ICMA session at CAA: FAMILIAR OBJECTS: TAKING ANOTHER LOOK AT MEDIEVAL ART (Sat 16 Feb)

ICMA session at CAA New York 2019
FAMILIAR OBJECTS: TAKING ANOTHER LOOK AT MEDIEVAL ART

Date:  Saturday 16 February 
Time:  4:00-5:30 PM
Location: New York Hilton Midtown - 2nd Floor - Sutton North

Organizer and Chair: Lynn A. Jones, Florida State University
Discussant: Robert Nelson, Yale University

The Miniatures in the Rabbula Gospels and Iconographic Analysis: Everything Old Is New Again
Felicity J. Harley-McGowan, Yale University

Looking Again and Again: The Cross of the Scriptures at Clonmacnoise
Heather Pulliam, Edinburgh University

Touching the Treasury: The Golden Spaces of the Uta Codex (Munich: Bayerische Staatsbibliothek, CLM 13601)
Eliza B. Garrison, Middlebury College

Reexamining the Message of the Vestibule Mosaic of Hagia Sophia
Lynn A. Jones, Florida State University

ICMA ANNUAL MEETING: 14 February 2019, 7-9pm, New York

THE ICMA ANNUAL MEETING

THURSDAY 14 FEBRUARY 2019
7pm-9pm

House of the Redeemer
7 E 95th Street
New York, NY 10128

Join us as we honor Linda Safran and Adam Cohen for their editorship of Gesta, George Spera, as he retires as our pro-bono lawyer, and Fronia W. Simpson, our longtime copyeditor of Gesta. We also thank outgoing Directors, Associates, committee chairs and committee members. 

We will welcome new Gesta editors Susan Boynton and Diane J. Reilly, as well as announce and welcome recently elected board members. 

Drinks and small bites will be served.

ALL ARE WELCOME.

ICMA co-sponsored symposium: Eclecticism at the Edges; April 5-6, 2019 Princeton University

The ICMA is co-sponsoring the symposium:

Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres (c.1300-c.1550)

April 5-6, 2019
Princeton University

The symposium is free, but registration is required to guarantee seating.: https://ima.princeton.edu/register/

Organizers:
M. Alessia Rossi, The Index of Medieval Art
Alice Isabella Sullivan, University of Michigan
eclecticism.symposium@gmail.com

Friday, April 5, 2019

5:00-5:15 M. Alessia Rossi, The Index of Medieval Art Alice Isabella Sullivan, University of Michigan Welcome

5:15-6:30 Keynote Lecture Jelena Erdeljan, University of Belgrade Cross-Cultural Entanglement and Visual Culture in Eastern Europe c. 1300-1550

6:30-7:30 Film Screening and Exhibition Introduction by Julia Gearhart, Princeton University “No Woman’s Land”: A 1929 Expedition to Mount Athos and Meteora

7:30-9:00 Reception, McCormick Hall

Saturday, April 6, 2019

9:00-10:40 Session 1 - New Constructs of Identity

Chair: Charlie Barber, Princeton University

Elena Boeck, DePaul University A Timeless Ideal: Constantinople in the Slavonic Imagination of the 14th-16th Centuries

Gianvito Campobasso, University of Fribourg Eclecticism Among Multiple Identities: The Visual Culture of Albania in the Late Middle Ages

Ida Sinkević, Lafayette College Serbian Royal Mausolea: A Reflection of Cultural Identity? 10:40-11:00 Coffee / Tea Break

11:00-12:40 Session 2 - Shifting Iconographies

Chair: Pamela Patton, The Index of Medieval Art

Vlad Bedros, National University of Arts, Bucharest A Hybrid Iconography: The Lamb of God in Moldavian Wall-Paintings

Krisztina Ilko, The Metropolitan Museum of Art The Dormition of the Virgin: Artistic Exchange and Innovation in Medieval Wall Paintings from Slovakia

Ovidiu Olar, Austrian Academy of Sciences A Murderer among the Seraphim: Prince Lăpușneanu’s Transfiguration Embroideries for Slatina Monastery

12:40-2:00 Lunch Break

2:00-3:40 Session 3 - Patronage and Agents of Exchange

Chair: Cristina Stancioiu, College of William and Mary

Dragoş Gh. Năstăsoiu, Centre for Medieval Studies, National Research University “Higher School of Economics,” Moscow Appropriation, Adaptation, and Transformation: Painters of Byzantine Tradition Working for Catholic Patrons in 14th- and 15th-century Transylvania

Christos Stavrakos, University of Ioannina/Greece Donors, Patrons, and Benefactors in Mediaeval Epirus between the Great Empires: A Society in Change or a Continuity?

Nazar Kozak, National Academy of Sciences of Ukraine Post-Byzantine Art as a Network: Mobility Trajectories of the Akathistos Cycle in the Balkans, the Carpathians, and Beyond

3:40-4:00 Coffee / Tea Break

4:00-5:15 Keynote Lecture Michalis Olympios, University of Cyprus “Eclecticism,” “Hybridity,” and “Transculturality” in Late Medieval Art: A View from the Eastern Mediterranean

5:15-6:00 Roundtable Discussion, Questions, and Closing

6:00-9:00 Final Reception Chancellor Green Rotunda

This event is generously co-sponsored by the following:

The International Center of Medieval Art
The Society of Historians of East European, Eurasian, and Russian Art and Architecture
The Mary Jaharis Center for Byzantine Art and Culture
The Princeton Institute for International and Regional Studies
The Department of Art & Archaeology, Princeton University
The Index of Medieval Art, Princeton University
The Seeger Center for Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund

2019 ICMA MEMBERSHIPS NOW AVAILABLE ONLINE

The International Center of Medieval Art’s 2019 membership is now available online by visiting our website (www.medievalart.org) and creating an account. Memberships are valid 1 January - 31 December 2019.

