The latest issue of British Art Studies (an open access, online Art History journal published by the Paul Mellon Centre for Studies in British Art), is entirely devoted to Medieval Britain. The content is derived from a conference held at the British Museum in 2014: Invention and Imagination in British Art & Architecture, 600-1500.
It opens with an editorial by guest editors Sandy Heslop and Jessica Berenbeim, followed by twelve articles in traditional format:
- Paul Binski, Medieval Invention and its Potencies
- Roger Stanley, Innovation in English Gothic Architecture: risks, impediments and opportunities
- James Hillson, Imagining Invention: the character of the “Gothic architect” and England, 1200–1400
- Alexandra Buchanan and Nicholas Webb, Creativity in Three Dimensions: an investigation of the presbytery aisles of Wells Cathedral
- Helen Lunnon, Inventio Porticus—Imagining Solomon’s Porches in Late Medieval England
- Laura Slater, Imagining Place and Moralizing Space: Jerusalem at Medieval Westminster
- James Cameron, The Englishness of English Sedilia
- Jessica Barker, Legal Crisis and Artistic Innovation in Thirteenth-Century Scotland
- Veronica Decker, In the Vineyard of the Lord: Art, Imagination, and the Stained Glass Commissions of William of Wykeham in Fourteenth-Century English Colleges
- Lloyd de Beer, The Temple of Justice and the Key of David: Anachronism and Authority in the Chichester Seal Matrix
- Kristen Collins, Resonance and Reuse: The Fifteenth-Century Transformation of a Late Romanesque Vita Christi
- Jack Hartnell, Wording the Wound Man
Thanks to the digital platform, it is possible to reference the articles to the nearest paragraph using the DOI link. The platform’s scope is further tested through the Conversation Piece and Handling Digital Objects portions of this special issue:
- The Conversation Piece: Disciplining the Digital: Virtual 3D Reproduction, Pilgrim Badges, and the Stuff of Art History, for which eleven of scholars have published short responses to 4 waves of a provocation on the theme of 3D digital reproduction of art (using the Digital Pilgrim Project’s 3D models of the British Museum’s pilgrim souvenirs and secular badges as a point of departure).
Another innovative feature is a virtual simulation of the object sessions held at the 2014 conference. In actuality, these took the form of guided sessions with objects in the seminar rooms at the conference venue. In the journal, they are recreated via four interactive 3D models of objects, each accompanied by a short essay:
 Venice, Materiality, and the Byzantine World
 De-Centering the Romanesque
 Creative Modes of Activating the Early Medieval Manuscript
 Creative Strategies of Intellectual Engagement with Tradition and the Auctores
 “Manuscripts in the Curriculum”: New Perspectives on Using Medieval Manuscripts in the Undergraduate Classroom from Special Collection Librarians, Faculty, and Booksellers (A Roundtable)
 Moving People, Shifting Frontiers: Re-contextualising the Thirteenth Century in the Wider Mediterranean
Venice, Materiality, and the Byzantine World
Sponsored by the Italian Art Society,
Deadline: Sep 15, 2017
The Dumbarton Oaks Byzantine Symposium leading to the 2010 publication of San Marco, Byzantium, and the Myths of Venice introduced new perspectives on Byzantine and Venetian visual and material culture that extended Otto Demus’s survey of Saint Mark’s basilica. The authors’ application of more recent approaches—such as the social function of spolia, the act of display, the construction of identity, and cultural hybridity—brought fresh analyses to a complex and richly decorated monument. This panel seeks to expand this methodological discourse by taking into account questions related to materials, materiality, and intermediality between Venice and Byzantium. The arrival of material culture from the Byzantine world to Venice as gifts, spoils, or ephemera during the centuries surrounding the Fourth Crusade allowed for both appropriation and conceptual transformation of material culture. In light of the renewal in interest of Venice’s Byzantine heritage, this panel seeks to reflect on the interaction of material culture between la Serenissima and the Byzantine world, especially during the eleventh through fifteenth centuries. Topics may be wide-ranging, including, but not limited to: issues of reception and cultural translation; changing concepts of preciousness; different valuation of materials between Venice and Byzantium; the fluctuating simulation of material visual effects; the transformation of Byzantine objects incorporated into Venetian frames; intermedial dialogue between Byzantine and Venetian art; and the process and technique of manufacture of works between Byzantium and Venice. Some points of departure may include: the building of San Marco itself; Byzantine objects in the Treasury; Byzantine manuscripts included as part of the Cardinal Bessarion gift to the Republic; the monuments on Torcello; or issues raised as a result of recent conservation projects. New cross-cultural methodologies from art historical, anthropological, or sociological fields are welcome.
