Tag Archives: cross-period

Time and Temporality in Medieval and Early Modern Art (May 18 – 19, 2016, The Open University of Israel, Raanana)

a-1496-copy-of-the-german-calendar-created-by-johannes-von-gmunden-c-1380-1443-copy[1]Call for Papers deadline: Dec 31, 2015

IMAGO – The Israeli Association for Visual Culture of the Middle Ages,
and the Department of Literature, Language and Arts, The Open
University of Israel

The subject of time was frequently encountered in medieval and early
modern thinking and culture, from the notion of eternity as an abiding
“now” outside of time (as defined by Gregory of Nazianzos, in Oratio
39.12, “Christ, the Maker of time . . . is not subject to time”) to the
aphorism Tempus vitam regit (“Time rules life”) engraved on more than
one sundial. Ranging from the discussion of the reception of
Aristotelian and Neoplatonic concepts of time and temporality (Pasquale
Porro, The Medieval Concept of Time) to the analysis of temporality and
anachronism in art (Elizabeth Sears, The Ages of Man: Medieval
Interpretations of the Life Cycle; Alexander Nagel and Christopher
Wood, Anachronic Renaissance), scholars have engaged with the
conceptualization and problematics of notions of time and temporality,
eternity and historicity, continuum and momentarity during the medieval
and early modern periods.

This conference strives to expand the existing body of research by
exploring the inventive nature of forms and ways of reckoning time in
art. We hope papers will consider questions such as: What is the
phenomenology of works of art representing ever-stretching, eternal, or
circular time? How has the idea of linear and progressive historical
time been appropriated or challenged in artistic objects and works?
What is the nature of the artwork when submitted to different regimes
of historical temporality? What are the specific artistic devices that
give form to past appropriation and temporal experience? What is the
nature of the work of art that records the passage of time in nature?
How has the notion of time been used for purposes of patronage and
identity?

Proposals for talks may refer (but are not limited) to the following
topics:
– Conceptualizing the idea of time and temporality in art
– The aesthetic rendering of time: color/grisaille, inaccurate
measurements, distorted notions of space
– Temporal characteristics of atemporal divinities
– Material culture as a marker of time
– Time, creation and continuity in art
– Reconfiguring the past in the present: biblical time and political
images
– Liturgical time and divine continuity in art
– Memory as a constructor of historical images
– Motion and time: temporal geographies in Christian, Jewish, and
Islamic visual space
– Spatial time and temporal space
– Visual indications of eternity versus time
– Temporality and identity in art
– Physiognomy, body, and traces of time
– Imaging medical and astrological temporality
– The question of trauma in the interpretation of art
– Use and abuse of the past in visual memory

Keynote Speaker:
Professor Charles Barber, Princeton University

Please send an English abstract of up to 250 words to the conference
organizer, matim@openu.ac.il, before 31 December 2015. Abstracts should
include the applicant’s name, professional affiliation, and a short CV.
Each paper will be limited to a 20-minute presentation, followed by
discussion and questions. All applicants will be notified regarding
acceptance of their proposal by 31 January 2016.

For more information or any further inquiries please contact the
conference chair, Mati Meyer – matim@openu.ac.il.

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Conference programme: Seals and Status 800-1700 (British Museum, 4-6 Dec 2015)

Silver seal matrix set with a red jasper Roman intaglio showing the emperor Antoninus Pius. Acquired with the assistance of Dr. John H. Rassweiler.

Silver seal matrix set with a red jasper Roman intaglio showing the emperor Antoninus Pius. Acquired with the assistance of Dr. John H. Rassweiler.

Programme for Seals and Status 800-1700, a major conference at the British Museum, 4-6 December 2015. Book tickets at the official site.