BENEFITS OF MEMBERSHIP

• ICMA members receive Gesta, the premier scholarly journal for the history of medieval art (two issues annually).

• Members receive the digital ICMA Newsletter, which delivers timely information about current issues and events in the world of medieval art (three issues annually, email address required.)

• Eligibility to publish in Gesta and Viewpoints

• Eligibility to present at ICMA-sponsored sessions

• Members receive invitations to ICMA-sponsored receptions and special events at conferences and international congresses.

• Exclusive funding and research opportunities

• Searchable member directory

2019 MEMBERSHIP FEES: Student ($20), Independent Scholar/Retiree ($55), Individual ($65), Joint ($80), Contributor ($150), Patron ($300), Sustainer ($600), Benefactor ($1,200)

All prices in USD.

Questions? Email icma@medievalart.org

ICMA Lecture in Paris: The Slanted Lens and the Making of the Image of the Haram of Mecca, 5 Nov 2018 at Reid Hall

Alliance Program of Columbia University, Columbia Global Centers | Paris, and the International Center of Medieval Art present:

The Slanted Lens and the Making of the Image of the Haram of Mecca

A public lecture by Dr. Avinoam Shalem, Riggio Professor of the History of the Arts of Islam and co-director of the Center of the Study of Muslim Societies (CSMS) at Columbia University

Monday 5 November 2018, 19.00-21.00

Columbia Global Centers | Paris, Reid Hall
4 Rue de Chevreuse
75006 Paris
FRANCE

All are welcome, please RSVP: https://www.eventbrite.fr/e/billets-the-slanted-lens-and-the-making-of-the-image-of-the-haram-of-mecca-51066625652

The “Sacred” and the “Holy” (haram in Arabic and, to some extent al-muqaddas), are Semitic words denoting the act of separation, parting, or setting aside, and imply the apparent human faculty of setting distinctive borders between holy and profane zones. Constrained to time, these spaces become chronotopes. But, whereas the sacred space appears as totally autonomous and linked to the eternal, the profane zone seems to exist as bound to historical time. This supposition results in assigning terms such as “common,” “habitual,” and “ephemeral to historic times, as opposed to “pure” and “intact” designating the “Holy” as linked to everlasting time. This lecture analyzes varied iconic visions of the Haram (the sacred sanctuary) of Mecca. A close and attentive gaze at the late medieval and early modern images of Mecca suggests a crucial change and shift in the mode of the depiction of the holy sanctuary. The earlier flattened and two-dimensional images of the sanctuary, which, as I argue, contributed to the hierophany of the sacred and suggested its relic character, were replaced by perspectival images that evoked veracity and authenticity and fixed the sacred space within its larger geographic setting.

Biography

Avinoam Shalem studied history of art at the universities of Tel Aviv, Munich (LMU) and Edinburgh where he earned his PhD degree in the field of Islamic art. Prior to his appointment as the Riggio Professor of the Arts of Islam at Columbia University, Shalem held the professorship of the history of Islamic art at the University of Munich and taught at the universities of Tel Aviv, Edinburgh, Heidelberg (Hochschule für jüdische Studien), Bamberg, Luzern and Jawaharlal Nehru University in New Delhi. He was Andrew Mellon Senior Fellow at the Metropolitan Museum of Art in New York in 2006 and Guest Scholar at the Getty Research Center in 2009. Between 2007-2015, he was the Max-Planck Fellow at the Kunsthistorisches Institut in Florence.

Shalem’s main field of interest concerns artistic interactions in the Mediterranean basin, migration of objects, and medieval aesthetics. He has published extensively on medieval Islamic, as well as Jewish and Christian art. Professor Shalem is the author and editor of ten books, including Islam Christianized (Peter Lang, second ed. 1998); The Oliphant (Brill, 2004); Facing the Wall: The Palestinian-Israeli Barriers(Walter-König, 2011); Facts and Artefacts: Art in the Islamic World. Festschrift for Jens Kröger on his 65th Birthday (Brill, 2007); After One Hundred Years: The 1910 Exhibition »Meisterwerke muhammedanischer Kunst« Reconsidered (Brill, 2010); Die mittelalterliche Olifante (Deutscher Verlag für Kunstwissenschaft, Berlin, 2014). He has recently edited the books Constructing the image of Muhammad in Europe (Walter de Gruyter, 2013) and The Image of Muhammad Between Ideal and Ideology: A Scholarly Investigation(Walter de Gruyter, 2014), which introduce the readers to the complex history of the conceptualisation and pictorialization of the Prophet Muhammad in the West and the lands of Islam, from the early medieval times till the 19th century.

