2025 AISEES Lecture Series

AISEES Lecture - North of Byzantium

Lecture and Discussion of the Routledge Handbook of Byzantine Visual Culture in the Danube Regions, 1300-1600

Wednesday February 26, 12:00 - 1:30 PM

Sponsored by the American Institute for Southeast European Studies

Join us on ZOOM for a lecture and discussion of our recent volume, which aims to broaden knowledge about the history, art, culture, and heritage of Eastern Europe relative to Byzantium in regions of the Danube River. This river has long stood at the intersection of different traditions, serving as a marker of connection and division, as well as a site of cultural contact and negotiation.

The lecture will consist of a presentation from the editors and shorter reflections from invited contributors to this volume.

To join, click the link below. https://us06web.zoom.us/j/87920980895pwd=9x8YsrUk7zaFEuX9nGbHgkyrO0JnlO.1

To start, click the link below.
https://us06web.zoom.us/j/87920980895pwd=9x8YsrUk7zaFEuX9nGbHgkyrO0JnlO.1
Meeting ID: 879 2098 0895
Passcode: 028295

Call for Applications

Full-Time Assistant/Associate Professor for Art History

Appalachian State University

Evaluations Begin 28 February 2025

Position Begins 01 August 2025

Housed within the Art Department the Art and Visual Culture program at Appalachian State University draws from a number of disciplines to explore the meanings, practices, and processes of looking and imaging across historical periods and diverse cultures. The BA degree in Art and Visual Culture has three concentrations: in Art History, Art Management, and Studio Art. All three concentrations provide students with unique opportunities to integrate an in-depth study of art and visual culture with a minor in another discipline and foreign language study. The Art and Visual Culture program also offers General Education courses in the form of art history surveys.

The Art and Visual Culture program has five full-time faculty in Art History, two full-time faculty in Art Management, additional faculty in Studio Art, and is one of six degree programs in the Department of Art. Students in the program regularly work in gallery positions on campus, study abroad, and complete internships at institutions in North Carolina and beyond.

The Department of Art is NASAD-accredited and has over 45 full-time faculty members, nearly 800 majors, and offers BFA degrees in Art Education, Graphic Design, Photography, and Studio Art; a BA degree with concentrations in Art History, Art Management, and Studio Art; and a BS degree in Graphic Communications Management.

Minimum Qualifications

• Earned Ph.D. at time of hire in Art History, Visual Culture, or related area

• Demonstrated specialization from prehistory to 1400 in any geographic region that complements current faculty expertise

• Engagement with current and emerging trends in art and visual culture and a global approach that challenges hierarchies of knowledge production

• Evidence of teaching effectiveness

• Evidence of commitment to accessibility in research, service, and/or pedagogy

• Evidence of a promising research agenda

• Ability to teach art history surveys from a global perspective and courses within area(s) of specialization

• Experience with, or commitment to, educating and mentoring students of diverse backgrounds and demographics

Essential Duties and Responsibilities

• Teach three courses per semester (9 hours), including art history
  surveys, introductory to advanced undergraduate courses in art
  history and visual culture, and courses in area(s) of specialization

• Participate in departmental and university service, including
  collaborating with Art and Visual Culture colleagues on curriculum,
  program development, and student advising

• Sustained scholarly research program in the field of art history and
  visual culture

Additional information about the position can be found online at https://appstate.peopleadmin.com/postings/49548. Additional information about the department, the university, and the surrounding area can be found on our website at art.appstate.edu.

Call for Papers

Shifting Fortunes in Late Antiquity and the Middle Ages

24-25 April 2025, University of Edinburgh

Due 21 February 2025

Edinburgh’s Centre for Late Antique, Islamic and Byzantine Studies (CLAIBS) is pleased to announce the call for papers for the 6th International Graduate Conference in Late Antique, Islamic and Byzantine Studies.

Keynote Speaker: Dr Krystina Kubina (Austrian Academy of Sciences)

The fortunes of individuals, communities and states in Late Antiquity and the Middle Ages were far from fixed certainties, and whilst any number of sudden crises and exigencies could bring fortunes crashing down, there was also ample opportunity for them to be built up, transformed, and consolidated. Therefore, securing one’s fortunes, be they political, economic or spiritual, was of paramount importance to all members of late antique and medieval societies. Whether in the imperial cities of Constantinople and Rome, the caliphal courts of Baghdad, Cordoba and Cairo, or in the courts of Paris and Léon, decisions were made, edicts and chrysobulls were issued, taxes were raised, theologies were disputed, and wars were waged, all in the name of securing the good fortune of ruling interests. Beyond the actions of caliphs, emperors and kings, one is greeted by an assortment of ways in which individuals and communities sought to enhance their own fortunes, be it through pious dedications, participation in religious ritual, production or patronage of literature, economic activities or acts of rebellion. On the other hand, a drop in fortunes could be heralded by environmental factors, such as plague, famine, drought, or through instances of external and internal conflict like invasion, civil war and fitnah.

