Tag Archives: kalamazoo

CFP: Various Sessions @Kalamazoo, Michigan, USA, May 11 – 14, 2017

Call for Papers: Various Sessions @Kalamazoo, Michigan, USA, May 11 – 14, 2017
Deadline: Sep 15, 2016

Reminder:
The Stones Cry Out: Modes of Citation in Medieval Architecture
Light and Darkness in Medieval Art, 1200-1450. ICMA sponsored

session

Other Sessions:

Obscured by the Alps: Medieval Italian Architecture and the
European Canon
800px-cathedrale_de_sienne_28duomo_di_siena29Organizer: Erik Gustafson (edg218@nyu.edu)

The traditional canon of European architecture has been well established through both formal-stylistic aesthetics and periodized criteria, rooted ultimately in Hegelian notions of the underlying spirit of an age and Modern nationalist identities. Viewed from northern Europe, the canon’s trajectory moves fluidly from the halcyon
days of Greece and Rome to the stunted but ambitious Early Christian and Byzantine era, developing into the solidly reliable Romanesque
until the revolution of the transcendent Gothic is decapitated by the Renaissance counter-revolution and its florescent Baroque iteration, to
be overshadowed by the enlightened and reasoned Neoclassical age,
leading to the search for identity of the 19th century Historicist
styles and the return to the classically pure clarity of Modernism.
The contributions of the Italian peninsula are periodic, and are
generally defined within the canon by returns to classicism.  In recent
decades, architectural historians have begun to challenge the Italian
canon, expanding its geographic scope from the old Rome-Florence-Venice
vector while also undermining chronological waypoints such as the
Medieval-Renaissance divide.  The canon, however, remains infrangible,
still underwritten by the formalist priorities established at its
inception.

This session seeks to examine the utility of the European canon in
assessing the historical significance of Italian medieval architecture.
Is there more to Italian architectural history than recurrent bouts of
classicism?  How can Italian architecture be understood positively
within the European context, rather than in opposition or subjection to
the canonical narratives?  Possible avenues of inquiry might include
exploring the historiographical lacunae of the canon, considering
alternative criteria for structuring new canonical narratives,
examining socio-cultural phenomena otherwise elided by the canon, or
investigating other historically contingent trends which reflect
different scholarly treatments of Italy and the north.  Medieval
architectural history has been “rethought” several times in the past
decade, bringing “new approaches” to old questions.  Shifting the
discussion, this session seeks papers that ask broad new questions
about medieval architecture’s place in the history of European culture,
grounding such investigations in local Italian contexts. While Italy
has long been obscured by the Alps, this session seeks to begin new
conversations about medieval architecture driven by Italian challenges
to canonical understandings.

How to Submit: Please submit a paper proposal to the organizer, Erik Gustafson
(edg218@nyu.edu)
Deadline: September 15, 2016
Please include the following materials in your application:
1) A one-page abstract
2) Completed Participant Information Form available at the website of
the Medieval Congress:
http://wmich.edu/medievalcongress/submissions
3) A one-page CV

tumblr_m2du3bavab1qkpbfc1The Matter of Ornament
Organizer: Ashley Jones, University of Florida

Ornament has long occupied a troubled position in the history of
western art. Subject to rising and falling fashions, it has been beset
from all sides. Derided as feminine and dismissed as superficial,
ornament has been defined against both classical and modern
austerities. Medieval ornament, like so much of medieval art, has acted
as foil in the grand narratives of the rise and fall of figuration and
abstraction. But broader trends in the history of art and material
culture have, in recent years, highlighted the role medieval objects,
with their simultaneously heightened physicality and spirituality, can
play in illuminating profound questions of the nature of matter and
representation. This panel seeks to add ornament – arguably a
fundamental mode of premodern abstraction – to that equation. It
invites papers drawn from both material and textual traditions that
investigate the intersections of materiality, representationality, and
ornamentality in medieval material culture. Possible topics include but
are not limited to questions of the way in which matter gives rise to
ornament; the way in which matter, such as sacred relics, is made
legible through ornamentation; and the ways in which medieval ornament
evokes both the matter of nature and the matter of the cosmos.