Professor Shalem has written more than one hundred articles on varied subjects including stylistic observations, document-based researches and cultural studies, historiographies and art criticism. He also researches and publishes on issues concerning Modernity in the Islamic world, especially in the Near East. He has acted as the initiator of the series of exhibitions Changing Views that were held in Munich in 2010/2011, and co-curated the exhibition The Future of Tradition: the Tradition of Future in Haus der Kunst in Munich. Professor Shalem was one of the directors of the international, Getty-supported project Art Space and Mobility in the Early Ages of Globalization: The Mediterranean, Central Asia and the Indian Subcontinent 400-1650, and is currently directing the research projects When Nature Becomes Ideology: Palestine after 1947.

About Alliance Program of Columbia University
Created in 2002 and endowed in 2008, Alliance is an innovative academic joint-venture between Columbia University and three major French Higher Education Institutions: École Polytechnique, Sciences Po, and Paris 1 Panthéon-Sorbonne University. Alliance explores the future of global education and encourages the exchange of people, knowledge practices and resources. https://alliance.columbia.edu/alliance

About Columbia Global Centers | Paris
Columbia Global Centers | Paris at Reid Hall is part of a network of nine centers around the globe (Amman, Beijing, Istanbul,  Mumbai, Nairobi, Paris, Rio, Santiago, Tunis).  These centers were established  by Columbia University (New York) in pursuit of its mission to expand Columbia into a global university by engaging across borders and across disciplines.

The Paris Center hosts a large undergraduate program, a Master of Arts in History and Literature, The Shape of Two Cities New York/Paris - a joint undergraduate/graduate architecture program, and an Executive Master in Technology Management. Our public programming focuses on creative and liberal arts, science, medicine, technology, and pressing social issues. https://globalcenters.columbia.edu/paris

About the International Center of Medieval Art (ICMA):
Founded in France in 1953 and re-established in 1956 in New York City, the International Center of Medieval Art promotes and supports the study, understanding, and preservation of the visual and material culture of the Middle Ages during the period between ca. 300 and ca. 1500 C.E. The ICMA facilitates scholarship and education through public lectures, conferences, publications, and exhibitions devoted to medieval art and culture. The ICMA publishes Gesta in partnership with the University of Chicago Press. Grant opportunities and resources are available for the ICMA’s network of members. Memberships start at US$20. www.medievalart.org

image: Turkish Glazed tile. Istanbul. Circa 1720-1730. Courtesy: The Metropolitan Museum of Art New York.

CFP: ICMA AT FORUM KUNST DES MITTELALTERS 2019, due 31 October 2018

ICMA AT FORUM KUNST DES MITTELALTERS 2019
CALL FOR PAPERS
due 31 October 2018

For the fifth time the German Society for Studies in Art History invites to an international congress "Forum Medieval Art", which takes place from 18 to 21 September 2019 in Bern.

Session 15: Walter Benjamin and the Middle Ages

Session organisers: William Diebold (Portland, Oregon) and Christopher Lakey (Baltimore, MD)

Sponsored session: International Center of Medieval Art - ICMA

Twenty-six years ago, in “Der simulierte Benjamin: Mittelalterliche Bemerkungen zu seiner Aktualität”, Horst Bredekamp persuasively argued that Walter Benjamin’s famous thesis that reproduction diminished the aura of a work of art did not apply to medieval art. Instead, according to Bredekamp, in the Middle Ages the correlation between reproduction and aura was precisely the inverse of what Benjamin posited in “The Work of Art in the Age of its Technological Reproducibility.” Despite Bredekamp’s historical scruples, Benjamin's popularity and prevalence has only increased in all kinds of historical and cultural inquiry, including about the Middle Ages.

Bredekamp's objection is likely well founded when it comes to medieval cult images and relics, but in his “Work of Art” essay Benjamin was far more interested in non-cultic works of Gothic art, especially cathedrals and their sculptural decorations. Why was this and what does it mean for the validity of Benjamin's thesis in respect to medieval art? This session aims to reinvestigate the question of Benjamin and the Middle Ages to try to understand why Gothic art and architecture loomed so large in his imaginary. We welcome papers that take up any aspect of Benjamin’s writings on the Middle Ages (including correspondences, essays other than “The Work of Art …”, etc.), papers that contextualize Benjamin’s writings against the larger political backdrop of the inter-war period when he wrote or within that period's larger historiography of art history, and papers that examine the utility of Benjamin's ideas to the current study of medieval art.

Please send your paper proposal of up to one page to:
mail@mittelalterkongress.de

ICMA AT THE GLENCAIRN MUSEUM - reserve your spot by 5 Oct 2018

THE ICMA IS PLEASED TO INVITE MEMBERS, FRIENDS, AND FAMILIES TO AN UPCOMING SPECIAL TOUR OF THE GLENCAIRN MUSEUM (Bryn Athyn, PA).
                      
The spring issue of Gesta features the article “Integrated Pasts: Glencairn Museum and Hammond Castle,” co-authored by Jennifer Borland and Martha Easton.
 
In this piece, you will learn about two early twentieth-century American collectors of medieval art, Raymond Pitcairn and John Hays Hammond Jr., each of whom housed their collections in elaborate revivalist residences, inspired by medieval art and architecture.

ICMA at the Glencairn Museum
On Saturday, October 27 (please note date change from the previous announcement in the ICMA Newsletter), ICMA members will be welcomed to the Glencairn Museum with Jennifer Borland and Brian Henderson, Director of the museum. The visit will include an intimate guided tour of the Glencairn collections and the extraordinary neo-Gothic Bryn Athyn cathedral.
 