Please submit a 300-word abstract and a completed Participant
Information Form (http://www.wmich.edu/medievalcongress/submissions) by
September 15 to the session organizers:
Brad Hostetler, Kenyon College, email@example.com, Joseph Kopta, Pratt Institute, firstname.lastname@example.org
In addition to the travel awards available to all Congress participants (http://www.wmich.edu/medievalcongress/awards), the Italian Art Society offers competitive travel grants: http://italianartsociety.org/grants-opportunities/travel-grant-information/
De-Centering the Romanesque
Dommuseum Hildesheim & The J. Paul Getty Museum
The canonical emphasis of Romanesque studies on regional centers and monuments has overshadowed aspects of transregional exchange that defined the art and culture of medieval western Europe circa 1000-1250. One of the key characteristics of this period is movement — of peoples, ideas, and materials. This session will explore the themes of portability and exchange, with possible topics addressing Mediterranean and Baltic trade networks, transcultural objects in the western treasuries, pseudo-scripts and their varied meanings, and hoards versus monuments. Participants are encouraged to address the concept of nexus versus center and the pedagogical implications for presenting a de-centered and global Romanesque, with papers that either challenge or affirm the Romanesque frame for teaching medieval art, both in the classroom and in the museum.
Please send your proposal of up to one page with your Participant Information Form (PIF) http://wmich.edu/medieval/congress/submissions/index.html#PIF to the organizers: Kristen Collins, J. Paul Getty Museum, KCollins@getty.edu or Gerhard Lutz, Dommuseum Hildesheim, email@example.com
 and 
Deadline: Sep 1, 2017
Two sessions for, “Identifying Creative Impulses in Early Medieval Art and Culture,” will convene at the 53rd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, MI.
Papers are solicited that encourage novel—even experimental—approaches, to the exploration and identification of various conceptions of early medieval, creative cultural activity.
The first panel seeks to engage with the actual haptic and experiential practice of manufacturing, reading and studying the early medieval book.
The second panel focuses upon culturally apposite forms of interpretative and compositional fashioning that can be discerned in manuscripts belonging to the liberal arts traditions of the Early Middle Ages.
Abstracts and paper proposals of not more than 250 words can be submitted via email on or before September 1, 2017 to the session organizers: Eric Ramírez-Weaver (firstname.lastname@example.org) and Lynley Anne Herbert (email@example.com). Please copy both co-organizers when submitting a proposal, posing a question, or requesting additional information via email.
Complete panel descriptions follow. We particularly encourage inventive strategies promising new approaches to the investigation of early medieval creativity.
Identifying Creative Impulses in Early Medieval Art and Culture
Special Sessions organized by Eric Ramírez-Weaver (firstname.lastname@example.org) and Lynley Anne Herbert (email@example.com)
I. Creative Modes of Activating the Early Medieval Manuscript
The way a manuscript behaves when used “in the flesh,” so to speak, can at times reveal layers of creativity built into them, which must be actively experienced rather than passively seen. Often as modern scholars we work from digitized images of individual folios, or at best openings, and “page flipping” technologies (such as the Walters’s “Ex Libris” platform or the British Library’s “Turning the Pages” program) provide a false sense that we are experiencing the physical book. Evidence of the performative qualities of a manuscript can at times be rediscovered, not just in the sense of how a reader might perform the text written in the book, but how the user activated the book as an object during use. Does an image show through a page and become part of the visual experience on the other side, and was there intentionality there? Do images interact across an opening? Does imagery function together from recto to verso? How is the artist creating an experience for the user, or conversely, how did the user alter the book to create a personal experience? This session seeks papers that explore creative approaches that open up new possibilities regarding how early medieval manuscripts functioned as objects.
II. Creative Strategies of Intellectual Engagement with Tradition and the Auctores
Recent scholarship (consider Benjamin Anderson, Lynda Coon, Paul Edward Dutton, Rosamond McKitterick, Lawrence Nees, Eric Ramírez-Weaver, and Immo Warntjes), has increasingly emphasized the creative strategies for intervention and manufacture of meaning that were acutely linked to early medieval eastern and western engagements with various aspects of the liberal art traditions. From star pictures to poetic acrostics, devotion to erudition and pious personal reform transformed the possibilities for innovation that proliferated during the Carolingian period. Interlocking networks of artists, chroniclers, historians, and poets communicated their translations, textual redactions, and visual records of classical tradition and contemporary study with one another, engaged in debate or collaboration, but advancing science. This session seeks papers willing to reconsider methodologically apposite ways to reinterpret the various brands of early medieval creativity manifest in texts pertaining (as broadly as possible) to the seven liberal arts, including texts of astronomical, computistical, rhetorical, geometric, arithmetic, musical, lyrical, philosophical, diagrammatic, or historical significance.