This conference will focus on this theme of shifting fortunes and examine both the factors underpinning change, as well as the various processes and dynamics through which the creation, consolidation, and collapse of fortunes came to pass. For instance, how were fortunes negotiated and renegotiated across the period, and how far did this differ across the boundaries of social class, gender, religious identity and geography? Given the broad range of possible applications of ‘shifting fortunes’ as an avenue of historical inquiry, we encourage the submission of papers which broach a wide array of topics and adopt innovative methodological approaches in their case studies. Moreover, the scope of this conference shall go beyond Centre’s focus on Late Antiquity, Islamic and Byzantine Studies. As such, we shall also incorporate contributions from a global medieval perspective.

The deadline for abstracts is the 21 February 2025 and notification of acceptance will be confirmed by 7 March 2025. 

Please submit your abstract of no more than 300 words, and a 100-word professional biography to edibyzpg@ed.ac.uk. We kindly welcome submissions from individuals or groups. Lunch will be provided on both days, and there will be a small registration fee of £20 for attendees. For speakers, we hope to waive this registration fee, but further information will be provided at a later date.

Suggest topics for papers can be found in the document below (PDF), however, papers which approach the theme of ‘shifting fortunes’ from other angles will also be considered.

Call for papers for Shifting Fortunes in Late Antiquity and the Middle Agesers for Shifting Fortunes in Late Antiquity and the Middle Ages (1.42 MB / PDF)

For more information, visit: https://hca.ed.ac.uk/updates-events/events/cfp-shifting-fortunes-in-late-antiquity-and-the-middle-ages.

Hybrid Seminar

IHR European History 1150-1550 Seminar Series

Citizens and Peacekeeping in Late-Medieval Italy

Lorenzo Caravaggi (Lancaster)

Hybrid | Online-via Zoom & IHR Wolfson Room NB02, Basement, IHR, Senate House, Malet Street, London WC1E 7HU

20 February 2025, 12:30-2:00PM EST/ 5:30-7:00PM BST

All welcome- this seminar is free to attend but booking in advance is required. To book, click here.

Contact: ihr.events@sas.ac.uk (Email only)

New Deadline!

Second Call for PhD Applications

StoryPharm: Storytelling as Pharmakon in Premodernity and Beyond. Training the New Generation of Researchers in Health Humanities

Marie Skłodowska-Curie Actions

Due 17 February 2025 at 14:00 CET (8:00 ET)

Project funded by the European Union’s Horizon Europe research and innovation programme Marie Skłodowska-Curie Action – Doctoral Networks – Grant Agreement 101169114, https://www.ucy.ac.cy/storypharm/

We are pleased to announce 2 three-year Special Scientist PhD Positions in Medieval Art History within the framework of the StoryPharm project:

“Images of Christ’s Miraculous Healings between Medical Awareness and Social Inclusion (9th–11th c. CE)” (University of Salerno, Italy)

“The Healthy Place: Architecture and Images for Healing Devotional Experiences in Southern Italy in a Mediterranean Context” (University of Salerno, Italy)

StoryPharm project focuses on premodern narratives and images involving medicine, health, and healing. These will be studied from a transdisciplinary and comparative perspective, across linguistic and cultural borders.

For more information on the position, view this PDF.

For detailed and updated information on all vacant PhD positions and on the application procedure, please consult: https://www.ucy.ac.cy/storypharm/vacancies/

Applications will be accepted until 17/02/2024 at 14:00 CET (8:00 ET).