£50 (£25 students and concessions)

Friday 4 December

08.30      Coffee and registration

09.30      Introduction

Jonathan Williams, British Museum

09.45      Keynote 1

Status: an impression
Brigitte Bedos-Rezak, New York University

10.45      Break

11.00      Session 1: Images and cultural history

Chair: Leslie Webster, British Museum

Seal matrices from Anglo-Saxon England
Simon Keynes, University of Cambridge

Sanctity and the impression of place: pilgrimage art and seals in the Latin Kingdom and the West
Laura Whatley, Auburn University at  Montgomery

European heraldic elements in Islamic seals from Southeast Asia
Annabel Gallop, British Library

12.30      Lunch (not provided)

13.30      Session 2: Politics, power and people

Chair: TBC

Image, eikon and authority: the Republican great seal and its visual context, 1649–1660  James Jago, University of York

Negotiating political status: alliance treaties and city seals in the late medieval Upper Rhine region
Markus Späth, Justus Liebig-Universität Gießen

Social structure (judicial) of 11th-century Constantinople
Jonathan Shea, Dumbarton Oaks

15.00      Tea and coffee break

15.30      Session 3: Life cycles of the seal

Chair: Alan Borthwick,
National Records of Scotland

Chinese seals: stamps of status on Chinese paintings and calligraphy
Mei Xin Wang, British Museum

Sealed in lead: archaeological finds of Papal bullae
Tim Pestell, Norwich Castle Museum

La production de matrices de sceaux chez les orfèvres Bruxellois au
XVIème siècle
Marc Libert, Archives générales du Royaume – Algemeen Rijksarchief

18:30       Speakers dinner

Saturday 5 December

10.00      Keynote 2

The seal as status object
David Crouch, University of Hull

11.00      Break

11.15      Session 1: Status and self-representation

Chair: Julian Gardner

The seal(s) of Robert fitz Walter, godfather of Magna Carta
Nicholas Vincent, University of East Anglia

The seals of Lucrezia Borgia and Isabella d’Este
Diane Ghirardo,
University of Southern California

Social status as established through familial ties on Byzantine lead seals
Angelina Volkoff, Lomonosov Moscow State University

12.45      Lunch (not provided)

14.00      Session 2: Size, perception and production

Chair: Naomi Speakman, British Museum

Does size matter? Social standing and seal dimensions in medieval Britain
John McEwan, Saint Louis University

Studies in the materiality of royal and governmental seals 1100–1300
Elke Cwiertina & Paul Dryburgh, The National Archives

Beyond the usual suspects: seal motifs as expressions of status in non-elite society
Elizabeth New, Aberystwyth University

15.30      Tea and coffee break

16.00      Keynote 3

English medieval seals as works of art
T A Heslop, University of East Anglia

17:00       Conference Reception and Book  Launch

Sunday 6 December

10.00      Keynote 4

Managing the message: royal and governmental seals 1100–1700
Adrian Ailes, The National Archives

11.00      Break

11.15      Session 1: Person and personality

Chair: James Robinson, The Burrell Collection

Sealing ‘on behalf’
Jessica Berenbeim, University of Oxford

Ancient and medieval intaglios in medieval seals: their nature, meaning and social status
John Cherry, British Museum & Martin Henig, University of Oxford

Du sceau au monument funéraire: la pratique de la commandite des prélats français à la fin du Moyen Âge, le cas de Tristan de Salazar
Ambre Vilain, Institut national d’histoire de l’art

12.45      Lunch (not provided)

14.00      Session 2: Ownership, authority and function

Chair: Elizabeth Danbury, University College London

Illustrious ladies: Seals and female authority in Sweden, c. 1300–1430
Louise Berglund, Örebro University

Baronial seals before 1125: how rare a phenomenon?
Jean-François Nieus, University of Namur

Héraldique sigillaire des femmes au Moyen Âge: usage et function
Marie Gregoire, École Pratique des Hautes Études de Paris

15.30      Tea and coffee

16.00      Session 3: Category and corpus
Chair: P D A Harvey

Seals of English medieval queens: an introduction
Elizabeth Danbury, UCL

Names of occupation or office on medieval seal matrices recorded by the Portable Antiquities Scheme
Helen Geake, British Museum/University of Cambridge

Administrer le comté de Champagne au XIIIe siècle:le statut social et institutionnel des ‘petits officiers’ à travers leurs sceaux
Arnaud Baudin, LAMOP, UMR 8589

17.15      Closing remarks
P D A Harvey

Programme subject to change

CfP: Reading Architecture Across the Arts and Humanities (Stirling, 5 December 2015)

P2040342Reading Architecture Across the Arts and Humanities

An AHRC-Funded Interdisciplinary Conference University of
Stirling, Saturday 5th December 2015

The organisers of this one-day multidisciplinary conference seek to
solicit proposals for 20-minute papers that consider the creation,
expression and subject-areas across the Arts and Humanities. Papers
should seek to address the creation, understanding, circulation and
cultural impact of both real and international contexts. Original and
creative accounts of how architecture might variously be ‘read’ and
interpreted across such disciplines as welcome.

