“Out of Time: 'Primitive' Art at the Barnes”
Risham Majeed, associate professor of art history, Ithaca College
Wednesday, Oct 20, 2021, 12:30 p.m. to 2:00 p.m. (EDT)
Register HERE
Event Contact
Lisa Kolonay
lkolonay@brynmawr.edu
Youn-mi Kim, “Cross-Cultural Transformation of Buddhist Talismans from Medieval China to Korea;” October 19, 12:15–1:15 pm Eastern Time; Register now!
The Global Middle Ages Seminar with Youn-mi Kim, Ewha Womans University
Tuesday, October 19, 12:15–1:15 pm on Zoom
Youn-mi Kim will present a talk entitled, “Cross-Cultural Transformation of Buddhist Talismans from Medieval China to Korea.”
Register: https://www.eventbrite.com/e/the-global-middle-ages-youn-mi-kim-tickets-170212310603
Based on materials excavated from inside Buddhist statues and tombs, this talk explores Buddhist talismans from medieval Korea. Recently a growing number of scholars have shown an interest in talismans used in Buddhist contexts. Buddhist talismans from medieval Korea, however, remain unknown, to say nothing of their connections to manuscripts discovered from the distant Dunhuang caves in China. Through an exploration of Korean Buddhist talismans, this talk traces a hybrid practice that interweaves Buddhism and Daoism, arguing that such hybrid talisman practices formed part of a large network that spanned western China and the Korean peninsula. Surprisingly similar types of talismans were used from tenth century Dunhuang to thirteenth century Korea. At the same time, the efficacy of each talisman reveals considerable modification which continuously changed according to the needs of local populations in different periods and regions. This talk is based on a joint study with Professor Paul Copp and Venerable Jeonggak.
Youn-mi Kim is associate professor in the Department of History of Art at Ewha Womans University. Before joining the Ewha faculty, Kim served as assistant professor in the Department of the History of Art at Yale University (2012–16) and The Ohio State University (2011–12), and was a postdoctoral associate at the Council on East Asian Studies at Yale University (2010–11). Kim is a specialist in Chinese Buddhist art, but her broader interest in the cross-cultural relationships between art and ritual extends to Korean and Japanese materials as well. She is particularly interested in symbolic rituals in which an architectural space serves as a material agent; the interplay between visibility and invisibility in Buddhist art; and the sacred spaces and religious macrocosms created by religious architecture for imaginary pilgrimages. She is the editor of New Perspectives on Early Korean Art: From Silla to Koryŏ (Cambridge, MA: Korea Institute, Harvard University, 2013). Her articles have appeared in the Journal of Song-Yuan Studies, Religions, International Journal of Buddhist Thought and Culture, as well as art history journals. Based on archaeological data from a medieval Chinese pagoda and medieval ritual manuals, she is currently completing two book manuscripts.
Dana Katz, “Islamic Palaces in a Christian Land? The Royal Park Residences and Pavilions in the Twelfth-Century Norman Kingdom of Sicily,” October 12, 12:15–1:15 pm Eastern Time; Register now!
Brown Bag Lunch with Dana Katz, BGC Visiting Scholar 2021–22
Tuesday, October 12, 12:15–1:15 pm on Zoom
Dana Katz will deliver a Brown Bag Lunch presentation entitled “Islamic Palaces in a Christian Land? The Royal Park Residences and Pavilions in the Twelfth-Century Norman Kingdom of Sicily.”
