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• 1 media/IMG_1598.jpg media/TRH_Riding_detail_1.jpg 2020-09-28T09:02:55-07:00 Acknowledgements 55 image_header 2021-02-04T21:49:29-08:00
  A Nostalgic Filter: Medieval Manuscripts in the Digital Age is presented by the University Art Gallery (UAG) and the Department of History of Art and Architecture at the University of Pittsburgh with generous support from The Fine Foundation. This exhibition would not have been possible without the outstanding facsimile collection housed in Pitt's University Library System (ULS). We would like to offer special thanks to our colleagues in ULS, who partnered with us throughout the research process and exhibition production. We would also like to thank the Jewish Studies Program and the Office of Diversity and Inclusion for their support of this project.
  
  Above all, we would like to thank Prof. Shirin Fozi and the students in HAA0019: Curatorial Research and HAA1022: Exhibition Presentation for their dedication to this project, especially amidst this very turbulent time. Their commitment, flexibility and creativity helped make this exhibition a reality.
   
      HAA 1019, Spring 2020
      Annie Abernathy
      Danielle Baxter
      Michael Coliane
      Sarah Daiker
      Delia Franklin
      Geeta Gunti
      Claudia Haines
      Vivienne Hayes
      Miranda Harkins
      Sidd Konduru
      Ryan Kulka
      Alaine Lambertson
      Margaret Lang
      Ryan Negron
      Lawson Pace
      Pablo Peltier
      Isaac Pleta
      Sean Rosenthal
      Alexys Siagel
      Ann Sippel
      Victoria Swindle

  HAA 1022, Fall 2020
  Jasmin Brown
  Madeline Conigliaro
  Sarah Daiker
  CJ Dawson
  Delia Franklin
  Raina Holt
  Helena Hyziak
  Jennifer Kandray
  Julia Lepre
  Breanna Lewis
  Celia Maiers Cubas
  Phillip Mendenhall
  Megan Myers
  Melanie Pantano
  Lee Silva-Walker
  Ann Sippel
  Victoria Swindle
  Siying Jenny Wang
  Emily Wiley
  Meg Wolfe
  Liliana Xu
  
  Project Team
  María-del-Carmen Barrios Giordano, Graduate Fellow, University Art Gallery 
  Shirin Fozi, Associate Professor, History of Art & Architecture
  Kiana Jones, Fine Arts Librarian, Frick Fine Arts Library
  Sylvia Rhor Samaniego, Director & Curator, University Art Gallery 
  Ana Rodríguez Castillo, Graphic Designer 
  
  University Library System, Pitt
  Kornelia Tancheva, Director
  James Cassaro
  Lauren Collister
  William Daw
  Dan Tam Do
  Ed Galloway
  Hiroyuki Good
  Jeanann Haas
  Kate Joranson
  Megan Massanelli
  Miriam Meislik
  Tracey Jean Olanyk
  Jaime Peer
  Gesina Philips
  Staci Ross
  Benjamin Rubin
  Rachel Rubin
  Briana Wipf
  Clare Withers
  
  Special Thanks 
  Angela Bedford-Jack, Office of Diversity & Inclusion, University of Pittsburgh 
  Gretchen Bender, History of Art & Architecture, University of Pittsburgh 
  Adam S. Cohen, University of Toronto
  Joseph Derosier, Beloit College
  Alyssa DiFolco, History of Art & Architecture, University of Pittsburgh 
  Sonja Drimmer, University of Massachusetts – Amherst
  Julie Harris, Independent Scholar, Glencoe, IL
  Lynley Herbert, Walters Art Museum
  Linda Hicks, History of Art & Architecture, University of Pittsburgh 
  Sahar Hosseini, History of Art & Architecture, University of Pittsburgh 
  Suzanne Karr Schmidt, Newberry Library
  Bryan C. Keene, J. Paul Getty Museum and Riverside City College
  Alison Langmead, Visual Media Workshop, University of Pittsburgh 
  Irina Livezeanu, History and Jewish Studies, University of Pittsburgh
  Christopher J. Nygren, History of Art & Architecture, University of Pittsburgh 
  Giovanni Scorcioni, Facsimile Finder
  Adam Shear, Religious Studies and Jewish Studies, University of Pittsburgh
  Karoline Swiontek, History of Art & Architecture, University of Pittsburgh  
  Alex Taylor, History of Art & Architecture, University of Pittsburgh 
  Bruce Venarde, History, University of Pittsburgh
  Carolyn Wargula, Williams College
  Emily Witthohn, University of Pittsburgh 
  
  For questions regarding this exhibition, please email the University Art Gallery at uag@pitt.edu.
  
  
• 1 media/StSever_CarpetPage_detail.jpg media/4_small_bottom.jpg 2020-10-26T09:40:01-07:00 Frontispiece 28 image_header 1022097 2021-02-04T21:48:46-08:00 The medievalist Michael Camille once suggested that facsimiles of medieval manuscripts are ‘nostalgic mirrors’ that primarily reflect the desires of the modern era in which they are made. Though intended as a critical reminder that copies never fully recreate their models, the phrase also presents an apt characterization of what facsimiles offer, even if only imperfectly: not only the appearance, but also the experience of medieval books. This exhibition thus embraces Camille’s analogy and extends it to the concept of the lens, or the filter, that mediates online viewing in a moment of social media but also social distancing. Facsimiles do not replace originals; nor do they reproduce them with perfect authenticity. Instead, they invite us in to see the books from new perspectives, to become curious, to turn the pages, and to learn.
  
  This student-curated exhibition for the University Art Gallery (UAG) at the University of Pittsburgh displays illuminated manuscripts through print and digital copies, with a focus on the University of Pittsburgh’s outstanding facsimile collection.  Rare and collectible books in their own right, these lavish copies are designed to reproduce the look and feel of their inaccessible models as closely as possible. Unlike illustrations that only present a single page as a detached image, facsimiles show manuscripts as coherent books, contextualizing their illuminations within complete objects that preserve many traces of use and provenance that have accumulated between their covers over the centuries. As organizers of the exhibition we have been mindful of preserving and promoting this quality of the facsimiles in an online format, using video, photography, and digitization to see old books in new ways. In a time when most of our interactions happen online, handling and manipulating the books offered a rare experience: one rooted in the physical dynamics of the turning page.  We invite you to join us as we leaf through this collection together. 
  
  The exhibition is divided into six thematic sections which can be navigated using the table of contents in the upper left-hand corner. The sections were developed to reflect particular strengths in Pitt’s facsimile collection, which has been shaped in turn by the teaching and research priorities of students and faculty over many decades.