Tag Archives: kalamazoo

CFP: Enchanted Environs: Architecture, Automata, and the Art of Mechanical Performance, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018

l27horlogedesapience28theclockofwisdom29fromabout1450Call for Papers: Enchanted Environs: Architecture, Automata, and the Art of Mechanical Performance, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018.
Deadline: 15 September 2017.

Sponsored by AVISTA (The Association Villard de Honnecourt for the Interdisciplinary Study of Technology, Science, and Art).

Organized by Zachary Stewart (Texas A&M University) and Amy Gillette (The Barnes Foundation).

Medieval spaces were often sites of spectacular performances animated by various kinds of mechanical installations—the most complex of which featured automata or self-operating devices. Some items survive in material form; the most notable examples are the famous mechanical clocks of Central Europe. Other items survive in textual form; examples range from the singing birds in the palace of Caliph al-Muqtadir, the dancing monkeys in the garden of Count Robert II of Artois, and the bowing angel in the coronation pavilion of King Richard II of England to the Throne of Solomon of Middle Byzantine Constantinople, the ritual statues of late medieval Spain, and the liturgical set-pieces of late medieval Italy. This session, enriched by the work of scholars such as Jean Gimpel and, more recently, Scott Lightsey and Elly Truitt, seeks to revisit the issue of mechanical installations as it relates to the history of the built environment—an area of academic research in which studies of human performance are many but studies of non-human performance are few. The working conceit of the session will be that of the Wunderkammer. Participants will deliver a series of shorter papers in order to facilitate a wide-ranging exploration of mechanical invention in the medieval world: Latin, Byzantine, and Islamic. Possible topics of inquiry may include individual case studies, modes of production and/or reception, and larger questions of historical evidence (physical, textual, and visual) and/or historical significance (political, social, and economic). Especially desirable are contributions involving technical reconstructions (analog or digital), theoretical speculations (phenomenological or ontological), and, in keeping with the mission of AVISTA, investigations of famous polymaths such as Ismail al-Jazari, Villard d’Honnecourt, and Leonardo da Vinci.

Please send an abstract (500 words max) and a Participant Information Form to Zachary Stewart (zstewart@arch.tamu.edu) and Amy Gillette (agillette@barnesfoundation.org) by 15 September 2017.

AVISTA is pleased to offer the annual, merit-based Villard de Honnecourt Award for the outstanding paper by a graduate student in an AVISTA session at the ICMS at Kalamazoo. It is based on evaluation of the candidate’s abstract and CV. This award, which comes with a $500 honorarium, is intended to further young talent in the study of medieval technology, science, and art. The Society is also pleased to offer up to two $500 grants-in-aid to graduate students or independent scholars to defray costs of attending the ICMS at Kalamazoo. Application for one of these grants consists of a 300-word statement of need and CV, which should be submitted to the session organizer(s) by September 15, 2017, together with the paper abstract and PIF form.

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CFP: Pictor/Miniator: Working across media, 1250–1500, 53rd International Congress on Medieval Studies, Kalamazoo, May 10-13, 2018

michelino_molinari_da_besozzo_-_st-_luke_painting_the_virgin_-_google_art_projectCall for Papers: Pictor/Miniator: Working across media, 1250–1500, Schoenberg Institute for Manuscript Studies Sponsored Session at the 53rd International Congress on Medieval Studies, Western Michigan University, Kalamazoo, May 10-13, 2018
Deadline: 20 September 2017