The Glencairn Museum is in Bryn Athyn, PA, about 45 minutes north of downtown Philadelphia. While participants will be responsible for their own accommodations in the Philadelphia area, the ICMA will organize bus transit between University City, Philadelphia and the Glencairn Museum. Lunch on the premises will be provided.
 
Space is limited to 30 attendees. Reserve a spot now! Please make your reservation by FRIDAY 5 OCTOBER here: https://goo.gl/forms/TWiqf454l0x6Mhlm1

If you have questions, please email Sarah Guérin, guerinsa@upenn.edu

EXTENSION OF THE DEADLINE FOR APPLICATIONS FOR ICMA-KRESS RESEARCH AND PUBLICATION GRANTS – NEW DEADLINE: 5PM, MONDAY, SEPTEMBER 10, 2018

EXTENSION OF THE DEADLINE FOR APPLICATIONS FOR ICMA-KRESS RESEARCH AND PUBLICATION GRANTS – NEW DEADLINE: 5PM ET, MONDAY, SEPTEMBER 10, 2018                 

Due to an unexpected circumstance, this year the International Center of Medieval Art is extending the deadline for ICMA-Kress Research and Publication Grants. To learn about the terms of the award and application requirements, click here.

We are eager to help our members achieve! Don’t miss this great opportunity!

CFP - ICMA sponsored session: MOVING MATERIALS: Medium, Meanings, and Technique in Transit, due 21 Sept 2018 (Student Committee)

CALL FOR PAPERS
MOVING MATERIALS: Medium, Meanings, and Technique in Transit

Leeds International Medieval Congress, thematic strand: Materialities
University of Leeds, Leeds, United Kingdom, 1-4 July 2019

Sponsored by the International Center of Medieval Art (ICMA) Student Committee
Organized by D. Esther Kim (Toronto),  Maggie Crosland (Courtauld), and Xin Yue (Sylvia) Wang (Toronto)

The materials of the medieval artist, artisan, and architect were constantly on the move, travelling from one part of the globe to another through trade, gifting, looting, or theft. Likewise, the localized techniques of working with materials and media could travel near and far, through the movement of artists and objects, as well as written and visual descriptions such as artist manuals and travel guides.

While on the move, travelling materials such as stone and marble, metals, fur, textiles, coral, ivory, and pigment—and techniques of working with these materials—might retain their original meanings and function; or they could be integrated with local media, refined, or even significantly transformed to something drastically different, to suit the ideologies and ambitions of their destination.

This panel aims to engage with materials and techniques in transit, as well as the (trans-)regionality of their meanings and significations, by asking: are we still able to trace the ‘origin’ and ‘originality’ of certain materials, techniques, and their meanings? How then would the fluidity and transformation of techniques affect our understanding when we are trying to ascribe a certain technique to a particular culture or region? How are old, new, and combined meanings assessed and understood in the Middle Ages and in scholarship today?

Possible topics of discussion include, but are not limited to: global movements and dissemination of artists and/or their materials and techniques; modes of transmission; regional/transregional meaning and significance of materials and techniques; reuse and repurposing of existing materials and/or artworks; reasons for shifts in meaning and function of materials within and outside particular regions; the integration of materials and medium, and intermediality; trans-temporal/ trans-regional use of spolia, among others.

We welcome submissions for 20-minute papers from graduate student ICMA members, and encourage interdisciplinary submissions from students researching all parts of the globe from c.400-c.1500. To propose a paper, please send a title, abstract of up to 250 words, and CV to the organizers (de.kim@mail.utoronto.ca, margaret.crosland@courtauld.ac.uk, xw388@nyu.edu) by 21 September, 2018.

The International Center for Medieval Art Student Committee involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.

Summer 2018 ICMA Newsletter now available to ICMA members

The summer 2018 edition of the ICMA Newsletter is now available to ICMA members by logging-in to the member portal on our website.

Not a member yet? Join here to access the newsletter and other benefits, including GESTA: http://www.medievalart.org/become-a-member

INSIDE:
Reflection: Excess and Austerity: Benedictines Rule at the Cloisters, by Risham Majeed

Teaching Medieval Art History: Teaching Medieval Art at the Advanced School of Art and Humanities, China Academy of Art, Hangzhou, China, organized by Janetta Rebold Benton, with essays by Chen Han and Momei Xia

Report From Chicago: ICMA Study Day in Chicago, by Mark H. Summers

Report From Munich: Exhibition Review: Bewegte Zeiten: Der Bildhauer Erasmus Grasser, at the Bayerisches Nationalmuseum, Munich, by Tamara Golan

Student Travel Grant Trip Report: Fresco Programs at Trecento Mendicant Chapter Houses, by Laura Leeker

Events and Opportunities 
 

CFP: The Other Half of Heaven: Visualizing Female Sanctity in East and West (c. 1200-1500) I-II (ICMA sponsored session at Kalamazoo; due 1 Sept 2018)

The Other Half of Heaven:
Visualizing Female Sanctity in East and West (c. 1200-1500) I-II

An ICMA-sponsored session at the 54th International Congress of Medieval Studies
Kalamazoo, 9-12 May 2019

Organizer - Ioanna Christoforaki, Academy of Athens

If, according to the well-known Chinese proverb, women hold half the sky, did medieval female saints hold half of heaven? In her book of 1998, Forgetful of their Sex: Female Sanctity and Society, ca. 500-1100, Jane Schulenburg calculated that of over 2200 female and male saints examined, only one in seven (or 15%) were women. Although documentation on medieval women is notably scarce, this gender-based asymmetry in the celestial realm clearly reflected the values and hierarchy of earthly society.