From their capital Palermo, the Norman rulers controlled a vast kingdom in the mid-twelfth century that stretched across southern Italy, the island of Sicily, and coastal Tunisia, with a diverse population of Muslims, Christians, and Jews. In the scholarly literature, they are renowned for their ecclesiastical building and programmatic mosaic cycles based on Byzantine models. The talk will consider another corpus of buildings, the palaces and pavilions located in the royal parklands just outside Palermo. These monuments are rarely discussed in most overviews of the artistic and architectural production of the medieval kingdom of Sicily. Katz will explore the reasons for their exclusion, among which is that they do not seem to fit into existing disciplinary paradigms of Western medieval art history for monuments commissioned by Christian kings. This is because they were built entirely in what could be termed an Islamic mode, and thus they cannot be considered “hybrid” monuments. The latter interpretation has been made by some scholars in reference to key works in the royal Norman sphere, denoting the supposed syncretism of their rule and even tolerance toward the multi-faith population. The talk will include recent findings in Palermo and on the island that illuminate the preceding period of Islamic rule, while also considering comparative monuments to the Sicilian parkland palaces elsewhere in the twelfth-century Mediterranean. The ultimate aim is to demonstrate that these secular buildings in the human-modified landscapes on the periphery of medieval Palermo were central to the formulation of Norman kingship and are rich in cultural significance and meaning.
Dana Katz received her BA from the University of Pennsylvania and her PhD from the Department of Art History at the University of Toronto. She was a postdoctoral fellow at the Haifa Center for Mediterranean History and held a Lady Davis Postdoctoral Fellowship at the Hebrew University of Jerusalem. Her research has been supported by the Fulbright Foundation, the Samuel H. Kress Foundation, Medieval Academy of America (Olivia Remie Constable Award), and Garden and Landscape Studies at the Dumbarton Oaks Research Library and Collection. She has participated in international seminars organized by the School of Oriental and African Studies (SOAS) at the University of London and funded by the Getty Foundation, as well as the Bibliotheca Hertziana–Max Planck Institute for Art History. She is currently working on a monograph on a historical landscape in the medieval Mediterranean, the royal parklands of the twelfth-century Norman kings of Sicily, which she will be completing this year at BGC. Her work has been published in the Mitteilungen des Kunsthistorischen Institutes in Florenz, Convivium: Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterranean, and most recently in the International Journal of Islamic Architecture. In addition to specializing in medieval Sicily, her research interests include Islamic art and architecture, Crusader art, museology, and the formation of modern collections of Islamic and medieval art.
Beate Fricke, “Silk in Stone. Mediums of Labor, Craft, and Art,” Friday, November 19, 2021, 12:00 pm EST; Register now!
“Silk in Stone. Mediums of Labor, Craft, and Art”
Beate Fricke (University of Bern)
Friday, November 19, 2021, 12:00 pm EST
Register: https://columbiauniversity.zoom.us/webinar/register/WN_6eOxM554SKKEzWHCbz9Vew
Robert Branner Forum for Medieval Art
Robert Branner (1927-1973) was an art historian specializing in Gothic architecture and manuscript illumination. Active as an excavator, he made important discoveries in the chronology and style of French cathedrals, incorporating cultural historical tools into the method of design analysis that had more traditionally dominated architectural history.
Branner is remembered through the Robert Branner Forum, a student-run symposium sponsoring lectures several times a year that are open to the public. The Forum originated as a series of visiting lectures organized by Branner's graduate students immediately after his death during the academic year as a way of continuing his courses. It has been supported by his family since that time.
Robert Branner, 1968
Robert Branner Forum for Medieval Art: Antony Eastmond; Tuesday, November 2, 2021, 12:00pm EST; Register now!
Robert Branner Forum for Medieval Art
Antony Eastmond (Courtauld)
Tuesday, November 2, 2021, 12:00pm EST
Register: https://columbiauniversity.zoom.us/webinar/register/WN_lcdAF2UoQ3S92AdkzNKYBw
Robert Branner Forum for Medieval Art
Robert Branner (1927-1973) was an art historian specializing in Gothic architecture and manuscript illumination. Active as an excavator, he made important discoveries in the chronology and style of French cathedrals, incorporating cultural historical tools into the method of design analysis that had more traditionally dominated architectural history.
Branner is remembered through the Robert Branner Forum, a student-run symposium sponsoring lectures several times a year that are open to the public. The Forum originated as a series of visiting lectures organized by Branner's graduate students immediately after his death during the academic year as a way of continuing his courses. It has been supported by his family since that time.