ICMA at the College Art Association Annual Conference 2025

ICMA Sponsored Session
Moving Pictures, Living Objects 

Saturday 15 February 2025, 2:30 PM - 4:00 PM
New York Hilton Midtown - 2nd Floor - Beekman

Organized by
Heather Pulliam, University of Edinburgh
Kathryn M. Rudy, University of St. Andrews
 

Notre-Dame Through the Eyes of Jean de Jandun
Lindsay S. Cook, Penn State University Department of Art History & School of Visual Arts 

Shifting Shadows: Using Virtual Reality to revive Dynamic Lighting Conditions for Gilded Panel Paintings
Sanne Frequin, Universiteit Utrecht

Wie man Skulpturen aufnehmen soll: A Continuing Question in the Study of Gothic Sculpture
Jacqueline E. Jung, Yale University

Reanimating the Inert: Digitising Haptics and Mourning in Japanese Buddhist Handscrolls
Dr. Halle O'Neal, University of Edinburgh

Spycraft – Medieval Books and the Magic Lantern: The Unfolding Revelation of Scripture in the Évangéliaire de la Sainte-Chapelle
Thomas Rainer, Art Historical Institute, University of Zurich

Late Gothic Micro-Architectural Designs: 3D-Modeling the Basel Goldschmiederisse
Martin Schwarz, University of Chicago

Inaugural ICMA Associates Lecture 2025
Royal Cemeteries in Medieval Iberia: Geopolitical System and Sites of Dynastic Memory
Speaker: Gerardo Boto Varela, Universitat de Girona

Saturday 15 February 2025, 17:00 CET / 11am ET
Centro di Cultura e Storia Amalfitana
Supportico S. Andrea, 3
Amalfi, Italy

In person and online
Presented in English

Register HERE

About the lecture
We have constructed a hyper-aulic medieval art history, both thematically and artistically. We continue to be fascinated by kings and queens and their post-mortem survival and remembrance. Medieval monarchs often chose burial sites with the intention that their legacy would be remembered and venerated within a center of significant symbolic or religious importance, such as a cathedral or a prominent monastery. In this way, they not only ensured their survival in a place in history, but also the spiritual intercession exercised on their behalf before the Divinity by a praying community. Thus, a king or queen decided to be buried in a particular church, either in front of its doors or inside them. However, this vital decision was not always straightforward or final. As expressed in the chronicles and testaments, which exist at least in medieval Spain since the 11th century, monarchs could change their minds and request a new burial place that better suited their personal, political or spiritual priorities, or the changing tensions in the political and religious landscape of their time. 

Since the historiography that began this analysis, already in the 19th century, was French and Germanic, the cases of royal burial in those areas became paradigmatic. However, is it still acceptable today to consider that there is an artistic or political model of reference against which everything else is an anomaly? Should we continue to colonise the European Middle Ages from the propositions of the geographically central domains? Does it make sense to consider the multiplicity of Iberian burial sites, throughout historical phases, as a divergence from the presumed model of concentration and stability of French and English royal burials?

In the context of the Iberian Peninsula, the multiplication, distribution and ecclesiastical variety of royal burials is particularly unique compared to other European regions. This can be understood through the concept of ‘mnemotopia’, analysed by scholars such as Maurice Halbwachs and Jan Assmann. Mnemotopia refers to the idea of a place imbued with a high symbolic significance for the collective memory. The physical location of a burial place carried an important meaning – a place that preserved and evoked historical memory for the kingdom and its community.

Until now, historiography has explained the multiplicity of Iberian royal cemeteries (not only in Castile) as the expression of unquestioned power, which made it unnecessary to rely on a single, reiterative cemetery. This hypothesis is not accurate. Moreover, the political principles in Aragon and Navarre were no different from those of the western kingdoms of medieval Spain, and yet they did establish from the 14th century onwards a single coronation place and a single dynastic cemetery. That is why the central argument of this discussion must be approached from the perspective of geopolitics: 1.- How was the monumental memory of the kingdom articulated to dominate all the lands of the kingdom? 2.- Is it true that by gaining new frontiers with the territorial ‘Reconquest’ a city was designated as the most politically and ecclesiastically relevant, in order to compensate for the burdens of a presumably fragile and questionable legitimacy?