Female saints were exceptional women who gained social status, popular recognition and enhanced visibility through sainthood. Medieval female sanctity is a multi-faceted phenomenon, which has been mainly explored through words. Historians and literary scholars have fruitfully mined historical and hagiographical texts not only to draw ‘facts’ about the lives of female saints but also to elucidate social mentalities and highlight gender issues. Holy women, however, were also represented on a variety of media, most notably on icons, frescoes, manuscript illuminations and other artworks. Nevertheless, despite the wealth of historical and hagiographical scholarship on female saints, their visual representations have been exploited almost exclusively in stylistic or iconographic terms.

The aim of this session is to consider female sanctity in visual terms both in Western Europe and the Byzantine East. By exploring representations of women saints and their changing iconography, it aspires to shed light on their status and experience in late medieval society. It will examine images of holy women as embodiments of cultural models and explore the social and religious environment that shaped their visual constructions. In the highly symbolic world of the Middle Ages, representations of female saints can become a vehicle for multiple interpretations, including social status, gender, identity, ethnicity and collective memory.

Some of the issues to be addressed include but are not restricted to:
➢ Visual narratives and iconographic attributes defining female sanctity
➢ The corporeality of female saints and the representation of the holy body
➢ The iconography of transvestite holy women
➢ Out of sight, out of mind: forgotten saints and newcomers
➢ The relation between female holy images and text in illuminated manuscripts
➢ The influence of mendicant literature on picturing female sanctity
➢ One saint, many images: changes in iconography and meaning
➢ Iconographic variations of the Virgin in East and West

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Participants in ICMA-sponsored sessions are eligible to receive travel funds, generously provided by the Samuel H. Kress Foundation. The Kress funds are allocated for travel and hotel only. Speakers will be refunded only after the conference, against travel receipts.

Please send paper proposals of 300 words to the Chair of the ICMA Programs Committee, Beth Williamson (beth.williamson@bristol.ac.uk) by September 1, 2018, together with a completed Participant Information Form, to be found at the following address: https://wmich.edu/medievalcongress/submissions#papers. Please include your name, title, and affiliation on the abstract itself. All abstracts not accepted for the session will be forwarded to the Congress administration for consideration in general sessions, as per Congress regulations.

ICMA Kress Research and Publication Grants: due 31 August

The Kress Foundation is supporting five research and publication grants, of $3000 each.  Applicants must be members of the ICMA.  The deadline for the 2018 grants is August 31, 2018.

You can join the ICMA here: http://www.medievalart.org/become-a-member/

Members may apply for:

Grants for Research on a first book - restricted to ICMA members who have been awarded a Ph.D. by a U.S. or a non-U.S.  institution within the last ten years. Those with a non-U.S. degree must currently hold a continuing position in a U.S. college, university or museum. The grants must be used for travel, and for research costs such as photographs, image permissions, etc.

Grants for Publication of a first book - restricted to ICMA members with book contracts in hand who obtained their PhD at any time from a U.S. or a non-U.S. institution. Those with a non-U.S. degree must currently hold a continuing position in a U.S. college, university or museum.  The grant must be used for publication costs, including photographs, image permissions, copyediting, architectural drawings/plans, etc.  

Applications for either grant must submit:

1) a statement identifying the Kress grant being applied for, and the applicant’s eligibility for the grant

2) a cover letter (no more than three pages) giving a detailed outline of the proposed project

3) a full cv

4) a full budget.

5) a copy of the publication contract if one is in place

6) If a publication grant is being requested, a chapter of the text must be submitted.  If the book is already completed, the entire text should be submitted.

The application should be submitted electronically to awards@medievalart.org.

For large files, please upload to Google Drive and give permission to awards@medievalart.org. 

Failure to include all required materials adversely affects the review process.  

CFP: IMC Leeds, 2019 (ICMA sponsored session)

Call for ICMA Sponsored Session Proposals
ICMA @ INTERNATIONAL MEDIEVAL CONGRESS AT LEEDS, 1-4 July 2019

The International Center of Medieval Art (ICMA) seeks proposals for sessions to be held under the organization’s sponsorship in 2019 at the International Medieval Congress (IMC) at Leeds, England.  

While session proposals on any topic related to the art of the Middle Ages are welcome, the IMC also chooses a theme for each conference. In 2019– the theme is ‘Materialities’.  For more information on the Leeds 2019 congress and theme, see: https://www.leeds.ac.uk/ims/imc/imc2019_call.html

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.  

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 for domestic (within Europe) travel and of $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.  In addition to speakers, session organizers delivering papers as an integral part of the session (i.e. with a specific title listed in the program) are now also eligible to receive travel funding.  