Robert Branner, 1968
Emanuele Lugli: " Dragon Breath: On Paolo Uccello’s Saint George in London’s National Gallery;" Thursday, October 21, 2021, 3:00 pm; Register now!
"Dragon Breath: On Paolo Uccello’s Saint George in London’s National Gallery"
Emanuele Lugli (Stanford University)
Thursday, October 21, 2021, 3:00 pm
Register: https://columbiauniversity.zoom.us/webinar/register/WN_CeWOmJC0QWGAAm3Loc1oEA
Robert Branner Forum for Medieval Art
Robert Branner (1927-1973) was an art historian specializing in Gothic architecture and manuscript illumination. Active as an excavator, he made important discoveries in the chronology and style of French cathedrals, incorporating cultural historical tools into the method of design analysis that had more traditionally dominated architectural history.
Branner is remembered through the Robert Branner Forum, a student-run symposium sponsoring lectures several times a year that are open to the public. The Forum originated as a series of visiting lectures organized by Branner's graduate students immediately after his death during the academic year as a way of continuing his courses. It has been supported by his family since that time.
Robert Branner, 1968
Hanna Vorholt, “Image as Compilation: Jerusalem in the Liber Floridus and Beyond,” 12:30–2:00pm Eastern Standard Time; Register now!
Image as Compilation: Jerusalem in the Liber Floridus and Beyond
Hanna Vorholt, University of York
Thursday October 21, 12:30–2:00pm Eastern Standard Time
Register here to receive a link for this lecture: http://forms.gle/VRCDoamtrXepqjUY9
for more information, contact medievals@fordham.edu
MARIA PARANI, “FACE TO FACE WITH THE SACRED: ICONS IN THE BYZANTINE HOME;” OCTOBER 8, 12:00–1:30PM, EASTERN TIME; REGISTER NOW!
Face to Face with the Sacred: Icons in the Byzantine Home
Maria Parani, University of Cyprus
Respondent: Anastasia Drandaki, National and Kapodistrian University of Athens
Event time: Friday, October 8, 2021 - 12:00pm to 1:30pm
Admission: Free, but register in advance: https://yale.zoom.us/webinar/register/WN_tMBikl9YTUCH63Ewr_h0Xg
Lecture series organized by Robert S. Nelson, Robert Lehman Professor in the History of Art, and Vasileios Marinis, associate professor of Christian Art and Architecture at the ISM and YDS.
Presented in collaboration with Yale Department of Classics and Yale Department of the History of Art.
Solidus of Emperor Herakleios, Constantinople, 7th century, Yale University Art Gallery
Workshop: Shades of Purple – Purple Ornament in Medieval Manuscripts; Zurich; November 25–26; Register now!
Workshop: Shades of Purple – Purple Ornament in Medieval Manuscripts; Zurich; November 25–26
Recent advances in the technical analysis of purple colorants have spurred new interest in the aesthetics of purple ornament in medieval manuscripts. This most prestigious embellishment associated with imperial splendor underwent stunning transformations between the 8th and the 11th century. Purple dyes (mostly produced from lichens) were not only used to color the entire parchment surfaces of sacred books, but purple colorants were also used selectively to highlight specific texts, pages and miniatures corresponding to the content, topology, imagery, and script of individual manuscripts. Various techniques and methods were employed to create multi-sensory purple textures, combining shades of purple from red to dark blue and evoking different purple-colored materials such as silks and porphyry. This two-day workshop at the Chair of Medieval Art History at the University of Zurich will explore a range of questions about the materials and semantics of medieval purple manuscripts. Registration required by Nov. 22, 2021 (thomas.rainer@uzh.ch). Continue to the program.
