The ICMA invites submissions for the annual prize for the best single-authored book on any topic in medieval art. Books that will be considered need to be printed in 2016. No special issues of journals or anthologies or exhibition catalogues can be considered.
ICMA AT COLLEGE ART ASSOCIATION, 2018
due 20 April 2017
The International Center of Medieval Art (ICMA) seeks proposals for sessions to be held under the organization’s sponsorship in 2018 at the annual meeting of the College Art Association. Session organizers and speakers must be ICMA members. Proposals must include a session abstract, a CV of the organizer(s), and a list of speakers, all in one single Doc or PDF with the organizer’s name in the title.
Please direct all session proposals and inquiries by 20 April 2017 to the Chair of the ICMA Programs and Lectures Committee: Janis Elliott, Texas Tech University. Email: email@example.com .
CANADIAN CONFERENCE OF MEDIEVAL ART HISTORIANS 2017
The ICMA is proud to present the keynote lecture by David H. Caldwell (Society of Antiquaries of Scotland), “Unsealing a Forgotten Resource - Scottish Glyptic Art ,” on 17 March (5-6pm) at the 38th Annual Canadian Conference of Medieval Art Historians.
The conference is hosted by Brock University, St. Catharines, Ontario, 17 & 18 March 2017.
The ICMA is a member of the National Humanities Alliance, an organization in Washington, DC devoted to supporting humanities in general and the NEH in particular. The links provided in their message below will enable you to voice your opposition to any action to stop funding to the NEH and have it reach your Congressional representatives directly.
A Message from the National Humanities Alliance:
News broke last week that the Trump Administration is considering the elimination of NEH, along with other cultural agencies. While we are all concerned, it is important to remember that we have built considerable support in Congress over the past years and we can fight this proposal.
It is time to take action and make clear to the President and Members of Congress that you value federal funding for the humanities.
Click here to take action.
Together, we will communicate that public support for the humanities benefits students, teachers, and communities across the country.
Learn more about this blueprint and plans to stop it here.
Thank you for your support!
CALL FOR PAPERS / APPEL À COMMUNICATIONS 38th ANNUAL CANADIAN CONFERENCE OF MEDIEVAL ART HISTORIANS Brock University, St. Catharines, Ontario, 17 & 18 March 2017 The 38thannual Canadian Conference of Medieval Art Historians will be hosted by The Centre for Medieval and Renaissance Studies, Brock University (St. Catharines, ON), 17-18 March 2017. The organization welcomes those interested in medieval art and architecture. This year, the keynote lecture will be delivered by David Caldwell (President, Society of Antiquarians of Scotland). We invite those interested in delivering a paper in English or French on any topic relating to the art, architecture and visual/material culture of the Middle Ages (or its post-medieval revivals), to submit a short abstract (250 words) by 1 December 2016. Scholars at every stage of their careers are encouraged to submit proposals. Please send your abstract and 50–word C.V. by email to: firstname.lastname@example.org Candice Bogdanski, Centre for Medieval and Renaissance Studies, Brock University 38e COLLOQUE CANADIEN DES HISTORIENS DE L’ART DU MOYEN ÂGE Brock University, St. Catharines, Ontario, 17-18 mars 2017 Le Centre for Medieval and Renaissance Studies, Brock University accueillera le 38e Colloque annuel des historiens de l’art médiéval du Canada en mars 2017. L’organisation accueille tous ceux et celles qui s’intéressent à l’art et à l’architecture du Moyen Âge. Cette année, la conférence plénière sera donnée par David Caldwell (President, Society of Antiquaries of Scotland). Les personnes souhaitant présenter une communication sur l’art, l’architecture ou la culture visuelle/matérielle du Moyen Âge (de même que les manifestations postmédiévales) sont invitées à soumettre un résumé de 250 mots avant le 1er décembre 2016. Les interventions peuvent être en français ou en anglais. Tous les chercheurs et chercheuses qui en sont à différentes étapes de leur carrière sont encouragés à participer. Veuillez envoyer votre résumé et un c.v. abrégé par courriel à: email@example.com Candice Bogdanski, Centre for Medieval and Renaissance Studies, Brock University.
We are pleased to announce the launch of The Lordship and Commune Project: A Collaboratory (http://www.medievalart.org/lordship-and-commune)
The Lordship and Commune Project is based on Barbara Abou-El- Haj’s unfinished study of the cathedrals of Reims and Amiens, analyzed in relation to their political and social environments.
Using this interactive platform, scholars and students can explore, debate, and raise new questions about Gothic architecture, power, and resistance.
Please check it out, contribute to the conversation, and consider integrating it into your Fall 2016 courses!
The Lordship and Commune Project is a collective work. Nina Rowe led a team of scholars – Michael Davis, Jennifer Feltman, Lindsey Hansen, and Janet Marquardt – editing, revising, and filling out the text. Danielle Oteri was in charge of design, with assistance from Aimee Caya on images. Please see the Acknowledgments link on the site where we have a chance to thank all the people who made this project possible.
