Tag Archives: Time

CfP: Medieval Echo Chambers: Ideas in Space and Time, College Art Association Annual Conference Los Angeles, 21-24 February 2018


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

250-word proposals should be sent with a short academic CV to Jack Hartnell (j.hartnell@uea.ac.uk) and Jessica Barker (j.barker@uea.ac.uk) by 14th August 2017.

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)

CFP: Session at UAAC-AAUC Conference (Banff, 12-15 October 2017)

logoBanff Centre, Alberta, Canada, October 12 – 15, 2017
Deadline: May 12, 2017

UAAC-AAUC Conference 2017 Congrès Call for Paper: Session 13: The Art of Time October 12–15 Banff Centre, Banff, Alberta
Submission deadline: May 12, 2017

Session 13: The Art of Time
Depictions of Time from Ancient Greece to the Modern and Contemporary have largely been informed by studies in anthropology, narratology, phenomenology, and philosophy. The writings of Plato, Aristotle, Augustine, Bergson, Heidegger, Merleau-Ponty, and Gell have shaped the images of time from its portrayal on art objects to its representation in new media. This panel seeks to explore the relationship between Art and Time and encourage an interdisciplinary dialogue on the meaning and function of Time in Art.

Session Chair: Samantha Chang, University of Toronto (samantha.chang@mail.utoronto.ca)

Submission Regulations:
1. Applicants may only submit one proposal.
2. Proposals for papers should be sent directly to the session chair (samantha.chang@mail.utoronto.ca).
3. Submissions must include: the name and email address of the applicant; the applicant’s institutional affiliation and rank; the paper title; an abstract (300 words maximum); and a brief bio (150 words maximum). Submissions must be provided as an editable document, preferably in MS word.
4. Proposals may be submitted by current members or non-members of UAAC. Non-members MUST become members of UAAC and pay registration fees in order to present a paper at the conference. Membership dues and registration fees must be received by September 15, 2017.
5. The conference is open to post-secondary faculty in all fields of the visual arts (art history, visual culture, material culture, museum studies, art conservation, etc.), visual artists, practitioner/researchers, as well as independent scholars in such fields.
6. Student members of UAAC who are pursuing a terminal degree (examples: a PhD in art history or related disciplines, an MFA, a Masters of Design) may submit proposals. MA students are not permitted to give papers at the conference.

Download CFP at

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

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


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

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
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:
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:
– CV with contact information.
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

Time and Temporality in Medieval and Early Modern Art (May 18 – 19, 2016, The Open University of Israel, Raanana)

a-1496-copy-of-the-german-calendar-created-by-johannes-von-gmunden-c-1380-1443-copy[1]Call for Papers deadline: Dec 31, 2015

IMAGO – The Israeli Association for Visual Culture of the Middle Ages,
and the Department of Literature, Language and Arts, The Open
University of Israel

The subject of time was frequently encountered in medieval and early
modern thinking and culture, from the notion of eternity as an abiding
“now” outside of time (as defined by Gregory of Nazianzos, in Oratio
39.12, “Christ, the Maker of time . . . is not subject to time”) to the
aphorism Tempus vitam regit (“Time rules life”) engraved on more than
one sundial. Ranging from the discussion of the reception of
Aristotelian and Neoplatonic concepts of time and temporality (Pasquale
Porro, The Medieval Concept of Time) to the analysis of temporality and
anachronism in art (Elizabeth Sears, The Ages of Man: Medieval
Interpretations of the Life Cycle; Alexander Nagel and Christopher
Wood, Anachronic Renaissance), scholars have engaged with the
conceptualization and problematics of notions of time and temporality,
eternity and historicity, continuum and momentarity during the medieval
and early modern periods.