About the speaker
Senior lecturer in the history of medieval art. Principal researcher in the TEMPLA international research team (https://templamedieval.eu/s/templa/page/inicio). Associate Professor (2010) at the École des Hautes Études en Sciences Sociales, at the invitation of the Groupe d'Anthropologie historique de l'Occident médiéval. Member of the Scientific Council of Campus Condorcet. Campus de Recherche en Humanités de la région de Paris’. Chief scientific editor of the Codex Aquilarensis (https://www.romanicodigital.com/otros-contenidos/revista-codex-aquilarensis). Has organised 49 international seminars and scientific meetings. Author specialising in the analysis of pre-Romanesque and Romanesque architecture and visual devices (in particular sculpture) deployed on the exterior and interior. He studies the morphogenesis of spaces of worship and institutional representation, the construction of sites and images, based on the importance of bringing together the perception and experience of immaterial factors and goods. Recent books: G. Boto (ed.), La catedral de Tarragona. Arquitectura, discursos visuales y liturgia (1150-1350), Aguilar de Campoo, 2022. ISBN: 978-84-17158-34-7; G. Boto, Marc Sureda (eds.), La catedral romànica de Barcelona. Protagonistes, context urbà i edificacions monumentals, Girona, 2021. ISBN-13 : ‎ 978-8499845906; G. Boto (ed.), (In)sights regarding Medieval Art / Una mirada perspicaz al Arte Medieval. Tributo a Herbert Kessler (Special issue of Codex Aquilarensis. Revista de Arte Medieval, 37, 2021 (ISSN.0214-896X), 595 p.; G. Boto, M. Serrano, J. McNeill (eds.), Emerging Naturalism: Contexts and Narratives in European Sculpture 1140-1220, Turnhout: Brepols, 2020, 440 p. ISBN:  978-2-503-57448-6; Vinni Lucherini, Gerardo Boto (eds.), La cattedrale nella città medievale: i rituali, Roma: Viella, 2020, 394 p. ISBN: 9788833131269. (https://girona.academia.edu/GerardoBoto)

Organized by Francesca Dell’Acqua (Università di Salerno), Chair of the ICMA New Initiatives Working Group 

Co-sponsored by the Dipartimento di Scienze del Patrimonio Culturale of the Università di Salerno, Centro di Cultura e Storia Amalfitana, and the International Center of Medieval Art (ICMA).

The ICMA Associates Lecture inaugurates the celebrations for the 50th anniversary of the Centro di Cultura e Storia Amalfitana.

Register HERE

Call for Applications

American School for Classical Studies at Athens

ADVANCED FELLOWSHIPS (for returning Members) for Graduate Students

Academic Year-Long

Due 15 February 2025

Several fellowships for the full academic year at the School are available to students to pursue independent research in Greece, usually for their Ph.D. dissertation. Applications for Advanced Fellowships are adjudicated based on the need to be in Greece and the feasibility of the proposed project. Current and past Regular and Student Associate Members who plan to pursue research in Greece are encouraged to apply for the following fellowships:

• The Samuel H. Kress Fellowship in art and architecture of antiquity (stipend $15,000)

• The Gorham Phillips Stevens Fellowship in the history of architecture (stipend $11,500)

• The Ione Mylonas Shear Fellowship in Mycenaean archaeology or Athenian architecture and/or archaeology (stipend $11,500)

• The Homer A. and Dorothy B. Thompson Fellowship in the study of pottery (stipend $11,500)

• The Edward Capps Fellowship, the Doreen Canaday Spitzer Fellowship, and the Eugene Vanderpool Fellowship (unrestricted in area of research) (stipend for each is $11,500)

For more Information about a Fellowship or Application, Visit https://www.ascsa.edu.gr/fellowships-and-grants/graduate-and-postdoctoral or contact: application@ascsa.org

Call for Applications

ERC AGRELITA (2025)

Visiting Researchers

Project: The reception of ancient Greece in pre-modern French literature and illustrations of manuscripts and printed books (1320-1550): how invented memories shaped the identity of European communities

Due by 15 February 2025

Until now the reception history of ancient Greece in pre-modern Western Europe has focused almost exclusively on the transmission of Greek texts. Yet well before the revival of Greek teaching, numerous vernacular works, often illustrated, contained elaborate representations of ancient Greece. AGRELITA studies a large corpus of French language literary works (historical, fictional, poetic, didactic ones) produced from 1320 to the 1550s in France and Europe, before the first direct translations from Greek to French, as well as the images of their manuscripts and printed books. The AGRELITA project, “The reception of ancient Greece in pre-modern French literature and illustrations of manuscripts and printed books (1320-1550) : how invented memories shaped the identity of European communities”, directed by Catherine Gaullier-Bougassas, opens guest researchers residencies in 2025 in the University of Caen Normandy (France). Stays at the University of Caen Normandie may be 4 to 6 weeks length, and during the year 2025 may take place in May/June/early July.