How to Submit:  Paper proposals should consist of the following:
– Abstract of proposed paper (no more than 350 words)
– Completed Participant Information Form – available on the conference
website here:
https://wmich.edu/sites/default/files/attachments/u434/2016/medieval-pif-2017.pdf
– CV with contact information.
ALL PROPOSALS AND INQUIRIES SHOULD BE DIRECTED TO:
Ashley Jones (ajones@arts.ufl.edu)

0cf1189eec15ef93a0058320d627e312The Schematization of time
This session proposes to investigate visual strategies used in
time-reckoning and calendar constructions. Medieval illustrations of
scientific works, computus treatises (including Bede’s De temporum
ratione), historical chronicles, almanacs and moral and theological
tracts, display a vast spectrum of images dealing with the natural and
divine causes of time phenomena, their manifestations, their various
effects on the world and their universal significations. These images
testify to a wide range of subjects and interests, from cosmological
and astronomical explanations, to practical considerations regarding
liturgy, astrology, medicine, divination, prognostication, to history
and geography, to practical and speculative mathematics, and to
symbolic devices working as visual exegesis of the creation. Given the
rich corpus of source material, how might the visualization of time
through schematization and volvelles help us understand the role of
time in medieval life and culture? How did schemata and diagrams
represent specific strategies of knowledge transmission through
geometrical relationships, color systems, and numerical and spatial
representations? Although modern medieval studies witness an increasing
interest in schemata and diagrams, the omnipresence and diversity of
visual reflexions on time in the Middle Ages contrasts with the small
number of case studies dedicated to the subject.

This session welcomes papers focused on, but not limited to: the
visualization of relationships between time, space and matter; the
schmatization of time in medical theory and practice; the depiction of
liturgical time; the correlation between time-reckoning and celestial
phenomena, either astronomical or astrological; the calculation of past
and future dates through images concerning chronology and eschatology.

How to Apply: The panel features 15-20 minutes papers. Please send an abstract (150
to 350 words), a short CV and completed Participant Information Form to
Arthur Hénaff (arthur.henaff@etu.ephe.fr) and Sarah Griffin
(sarah.griffin@kellogg.ox.ac.uk) by September 15, 2016

CFP: The Idea of Luxury and the Role of the Object, ICMS, Kalamazoo, May 2017

Call for Papers: The Idea of Luxury and the Role of the Object

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Organizers: Andrew Sears, University of California, Berkeley; Laura Tillery, University of Pennsylvania

As Christopher Berry has shown in The Idea of Luxury, the concept of luxury is determined by countless factors: it is situated by socio-economic forces, enacted politically, and both justified and critiqued by philosophy and theology. Luxury is also a difficult scholarly concept to contend with, requiring close engagement with these aforementioned fields as well as distance from our own modern judgments and conceptualizations.

Our panel seeks to integrate physical objects within such epistemological studies and consider anew the vital role of Art History. We hope to use artworks to reevaluate some fundamental questions: what is luxury, how is it manifested in physical terms, and what are its functions for patrons, makers, and beholders? We also hope to bring to the fore new questions about the role of luxury objects in shaping scholarly questions and Art History as a discipline, dealing with the nature of the canon, the extant corpus of objects, and the role of collecting practices through time. Indeed, in today’s economic climate, it seems time to consider luxury’s history, our relationship to it, and what art historical lines of inquiry can bring to bear on cultural commentary.

We welcome papers in various stages of research, and across geographic, temporal, and material contexts. Potential topics include: the aesthetics of luxury; material treatises and the physical makeup of luxury; unexpected luxuries; church treasuries; notions of excess, and objects that warn against, or perhaps embody, luxuria and avaritia; commissioning, owning, and displaying luxuries; history and historiography of luxury; luxury and domesticity; luxury and gender; collecting luxuries.

To propose a paper, please send an abstract, C.V., and completed Congress Participant Information Form (available on the Congress website) to Andrew Sears (asears@berkeley.edu) and Laura Tillery (tillery@sas.upenn.edu) no later than 15 September 2016.

 

 

CFP: Digital Reconstructions: Italian Buildings and their Decorations, ICMS, Kalamazoo, May 2017

Call for Papers: Digital Reconstructions: Italian Buildings and their Decorations

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Organizers: Amy Gillette (Temple University) and Kaelin Jewell (Temple University)

