Tag Archives: Visual Arts

CFP: Illustrating Love: From Myth to Manual, Athens, GA, March 22–23, 2019

Apollonio di Giovanni di Tomaso and Workshop. Panel from a Marriage Chest with Story of an Assault on a Maritime City, ca. 1460. Museo Stibbert, Florence

Deadline: Nov 30, 2018

Call For Papers
Illustrating Love: From Myth to Manual
UGA Emerging Scholars Symposium—March 22-23rd, 2019
Keynote Speaker: Dr. Paul Barolsky

Submissions Due: November 30, 2018

The Association of Graduate Art Students (AGAS) at the University of Georgia, in partnership with the Georgia Museum of Art, invites emerging scholars to submit proposals for papers that contribute to a discussion of love in the visual arts. The symposium will be held in conjunction with the exhibition Life, Love, and Marriage Chests in Renaissance Florence, on view at the Georgia Museum of Art March 9—May 26, 2019.

Our symposium will expand the scope of the exhibition by addressing attempts to articulate love throughout the history of visual and material culture. Expressing the many facets of this complex emotion has been a preoccupation in the arts for generations, with artists across genres and media vying to capture the elusive sentiment. Through myth, allegory, and even religion, depictions of love mark cultures’ interpersonal values, both in public and in private. The arts of love reveal society’s most intimate desires, depicting narratives that codify their ideals. From beauty, sexuality, and family to status, agency, and identity, our symposium seeks submissions that exemplify the myriad archetypes related to love.

Submissions that discuss specific works of art or themes related to Life, Love, and Marriage Chests in Renaissance Florence are encouraged. Other relevant topics include but are not limited to:

•    Courtly love
•    Allegories of love and marriage
•    Gender roles in the domestic space
•    Eroticism and the nude
•    Love poetry and the visual arts

Current graduate students and other emerging scholars should submit abstracts (maximum 300 words) and an up-to-date CV to uga.symposium@gmail.com by November 30, 2018. Applicants will be notified of the committee’s decision by December 31, 2018.

Life, Love, and Marriage Chests in Renaissance Florence and related educational programs are made possible by the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art.

Call for Papers: ‘Medieval Popular Culture in the Visual Arts’, ICMS 2019 (Deadline: 15 September 2018)

mummers2CFP: Medieval Popular Culture in the Visual Arts
International Congress on Medieval Studies, Kalamazoo MI (May 9–12, 2019)

Organizers:
Julia Perratore, Fordham University
Shannon L. Wearing, UCLA Center for Medieval and Renaissance Studies

Though most medieval imagery was destined for a purpose that modern viewers characterize as religious, many of its subjects seem to refer to a realm of experience that existed beyond the strictures of canonical Christian belief and practice – and particularly to the cultural experiences of non-elite makers and viewers. Such images might be interpreted as manifestations of medieval popular culture. From the literary and folkloric references enlivening church portals to the musicians and  painted in the margins of manuscripts, such imagery can be difficult to interpret, in part because textual sources may be lacking to explain its particulars. As a result, art historians tend to marginalize the “low” and “unofficial,” or declare its significance hopelessly indecipherable, though to do so is to deny an important aspect of medieval thought. And while recent art historical studies focused on medieval patronage have proven beneficial by helping to uncover the ideological motivations of artistic production, they have tended to overlook or obscure non-elite individuals and communities.

In response to these tendencies, we invite papers that examine the concept of medieval popular culture and its manifestations in the visual arts. We are especially interested in studies focusing on producers and consumers who existed outside the highest echelons of religious and secular society, while recognizing Mikhail Bakhtin’s assertion that popular culture transcended barriers of class, wealth, and education. The application of the term “popular culture” to the Middle Ages has been criticized by a number of scholars who have maintained that “popular” and “elite” aspects of medieval culture should not be viewed as monolithic entities. We nonetheless contend that “medieval popular culture” is a broadly useful term, a first step in better understanding the diverse folkloric and mundane aspects of medieval art that relate to ephemeral experiences that could be shared by laity and clergy, nobility and peasantry alike.

This session thus has two primary methodological goals: first, to explore how theories of popular culture developed largely for the study of modern cultural and literary history can be applied usefully to the art of the Middle Ages, and second, to determine to what extent it is possible to glean information about popular cultural practices from visual art. We welcome papers that explore and question the relationship between popular and canonical (or “low” and “high”) culture, and that between elite and non-elite communities, as well as studies that investigate popular cultural imagery as a means of accessing audiences who frequently fall through the cracks of medieval art history.

To propose a paper, send an abstract (max. 250 words) and a completed Participant Information Form (available via https://wmich.edu/medievalcongress/submissions) to both organizers by September 15, 2018: Julia Perratore, jperratore@fordham.edu; Shannon Wearing, slwearing@gmail.com.