Cleveland Symposium; Aura: Authenticity, Experience, and Art; November 12
47th Annual Cleveland Symposium
Aura: Authenticity, Experience, and Art
Case Western Reserve Univeristy and the Cleveland Museum of Art
Cleveland, Ohio
FRIDAY, November 12, 2021
Please save the date for the 2021 Annual Cleveland Symposium Aura: Authenticity, Experience, and Art, one of the longest-running annual art history graduate symposia in the United States. Speakers will discuss topics such as the inherent aura of a physical art object, the developments in connoisseurship utilizing digital technologies, and the destruction, looting, and defacing of art objects. Papers will address questions such as: How can art function beyond its aesthetics? How can lost or forgotten objects be uncovered along with their narratives and perspectives? What is the future of object study in an increasingly digitized field?
The symposium will be an all-day event held on the 12th of November, 2021 in the Cleveland Museum of Art’s Recital Hall. This highly successful symposium remains free and open to the public thanks to the generous support of Nancy and Joseph Keithley, Friends of Art, and the Case Western Reserve University School of Graduate Studies.
WITH KEYNOTE SPEAKER:
Adam Lowe, Factum Arte and the Factum Foundation
Adam Lowe founded Factum Arte in 2001. Factum Arte is a Madrid based team of artists, technicians, and conservators dedicated to digital mediation. Their projects include the production of contemporary artworks and the creation of facsimiles as an approach to preservation. The work of Factum Arte is internationally celebrated for setting new standards in digital documentation that are redefining the relationship between originality and authenticity. Creating a bridge between technology and craft is at the heart of Factum Arte’s mission. In 2009, Lowe founded the non-profit organization Factum Foundation for Digital Technology in Conservation, which “develops tools and skills which help professionals, scholars, and local communities in documenting, monitoring, studying, recreating, and disseminating the world’s cultural heritage.” Together, these two organizations develop, implement, and share technologies that are changing our approach to the preservation and conservation of the material evidence of the past. (For more information, visit www.factumfoundation.org and www.factum-arte.com)
We hope to see you there for a day of thought-provoking scholarship!
“Beneficence in the Medieval World” virtual conference, October 29–30
MAM 2021
Ball State University: Virtual
October 29-30, 2021
“Beneficence in the Medieval World”
Plenary Speaker: Dr. Dorsey Armstrong, Purdue University, “Dubious Gifts: Studying the Black Death in the age of COVID”
MAM 2021 Conference Program (Last Updated September 30, 2021).
Please send all queries to Alexander L. Kaufman: alkaufman@bsu.edu.
Conference attendees must be members of MAM at the time of the meeting; there will be no additional cost to attend or present at the conference. The program with Zoom links will be sent to individual MAM members via email.
On the way to the future of digital manuscript studies (online workshop); October 27–29; Register now!
On the way to the future of digital manuscript studies (online workshop); October 27–29; Register now!
Wednesday 27 October 2021 until Friday 29 October 2021
The workshop will take place in a hybrid form, both in presence and online. The venue will be Radboud Vergader- en Conferentiecentrum Soeterbeeck.
Organizer(s): PASSIM
Over the last decades, the ability to exploit digital potential has radically impacted research in the field of manuscript studies. From the most basic facilities, such as the increasing availability of digitized images and documents, to sophisticated attempts at automatizing the entire process of critical editing, the development of digital tools is extraordinary: it has created unprecedented opportunities to mine the data, achieve innovative results, and display them in ways which previously could only be imagined. In such a dynamic context, the number of valuable enterprises continues to grow: the time is ripe for a consideration of the achievements already obtained, and of the foundations that our current work is laying for long-term development of the field. Through the organization of this workshop, the ERC Project PASSIM seeks to provide an occasion to pursue this goal.
The meeting gathers scholars who engage in groundbreaking projects in the field of digital manuscript studies. It brings together colleagues who work from methodological and theoretical perspectives with those who apply digital techniques to specific subjects, and thus hopes to facilitate fruitful interactions between bottom-up and top-down approaches. The conference environment is designed to stimulate dialogue and knowledge exchange: we consider cooperation, interoperability and integration at the largest scale as essential to realize the potential of digital manuscript studies, and to help each other in the search for a dynamic, secure and cooperative future for the field.