Sponsored by the Italian Art Society

Historians of medieval architecture have productively used digital technologies to reimagine lost monuments or furnishings, reveal aspects of correspondence in pictorial and architectural iconography, decipher construction techniques, determine the nature and scope of collaboration between architects and decorators, and grapple with the ways in which medieval people experienced their three-dimensional, functional spaces. Digital reconstruction is also useful for bridging monuments and their modern publics—for instance, the Scuola San Marco in Venice has installed virtual “copies” of dispersed paintings in the Albergo, so that visitors can readily apprehend its original presentation. This panel seeks a program of digital reconstructions of medieval Italian architectural spaces, ranging from the 4th to the early 15th centuries CE, including chapels, refectories, churches, palace rooms, libraries, and/or villas. We welcome projects that digitally reconstruct vanished monuments, interiors of standing churches with reconstituted medieval screening systems, liturgical furnishings, and/or picture programs. We are particularly interested in projects that take a critical approach to these virtual spaces and address the choice of historical moment(s) and types of monuments, in addition to the reconstruction’s purpose and technological considerations. Speakers are encouraged to comment on the impact on the scholarly process, collaboration (including with non-art historians), teaching, museum practice, and conservation or preservation.

The deadline for 15-minute paper proposals is: September 15, 2016

Please send the abstract of your proposed paper (300 words maximum), CV with current contact information, and completed Participant Information Form, available at https://wmich.edu/medievalcongress/submissions to the organizers: Amy Gillette (amy.gillette@temple.edu) and Kaelin Jewell (kaelin.jewell@temple.edu)

 

CFP: Image & Meaning in Medieval Manuscripts: Sessions in Honor of Adelaide Bennett Hagens (Two Sessions, International Congress on Medieval Studies)

Call for Papers: Image & Meaning in Medieval Manuscripts: Sessions in Honor of Adelaide Bennett Hagens

Session I: Text-Image Dynamics in Medieval Manuscripts

Session II: Signs of Patronage in Medieval Manuscripts

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Organized by Judith Golden and Jessica Savage, Index of Christian Art, Princeton University

Kalamazoo post 1

Session I: Text-Image Dynamics in Medieval Manuscripts

This session invites papers that examine the interaction between words and images in medieval manuscripts as they shape the reader-viewer’s experience of the book. How do texts and images interact on the page? How did medieval readers respond to the varied discourses between images and texts? This session endeavors to open up new perspectives in describing, analyzing, and contextualizing manuscript illumination. Speakers may address the topic of visual rhetoric and how images communicate meaning with accompanying text, image-text composition, and the recovery of the reader’s experience through text and iconography. Also of interest is the role of images and their intrinsic or peripheral textual elements (including rubrics, captions, mottos, names, initials, labels, titles, instructions, votives, quotations, speech scrolls, pseudo-inscriptions and other types of inscriptions), as well as that of formal text or paratextual elements, in elucidating meaning and engaging the viewer. Speakers may consider case studies of particular manuscripts or present analyses addressing broad iconographic trends.

Kalamazoo post 2

Session II: Signs of Patronage in Medieval Manuscripts

This session invites papers that examine the many varied “visual signatures” of manuscript patrons, including the dress, gestures, posture, and attributes of donor figures; heraldry and personalized inscriptions; marginal notes, colophons, dedications, and other signs of ownership and use. Building on scholarship presented in the 2013 Index conference Patronage: Power and Agency in Medieval Art, this session seeks papers that will investigate the dynamic system of patronage centered on the interaction of owners with their books (whether as creator, patron, commissioner, or reader-viewer). Speakers may also investigate the importance of gender and social roles in book production, use, and readership or the role of patron as instigator in the process of book creation, from payment to design.

 

Adelaide Bennett Hagens is retiring from the Index of Christian Art at Princeton University after fifty years of dedicated research and scholarship. She studied under Robert Branner at Columbia University and joined the Index during the directorship of Rosalie Green. Adelaide has studied medieval art in a variety of media, but her passion at the Index and in her personal research has always been manuscript illumination, particularly of the Gothic period. Her publications include “Some Perspectives on the Origins of Books of Hours in France in the Thirteenth Century,” in Books of Hours Reconsidered, edited by Sandra Hindman and James H. Marrow (2013); “Making Literate Lay Women Visible: Text and Image in French and Flemish Books of Hours, 1220–1320,” in Thresholds of Medieval Visual Culture: Liminal Spaces, edited by Elina Gertsman and Jill Stevenson (2012); and “The Windmill Psalter: The Historiated Letter E of Psalm One,” Journal of the Warburg and Courtauld Institutes 43 (1980). In two sessions, we celebrate Adelaide’s accomplishments and recognize her contributions to the Index of Christian Art and to the wider medieval and academic community.

Inspired by Adelaide’s continued interest in new research, we would particularly welcome submissions from emerging scholars in manuscript studies to share projects that reflect new developments and chart future possible courses for the field.

