Columbia is still accepting applications for the following position:
|Job Requisition Number||0000210|
|Field(s) of Specialization||History of European Architecture, ca. 500-1500|
|Position Title||Assistant Professor|
|Department||A&S Art History & Archaeology|
|Summary Description||Department of Art History and Archaeology, Assistant Professor, tenure-track, History of European Architecture, ca. 500-1500.
We seek a colleague whose research focuses on any aspect of medieval architecture from late antiquity to the end of the Middle Ages and whose interests connect to other subfields of art and architectural history within the department and the Graduate School of Architecture Planning and Preservation.
Teaching responsibilities include regularly covering the history of medieval architecture in Western and Central Europe, participating in a team effort to teach a survey course in the History of Architecture, teaching advanced courses in the field of specialization, and teaching regularly in Columbia’s Core Curriculum.
The department is particularly interested in candidates who, through their research, teaching, and/or service, will contribute to the diversity and excellence of the academic community. The PhD must be completed by the time of the appointment (July 1, 2019).
Screening will begin by January 1, 2019.
|Minimum Degree Required||Ph.D|
|Minimum Qualifications||A PhD must be completed by the time of the appointment (July 1, 2019).|
|RAPS posting date||11/21/2018|
|Search Closing Date|
|Special Instructions to the Applicant||All applications must be made through Columbia University’s online Recruitment of Academic Personnel System (RAPS). On the RAPSsite, applicants should upload the following required materials: cover letter, curriculum vitae, and one published article or article-length writing sample. Applicants should also enter the information and arrange for a minimum of three letters of reference to be sent on their behalf. RAPS will accommodate uploads of maximum two (2) megabytes in size per document.
Before uploading documents, applicants first will be asked to input a name and valid email address for each reference provider. The application to this position must include a minimum of three reference letters. The applicant may enable RAPS to generate an automatic email to the reference provider, politely requesting a letter of reference and offering a secure link to the RAPS website where a letter can be uploaded quickly and easily. Wherever possible, letters should be uploaded in the online system. If this is not possible, the applicant should refer the reference provider or dossier service to the following address:
Attn: Medieval History Search Committee
After completing the “Provide References” screens, the applicant will come to the “Attach Documents” screen and will be asked to upload into RAPS the required application materials listed above. The completion of the application process in RAPS is indicated by a confirmation number, which the applicant should retain.
|Proposed Start Date||07/01/2019|
|EEO Statement||Columbia University is an Equal Opportunity/Affirmative Action employer —Race/Gender/Disability/Veteran.|
The Department of History of Art wishes to appoint a University Lecturer in Medieval Art and Architecture, and invites applications from candidates with a research focus on any aspect or area of medieval art and architecture in continental Europe and/or the British Isles, c. 1050 to c. 1450. Candidates will be expected to be engaged in high-level research, to publish in their specialist field, to seek opportunities to win external funding for that research, to teach and examine undergraduates, to supervise and examine MPhil and PhD postgraduate work, and to undertake appropriate administrative roles within the Department.
Candidates must have an excellent first degree and a doctorate in History of Art or in a closely-related field. We are seeking an individual with a rising academic trajectory and a strong record of research publications commensurate with their level of experience, who has the potential to become a key player in the Department’s teaching and research activities.
The successful candidate will be expected to take up appointment on 1 September 2019.
To apply online for this vacancy, please click on the ‘Apply’ button below. This will route you to the University’s Web Recruitment System, where you will need to register an account (if you have not already) and log in before completing the online application form.
Please ensure that you upload the following:
(a) a covering letter;
(b) a Curriculum Vitae (CV), including a full list of publications;
(c) a document describing (i) your main teaching and research interests, (ii) an indication of future research plans and directions, (iii) a description of the kind of teaching you would hope to offer, including a brief curriculum for 2 sample specialist courses (max. 2 pp. to include: aims, learning outcomes, and a schedule of up to 20 lectures/classes which would deliver the course material); and, if available,
(d) one recently-published research article.
Applicants are required to give contact details for three referees who may be contacted for a reference prior to interviews (In the final field for each referee ‘At what point in the recruitment process may we contact this referee?’ applicants should therefore select ‘At any point in the process’.)