Download full program: https://applejack.science.ru.nl/passimproject/media/On_the_Way_to_the_Future_of_Digital_Mss_Studies.pdf
Everyone who is interested in attending the Workshop is welcome: no fee is required, but registration is mandatory. In order to register, please send an email to Riccardo Macchioro (riccardo.macchioro@ru.nl) or Gleb Schmidt (gleb.schmidt@ru.nl).
CFP, ICMA AT AAH 2022: RETHINKING ROYAL MANUSCRIPTS IN A GLOBAL MIDDLE AGES; due 1 November 2021
ICMA AT THE ASSOCIATION FOR ART HISTORY’S 48TH ANNUAL CONFERENCE
6 – 8 APRIL 2022, LONDON
IN PERSON
DUE 1 NOVEMBER 2021
RETHINKING ROYAL MANUSCRIPTS IN A GLOBAL MIDDLE AGES
Organized by Jacopo Gnisci (UCL) and Umberto Bongianino (University of Oxford)
Badr al-Dīn Luʾlu enthroned, from a manuscript of the Kitāb al-Aghānī (Mosul, 1220 CE). Source: Wikimedia.
This panel sets out to examine and compare the impact of royal patronage on the visual, material, and textual features of manuscripts produced across Africa, Asia, Mesoamerica and Europe during the ‘Global Middle Ages.’ As polysemic and multi-technological objects, royal manuscripts were produced in different forms and sizes, and from a variety of materials that could vary according to the taste, wealth, ideology, religion, and connections of their patrons and makers. Their visual and textual content could conform or deviate from existing traditions to satisfy the needs and ambitions of those involved in their production and consumption. Finally, pre-existing manuscripts could be appropriated, restored, enhanced, gifted, and even worshipped by ruling elites for reasons connected with legitimacy and self-preservation, becoming powerful instruments of hegemony, or symbols of prestige and piety. Because of this semiotic versatility, written artifacts provide ideal vantage points for understanding the agency of material culture in the creation and perpetuation of political power. To what extent do the materials, texts, and images of royal manuscripts reflect the integration of pre-modern courts in networks of patronage and exchange? In which ways were these features adapted for different audiences and for female, male, or genderqueer patrons? How did they inform local and transregional notions of power and authority? How did communities that opposed royal authority situate themselves in relation to the political agency of written texts and their illustrations? When and how did such artifacts become imperial relics to be displayed, or symbols of a contentious past to be concealed or destroyed? What can manuscripts tell us about the royal patronage of other artistic media, dynastic rivalries, political alliances, and state-endorsed religious phenomena?
In pursuing similar questions, we are particularly interested in multidisciplinary papers that move beyond a Eurocentric reading of material culture by considering royal manuscripts from pre-modern polities traditionally seen as ‘peripheral.’ We welcome proposals that seek to apply innovative methodologies to the study of handwritten material and its circulation, questioning conventional assumptions about politics, culture, and religion, and privileging comparative approaches and transcultural artistic phenomena.
Call for Papers deadline: 1 November 2021. Please submit your paper proposal to the convenors:
Umberto Bongianino: umberto.bongianino@orinst.ox.ac.uk
Jacopo Gnisci: j.gnisci@ucl.ac.uk
Presenters in ICMA-sponsored sessions will be eligible for conference fee reimbursement (if virtual) OR travel reimbursement (if in person) via the ICMA-Kress Travel Grant (https://www.medievalart.org/kress-travel-grant).
Fragments and Frameworks: Illuminated Manuscripts and Illustrated Books in Digital Humanities; October 1; Register now!