The multimedia fluidity of artists and artisans in the later Middle Ages is an area ripe for investigation. Across diverse regions in Europe and beyond, many illuminators, both named and anonymous, engaged in forms of art-making in addition to the decoration of manuscript books. Some painted frescoes, panels, and ephemera, while others provided designs and supervised the production of stained glass, enamels, tapestries, and other objects. With some frequency, those who specialized in other media were in turn called upon to illuminate books. While modern studies have focused on individual examples of such multi-media talent, the broader implications of this intermedial fluency remain obscure: within the wider art-historical canon, manuscript illumination as an art form is largely seen as derivative or prone to influence from large-scale media.
This session seeks to re-examine the relationship between manuscript illumination and other fields of artistic endeavor in the later Middle Ages. How did artists themselves consider the differing characteristics and ontologies of these varied supports? How did painters adapt their style and working method when engaging with other media and other categories of object? Did the presence of local guild regulations curtail or encourage multi-media practice, and how did this compare region-to-region or to contexts outside of Western Europe? Beyond evident differences in scale, pricing, and technique, interesting issues arise regarding patronage and audience: how different was the clientele for manuscripts compared to that for painting, for example? How did the relative accessibility and visibility of differing art forms affect the visual solutions achieved? Is a book-bound image “freer” or more experimental than a publically visible one?
The session asks these and other questions relevant to those studying the social contexts of art production, the dynamics of reception, materiality, and the technical characteristics of objects. It seeks to be open-minded in terms of methodological approach, and aims to bring together scholars working on diverse material, in order to initiate a larger conversation that can impact the discipline of art history as a whole.
Please send proposals with a one-page abstract and a completed Participant Information Form (http://www.wmich.edu/medievalcongress/submissions) to Nicholas Herman (hermanni@upenn.edu) by 20 September 2017.

CFP: Regionalism in Medieval Art and Architecture (ICMA Student Committee Session), International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018

800px-arte_islamica2c_ippogrifo2c_xi_sec_01CFP: Regionalism in Medieval Art and Architecture, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018.
Deadline: 10 September 2017

Sponsored by the International Center of Medieval Art (ICMA) Student Committee
Organized by Mark H. Summers (University of Wisconsin, Madison) and Andrew Sears (University of California, Berkeley/University of Bern)

In 2001, Eva Hoffman introduced the concept of portability, suggesting a style that transcended traditional geographic, cultural, and religious boundaries. Since then, studies of traveling objects, trade networks, and pluralistic communities have created a veritable new field of the “Global Middle Ages,” which has helped us to better understand the interconnected medieval past as well as its role in shaping our sense of place today.

Our panel seeks to consider how local identity was shaped by such global networks. Potential questions include: Are artistic or architectural styles connected to specific places for specific reasons? Were medieval artists conscious about their own regional styles and the social, political, and religious impact they had? How was art positioned to both create communities and delineate boundaries? What about the rise of the “International Gothic” towards the end of the Middle Ages? Our concerns are also temporal, such as how the use of historicizing motifs and spolia helped medieval artists to communicate something about the here and now.

We welcome submissions for 20-minute papers from graduate student ICMA members. To propose a paper, please send a title, abstract of 300 words, CV, and completed Congress Information form to Mark H. Summers (mhsummers@wisc.edu) and Andrew Sears (asears@berkeley.edu) by 10 September 2017.

The Student Committee of the International Center for Medieval Art involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.

CFP: ‘Medieval Liturgy: Text and Performance,’ 53nd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, Michigan

bean20ms120-20folio2080l20-20liturgy20of20the20deadCall for Papers: ‘Medieval Liturgy: Text and Performance,’ 53nd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, Michigan
Deadline: 15 September 2017
The Interdisciplinary Graduate Medieval Colloquium at the University of Virginia invites graduate students, faculty, and independent scholars to submit papers for a session entitled “Medieval Liturgy: Text and Performance” at the 53nd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, Michigan.

Abstracts of up to 250 words for a 15-20-minute paper should be submitted on or before September 15, 2017 via Google Forms (visit http://bit.ly/liturgyform). All entries will undergo blinded peer review. Applicants will be notified of the committee’s decisions via email by Friday, September 22.

Medieval Liturgy: Text and Performance

This panel turns on a rather simple (or simplistic) question: is liturgy a text or a performance? The howls of dissent rise up – Who would ask such a thing? The answer is both, of course! In response, this panel invites graduate students, affiliated faculty, and independent scholars to respond to the dichotomy of text/performance even as they replace it with their own set of questions to guide the future study of liturgy as text, music, and/or drama. Among other concerns, how are the textual and bodily experiences of liturgy coeval, or even co-constitutive, in the Middle Ages? In what ways do liturgical texts both organize and find their roots in ritual reenactments that involve procession, genuflection, and acts of proskynesis? What episodes and anecdotes from the Middle Ages reveal how liturgical text is entangled with the environment in which it is read, sung, translated, or performed?