Informal enquiries are welcomed and should be directed to the Head of the Department of History of Art (Professor R. P. Blakesley: email@example.com). Enquiries about the application process may be made to the Faculty Manager’s Assistant (firstname.lastname@example.org).
The closing date for applications is midnight (GMT) on 17 January 2019.
Interviews are expected to take place in the 1st, 2nd or 3rd week of February 2019, in Cambridge.
Please quote reference GD17501 on your application and in any correspondence about this vacancy.
The University values diversity and is committed to equality of opportunity.
The University has a responsibility to ensure that all employees are eligible to live and work in the UK.
Further details: http://www.jobs.cam.ac.uk/job/19659/
The Department of Art History at The Pennsylvania State University seeks to appoint a three-year fixed-term assistant teaching professor with a specialization in ancient or medieval architecture of any geography. The appointment will begin on August 1, 2019 and carry the possibility of renewal. We are particularly interested in candidates conversant in diverse methodologies, including those involving new technologies and/or technical art history. The department values dynamic teachers who are prepared to lead upper level undergraduate and graduate courses in their field, as well as teach large introductory classes in the history of Western architecture. Expectations include undergraduate advising, graduate mentoring, and departmental and university service. Preference will be given to candidates who have a Ph.D. in art history or a related discipline.
To apply go to https://psu.edu.jobs/ job #84579, candidates should upload a letter of application, an up-to-date CV, and the names and contact information for three references to the Penn State Electronic Job Management System. Applications received by January 15 will be assured full consideration. However, applications will be accepted until the position is filled.
Penn State is an equal opportunity, affirmative action employer, and is committed to providing employment opportunities to all qualified applicants without regard to race, color, religion, age, sex, sexual orientation, gender identity, national origin, disability or protected veteran status.
On Weds 21st November 2018, Lloyd de Beer, Naomi Speakman, and Oliver Cooke kindly allowed students and staff from the Courtauld Institute of Art and elsewhere into the horological storerooms of the British Museum, the latest in a series of handling sessions organised by Medieval Touch. Dr Jeanne Nuechterlein of the University of York led the group in a joint examination of a series of mostly sixteenth-century scientific instruments, including replicas from her own collection.
We began by looking together at an astrolabe. Astrolabes were observational and calculating instruments and allowed users to tell the time through the position of the stars in relation to the astral map on the astrolabe itself, however your ability to do so was contingent upon any number of factors, not least the environmental conditions.
As well as explaining their purpose, Jeanne attempted to instruct us all in their use and as each of us tried and frequently failed to grasp the fundamentals of astrolabe reading, it became apparent that astrolabes are not intuitive instruments. Their use implies and demands significant technical experience and knowledge. We questioned whether this knowledge was simply more widespread in the early modern world or whether utility was not their only value. Even when we consider astrolabes purely in practical use, several limiting factors would have dictated how and by whom they were employed. Astrolabes are geographically specific instruments, each backplate designed for a set latitude – the mobile user would have required multiple plates. Moreover, larger instruments were more easily legible and produced more accurate readings.
Certain instruments that survive like this column shaped sundial were too elaborately shaped to be of any functional use. Their design seems to effect other concerns, perhaps commemorative (was this the model of a larger monumental sundial?) or aesthetic.
However, other instruments were clearly more useable. Ivory diptych sundials like these 16th-century examples from Nuremberg, appear to have been designed for the Early Modern traveller. Handy and conveniently pocket sized, they also offered a range of adjustable settings depending on location.
London to Naples, Portugal to Constantinople: the lists of cities on these objects, clustering around the cities of Mitteleuropa and Northern Italy, Bremen, Königsberg, Venice and Genoa, spoke to some of us of a now lost trading geography of Europe. However, made of ivory and not unelaborately decorated, these objects were demonstrably prestige items and must have elicited viewing as much as reading.
A glance at the range of sundials in the cabinets of the horological department reveals the complex interplay of aesthetic and practical motives at work in these objects.
