Tag Archives: Sculpture

CFP: (Re-)Forming Sculpture (Leeds, 26-27 Jun 18)

350px-Perrecy-les-Forges_01University of Leeds and The Hepworth Wakefield, June 26 – 27, 2018
Deadline: Mar 16, 2018

Call for Papers for the Association for Art History’s 2-day Summer Symposium organised by the Doctoral and Early Career Research Network.

Keynote Speakers:

Martina Droth, Deputy Director of Research, Exhibitions, and Publications | Curator of Sculpture, Yale Center for British Art

Dr Rebecca Wade, Assistant Curator (Sculpture), Leeds Museums and Galleries, based at the Henry Moore Institute

Paper proposal deadline: 16 March 2018

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CONF: New Directions in the Study of Medieval Sculpture (Leeds, 16-17 Mar 18)

Henry Moore Institute, Leeds, UK, March 16 – 17, 2018


The focus 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.
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CRSBI lecture at Cardiff Archaeological Society, 19 October 2017 | CRSBI Training Session, Llandlaff Cathedral, 20 October 2017

Lecture: The Corpus of Romanesque Sculpture in Britain and Ireland: Achievements and Aspirations, Dr Ron Baxter FSA and Dr David Robinson FSA, Main Building, Cardiff University, Park Place, Cardiff CF10 3AT, Thursday 19 October 2017, 7.15pm

This lecture will review CRSBI’s achievements to date, and outline aspirations for Wales, looking at Romanesque sculpture from across the country.

Training Session: The following Friday, 20 October, Ron Baxter and David Robinson will be running a training session at Llandlaff Cathedral, from 10.00am to 3.00pm. The day is open to all who may be interested in becoming a fieldworker for the Corpus, or in simply finding out more about our work.

Dr Ron Baxter is the Research Director of CRSBI

Dr David Robinson is an independent historian and writer


Job: Curator of Medieval Art and Design, V&A Museum, London

Screen Shot 2017-09-01 at 15.46.23.pngJob: Curator of Medieval Art and Design, V&A Museum, London
Deadline: 29 September 2017

The V&A is seeking to appoint a Curator of Medieval Art and Design to join the Department of Sculpture, Metalwork, Ceramics & Glass.

The post-holder will be responsible for the development, care, research, display and interpretation of medieval art and design (excluding manuscripts, which are held in the National Art Library) in the Sculpture, Metalwork, Ceramics & Glass Department. The extensive European medieval collections are of national and international importance, and the post-holder will serve a wider role within the Department and the Museum as one of the medieval specialists, and will be expected to play an active role in the field of medieval studies and collecting, both nationally and internationally.

The successful candidate will have practical experience of collections management, excellent organisational, interpersonal and writing skills and experience in research and publication. They will be comfortable working across decorative arts collections, contributing to the V&A FuturePlan and exhibition projects, and cultivating and cementing good relations with external organisations and communities.

For further information on the post and to submit your application visit the V&A’s Recruitment Portal.

6 CfP for ICMS Kalamazoo 2018

[1] Venice, Materiality, and the Byzantine World

[2] De-Centering the Romanesque

[3] Creative Modes of Activating the Early Medieval Manuscript

[4] Creative Strategies of Intellectual Engagement with Tradition and the Auctores

[5] “Manuscripts in the Curriculum”: New Perspectives on Using Medieval Manuscripts in the Undergraduate Classroom from Special Collection Librarians, Faculty, and Booksellers (A Roundtable)

[6] 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, hostetler1@kenyon.edu, Joseph Kopta, Pratt Institute, jkopta@pratt.edu
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, gerhard.lutz@dommuseum-hildesheim.de


[3] and [4]

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 (emr6m@virginia.edu) and Lynley Anne Herbert (lherbert@thewalters.org). 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 (emr6m@virginia.edu) and Lynley Anne Herbert (lherbert@thewalters.org)

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&gt;, 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 lauralight@lesenluminures.com<mailto:lauralight@lesenluminures.com> by September 10, and sooner if possible.
Emily Runde, Text Manuscripts Specialist

Les Enluminures




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 (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. For more information visit: http://www.medievalart.org/kress-travel-grant/

CfP, Louvre Study Day: Collecting Medieval Sculpture, 23rd – 24th Nov 2017

Musée du Louvre, Paris, November 23 – 24, 2017
Deadline: Aug 15, 2017

Ards Study Day 2017
Collecting Medieval Sculpture

Ards, M-Museum Leuven (B) is launching a Call for papers for the 4th
annual colloquium ‘Current research in medieval and renaissance
sculpture’, which will be held in the Musée du Louvre in Paris (FR) on
November 24th  2017.