Fragments and Frameworks
Illuminated Manuscripts and Illustrated Books in Digital Humanities
Friday, October 1
The study of art history has long dealt with fragments and processes of fragmentation. Illuminated manuscripts and illustrated books in particular may have their fragments and folia fugitiva—pieces of material—separated from a whole collection or corpus. Many thousands of drawings and miniatures are dispersed around the world, including those donated to the National Gallery of Art by Lessing J. Rosenwald. The adoption of open-access online collections has enabled new avenues for study. Open digital frameworks promise to bring new data and new attention to these objects and to ask critical questions about their provenance and conservation. This conference will discuss fragments and frameworks, actual and conceptual, in art history and related disciplines, and address emerging questions in digital humanities. What kinds of afterlives are incurred by processes of fragmentation and cutting? How does the concept of the frame or framework inform the study of illuminated manuscripts and illustrated books? How does the concept of (digital) remediation inform our approach to these works?
This conference is made possible by the Kress-Murphy Fund, established in recognition of Franklin D. Murphy’s commitment to the traditions of European book and manuscript illustration.
Morning Session: 11:00 a.m.–1:00 p.m.
Register for morning session (11:00 a.m.–1:00 p.m.)
Steven Nelson
The Center, National Gallery of Art
Welcome
Matthew J. Westerby, moderator
The Center, National Gallery of Art
Catherine Yvard
Victoria and Albert Museum
Framing the Gaze: Some Thoughts on Illuminated Manuscripts and Cuttings
Cristina Dondi
Lincoln College, University of Oxford, and Secretary of CERL
Books as Fragments of Libraries—Illustrations as Fragments of Books: A Digital Illustrated Census of Dante’s Comedia (1481)
John Delaney and Michelle Facini
National Gallery of Art
Collaborative Technical Study and a Machine Learning Future for Illuminated Manuscripts
Bryan Keene
Riverside City College
Encompassing the Globe: Digital Scholarship and Virtual Reconstructions of Illuminated Manuscripts
Afternoon Session: 2:00 p.m.–4:00 p.m.
Register for afternoon session (2:00 p.m.–4:00 p.m.)
Peter M. Lukehart, moderator
The Center, National Gallery of Art
Welcome and introduction
Lisa Fagin Davis
Medieval Academy of America
Medieval Fragments and Modern Fragmentology
LauraLee Brott
University of Wisconsin–Madison
The Materiality of Medieval Maps in the Age of Digital Discovery
Heather Bamford
George Washington University
Out of Practice, Uncertain Cultures
Matthew J. Westerby
The Center, National Gallery of Art
Frameworks for Fragments: The Digital Lives of Miniatures
Ginger Hammer, Matthew J. Westerby, and Michelle Facini studying works from the Rosenwald Collection in the National Gallery’s Print Study Room, July 2021
Online lecture: "Body of the Merchant: Art and Experience in the Commercial Revolution," September 29, 12:30pm ET; Register now!
"THE BODY OF THE MERCHANT: ART AND EXPERIENCE IN THE COMMERCIAL REVOLUTION"
Ittai Weinryb, Bard Graduate Center
Wednesday, September 29th, 12:30pm ET
[Online] Silsila Fall 2021 Series
From the early thirteenth century traders from Italian mercantile families started travelling eastward, to the European frontiers, to areas such as Crimea in the northern Black Sea region, where commercial outposts served as markets for trading goods with Eurasia and beyond. The lecture centers on the experience of those traders, focusing on metalwork and the way it shaped discourse regarding art, heritage, and the indigenous, both in the European frontiers and “back home” in Italy’s domestic spaces.
Ittai Weinryb is an Associate Professor at the Bard Graduate Center. He is the co-founder (together with Caroline Fowler and Princeton University Press) of the book series Art/Work which is set to narrate a new history of art founded in the study of objects, materials, and technology. He is currently writing a book on art and material culture in the Black Sea during the Middle Ages and another one on the sentiment of Hope as a category for artistic creativity. Amongst other publications, he is the author of The Bronze Object in the Middle Ages (2016) and curator of the exhibition Agents of Faith: Votive Objects in Time and Place (2018).
Date: Wednesday, September 29th
Time: 12:30-2:30pm
Location: Online
This event will take place as a live Webinar at 12:30pm ET (New York time). To register as an attendee, please use the following link:
https://nyu.zoom.us/webinar/register/WN_Rb2MPFdnRuCJuXzyyrn-AQ
Only registered attendees will be able to access this event.