Here’s what we saw, all visible on the British Museum’s website:
|Sundial/horary quadrant, England 14th c., 1972,0104.1|
|Sundial etc., Hans Dorn 1492, 1894,0615.1|
|Astrolabe, Georg Hartmann 1532, 1871,1115.3|
|Crucifix polyhedral sundial, Georg Hartmann 1541, 1894,0722.1|
|Astronomical compendium/wind-vane, Christopher Schissler c. 1550, 1855,0904.1|
|Sundial in the form of dividers, Christopher Schissler 1558, 1888,1201.283|
|Universal equinoctial dial with case, Christopher Schissler c. 1570, 1922,0705.3|
|Regiomontanus-style sundial, Caspar Vopel 1551, 1895,0319.1|
|Crucifix sundial, Melchior Reichle 1569, 1874,0727.3|
|Standing cup in the form of a celestial globe, French, 1569, AF.3060|
|Pillar dial in the form of a Corinthian column, Germany, 1593, 1888,1201.282|
|Scaphe sundial, Germany late 16th c., 1922,0705.6|
|Sundial etc., Netherlands late 16th c.?, 1871,1115.5|
|European celestial globe from 1659, 1896,0322.1|
|17c armillary sphere, 1855,1201.221|
|Diptych dial, Hartmann, 1562, 1900,1017.1|
Many thanks again to Jeanne for a fascinating session!
Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics.
The purpose of this international symposium is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety. We invite speakers to submit proposals for 15-minute papers to be presented during the symposium. Proposals should go beyond case studies and look at such topics as the use and re-use of tabernacle-altarpieces, media involved in their creation, regional differences, etc.
How to Submit: Proposals of c.300 words should be submitted to Fernando Gutiérrez Baños, email@example.com.
Deadline: Friday 18th of January 2019.
All proposals will be examined by the Scientific Committee. It is hoped that an edited volume of the symposium proceedings will be published. Successful candidates will be offered free registration.
SCIENTIFIC COMMITTEE: Fernando Gutiérrez Baños, Universidad de Valladolid; Justin Kroesen, Universitetsmuseet i Bergen; Elisabeth Andersen, Norsk institutt for kulturminneforskning.
KEYNOTE SPEAKERS: These will include members of the Scientific Committee; Stephan Kemperdick, Staatliche Museen zu Berlin, Gemäldegalerie; Teresa Laguna Paúl, Universidad de Sevilla; Cristiana Pasqualetti, Università degli Studi dell’Aquila; and Alberto Velasco Gonzàlez, Museu de Lleida: diocesà i comarcal.
PROGRAM (PROVISIONAL): Friday 7th of June, session held in the Universidad de Valladolid (Facultad de Filosofía y Letras, Sala de Juntas); Saturday 8th of June, field trip to sites in the Diocese of Vitoria.
Deadline: Nov 5, 2018
“Recovering the Ritual Object in Medieval and Early Modern Art”
Session Convenors: Dr Catriona Murray, University of Edinburgh, firstname.lastname@example.org; Dr Halle O’Neal, University of Edinburgh, halle.o’email@example.com
In the medieval and early modern worlds, ritual served as a legitimising process, a dynamic mechanism for mediating a transference or transformation of status. Objects played an essential part in this performative practice, charged with symbolism and invested with power. Distanced from their original contexts, however, these artefacts have often been studied for their material properties, disconnecting function from form and erasing layers of meaning. The relationships between ritual objects and ritual participants were identity-forming, reflecting and shaping belief structures. Understanding of how these objects were experienced as well as viewed, is key to revealing their significances.
This panel intends to relocate ritual objects at the centre of both religious and secular ceremonies, interrogating how they served as both signifiers and agents of change. The organisers specialise in early modern British art and medieval Japanese art, and so we invite proposals from a range of geographical perspectives, in order to investigate this subject from a cross-cultural perspective. We particularly encourage papers which discuss medieval and early modern ritual objects—broadly defined —as social mediators.
Issues for discussion include but are not limited to:
– Recovery of the everyday in ritual objects
– Audiences and interactions
– Ritual object as emotional object
– Spatiality and temporality
– Re-use, recycling, removal
– Illusion and imagination
– Thing theory
How to apply: Please email your paper proposal direct to the session convenors, details above. Provide a title and abstract (250 words maximum) for a 25-minute paper, your name and institutional affiliation (if any).