with classicising and not medievalising. Other possible topics include seventeenth through nineteenth century classicisms and their implications for the Grand Tour, classicisms and colonialisms, Protestant and Catholic classicisms during the Reformation, the association between materiality and archaising in general, as well as archaising tendencies (Roman to Greek, Imperial Roman to Republican &c) in classical text and art itself. Participants from across the humanities and social sciences are invited to submit an approximately 250 word abstract for a 15-20 minute paper on any related
topic, with the goal of mutual discussion across disciplinary and period lines in common. Provisions for slides, audio, or other media display, will be made ahead of time, and lunch is included with the £15 conference fee.  Abstracts should be submitted by 2 May to Alexandra Marraccini at: avmarraccini@uchicago.edu.

CFP: Singular Acts (London, 16 Nov 17)

The Warburg Institute LibraryLondon, The Warburg Institute, November 16, 2017
Deadline: May 31, 2017

Singular Acts: The Role of the Individual in the Transformation of Collective Culture

The Warburg Institute will host its second Postgraduate Symposium on 16 November 2017. This year’s Symposium focuses on particular personalities who acted for or against historical and cultural change.

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Revisiting the Transcultural Paradigm in Art History (Berlin, 19-20 May 17)

Freie Universität Berlin HolzlaubeBerlin, Freie Universität, May 19 – 20, 2017

Revisiting the Transcultural Paradigm in Art and Art History

Over the last six years, the Research Unit “Transcultural Negotiations in the Ambits of Art“ has analysed the production of art and its discourses in transcultural contexts brought about by trade, travel, migration, or globalization. The research group served as a framework for projects which share aspects of approach and methodology, but differ in their regional and historical focus.
One of our central concerns was that “transcultural” should not be understood and employed as a descriptive term, as this results in an essentialist view of objects and cultural diversity. We addressed this by focusing on processes of negotiation in situations of contact which include works of art or artefacts as well as agents. As mediators or as the object of negotiations, works of art form part of the negotiation process. The paradigms translation, mobility, and decentering proved particularly fruitful with regard to this process-oriented approach. These models will be discussed with recourse to concrete case studies in the three respective panels of our final conference.

Veranstaltungsort: Freie Universität Berlin, “Holzlaube”, Fabeckstraße 23–25, 14195 Berlin, room 2.2058/2.2059

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Conference: Le don mis en scene (Louvain, 20-21 Apr 17)

Université catholique de Louvain

The Gifts of the three sages

Gifs broght by the three sages

April 20 – 21, 2017
Le don mis en scène. Représentations visuelles et textuelles de l’acte
de donation dans les arts de la première modernité
Colloque organisée par le GEMCA (Université catholique de Louvain)

Cette rencontre ambitionne d’étudier l’acte de donation au cours de la
première modernité, un acte que l’on envisagera comme forme de
communication et comme acteur du lien social. C’est plus précisément la
mise en scène du don d’œuvres d’art et d’objets que l’on souhaite
interroger. Car pour pouvoir participer pleinement de l’affirmation
d’un statut ou d’un pouvoir, cet acte suppose un espace de visibilité
et de représentation, assurant sa publicité au sein d’une communauté.
Deux axes de réflexion complémentaires seront privilégiés : celui des
mécanismes visuels, rhétoriques et littéraires qui participent de la
mise en scène du don ; et celui de ses effets au sein des dynamiques
relationnelles qu’il institue.
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