Plenary Speakers: Rosemary Hill and Olivia Horsfall Turner

Possible topics may include, but are by no means limited to, the
following:
– Historicism
– Responses to, and recreations of, the architectural past
– Reflections upon architectural styles and ‘movements’
– Assessments of architecture and architectural practices
– Representations of architecture in film
– Architecture and the law
Antiquarianism and architecture
– Architectural ruin and the tourist industry
– Architectural conservationism
– The politics of architectural form
– Literary representations of architecture
– Lives of architects
– The aesthetics of architectural form
– Historiography
– Architectural Heritage

300-word proposals should be emailed to the conference organisers, Dr
Dale Townshend and Dr Peter N. Lindfield — architecture@stir.ac.uk — by
26 September 2015.

The School of Arts and Humanities at the University of Stirling has
generously agreed to fund a number of postgraduate travel-bursaries for
this event. Please contact the conference organisers for further
details.

This conference is the first event in a series of outputs arising
from the AHRC-funded project, Writing Britain’s Ruins, 1700–1850:
The Architectural Imagination at the University of Stirling (June
2015–December 2016).

CfP: Memory and Identity in the Middle Ages: The Construction of a Cultural Memory of the Holy Land in the 4th-16th centuries (26-27 May 2016, Amsterdam)

An interdisciplinary conference, 26 & 27 May 2016

The Holy Land has played an important role in the definition of the identities of the three major
Abrahamic religions. Constitutive narratives about the past of Judaism, Christianity, and Islam were
largely bound to this shared and contested space. As put forward both by Maurice Halbwachs and Jan Assmann, memory adheres to what is ‘solid’, stored away in outward symbols. The Holy Land is a focal point around which the shared memories of these different groups formed, and has been crucial for defining their identities. Accordingly, the definition of this shared memory can be traced as a process of elaborating a cultural memory: an ‘artificial’ construction of developed traditions, transmissions and transferences. This process of construction was pursued through different media that cast the past into symbols. The period between the age of Constantine and the late Renaissance was formative for constructing this memory. It saw the valorization of Christian holy places under Constantine, the birth of Islam, the construction of an important Jewish scholarly community in the Holy Land, the Crusades, the massive growth of late medieval pilgrimage involving Jewish, Christian and Islamic groups, as well as other crucial events.
The conference aims to bring together scholars who study the memories of the holy places
within these religious galaxies from various disciplinary perspectives, in order to achieve a constructive exchange of ideas. Scholars of all so-called Abrahamic religions are invited to submit proposals, including scholars of Western and Eastern Christianity, Judaism and Islam. The call is open for historians, art historians, literary scholars, theologians, philosophers working on topics ranging from Late Antiquity to the Renaissance.

This conference is organized by the team of the research project Cultural Memory and Identity in the Late Middle Ages: the Franciscans of Mount Zion in Jerusalem and the Representation of the Holy Land (1333-1516): Michele Campopiano, Valentina Covaci, Guy Geltner and Marianne Ritsema van Eck. The project is funded by the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO).
Papers should be 30 minutes long, and will be followed by 15 minutes of discussion. Participants are
asked to send an abstract of 300 words to memory.and.identity.conference@gmail.com before December 2015, together with information concerning their academic affiliation. Travel costs and two nights of accommodation will be financed by the project. Please do not hesitate to contact us for
additional information.

Image Matter: Art and Materiality (Manchester, November 6, 2015)

1920295_10101429075333985_729639212555295849_n[1]Call for papers deadline: Aug 1, 2015

Image Matter: Art and Materiality
AAH New Voices Conference
MIRIAD, Manchester Metropolitan University
6 November 2015

Keynote: Professor Carol Mavor (University of Manchester)

How do art historians interpret matter? And how about artists, makers,
theorists and critics? Much recent art historical and visual culture
literature has argued for the reinstatement of the bodily and the
material in art and its encounter, rejecting the pre-eminence of a
disembodied eye in favour of a wider range of somatic responses:
touching, hearing, tasting, smelling. Similarly, the material
physicality of the art object in its myriad forms—surface, texture,
weight, spatial extension, sound etc—has recaptured our attention.

