Why would you want to insert penworked letters, gold-leaf and illuminations on your legal document: company statues, a contract, a grant of land or even an indulgence? This may seem like a waste of time in the modern business context, but in the medieval culture visuals carried their own significance. The messages could be multiple. Look, it’s important, because whoever ordered or produced this document put extra time and materials into it! This document won’t get thrown away, because it’s so beautiful! It’s so rich, it must be authentic. Not to mention the visual shorthand the illuminations would generate for the document’s content. All of which, of course, could be highly misleading, because a forgery can get illuminated just as easily as an original, which I learned through my study of medieval Livonian charters.
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 Palazzo 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.
Rutgers, The State University of New Jersey
Deadline: Sep 15, 2018
Call for Papers and Digital Projects
Rutgers Art Review, a journal of graduate research in art history, hereby invites all current graduate students, as well as professionals who have completed their doctoral degree within the past year, to submit papers for its 36th edition.
Papers may address all topics and historical periods within the history of art and architecture, visual and material culture, art theory and criticism, aesthetics, film, and photography. Interdisciplinary studies concerning art and architecture written by students in other fields are also welcome. To be considered for publication, submissions must present original contributions to existing scholarship and conform to our submission guidelines. We encourage authors to ask a faculty member to review their paper before submission.
University of Toronto Mississauga, September 17, 2018 – September 1, 2020
Application deadline: Jul 15, 2018
The Department of Visual Studies at the University of Toronto Mississauga offers a two-year postdoctoral fellowship in medieval art, with a focus on Digital Humanities and web-based technologies. The Fellow will have an established track record in his/her/their own discipline and/or Digital Humanities. Qualifications for the position include excellent writing and communication skills, expertise in an area of medieval visual culture (broadly defined as European, Byzantine, Islamic art and architecture or related fields), and experience working with Drupal and information architecture.
Roads, Routes and Networks: Visualizing Art Historical Information
Digital Humanities Colloquium
Cambridge (MA), Real Colegio Complutense at Harvard University, RCC Conference Room, 26 Trowbridge St., April 30, 2018
Space and movement have always been fundamental for art history, through concepts such as center and periphery, roads for global exchange, or the experience of travel, among others. Geographical Information Systems are transforming the traditional ways to visualize these disciplinary discourses about dissemination, innovation and evolution. Network analysis is bringing to light people and places that had been very relevant in their own time as nodes for exchange or partnership, but have been usually overlooked by the focus on a few big names. Vast and quickly increasing amounts of digital data invite experimentation about their uses for teaching and research in the humanities. New challenges are appearing, such as ensuring the sustainability of digital resources and their interoperability, while guaranteeing open access to cultural information. The three case studies represented in the colloquium will provide an update on new and ongoing projects in this area, and introduce a shared reflection about the possibilities of digital information within art history.
Biblioteca Angelica di Roma and American Academy in Rome, Italy, May 23 – 24, 2018
Deadline: Mar 1, 2018
DIGITAL HUMANITIES FOR ACADEMIC AND CURATORIAL PRACTICE
The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and re-evaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites which cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach.
Villa 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