The panel aims to create a conversation that goes beyond the traditional practice of liturgical exegesis to a more active, embodied study of the liturgy in Catholic, Orthodox, and Jewish traditions. Since unpacking the meaning of a somatic study of liturgy is the prime goal of the session, participants may use movement, travel, and the kineticism of objects as organizing principles for their work or ask how scholars actually perform or participate in the liturgies they study. Interesting avenues include discussions of the materiality of liturgy, from enduring forms to ephemera, via a close look at manuscripts, printed books, sacred instruments, vestments, relics, urban layouts, decorations for processions, and the architecture of churches, chapels, and tombs. We particularly invite work that pushes the boundary of what is currently considered the purview of “liturgy and ritual studies,” explores some aspect of space and sound, and pertains to the smell, touch, and taste of the liturgy in North Africa, Europe, Asia Minor, the Middle East, Russia, and the Byzantine world.

Session co-chairs:
Justin Greenlee (jgg3mb@virginia.edu) and DeVan Ard (dda8xx@virginia.edu)

CFP: Moving People, Shifting Frontiers: Re-contextualising the Thirteenth Century in the Wider Mediterranean

CfP ICMA Kalamazoo 2018 Moving People Shifting FrontiersCall for Papers: Moving People, Shifting Frontiers: Re-contextualising the Thirteenth Century in the Wider Mediterranean, International Congress of Medieval Studies, Kalamazoo, May 10-13 2018
Deadline: 10 September 2017

Organizers: Katerina Ragkou (University of Cologne) and Maria Alessia Rossi (The Courtauld Institute of Art)

Every day we witness people moving, with them objects and skills, knowledge and experience; either forcibly or willingly; for work or for pleasure. The communities living along the shores of the Mediterranean and the hinterlands of the Balkans during the thirteenth century share many of the characteristics of our contemporary world: military campaigns and religious wars; the intensification of pilgrimage and the relocation of refugees; the shifting of frontiers and the transformation of socio-political orders.

The transformations of the thirteenth century span from east to west, from northern Europe to the Byzantine Empire and from the Balkans to the Levant. The geographic breadth is paralleled by crucial events including the fourth crusade, the fall of Acre, the empowerment of the Serbian Kingdom and the Republic of Venice, the loss and following restoration of the Byzantine Empire, and the creation of new political entities, such as the Kingdom of Naples and that of Cyprus, the Empire of Trebizond, and the Principality of Achaia. Eclectic scholarly tradition has either focused geographically or thematically, losing sight of the pan-Mediterranean perspective. These societies had multifaceted interactions, and comprised a variety of scales, from the small world of regional and inter-regional communities to the broader Mediterranean dynamics.

This session aims to address questions such as which are the various processes through which military campaigns and religious wars affected the urban landscape of these regions and their material production? Is there a difference in economic and artistic trends between “town” and “countryside” in the thirteenth-century wider Mediterranean? What observations can we make in regards to trade, diplomatic missions, artistic interaction and exchange of the regional, interregional and international contacts? How did these shape and transform cultural identities? How did different social, political and religious groups interact with each other?

This session welcomes papers focused on, but not limited to: the role played by economic activity and political power in thirteenth-century artistic production and the shaping of local and interregional identities; the production and consumption of artifacts and their meaning; the transformation of urban and rural landscapes; religious and domestic architecture and the relationship between the private and public use of space.

Proposals for 20 min papers should include an abstract (max.250 words) and brief CV. Proposals should be submitted by 10 September 2017 to the session organizers: Katerina Ragkou (katerina.ragkou@gmail.com) and Maria Alessia Rossi (m.alessiarossi@icloud.com).

Thanks to a generous grant from the Kress Foundation, funds may be available to defray travel costs of speakers in ICMA-sponsored sessions up to a maximum of $600 ($1200 for transatlantic travel). If available, the Kress funds are allocated for travel and hotel only. Speakers in ICMA sponsored sessions will be refunded only after the conference, against travel receipts.

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.