This conference strives to expand the existing body of research by
exploring the inventive nature of forms and ways of reckoning time in
art. We hope papers will consider questions such as: What is the
phenomenology of works of art representing ever-stretching, eternal, or
circular time? How has the idea of linear and progressive historical
time been appropriated or challenged in artistic objects and works?
What is the nature of the artwork when submitted to different regimes
of historical temporality? What are the specific artistic devices that
give form to past appropriation and temporal experience? What is the
nature of the work of art that records the passage of time in nature?
How has the notion of time been used for purposes of patronage and

Proposals for talks may refer (but are not limited) to the following
– Conceptualizing the idea of time and temporality in art
– The aesthetic rendering of time: color/grisaille, inaccurate
measurements, distorted notions of space
– Temporal characteristics of atemporal divinities
– Material culture as a marker of time
– Time, creation and continuity in art
– Reconfiguring the past in the present: biblical time and political
– Liturgical time and divine continuity in art
– Memory as a constructor of historical images
– Motion and time: temporal geographies in Christian, Jewish, and
Islamic visual space
– Spatial time and temporal space
– Visual indications of eternity versus time
– Temporality and identity in art
– Physiognomy, body, and traces of time
– Imaging medical and astrological temporality
– The question of trauma in the interpretation of art
– Use and abuse of the past in visual memory

Keynote Speaker:
Professor Charles Barber, Princeton University

Please send an English abstract of up to 250 words to the conference
organizer, matim@openu.ac.il, before 31 December 2015. Abstracts should
include the applicant’s name, professional affiliation, and a short CV.
Each paper will be limited to a 20-minute presentation, followed by
discussion and questions. All applicants will be notified regarding
acceptance of their proposal by 31 January 2016.

For more information or any further inquiries please contact the
conference chair, Mati Meyer – matim@openu.ac.il.

Picturing the present: Structuring the medieval beholder’s relation towards time (Kalamazoo 2016)

Simone Martini, Agostino Novello polytych, simultaneous narrative showing resurrection of a child

Simone Martini, Agostino Novello polytych, simultaneous narrative showing resurrection of a child

Armin Bergmeier (Ludwig-Maximilians-University, Munich)
Andrew Griebeler (University of California, Berkeley)

“What then is time?” asks Augustine, the fourth-century bishop of
Hippo, “If no one asks me, I know, but if I wish to explain it, I do
not know.”  Although intimately familiar, time eludes simple
description. For Augustine, it is a single, ever-moving point of the
present distended by the soul forward in anticipation of things to
come, and backward through memory and recollection. The centuries
following Augustine saw the continued emergence of Christian and
medieval approaches to time alongside the concurrent appropriation and
adaptation of older pagan models, such as Neoplatonic conceptions of
time as a moving image of eternity, or Aristotelian understandings of
time according to the change and movement of bodies.

This panel examines the relationship between medieval artworks and
their viewers’ conception and experience of the present. Scholars of
medieval art have mostly concentrated on imagery depicting the past or
the future, in particular, those that express anxiety about the end of
time. A wide range of images, however, was particularly concerned with
expressing ideas of the present and with depicting the relation between
the visible human world and the invisible divine realm. This panel,
therefore, emphasizes and explores the medieval viewers’ relationship
to the present and their current place in the cosmological system. We
invite proposals covering a wide range of media (portable objects,
manuscripts, sculpture, wall decorations) from Late Antiquity through
the late Middle Ages.

Possible topics might include, but are not limited to the following:
– How images relate to the conceptualization of the historical present
– How artworks structure or organize the experience of time
– How artworks reflect philosophical concepts of the nature of time
– Notions of temporality in depictions of visions and prophecies
– The visibility and visuality of time-keeping instruments and practices
– Medieval conceptions of change in the physical or natural historical
present, including seasons, tides,stages of life, and the movement of

Please, send your abstracts (500 words maximum), CV with current
information, and completed Participant Information Form (available at
http://wmich.edu/medieval/congress/submissions/index.html) to the
armin.bergmeier@campus.lmu.de and agriebeler@berkeley.edu