During the colloquium we will be having keynote speakers on the topic
and a selection of submitted papers in plenum. One day before, on
November 23rd, we will have the opportunity to visit the magnificent
collection of medieval sculpture in the Arts décoratifs Muséum in Paris
as well as other suggested excursions.

This year we are inviting all researchers and curators working
specifically on and with specific sculpture collections or collectors
to submit papers. Firstly, we want to take a look at collecting
medieval sculpture. How did or do medieval sculpture collections get
formed? How has medieval sculpture been collected in the past
(including in the middle ages and renaissance period) and how is this
evolving right now?
We know the prices on the art market are slowly rising as medieval
sculpture is becoming increasingly more interesting as an investment.
Can we take a closer look at what’s happening in that area? In december
2014 the Getty Museum acquired a rare medieval alabaster sculpture of
Saint Philip by the Master of the Rimini Altarpiece at Sotheby’s for no
less than 542,500 GBP. If a small statuette by an anonymous master can
generate this kind of money at a sale, this must mean the ‘market’ for
medieval sculpture is shifting thoroughly.
Moreover, does the exhibition or publication of medieval sculpture
influence this trend? It is a fact that the more we know about an art
piece or artist, the more interesting it becomes to buy or exhibit
them. What are the motifs or instigating factors for museums and
private collectors to collect this intrinsiquely religiously inspired
and therefore (?) ‘less attractive’ discipline. Links can be drawn to
the abolition of churchly instances at the end of the 19th century and
the gothic revival in the 19th century, the export of mainland
patrimony to the United Kingdom.

Would you like to submit a paper for this conference? Your proposal can
be of an art-historical, historical as well as a technical or
scientific nature. Multidisciplinarity is encouraged.

Priority will be given to speakers presenting new findings and
contributions relevant to the specific conference theme. The conference
committee, consisting of sculpture curators from M – Museum Leuven will
select papers for the conference. Submissions that are not selected for
presentation in plenum, can still be taken into consideration for
(digital) poster presentation.There are no fees, nor retribution of
transport and/or lodging costs for the selected papers. After the
conference, presentations will be shared online with the Ards-network
on the website, so please make sure your pictures are copyright cleared.

How to submit your proposal?
– Write in English or French. Presentations are given in English or
– Include a short CV.
– Max. 500 words for abstracts
(excl. authors name(s) and contact details).
– E-mail to marjan.debaene@leuven.be.
– Deadline: 31.08.17.
Successful applicants will receive a notification by 15.09.17.
For more info, visit www.ards.be

TODAY: Leeds IMC, Corpus of Romanesque Sculpture in Britain and Ireland, Session 703

The Corpus of Romanesque Sculpture in Britain and Ireland will be running its first conference session this year at the Leeds International Medieval Congress.

Session 703 – Tuesday 4 July 2017 – 14.15 to 15.45

The following papers will be delivered:

Ron Baxter (Corpus of Romanesque Sculpture in Britain & Ireland, London) – The Corpus of Romanesque Sculpture and the Medieval Workshop (paper 703-a);

James King (The Corpus of Romanesque Sculpture in Britain & Ireland, London) – The Romanesque Sculpture of Dunfermline Abbey and Its Influence: Evidence and Some Questions (paper 703-b);

Agata Gomółka (Department of Art History & World Art Studies, University of East Anglia) – Carving Romanesque Bodies (paper 703-a).


Romanesque art and architecture was transnational in a European context.
The architectural sculpture produced in the British Isles and Ireland during the late
11th and 12th centuries demonstrates the visceral connection between these off-
shore islands and mainland Europe at that time. In its inaugural session at the IMC,
the Corpus of Romanesque Sculpture in Britain & Ireland (CRSBI) is seen to reveal
some of the ways in which its searchable and fully illustrated database enables art
historians to build an understanding of Romanesque stone carving by identifying
authorship, tracing the diffusion of carved ornament, recreating workshop practice,
and reimagining aesthetic criteria. Launched in 1987 by Professor George Zarnecki
with British Academy support and now affiliated also to King’s College London, the
CRSBI is an Open Access website comprising illustrated records of the Romanesque
sculpture at some five thousand sites in Britain and Ireland.