Entries Tagged as 'Courses'

École de l’Institut d’histoire du livre, 2014

COURSE: École de l’Institut d’histoire du livre, 23-26 Juin 2014, Lyon (France). Prix d’inscription pour un cours (4 jours, déjeuner compris): 500 euros.

La onzième session de l’École de l’Institut d’histoire du livre offrira quatre cours en parallèle, proposés par :

* Rosamond McKitterick, Livres, écriture et bibliothèques dans l’Europe du Haut Moyen Âge (cours en anglais) 

* James Mosley, Typographie : 1450 à 1830 (cours en anglais) 

* Dominique Varry, La bibliographie matérielle : niveau intermédiaire (cours en français)

* François Vinourd, Les reliures orientales (cours en français).

L’Institut d’histoire du livre regroupe plusieurs institutions fortement impliquées dans le domaine du livre et du patrimoine graphique: la bibliothèque municipale et le musée de l’Imprimerie de Lyon, dont les riches collections témoignent de l’importance de la ville dans l’histoire de la production imprimée depuis le XVe siècle; l’École nationale supérieure des sciences de l’information et des bibliothèques (enssib) à Villeurbanne, qui forme les futurs conservateurs de bibliothèque et des spécialistes de la documentation; l’École nationale des chartes à Paris, qui forme aux méthodes de l’histoire de jeunes chercheurs se destinant généralement aux métiers du patrimoine écrit.

L’Institut d’histoire du livre (IHL) offre un cadre interdisciplinaire favorisant le développement de travaux dont l’objet va au-delà de l’histoire du livre au sens strict et englobe la communication graphique, la création… Il est un lieu de rencontres où peuvent dialoguer l’histoire (des techniques, de l’économie, de l’art), la sociologie, l’anthropologie, la littérature, les sciences du langage et de l’information.

Afin de faciliter l’accès aux fonds patrimoniaux et l’analyse de documents originaux, le nombre de participants est limité à douze personnes pour chaque cours.

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Conservation of Globes

ONLINE COURSE: Conservation of Globes, by Dr. Patricia Engel and Michael Højlund Rasmussen, University of Applied Sciences and Arts Hildesheim/Holzminden/Göttigen, Faculty Preservation of Cultural Heritage, Hornemann Institute, 31 March - 1 June 2014. Fee: € 198 (Students get a reduction of 20%.)

Historic globes exist all over Europe, in public collections and libraries, but also as private property. While older celestial globes were made of metals, since Behaim´s Erdapfel from 1492 globes have been made of paper, papier-mâché, wood and parchment. In contrast to this omnipresence of globes, there is a sort of vacuum in conservation expertise concerning globe conservation. Today there are only a few conservators working in different European countries, who, due to their individual careers, are able to deal with the conservation of globes. Isolated articles in various journals have so far been the only competent publications in the field of globe conservation.

Structure of the course:
The first chapter of the course gives a description of the cultural and historical background of the topic and describes the history of the globes from 3000 BC to the 20th century. This is followed by helpful suggestions for the documentation of a globes material and an overview of damages. The latter provides pictures of typical damages on the globes along with case-by-case explanations. It will enable conservators to identify damages – even rare ones – and help the laymen to deal with their problems. The main chapters deal with specific suggestions for conservators concerning concrete practical conservation requests including the preparation of some materials and the techniques of surface cleaning on globes. The last chapter explains the practical storage problems, the climatic conditions and the correct packing and transportation of globes.

For further information ask: hentschel@hornemann-institut.de.

Source: H-ArtHist

The Artist’s Book: Materials and Processes


COURSES: The Artist’s Book: Materials and Processes, 2014 Summer Institute in Technical Art History For Doctoral Students in Art History, New York, Institute of Fine Art’s Conservation Center, New York University (The Stephen Chan House, 14 East 78th Street), 9 – 20 June 2014.