New Voices 2015 will explore approaches to materiality and the material
in light of developing discourses that implicate art history, as well
as visual and material culture studies. Even if there has been a
‘material turn’, James Elkins (2008) argues that art history remains
fearful of the material: ‘art history, visual studies,
Bildwissenschaft, and art theory take an interest in materiality
provided that the examples of materiality remain at an abstract or
general level …’. If the sensorium of seeing, tasting, feeling and
hearing exceeds the rationality of disciplinary categories and the
systematisation of knowledge, how can writing about and through art
accommodate affective objects? How have artists negotiated the conflict
of a spectatorship, which disregards hapticity, surface and substance?
How do traditions of connoisseurship engage with contemporary theories
of materiality?

As a ‘somaesthetic’ approach of beholding (re)gains currency the
primacy of sight decreases (for example, in the re evaluation of
medieval artefacts that were touched, kissed and smelled).
Alternatively, vision may at least be understood as opening haptic and
experiential exchanges between object and maker, object and viewer. But
perhaps the questionable pre-eminence of visuality also evidences an
increased derogation of manual labour in lieu of what is perceived as
more cerebral, more elevated from the yucky material of bodily
production. New Voices 2015 takes place within the intellectual and
creative space of the art school, the messy realm of art production. It
therefore asks how (the) material and its associated places of
production and ‘consumption’—from the studio to the gallery—can be
integrated in the discourses of art history and its objects.
New Voices welcomes contributions from all periods and contexts which
address the relationship between visual and material studies and
practices. Topics may include, but are not limited to:

•    Haptic encounters with artworks (incl. performative, virtual,
conceptual works)
•    Historiographic reflections on attitudes towards material(ity)
•    Explorations on the relationships between visuality and materiality
•    Historiographic and methodological approaches to the material of
art (and its making)
•    Social, technological, historical and cultural contextualisations
of the material turn
•    Art and materiality in a digital age

Abstracts of no more than 300 words for 20-minute papers should be
submitted along with a 100-word biographical note to
ImageMatterAAH@gmail.com by 1 August 2015. Although the conference is
open to all, speakers are required to be AAH members. Convenors: Liz
Mitchell, Rosalinda Quintieri, Tilo Reifenstein and Charlotte Stokes.

New Voices are annual, one-day conferences of new doctoral scholarship
that take place at different universities throughout the UK.

Continuous Page. Scrolls and scrolling from Papyrus to Hypertext (Courtauld Institute, deadline for applications, 17 April 2015)

Great roll of the pipe, National Archives

Great roll of the pipe, National Archives

Continuous Page.

Scrolls and scrolling from Papyrus to Hypertext

UPDATE: Programme

Open to all, free admission, but advance booking required by 21 June:

https://www.eventbrite.co.uk/e/continuous-page-scrolls-and-scrolling-from-papyrus-to-hypertext-tickets-17187047923

PROGRAMME

09.30 – 10.00

Registration

10.00 – 10.10

Jack Hartnell (The Courtauld): Welcome

10.10 – 11.10

SESSION 1 – REACTION

Rachel Warriner (University College, Cork): ‘This fragile thing – with bite’: Nancy Spero’s feminist scrolls

Luca Bochichio (University of Genoa): Scrolling the Ephemeral. The revenge of endless paintings in the post-World War II European avant-gardes

11.10 – 11.40
TEA/COFFEE BREAK (provided)

11.40 – 12.40

SESSION 2 – TIME

Yasmine Amaratunga (The Courtauld): The Post-Internet Scroll

Kristopher Kersey (Smithsonian/University of Richmond): The Paginated Scroll Discontinuity, Chronology, and Memory in the Eyeless Sūtras

12.40 – 13.40
LUNCH (provided)

13.40 – 14.40

SESSION 3 – PERFORMANCE

Pika Ghosh (University of North Carolina, Chapel Hill): Pleasures of Scrolling. Hand-scrolls, Temple Walls, Graphic Novels and Oil Paintings

