Monday, March 14, 2016

AIPMA XIIIth Congress’ invitation

For those interested in attending the 13th triennial meeting of the Association Internationale pour la Peinture Murale Antique (AIPMA) in Lausanne (Sept. 12-16) the program and associated logistical information have just been posted! Details can found here:

Hope to see you there!

Tuesday, January 6, 2015

APSIG Meeting in New Orleans Location

For those of you attending the AIA/SCS Meetings this weekend, the location and time of the Ancient Painting Studies Interest Group meeting is now posted: Friday, January 9th from 12:45-1:45 in Salon 825, Sheraton, 8th Fl.

Hope to see you there!

Sunday, November 2, 2014

Ancient Painting Studies Interest Group (APSIG) Meeting Time at AIA/SCS Conference Announced!

For those of you attending the AIA/SCS annual conference this January in New Orleans (8th - 11th), the Ancient Painting Studies Interest Group will be meeting on Friday, January 9th between 12:45 and 1:45. Location TBA. Mark your calendars!!

Wednesday, August 6, 2014

CAA 2015: Blurring the Boundaries: Allusion, Evocation, and Imitation in Ancient and Medieval Surface Decoration

The College Art Association 103rd Annual Meeting, to be held in New York City in February 2015, will include this session organized by Sarah Lepinski and Susanna McFadden. Please see p. 14:

Wall, Ceiling or Floor? Stone, Stucco or Paint? This session seeks to blur the disciplinary, chronological and geographical boundaries presently driving interpretive frameworks utilized in studies of ancient and medieval surface media by focusing on the topic of visual and material allusion, evocation, and imitation. Papers may address questions such as, how do we reconcile modern conceptions of imitative surfaces as derivative with our understanding of ancient and medieval practices wherein imitation was a precise and honored art form? How were forms replicated across geographical distances and translated over centuries for different spaces and visual syntaxes? Do we find evidence for “blurred boundaries” in artistic practices? To what extent can we determine the reception these pictorial devices and the role of the patron in devising their appearance?