“Manuscripts in the Curriculum”: New Perspectives on Using Medieval Manuscripts in the Undergraduate Classroom from Special Collection Librarians, Faculty, and Booksellers (A Roundtable)
Deadline: Sep 10, 2017
Integrating medieval manuscripts into an undergraduate curriculum changes the game. Students are transformed from passive learners to active scholars; observing objects and seeking to understand and interpret their context teaches critical thinking. Implementing programs to give students this opportunity requires the cooperation of special collection librarians and faculty, two disciplines that speak slightly different languages. Inspired by Les Enluminures’s new program Manuscripts in the Curriculum<http://www.textmanuscripts.com/curatorial-services/manuscripts>, this session will also introduce a third perspective and explore the practical issues of how to build collections for teaching.
The session organizers wish to bring people together from these communities to share their experiences, to discuss successful results, to analyze problems, and to envision future directions. We invite papers that explore efforts to bring manuscripts into the classroom, and the challenges of implementing these programs at specific institutions from the perspectives of librarians, faculty, and booksellers. The session will be structured as a roundtable with a series of short ten- and fifteen-minute papers (the number and duration to be determined depending on response), with ample time for discussion.
Please send abstracts of no more than a page, along with a current CV and the Participation Information Form (available on the Medieval Congress Submissions page: http://wmich.edu/medievalcongress/submissions) to firstname.lastname@example.org<mailto:email@example.com> by September 10, and sooner if possible.
Emily Runde, Text Manuscripts Specialist
Moving People, Shifting Frontiers: Re-contextualising the Thirteenth Century in the Wider Mediterranean
Deadline: Sep 10, 2017
(Courtauld Institute of Art) and Katerina Ragkou (University of Cologne). Deadline: 10 September 2017
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 artefacts 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 (firstname.lastname@example.org) and Maria Alessia Rossi (email@example.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. For more information visit: http://www.medievalart.org/kress-travel-grant/
The 25th Leeds International Medieval Congress has a special thematic strand of ‘memory’. Medieval romance lends itself to thinking about memory, in many ways, and not least because of its preoccupation with lineage. We invite proposals for 20-minute papers on any aspect of memory and/or lineage in medieval romance. The brief is deliberately broad, so please feel free to interpret according to your interest. Some thematic and theoretical approaches to consider may be:
– inheritance / heritage / legacy
– remembering and recognition
– family histories and family politics
– textual lineage.
Please email proposals (250 words max.) to Kirsty Bolton (University of Southampton) and Grace Timperley (University of Manchester) at firstname.lastname@example.org by 25 August 2017.
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
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
Dr Jack Hartnell, Lecturer in Art History (UEA, Norwich)
Dr Jessica Barker, Lecturer in Art History (UEA, Norwich)
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
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
Paper proposals should be sent via email to Dr Elisa Foster:
email@example.com by 30 September 2017.
The 11th Complutese Congress on Medieval Art aims to think about the visual function of medieval painted walls, taking into account that they were probably the best mass media in their context.
It will pay attention to the following topics: iconography, techniques, forms and expressive resources, socio-cultural context, preservation and the museum exhibition system.
There will be six sessions:
- Session I: A multidisciplinary approach to medieval wall painting. Invited Conference of Prof. Fernando Gutiérrez Baños (Univ. Valladolid)
- Session II: Territory and medieval wall painting: centre and periphery. Invited Conferences of Prof. Jerrilynn Dodds (Sarah Lawrence College) and Dr Carmen Rallo (General Office of Museums of the Nation in Spain)
- Session III: Function and meaning of the wall painting. Invited Conferences of Prof. Simone Piazza (Univ. Paul Valéry, Montpelier III) and Dr José Miguel Lorenzo Arribas (Scholl of Cultural Heritage in Spain)
- Session IV: Techniques and colors in the preparations of the wall. Invited Conference of Prof. Rafael Ruiz Alonso (Royal Academy of History and Art of Saint Quirce)
- Session V: Wall as an occasional support of other artistic techniques. Invited Conference of Prof. Roger Rosewell (Society of Antiquaries of London)
- Session VI: Heritage: conservation, museums and virtualization of medieval wall painting. Invited Conference of Prof. Jordi Camps (MNAC)
For more information: https://www.ucm.es/artemedieval/pintadoenlapared