Eva Michel (Albertina, Vienna): Scrolling the Emperor’s Life and Triumph

14:40 – 14:50
COMFORT BREAK

14.50 – 15.50

SESSION 4 – JOURNEYS

Michael Hrebeniak (Magdalene College, Cambridge): ‘Literally one damned thing after another with no salvation or cease’: Jack Kerouac’s On the Road as Textual Performance

Stacy Boldrick (Fruitmarket Gallery, Edinburgh): Speaking Scrolls, Death and Remembering

15.50 – 16.20
TEA/COFFEE BREAK (provided)

16.20 – 17.20

SESSION 5 – DIGITAL

Katherine Hindley (Yale University): Prayer Rolls, Birth Girdles, and Indulgences. Scrolls in Medieval Medicine and Religion

Helen Douglas (artist/ Camberwell College of Art) and Beth Williamson (independent scholar): From hand scroll to iPad app

17:20 – 17:50
Closing Discussion

17:50 onwards
RECEPTION

Original call for participants

Scrolls encompass in one sweep the oldest and the most contemporary ideas about images and image-making. On the one hand, some of the most enduring artefacts of the ancient world adopt the scroll form, evoking long-standing associations with the Classical tradition, Eastern and Middle Eastern cultures, theatrical oration, and the word of the law. Yet today, scrolling is also the single most common interaction between people and their digital media: fingers routinely swipe across trackpads and touch-screens through reams of infinite hypertext. In between these two extremes too, we find a plethora of different artists and craftsmen turning and returning to the medium, from medieval medical treatises and Japanese emakimono to 19th-century wallpaper or Jack Kerouacs continuously-typewritten draft of On The Road.

Participants are sought to take part in a collaborative investigation into the intriguing format of the scroll and the act of scrolling across different cultures and periods, considering both the timeless material object and its infinite conceptual space. Participants are sought from any field or discipline, and are likely to be academics (at all stages of their careers), museum professionals, or practicing artists.

Meetings and Outputs

The project is formed of two parts. The first is a pair of two-day workshops based at The Courtauld Institute of Art, including keynote lectures, handling sessions in London museums, and fifteen-minute papers from participants on their research. Papers might consider – but are by no means limited to – the following ideas:

Workshop 1- Scroll as Object

(22-23 June, 2015)

  • Dead Sea Scrolls, Egyptian papyrus, Torah
  • Medieval genealogical rolls, legal rolls, medical rolls
  • Japanese Emakimono, Chinese handscrolls
  • Fabric rolls, wallpaper, other decorative rolls
  • Newspapers, type-written rolls, and other production line objects
  • Canvas rolls, 70s cut-to-order painting
  • Hypertext, online scrolling, Internet art

 

Workshop 2 – Scroll as Idea

(21-22 September, 2015)

  • Continuous page, continuous narrative, continuous text
  • History, law, authority
  • Papyrus, paper, pixel
  • Infinity, digital, touchscreen
  • Speech, theatre, oration
  • Mass creation, production lines, rolling type

The second element of the project will be the creation of an online exhibition to be launched in December 2015 entitled Continuous Page, presenting a series of digitised scrolls from a variety of places and periods. Drawing on the research and expertise of the workshop participants, the exhibition will be a critical online resource and lasting record of the project, showcasing the potential for combining new media practices and digital scrolling with the continuous page of the material scroll. Over the course of the workshops we will also be developing plans for a publication to coincide with the project.

Interested participants should send a short statement of interest in the project (no longer than one page) outlining your current research and the ways it aligns with the projects themes, workshops, and outcomes, as well as a full academic CV, to jack.hartnell@courtauld.ac.uk (Project convenor, Andrew W. Mellon Foundation Postdoctoral Fellow) by Friday 17 April 2015.

Limited funds may be available to support participation from scholars based outside the UK.

Conference: Reconsidering the Origins of Portraiture (Krakow, 16-18 April 2015)

01_11[1]Programme of the Conference co-organized by: The Institute of Art History of the Jagiellonian University and The Princes Czartoryski Foundation

16-18 April, 2015, Grodzka 53, Cracow

Entrance is free, all are welcome.