The Summer Institute in Technical Art History (SITAH) is an intensive two-week course, geared towards PhD candidates in art history who are looking to delve more deeply into technical studies. Students are immersed into the world of technical art history and conservation of works of art, with faculty ranging from conservators to conservation scientists, curators, art historians, and artists. The course takes full advantage of the wonderful resources of New York City, and many sessions are held in local conservation labs, where attendees have the opportunity to closely examine works of art with experts in the field. Off-site visits also include artists’ studios, museum permanent collections, and, where relevant, special exhibitions and galleries. A priority is placed on case studies and discussions, and students are encouraged to build relationships within the group, in the hopes of enriching their own research.

A good understanding of material aspects of works of art is becoming increasingly important to art historical studies. The Artist’s Book is a two-week, intensive seminar that examines how technical art history might simultaneously clarify and complicate established art historical narratives of this important art form. The program will focus on works from the modern era, and will consider a variety of different formats. These might include: traditional letterpress printed books, deconstructed texts and book blocks, artists’ photo books, and other unique works. Bound volumes, as well as forms like scrolls, fold-outs, concertinas, loose leaves kept in boxes, and e-books may all be examined. This topic will allow us to explore the intersections of book construction, photography, printmaking, and graphic design within the context of literature, both experimental and traditional.

Under the direction of Professors Constance Woo (Long Island University) and Michele Marincola (Institute of Fine Arts, New York University), participants will study with distinguished conservators, book artists, scholars and master craftspeople. We will consider specific artworks as case studies, examine materiality and process through close looking and recreation of techniques and processes, and create a book in the studio. Participants will ascertain how these methodologies materially and theoretically inform their own diverse research interests. This seminar will provide a forum to develop critical skills in the interpretation of object-based analyses related to the scholarship of artist’s books.

Generously funded by the Andrew W. Mellon Foundation, the seminar will be held at the Institute of Fine Art’s Conservation Center, with selected sessions at area libraries, artist studios and in the conservation labs of New York City’s leading museums.

Students currently enrolled in or completing a doctoral program in the US and Canada are eligible to apply. No background in science or conservation is required. A maximum of fifteen participants will be admitted to the program. Applicants will be evaluated on the basis of their academic accomplishment to date and on their expressed interest in integrating technical art history into their own research.

Applicants should submit a cover letter addressed to Professor Michele Marincola, Sherman Fairchild Chairman of the Conservation Center, Institute of Fine Arts, NYU; a statement of purpose of interest in integrating technical art history into their research; a letter of support from their advisor that addresses their academic standing and their interest in the topic; and an academic and professional CV.

Please submit applications in electronic format to: Sarah Barack, course coordinator. For further information, contact Professor Michele Marincola.

The application deadline is 24 March 2014.

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La décoration du livre médiéval

COURSE: La décoration du livre médiéval, Séminaire de formation continue de l’École des chartes. Lieu: Paris, Archives nationales (Hôtel de Rohan, 60 rue des Francs Bourgeois, 75003) et Bibliothèque nationale de France (5 rue Vivienne, 75002). Durée : 22h30 réparties en 15 séances d’1h30 (17 mars 2014 – 5 janvier 2015) le lundi de 17h30 à 19h00. Tarif : € 200. Contact

Ce séminaire sera centré sur la décoration du manuscrit médiéval occidental. Après une introduction générale sur la fabrication des manuscrits et la mise en page, ainsi qu’une présentation méthodologique des différents outils existants sur l’enluminure médiévale (bibliographie, bases de données, bibliothèques virtuelles…), il s’agira dans un premier temps de présenter les méthodes de travail des enlumineurs et les procédés techniques employés, ainsi que de dresser une typologie des différentes catégories de décor.

Dans un second temps, nous dresserons un panorama du contexte de production des manuscrits enluminés, en nous attachant aux principales catégories de livres enluminés et aux différents styles qui se sont succédé au fil des siècles. Les séances se dérouleront en partie aux Archives nationales, en partie à la BnF, où elles seront accompagnées de présentations de manuscrits enluminés de dates et d’origines diverses.