FORUM KUNST DES MITTELALTERS / FORUM MEDIEVAL ART
Berlin and Brandenburg, Germany; 20-23 September 2017
due 31 October 2016
CALL FOR PAPERS
The Treasury of San Isidoro de León and its Global Connections
Organizer: Jitske Jasperse (Madrid)
Liturgical objects from the San Isidoro treasury – in situ and at the Museo Arqueológico Nacional in Madrid –, present a golden opportunity to be studied as a multi‐layered collection with largely untold stories. Such an unusual gathering of metalworks, silks, and ivories locates the capital city of León as a contact zone for artistic production and the exchange of materials, ideas and craftsmanship between the wider world and Christian Spain. The study of (supposedly) Islamic luxury items – such as ivories and textiles – points out that transcultural contact offers a fresh perspective on centres of production, patronage and fashion for the central Middle Ages. Transcultural objects also challenge us to (re)consider why and how some pieces – initially not meant to function in an ecclesiastical context – ended up in churches and how this affected their meaning. At the same time, San Isidoro’s treasury contains a variety of objects from the eleventh and twelfth centuries that seem to be made for, or intended to be given to, that monastery from the start. A closer study, however, reveals that elements of the treasury’s history were fabricated and manipulated through these very objects, their materials, and inscriptions.
How then did this treasury work, and who was involved in collecting these pieces from Egypt, al‐Andalus, Sicily and beyond? What were its underlying principles, and were such stories confirmed by the presence of other ‘exotic’ objects? These questions apply both to the medieval moment in a monastic setting and to the nineteenth‐ and twentieth‐century display of San Isidoro’s treasury for secular publics. San Isidoro’s museum and the Museo Arqueológico Nacional have stories to tell about treasuries, the Middle Ages and cross‐cultural exchange. How are narratives concerning religious and geographical boundaries communicated? This session aims to unfold the multiple stories behind San Isidoro’s treasury and the impact of exchange on the formation of collections in the Middle Ages and beyond.
Please send your paper proposals of max. 1 page to firstname.lastname@example.org
Deadline: 31 October 2016
CALL FOR PAPERS for the ICMA-sponsored session
International Congress of Medieval Studies
11-14 May 2017
University of Western Michigan, Kalamazoo, MI.
Deadline: 10 September 2016
Light and Darkness in Medieval Art, 1200-1450, I-II
Organizers: Stefania Gerevini (L. Bocconi University) and Tom Nickson (The Courtauld Institute)
Specialists of Christian, Islamic and Jewish art and culture are invited to explore how perceptions of light and darkness informed the ways in which art across Europe and the Mediterranean was produced, viewed and understood in the period 1200–1450. We welcome papers that investigate the correlations between theories of optics, theologies of light, practices of illumination, and modes of viewing in the Middle Ages, as well as the ways in which different religious or cultural communities conceptualized light and used it in everyday life or ritual settings. Papers might also address such broad methodological questions as: can the investigation of light prompt reconsideration of well-established periodizations and interpretative paradigms of art history? How was the dramatic interplay between light and obscurity exploited in the secular and religious architecture of Europe and the medieval Mediterranean? How carefully were light effects taken into account in the display of images and portable objects, and how does consideration of luminosity, shadow and darkness hone our understanding of the agency of medieval objects? Finally, to what extent is light’s ephemeral and fleeting nature disguised by changing fashions of display and technologies of reproduction, and how do these affect our ability to apprehend and explain medieval approaches to light?
Please send proposals to Stefania Gerevini email@example.com and Tom Nickson firstname.lastname@example.org by 10 September 2016.
Call for Papers:
International Center for Medieval Art, Student Committee
International Congress on Medieval Studies, May 11-14, 2017
Western Michigan University, Kalamazoo, Michigan
In 1284, part of the choir of Beauvais cathedral dramatically collapsed during construction. This event would go on to alter the plan of one of the most ambitious building projects of the Middle Ages. Like Beauvais, greater and lesser failures throughout the Middle Ages served as the inspiration, motivation, and impetus for artistic change and development. Given the nature of failure, unsuccessful creations do not always leave a lasting mark. Nevertheless, the impact of failure is evident in subsequent artistic creation. Because of this relative obscurity, “failure” has seldom been explored in a field focused on the great artistic achievements of the past.
We hope to address this lacuna by offering an opportunity for young scholars to present research on the less-than-successful endeavors of medieval artisans, both large and small. We invite papers engaging with various incarnations of failure (alteration, incompletion, destruction, rejection, collapse, etc.) as approaches to artistic production or interpretation.
The Student Committee of the International Center for Medieval Art involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.
To propose a paper, please send a 300 word abstract, C.V., and completed Congress Participant Information Form (available here: https://wmich.edu/medievalcongress/submissions) to Dustin Aaron (email@example.com) and Katherine Werwie (firstname.lastname@example.org).
due 10 September 2016
Please send information to email@example.com.
Have you recently published a book? Have you received a national or international award? Do you have any other news about our colleagues in the medieval art world? We want to hear about it!
Please send us a notice to the email above. We can only accept notices not previously announced in our newsletter and books or awards published/awarded within the last year.