16 April, 2015

14.00-14.40 Welcome, Prof. Marek Walczak & Dr Mateusz Grzęda

  1. Portraying the Sovereign in the 13th and 14th Centuries

14.40-15.05 Dr Pierre-Yves Le Pogam, Musée du Louvre, The features of St Louis

15.05-15.30 Katharina Weiger, PhD candidate, Kunsthistorisches Institut in Florenz – Max-Planck-Institut, The portraits of Robert of Anjou: self-presentation as political instrument?

15.30-15.55 Dr Mateusz Grzęda, Jagiellonian University, Representing the Archbishop of Trier: Portraits of Kuno von Falkenstein

15.55-16.20 Discussion

 

16.20-16.45 Coffee break

  1. Portraiture and Memoria in the Late Middle Ages

16.45-17.10 Prof. Javier Martínez de Aguirre, Universidad Complutense de Madrid, Pride and memory: the development of individualised sculptural representations in Castile and Navarre around 1400

17.10-17.35 Jakov Đorđević, PhD candidate, Belgrade University, Made in the Skull’s Likeness: Of Transi Tombs, Identity and Memento Mori

17.35-18.00 Prof. Marek Walczak, Jagiellonian University & Krzysztof Czyżewski, Wawel Royal Castle, Picturing Continuity. The beginnings of the portrait gallery of Cracow bishops in the cloister of Franciscan Friars in Cracow

 

18.00-18.25 Discussion

 

17 April, 2015

  1. Ambiguities of Late Medieval and Renaissance Portraiture

9.30-9.55 Dr Alexander Lee, St. Catherine’s College, University of Oxford, Petrarch, Simone Martini and the Ambiguities of Fourteenth-Century Portraiture

9.55-10.20 Dr Alice Cavinato, Scuola Normale Superiore di Pisa, “By his own hand and of his own will”. Portraits of scribes and writers as visual signatures

10.20-10.45 Prof. Philipp Zitzlsperger, Hochschule Fresenius/Humboldt-Universität, Berlin, Renaissance Self-portraits and the moral judgement of taste

 

10.45-11.10 Discussion

 

11.10-11.30 Coffee break

  1. Portraiture at the Threshold of the Early Modern Period

11.30-11.55 Agnieszka Smołucha-Sładkowska, PhD candidate, Jagiellonian University, What is, and What is not all’antica in Portraits on Early-Renaissance Italian Portrait Medals

11.55-12.20 Albert J. Godycki, PhD candidate, The Courtauld Institute of Art, What did Jan van Scorel do for Netherlandish Portraiture? Some Considerations on his Impact

12.20-12.45 Dr Annick Born, Ghent University, Portraying the Sultan

12.45-13.10 Anna Wyszyńska, PhD candidate, Jagiellonian University, Power-dressing of the Chancellor’s Family. On Depictions of Dress in „Liber geneseos illustris familiae Schidlovicie

13.10-13.35 Discussion

13.35-16.30 Lunch

 

  1. Reconsidering the Origins of Crypto-Portraiture

16.30-16.55 Annamaria Ersek, PhD candidate, University Paris-Sorbonne, The Crypto-portrait and its Place in the Emergence of Portraiture

16.55-17.20 Ilaria Bernocchi, Postgraduate independent researcher /formerly The Warburg Institute, The Origins of Allegorical Portraits. A ‘Defeat of Likeness’?

17.20-17.45 Masza Sitek, PhD candidate, Jagiellonian University, Just what is it that makes identification-portrait hypotheses so appealing? On why Hans Süss von Kulmbach ‘must have portrayed Jan Boner

17.45-18.10 Discussion

18 April, 2015

  1. Approaches to Early Portraiture

9.30-9.55 Dr Mary Hogan Camp, Courtauld Institute of Art, “Weaving a Tangled Web”: The use and interpretations of the banderole in Pontormo’s ‘Portrait of Cosimo il Vecchio

9.55-10.20 Prof. Nathalie Delbard, University of Lille 3, The divergent look in the Flemish portrait as a sign of dysfunction of the traditional conception of representation in the Renaissance

10.20-10.45 Charlotta Krispinsson, PhD candidate, Stockholm University, The Concept of Iconography in Portrait Research prior to Panofsky

10.45-11.20 Discussion

11.20 End of Conference