The deadline for paper proposals is: 15 September 2016

Please send the abstract of your proposed paper (300 words maximum), CV with current contact information, and completed Participant Information Form (available at https://wmich.edu/medievalcongress/submissions) to the organizers: Judith Golden (jkgolden@princeton.edu) and Jessica Savage (jlsavage@princeton.edu)

CFP: Networks of Books and Readers in the Medieval Mediterranean, ICMS, Kalamazoo, May 2017

Call for Papers: Networks of Books and Readers in the Medieval Mediterranean:
“Networks of Books and Readers in the Medieval Mediterranean I: Books” and “Networks of Books and Readers in the Medieval Mediterranean II: Readers”

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Organized by Núria Silleras-Fernandez (Spanish and Portuguese, University of Colorado at Boulder) and sponsored by the CU Mediterranean Studies Group and the Mediterranean Seminar.

These sessions address the study of networks of books and readers in the Medieval Mediterranean. How did texts and ideas circulate in a Mediterranean context? What types of motifs, topics, and ideas travelled? What books were translated and why? Were there Mediterranean networks of readers who circulated particular texts? These two panels, one focusing on books and the other on readers, seek papers of a comparative, interdisciplinary and/or methodologically innovative nature that focus on how members of various faith and ethnic communities circulated texts and ideas in the broader Mediterranean.

Contact Núria Silleras-Fernandez  (silleras@colorado.edu) for further information or to submit a proposal (300-word abstract, one-page CV, and media equipment request by 15 September 2016).

CFP: The Virgin as Bridge: Cultural Exchange and Connection through Images of the Virgin Mary, ICMS, Kalamazoo, May 2017

CFP: The Virgin as Bridge: Cultural Exchange and Connection through Images of the Virgin Mary

International Congress on Medieval Studies, Kalamazoo, 11-14 May 2017

Organizers: Diliana Angelova (University of California, Berkeley) and
Amanda Luyster (College of the Holy Cross)

Across the medieval Mediterranean and beyond, people of many faiths and backgrounds sought the succor of the miraculous virgin and mother, Mary. Christians venerated Mary as the holiest figure of Christianity after Christ, the one thanks to whom the divine mystery of the Incarnation was fulfilled. The Koran also hailed her as chosen by Allah. Converts to Christianity from paganism or Islam were often said to be motivated by their great love of the Virgin. Byzantine churches were incomplete without her image in the holiest of holies, the apse of the sanctuary. In the West, the grandest Gothic cathedrals rose in her honor. Objects such as the thirteenth-century Freer canteen, as well as shared shrines, suggest that Marian images could be appreciated by audiences professing different faiths. Images of the Virgin acted as a shared touchpoint between people of many different backgrounds, socio-economic strata, and faiths.

This panel invites 15-20 minute papers that focus on the capacity of the Virgin to act as a bridge or cultural mediator: between regions, between genders, between political factions and cities, and between belief systems. Panel participants could focus on representations of the Virgin as well as references to religious practices associated with images of the Virgin. Icons, cult centers, personal objects such as jewelry, metalwork more broadly, manuscripts, monumental sculpture, wall-painting, architecture, as well as practices associated with all of these, might be considered.

The deadline for paper proposals is September 15, 2016.

Please send the abstract of your proposed paper (300 words maximum), CV with current contact information, and completed Participant Information Form, available at https://wmich.edu/medievalcongress/submissions to the organizers, Diliana Angelova and Amanda Luyster, at angelova@berkeley.edu and aluyster@holycross.edu

All abstracts not accepted for the session will be forwarded to Congress administrators for consideration in general sessions.

Call for Session Proposals for Kalamazoo: Italian Art Society

Kalamazoo, May 11 – 14, 2017
Deadline: Apr 15, 2016

The 52nd International Congress on Medieval Studies takes place May
11-14, 2017.

Each year, the Italian Art Society (http://www.italianartsociety.org) sponsors three linked sessions at the annual meeting of the International Congress on Medieval Studies (ICMS). The Congress is an annual gathering of more than 3,000 scholars interested in medieval studies, broadly defined. The IAS seeks session proposals that cover Italian art from the fourth through the fifteenth centuries. The annual deadline is April 15. See our submission guidelines
(http://italianartsociety.org/conferences-lectures/ias-conference-submission-guidelines/) for eligibility requirements to propose a session for IAS at Kalamazoo.
Please send abstracts of 250 words together with a 1 page cv to programs@italianartsociety.org.