Silsila: Center for Material Histories is an NYU center dedicated to material histories of the Islamicate world. Each semester we hold a thematic series of lectures and workshops, which are open to the public. Details of the Center can be found at:
http://as.nyu.edu/content/nyu-as/as/research-centers/silsila.html
Leaf from a Cocharelli Treatise on the Vices: Frontispiece to the Book of Envy. British Library, Add. 27695, fl. 4
Leaf from a Cocharelli Treatise on the Vices: Frontispiece to the Book of Envy. British Library, Add. 27695, fl. 4
CFP: ICMA-SPONSORED SESSION AT CAA ANNUAL CONFERENCE 2022, DUE 16 SEPTEMBER 2021
Call for Papers
ICMA-Sponsored Session
College Art Association Conference 2022 (in person)
Chicago, 16-19 February 2022
due 16 September 2021
Presenters in ICMA-sponsored sessions will be eligible for travel reimbursement via the ICMA-Kress Travel Grant (https://www.medievalart.org/kress-travel-grant).
Legacy and Afterlife of the Middle Ages
How are the Middle Ages remembered? In recent years the Middle Ages have set the scene for a variety of popular TV series; contemporary identity is often connected to a medieval past; and medieval history has even been appropriated to justify the horrific actions of extremist groups. As scholars we know that popular views of the Middle Ages are often absurdly and dangerously misrepresented, but if a false vision of the Middle Ages is accepted as true on screen, in objects, or architecture, what effect does that have on the psyche of viewers today?
This session invites papers from diverse fields to interrogate how memory, legacy, and myths of the Middle Ages live on today, in tangible or intangible ways. Possible topics may include neo-Gothic revivals, the endurance of religious expression for faith communities today, as well as 19th-century and fantasy medievalisms from Tolkien to Game of Thrones. In light of the content thread recommended by CAA for 2021 –social justice— we specifically encourage submissions that consider race, gender equality, sexuality, including queer pre-modern identities, and justice for Indigenous communities in the Americas. For example, potential topics might examine the appropriation of medieval symbols in contemporary hate groups or how medieval women are portrayed on screen. At a time when popular culture has renewed attention on the Middle Ages, it is critical to reflect not just on medieval attitudes towards their own material culture and visual arts, but how our own perspectives are shaped by their real and imagined legacies.
Please submit abstracts directly to the chair by 16 September. More specific submission instructions can be found the CAA Annual Conference website here
Chair:
Hannah Maryan Thomson, UCLA – hannahmaryan@humnet.ucla.edu
Neo-Romanesque Royce Hall at UCLA built in 1929.
ICMA-POP-UPS IN EDINBURGH: GALLOWAY HOARD PRIVATE VIEWING, 8 SEPTEMBER 2021, 5PM. REGISTER TODAY!
ICMA-POP-UPS IN EDINBURGH
GALLOWAY HOARD PRIVATE VIEWING
NATIONAL MUSEUM OF SCOTLAND
WEDNESDAY 8 SEPTEMBER 2021, 5PM
Please join us for an ICMA-Pop-Ups event, organized by Heather Pulliam. ICMA-Pop-Ups is a new program through which we help ICMA members organize small regional gatherings, bringing people together after our period of social distancing.
About the event
A private viewing of the Galloway Hoard at the National Museum of Scotland with Dr. Martin Goldberg, Principal Curator of Medieval Archaeology and History, followed by drinks nearby.
5-6pm (with drinks to follow), Wednesday, September 8, 2021
Register HERE
MINING THE COLLECTION: “NESTORIAN CROSSES”: CHRISTIANS AND THEIR ART IN CHINA, CA. 1250-1400; FRIDAY 24 SEPTEMBER 2021, 10AM ET. REGISTER TODAY!