Go to:  http://www.medievalart.org/kress-travel-grant/

Please direct all session proposals (with a slate of papers) and inquiries by 14 September 2018 to the Chair of the ICMA Programs and Lectures Committee: Beth Williamson, University of Bristol, UK (beth.williamson@bristol.ac.uk)

CFP: ART, SCIENCE, AND THE NATURAL WORLD (ICMA Student Committee; ICMS Kalamazoo 2019)

CALL FOR PAPERS:

ART, SCIENCE, AND THE NATURAL WORLD

Sponsored by the International Center of Medieval Art (ICMA) Student Committee
Organized by Sophie Ong (Rutgers University) and Robert Vogt (Johns Hopkins University)

54th International Congress on Medieval Studies
May 9-12, 2019
Western Michigan University, Kalamazoo, MI

Many medieval images and objects indicate an interest in and demonstrate specific understandings of the natural world. Rendered as visual and material witnesses, technologically complex works and those in scientific treatises feature prominently in histories of transmission and translation, not only across cultures, but also from text into image/object. In recent years, art historians have begun to question the implications of these transfers by rethinking the modes of such works’ making and reception. Accordingly, the relationship between artistic practice and scientific knowledge, a given work’s scientific or technological qualities, and the engagement with the natural world beyond its mere illustration are coming into sharper focus.

This panel aims to engage with conceptions of and the relation between science, technology, and the natural world in medieval art. We seek papers that explore how artworks mediated knowledge and structured experiences of the natural world, and/or that consider the function of artistic practice in the construction of scientific knowledge during the Middle Ages. Among others, we invite papers on medical and anatomical images, herbal and lapidary topics, medieval maritime or celestial maps, hybrid bodies and wondrous creatures, naturalism in architectural decoration, as well as objects such as time-keeping devices, astrolabes or automata. We also encourage submissions that are concerned with issues of technological and material manipulation (i.e. paint and pigments, stone carving, weaving, etc.), as well as sensory knowledge and perception.

We welcome submissions for 20-minute papers from graduate student ICMA members. To propose a paper, please send a title, abstract of 300 words, CV, and completed Congress Information Form to Sophie Ong (sophie.ong@rutgers.edu) and Robert Vogt (rvogt4@jhu.edu) by 15 September 2018.

The International Center for Medieval Art Student Committee involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.

The ICMA announces grant recipients from the recent Call for Proposals.

The ICMA is supporting the following projects from the recent Call for Proposals. This was a very competitive program with applicants from eight countries and covering a variety of needs in medieval art studies.

______________________________________________________________________

Mariah Proctor-Tiffany, California State University, Long Beach
Tracy Chapman Hamilton, Virginia Commonwealth University

Moving Women Moving Objects (500-1500) is a full-color volume being published by Brill in 2018. The volume began its life as three ICMA-sponsored sessions at CAA and ICMS (Kalamazoo) in 2015.  The ICMA helped cover publications costs.
______________________________________________________________________

Joseph Salvatore Ackley, Barnard College
Shannon L. Wearing, Affiliate, UCLA Center for Medieval and Renaissance Studies
 
The ICMA will help cover publishing costs of Illuminating Metalwork: Metal, Object, and Image in Medieval Manuscripts, a volume of seventeen essays by a range of emerging and established scholars, which is planned to be published by De Gruyter. The essays will explore the depiction of precious metalwork in manuscript painting, as well as the use or simulation of metallic media, and the larger historical and methodological questions thus raised. The examined manuscript traditions range from Late Antiquity into the sixteenth century, from the Latin West to the Eastern Mediterranean and the Islamic world.
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Alice Isabella Sullivan, Lawrence University
Maria Alessia Rossi, Princeton University

Eclecticism at the Edge: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres is a two-day Symposium organized by M. Alessia Rossi and Alice Isabella Sullivan. It will take place at Princeton University on April 5-6, 2019. In response to the global turn in art history and medieval studies, this event explores the temporal and geographic parameters of the study of medieval art, seeking to challenge the ways in which we think about the artistic production of Eastern Europe, in particular regions of the Balkan Peninsula and the Carpathian Mountains. The ICMA is sponsoring a portion of this symposium.
______________________________________________________________________
 
Amy Gillette, The Barnes Foundation
Zachary Stewart, Texas A&M University

Interdisciplinary study of the grandest surviving medieval baptismal font canopy in the British Isles—in-situ portions of which are preserved at the parish church of St. Peter Mancroft in Norwich and ex-situ portions of which are held at the Philadelphia Museum of Art. Scholarly output (in the form of texts, images, and virtual 3D models) will be published in a multi-author volume with Brill and distributed for the creation of public displays in Norwich and in Philadelphia. The ICMA is co-sponsoring an on-site study day at the PMA.
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Caroline Bruzelius, Duke University
Paola Vitolo, The University of Naples

Medieval Kingdom of Sicily Image Database is a project that documents the monuments of South Italy from c. 950 to c. 1430 during the Norman, Hohenstaufen, Angevin, and early Aragonese periods.The database has been online since October 2016. The ICMA is providing administrative support.
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Robert Ousterhout, University of Pennsylvania

Cappadocia in Context summer field school is a program sponsored by Koç University open to international graduate students in Byzantine and Medieval Studies. Course credit is available. The ICMA is awarding one scholarship.        
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Asa Mittman, California State University, Chico
Benjamin C. Tilghman, Washington College

Medieval Art in the Moment: Scholarly Research and Public Discourse, organized by The Material Collective, provides resources to help scholars and the public better understand the narratives that have collected around the Middle Ages in the popular imagination and separate myth from truth. Through linked workshops and freely available information and ideas via the internet, richer connections among scholars and the general public are the goal at this moment that many medieval art scholars have come to feel is a turning point in the field. The ICMA is supporting honoraria for website contributors and a portion of conference costs.
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Susan Boynton, Columbia University
Diane Reilly, Indiana University
Incoming editors, Gesta