* Introduction générale sur la fabrication des manuscrits et la mise en page
* Présentation méthodologique des différents outils existants
* Présentation des méthodes de travail des enlumineurs et procédés employés
* Typologie des différentes catégories de décor
* Panorama du contexte de production des manuscrits enluminés (catégories et styles).

Ce séminaire s’adresse à un large public de professionnels, d’étudiants désireux de consolider leurs connaissances dans le domaine ou d’amateurs curieux de découvrir l’univers des manuscrits médiévaux.

Responsable pédagogique: Charlotte Denoël (Conservateur, chef du service des manuscrits médiévaux, Bibliothèque nationale de France, Département des manuscrits).

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Beyond the Digitized Slide Library

CALL FOR PARTECIPATION: Beyond the Digitized Slide Library, University of California, Los Angeles, 28 July – 6 August 2014.

Beyond the Digitized Slide Library is an eight-day summer institute to be held at the University of California, Los Angeles, July 28–August 6, 2014. Participants will learn about debates and key concepts in the digital humanities and gain hands-on experience with tools and techniques for art historical research (including data visualization, network graphs, and digital mapping). More fundamentally, the Institute will be an opportunity for participants to imagine what digital art history can be:
* What constitutes art historical “data”?
* How shall we name and classify this data?
* Which aspects of art historical knowledge are amenable to digitization, and which aspects resist it?

With major support for the program provided by the Getty Foundation, participants will receive travel and lodging in Los Angeles for the duration of the Institute. Sessions will be taught by UCLA’s team of leading digital humanities technologists, who will be joined by faculty members:
- Johanna Drucker (Bernard and Martin Breslauer Professor of Bibliography, Information Studies)
- Steven Nelson (Associate Professor of African and African American Art History)
- Todd Presner (Chair, Digital Humanities Program, and Professor of Germanic Languages and Comparative Literature)
- Miriam Posner (Digital Humanities Program Coordinator and Institute Director).

Participants will be selected on the basis of their ability to formulate compelling research questions about the conjunction of digital humanities and art history, as well as their potential to disperse the material they glean to colleagues at their home institutions and to the field at large.

Applicants must possess an advanced degree in art history or a related field. The application is open to faculty members, curators, independent scholars, and other professionals who conduct art historical research. We define “art history” broadly to include the study of art objects and monuments of all times and places. Current graduate students are not eligible to apply.

If you have questions about eligibility, please contact Institute Director Miriam Posner. Please apply online (here).

Deadline: 1 March 2014.

Source: H-ArtHist

Corsi di legatoria medievale


COURSE: Corso di Legatoria medievale, a cura di Giorgia Malossi, Scuola delle Arti, Bologna. Costo € 200 (materiale compreso).

Il corso privato propone un intero fine settimana dentro l’affascinante mondo della legatoria del basso medioevo, per imparere la tecnica legatoria che va dal 1100 fino alla fine del 1400 in Europa.

Si tratta di un corso base dove verranno affrontati tre tipi di cuciture con nervi di corda:
* nervo semplice
* nervo doppio
* doppio nervo staccato

e inoltre:
* ancoraggio della coperta in sile nord italico
* fabbricazione di semplici capitelli
* ancoraggio dei piatti della coperta tramite i nervi
* posa della pelle direttamente sul dorso del libro
* rincalzo della pelle
* messa delle borchie
* finiture del libro.

Il corsista avrà l’occasione di preparare un libretto da portare a casa:
* fabbricazione di colle vegetali
* punto cucitura: punto indietro.

Possibilità di pernottamento presso struttura convenzionata a 30 euro a notte a persona.

Data ultima per iscrizioni:
* Corso del 15/16 marzo iscrizioni entro il 28 febbraio 2014
* Corso del 5/6 Aprile iscrizioni entro il 31 marzo 2014.

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