Mining the Collection
Friday, September 24, 10:00AM ET
“Nestorian Crosses”: Christians and their Art in China, ca. 1250-1400 with Florian Knothe, Director, University Museum and Art Gallery, The University of Hong Kong
The 7th-century arrival of Nestorian Christianity, the Syriac form of Christianity also known as Church of the East, is recorded on the famous Nestorian stele erected in Xian in 781CE. Despite subsequent repressions, the religion continued to be practiced and, by the 13th century, had been firmly re-established in northwest China. This Mining the Collection episode provides a rare glimpse into a group of so-called Nestorian bronze crosses, works cast in the Ordos region (modern-day Inner Mongolia) during the Yuan Dynasty (1279-1368) and featuring hybrid Christian and Buddhist formal elements. Part of the collection of the University Museum and Art Gallery of the University of Hong Kong, many of these plaque-like ornaments are cruciform in shape—hence the group description as “crosses”–-while others have stylized animal and vegetal forms. Dr. Florian Knothe, Director of the University Museum and Art Gallery, will discuss the material and functions of these objects as well as the history of the Nestorian church in China and its legacy.
Register HERE.
For questions, please contact Nancy Wu, nancyyeewu@gmail.com
ICMA-POP-UPS IN SAN ANTONIO: ARTS & EATS: SAN ANTONIO MUSEUM OF ART AND ROSE BUSH FOOD TRUCK PARK, 14 SEPTEMBER 2021 AT 4PM
ICMA-POP-UPS IN SAN ANTONIO
ARTS & EATS: SAN ANTONIO MUSEUM OF ART AND ROSE BUSH FOOD TRUCK PARK
TUESDAY 14 SEPTEMBER 2021 AT 4PM
Please join us for an ICMA-Pop-Ups event, organized by Sarah Luginbill. ICMA-Pop-Ups is a new program through which we help ICMA members organize small regional gatherings, bringing people together after our period of social distancing.
About the event
Arts & Eats
- 4pm-6:15pm: Visit the San Antonio Museum of Art and tour the galleries at your own pace. Special information on SAMA's "medieval" art (400-1600 CE) holdings from around the world will be available. Admission is FREE, courtesy of H-E-B.
- 6:30-8:30pm: Dinner at the Rose Bush Food Truck Park. A variety of food options, including vegetarian dishes, will be available. Seating is outdoor.
Join us for a casual evening out at one or both locations! Families welcome!
RSVP here
We are monitoring the COVID-19 surge and will be in touch with attendees should there be a need to reschedule.
Art by Hardeep Dhindsa
Queer Medieval Art: Past, Present, and Future; online 16 August 2021 at 12pm ET, register today!
Queer Medieval Art: Past, Present, and Future
Online, Monday, August 16 at 9:00 am PST / 12:00 pm EST / 5:00 pm GMT
Pierre de Montreuil, Adam, mid-1200s. Paris, Musée national du Moyen Âge, Cl. 11657. (Photo: Wikimedia Commons)
Human sexuality and gender are complex and personal topics. For over four decades, scholars of all aspects of the Middle Ages have advanced various approaches for locating queer and trans histories. Some have attempted to identify lesbian, gay, bisexual, transgender, queer, intersex, asexual, two-spirit (LGBTQIA2+) people in the past, at times outing these individuals, while others have sought to disrupt binaries that present heterosexual couplings and cisgender identities as normative. In this ICMA online conversation, we will reflect on the state of the field and share strategies for incorporating queer and trans material in our classes, scholarship, and exhibitions on medieval art. Brief case studies by the following scholars will open the floor for a discussion of terms and methodologies: Roland Betancourt (University of California, Irvine), Leah DeVun (Rutgers University), Bryan C. Keene (Riverside City College), and Karl Whittington (Ohio State University).
This event is co-organized by the ICMA’s Programs & Lectures Committee and the IDEA (Inclusivity, Diversity, Equity, and Access) Committee.
For questions, please contact: Bryan Keene, Bryan.Keene@rcc.edu
Please register here