A public study day in collaboration with the Institut national d'histoire de l'art (INHA) in Paris that will reflect the contribution of Gesta over the last 55 years to the study of medieval art history. The ICMA will sponsor graduate student travel from within France.
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Heidi Gearhart, Assumption College
Editor, ICMA Newsletter

Assistant Editor (graduate student) stipend for the ICMA Newsletter.
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CFP: Eclecticism at the Edges. Due 15 Aug 2018 (ICMA sponsored symposium)

The ICMA is sponsoring, in part, the following symposium

CALL FOR PAPERS
SYMPOSIUM
Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres (c.1300-c.1550)

Date: April 5-6, 2019
Location: Princeton University

Organizers:
Alice Isabella Sullivan, Ph.D. (University of Michigan)
Maria Alessia Rossi, Ph.D. (The Index of Medieval Art, Princeton University)

Description:
In response to the global turn in art history, this two-day symposium explores the temporal and geographic parameters of the study of medieval art, seeking to challenge the ways we think about the artistic production of Eastern Europe. Serbia, Bulgaria, and the Romanian principalities of Wallachia, Moldavia, and Transylvania, among other centers, took on prominent roles in the transmission and appropriation of western medieval, byzantine, and Slavic artistic traditions, as well as the continuation of the cultural legacy of Byzantium in the later centuries of the empire, and especially in the decades after the fall of Constantinople in 1453.

This symposium will be the first such initiative to explore, discuss, and focus on the art, architecture, and visual culture of regions of the Balkans and the Carpathians (c.1300-c.1550). We aim to raise issues of cultural contact, transmission, and appropriation of western medieval, byzantine, and Slavic artistic and cultural traditions in eastern European centers, and consider how this heritage was deployed to shape notions of identity and visual rhetoric in these regions from the fourteenth through the sixteenth centuries. This event will offer a comparative and multi-disciplinary framework, ranging from art history to archeology and from material culture to architectural history. We aim to create a platform where scholars at various stages of their careers can discuss their research and engage in dialogue regarding the specificities but also the shared cultural heritage of these regions of Eastern Europe that developed eclectic visual vocabularies and formed a cultural landscape beyond medieval, byzantine, and modern borders.

Papers could address topics that include, but are not limited to:
 How cross-cultural contact facilitated the transfer, appropriation, and transmission of ideas and artistic traditions across geographical and temporal boundaries in Eastern Europe (c.1300-c.1550)
 Artistic and iconographic developments as expressions of particular social, political, and ecclesiastical circumstances and dialogues in the Balkans and the Carpathians
 The intentions and consequences of diplomatic missions and dynastic marriages in the visual agenda of eastern European centers
 Workshop practices and traveling artists beyond medieval political and religious borders
 Patronage and new constructs of identity before and after 1453

Interested scholars should submit a paper title, a 500-word abstract, and a CV by August 15, 2018 to the organizers at: eclecticism.symposium@gmail.com

Funds will be available to defray the cost of travel and accommodations for participants whose papers are accepted in the Symposium. So far, this event is supported in part by the International Center of Medieval Art (www.medievalart.org), the Society of Historians of East European, Eurasian, and Russian Art and Architecture (www.shera-art.org), the Princeton Institute for International and Regional Studies (piirs.princeton.edu), and The Index of Medieval Art at Princeton University (ima.princeton.edu).

ICMA at Leeds International Medieval Congress, 4 July 2018

The ICMA is sponsoring a session and a reception at the Leeds International Medieval Congress on 4 July 2018. See below for details.

 
Session 1142: 11:15 - 12:45
Recollecting Medieval Artefacts: A Global Perspective

In 'Recollecting Medieval Artefacts' the focus is on objects that entice us to think about their invisibility to the human eye. The papers ask why and how these visually significant objects were hidden from sight, which memories they represented for their owners, whether their invisibility enhanced the objects' meaning, and how that invisibility impacts our modern interpretations. The session seeks new pathways of studying both lost and surviving objects and their inscriptions as sources that help us to understand global medieval practices of storing and concealing, together with modern ideas concerning retrieving and reconstructing the past.

Organized by Jitske Jasperse, Instituto de Historia, Consejo Superior de Investigaciones Científicas (CSIC), Madrid

Moderator: Wendelien A. W. Van Welie-Vink, Afdeling Kunst- en cultuurwetenschappen, Universiteit van Amsterdam

Texts from Tombs: Buried Biography in Medieval China and Its Reception in Modern Times
(Language: English) 
Timothy Davis, Independent Scholar, Utah

Buried Coins and Seals: Making the Invisible Visible?
(Language: English) 
Jitske Jasperse, Instituto de Historia, Consejo Superior de Investigaciones Científicas (CSIC), Madrid

Hidden Presence: Miracle-Working Objects in Medieval Buildings
(Language: English) 
Minou Schraven, Department of Humanities, Amsterdam University College  

Please join us for a wine reception at:
Michael Sadler Building- Room LG.19
7pm-10pm, Wednesday 4 July

ICMA at Hammond Castle; join us for a special tour!

The spring issue of Gesta features the article “Integrated Pasts: Glencairn Museum and Hammond Castle,” co-authored by Jennifer Borland and Martha Easton.
 
In this piece, you will learn about two early twentieth-century American collectors of medieval art, Raymond Pitcairn and John Hays Hammond Jr., each of whom housed their collections in elaborate revivalist residences, inspired by medieval art and architecture.
 

