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IMC 2019: Sessions

Session 1230: Medieval Art in American Museums: Collecting, Display, and New Directions

Wednesday 3 July 2019, 14.15-15.45

Organiser:Kaelin Jewell, Department of Art History, Temple University, Pennsylvania
Moderator/Chair:Amy Gillette, Barnes Foundation, Philadelphia
Respondent:Jennifer Borland, Department of Art, Oklahoma State University
Paper 1230-aAmerican Medievalism at Hammond Castle
(Language: English)
Martha Easton, Department of Communication & the Arts, Seton Hall University, New Jersey
Index terms: Architecture - General, Architecture - Religious, Art History - General, Medievalism and Antiquarianism
Paper 1230-bSacred Space / Museum Space: The Chapel at the Isabella Stewart Gardner Museum
(Language: English)
Mary Shepard, Windgate Art & Design, University of Arkansas, Fort Smith
Index terms: Architecture - General, Architecture - Religious, Architecture - Secular, Medievalism and Antiquarianism
Paper 1230-cUnexpected Diplomats: How Byzantine Enamel and the Metropolitan Museum of Art Negotiated Georgian Independence
(Language: English)
Shannon Steiner, Department of History of Art, Bryn Mawr College, Pennsylvania
Index terms: Archives and Sources, Art History - Decorative Arts, Byzantine Studies, Politics and Diplomacy

From encyclopedic collections to idiosyncratically personal displays, medieval objects held in American museums have been bound up with institutions of progress - didactic, artistic, moral, and social - since the 'cathedral age' of urban and religious development in the United States. The display and interpretation of medieval art have recently undergone important changes as museums and cultural institutions register emergent ideals of progress and seek to engage more fully with both the academic community and the whole spectrum of the general public. This panel addresses these changes through discussions of the formation of medieval collections in American museums, their connection to wider historical events, and ways in which museums are utilizing new methodologies to bridge the gaps between collectors, scholars, objects, and viewers.