ICMA at Hammond Castle in June 2018
 
On June 9, ICMA members will be treated to a special tour of Hammond Castle with Martha Easton and John Pettibone (former Director). 

We will gather at the castle at 1:00pm. Martha will lead us on a tour of the building and grounds and after her formal presentation, she will be available to talk informally. (The castle closes at 4:00pm in order to prepare for a 6:00pm wedding, but we will have plenty of time.) Depending on interest, the group can continue the conversation over drinks or dinner in one of the many restaurants in the area.

Hammond Castle is in Gloucester, MA, about one hour north of Boston, accessible by car or commuter train (Massachusetts Bay Transportation Authority) and taxi (from the train station).
 
The admission cost is $10. Participants will be responsible for their own accommodations and may wish to stay (or already reside) in Boston or in Gloucester, which is a tourist area and has many lodging options. Gloucester is the home of the oldest seaport and oldest art colony in America, and along with the charming towns of Rockport, Essex, and Manchester-by-the-Sea, is part of beautiful Cape Ann.
 
Space is limited to 30 attendees. Reserve a spot now! Please make your reservation by Wednesday, May 30 here: https://goo.gl/forms/JxRwoMSQu9uHD7Mo2

If you have questions, or want advice about lodging or coordinating travel with other attendees, please email Nina Rowe, nrowe@fordham.edu

FRIDAY AT KALAMAZOO: ICMA sessions and receptions

See below for sessions and ICMA receptions this week at the 53rd International Congress on Medieval Studies in Kalamazoo, Michigan.

Friday 11 May, 1:30pm
ART AND AFTERMATH
Organizer: Beatrice Kitzinger, Princeton Univ.
Presider: Patricia Blessing, Pomona College

Session 275
SANGREN 1750

“Corporal, Mediate, and Immediate”: Property for Prosperity in Medieval Qazwīn Meredyth Lynn Winter, Harvard Univ. Karrer Travel Award Winner

Illuminating Power in the Aftermath: Ruler Theology in the Codex Aureus of Saint Emmeram Riccardo Pizzinato, Univ. of Texas–Rio Grande Valley

Romanesque Art and Conquest Julia Perratore, Fordham Univ.

The Aftermath of Adrianople? Mosan Metalwork at the Chungul Kurgan Burial Warren T. Woodfin, Queens College, CUNY
 

Friday 11 May, 3:30pm
MOVING PEOPLE, SHIFTING FRONTIERS: RE-CONTEXTUALISING THE THIRTEENTH CENTURY IN THE WIDER MEDITERRANEAN
Organizer: Aikaterini Ragkou, Univ. zu Köln; Maria Alessia Rossi, Index of Medieval Art, Princeton Univ. Presider: Maria Alessia Rossi

Session 331
SANGREN 1750

Introductory Note: Why Reconsider the Wider Mediterranean in the Thirteenth Century? Maria Alessia Rossi

Mary Magdalene: Collateral Currents in Empire and Image Making in the Thirteenth Century Cecily Hennessy, Christie’s Education, London

Production and Distribution Trends of Fine Ware Ceramics in the Thirteenth Century Eastern Mediterranean Aikaterini Ragkou

Mobility by Numbers: Byzantine Prosopography, Networks and Space Ekaterini Mitsiou, Univ. Wien
 

Saturday 12 May, 10am
REGIONALISM IN MEDIEVAL ART AND ARCHITECTURE
Organizer: Andrew Sears, Univ. of California–Berkeley/Univ. Bern
Presider: Mark H. Summers, Univ. of Wisconsin–Madison

Session 355
FETZER 2030

Sea Change and the Second Coming: The Leeds Cross and Its Regional Artistic Networks Amanda Doviak, Univ. of York

The Norfolk Gnadenstuhl: Re-evaluating the Origins of the “Throne of Grace” Trinity Sophie Kelly, Univ. of Kent

“Sienese” and “Simonesque”: Regionalism and the Reception of a Fourteenth-Century Polyptych for the Poor Clares at Aix-en-Provence Imogen Tedbury, Courtauld Institute of Art/National Gallery of Art
 

RECEPTIONS

Friday 11 May at 7 p.m.
International Center of Medieval Art Student Committee
Bernhard Brown & Gold Room

Friday 11 May at 8:30 p.m.
International Center of Medieval Art
Reception with cash bar
Bernhard Brown & Gold Room

The ICMA Annual Book Prize: Call for submissions, due 31 May 2018

The ICMA Annual Book Prize

Deadline: 31 May 2018            

The ICMA invites submissions for the annual prize for best single- or dual-authored book on any topic in medieval art. To be eligible for the 2018 competition, books must have been printed in 2017. No special issues of journals or anthologies or exhibition catalogues can be considered. 

The competition is international and open to all ICMA members. To join or renew, click here. A statement of current membership is required with each submission.

Languages of publication: English, French, German, Italian, or Spanish

Jury (2016, 2017, 2018): Therese Martin (chair), Michele Bacci, William Diebold, Beate Fricke, Kathleen Nolan

Prize: US $1,000 to a single author, or $500 each to two co-authors
 

Submission of books: only printed books with one or two authors are eligible for the prize. A statement of current ICMA membership must accompany each submission. 

Presses and self-nominations: books must be sent directly to the jury members. Please contact Ryan Frisinger at icma@medievalart.org for current addresses.

icma@medievalart.org for any questions. http://www.medievalart.org/book-prize/ for information.