This call for applications is open to anyone, of French or foreign nationality, who holds a PhD in literature, art history, or history, whose work focuses on the history of books, cultural and political history, visual studies, or memory studies, wherein the competence and project are deemed to be complementary to the ones of the AGRELITA team. These residencies indeed aim to open the reflections carried out by the team, to enhance its scientific activity through interactions with other scholars and other universities. The guest researchers will have the exceptional opportunity to contribute to a major project, to work with a dynamic team that conducts a wide range of activities at the University of Caen Normandie and within the research laboratory CRAHAM where many Antiquity, Medieval and Renaissance times specialists work, as well as to publish in a prestigious setting.

In 2025, the AGRELITA project will focus on these lines of research:
- “The new lives of Greek divinities (14th-16th centuries)”, “Images of Nature and beings in the reception of Greek myths (14th-16th centuries)”, “The political exploitations of Greek Antiquity (14th-16th centuries)”;

- A broader line of research: “Uses and exploitations of Antiquity memories, from the beginning of our era until the 21th century”.

For more information, please see: https://agrelita.hypotheses.org/5997

ICMA members are welcome to a casual reception, coinciding with the College Art Association's Annual Conference on Friday 14 February 2025 from 7-9pm. Drinks provided. 

RSVP HERE

Grace's 
252 West 14th Street
New York, NY 10011

Convenient off the A/C/E train at 14th Street and 8th Avenue.

https://www.gracesnyc.com/

Should you require step-free entry, please email icma@medievalart.org for instructions. 

Call for Applications

American Academy in Rome

Italian Fellowship for Medieval Studies 

Due 12 February 2025

The American Academy in Rome is offering an Italian Fellowship for scholars working in medieval studies—which includes archaeology, history, history of art and architecture, literature, religious studies, and musicology—for the 2025–26 academic year.

All academic approaches to the field or combinations of approaches will be considered, as well as historical approaches overlapping with the social sciences. Candidates should indicate how they plan to use resources such as libraries, archives, and museums in Rome and at the Academy.

This postdoctoral fellowship will be awarded for a two-month period, between September 2025 to June 2026. The application deadline is February 12, 2025.

Candidates must be Italian citizens (dual citizenship is acceptable), have completed their PhD between 2018 and September 1, 2025, and demonstrate excellent written and spoken English, which will be assessed in an interview if applicable

For more information, click here.

Call for Proposals
ICMA Sponsored Session

College Art Association Annual Conference 2026

Upload proposals HERE
due Monday 10 February 2025

The International Center of Medieval Art (ICMA) seeks proposals for sessions to be held under the organization’s sponsorship in 2026 at the annual meeting of the College Art Association (CAA). The CAA Conference offers an essential opportunity for medievalists to present research and engage in discussion with a full spectrum of art historians. To that end, we are particularly interested in sessions that might attract (as panelists and audience members) medievalists as well as scholars from other corners of the discipline, while showcasing the vitality and breadth of the topics studied by members of the ICMA. We would be pleased to consider sessions that propose co-sponsorship with another scholarly organization. Session organizers and speakers must be ICMA members if seeking travel funding from the ICMA.

Proposals must include the following in one single Doc or PDF with the organizer’s name in the title:  

1. Session abstract   

2. CV of the organizer(s)   

3. Session organizers may also include a list of potential speakers   

Please upload all session proposals as a single DOC or PDF by Monday 10 February 2025 here.
 
For inquiries, contact the Chair of the ICMA Programs & Lectures Committee: Alice Isabella Sullivan, Tufts University, alice.sullivan@tufts.edu.  

A note about Kress Travel Grants
Thanks to a generous grant from the Kress Foundation, funds may be available to defray travel costs of speakers in ICMA sponsored sessions up to a maximum of $600 for domestic travel and of $1200 for overseas travel. If a conference meets in person, the Kress funds are allocated for travel and hotel only. If a presenter is attending a conference virtually, Kress funding will cover virtual conference registration fees.
 
Click HERE for more information. 

Call for Papers/l'appel à contributions

Perspective

2026 – 1 issue - Learning of Art / l'apprentissage de l'art

Due 10 February 2025 / Dû 10 février 2025

Perspective  will explore, in its 2026 – 1 issue, co-edited by Thomas Golsenne (INHA), Déborah Laks (CNRS) et Guy Lambert (École nationale supérieure d’architecture de Paris-Belleville) to the question Learning/Teaching.

Does one learn to become an artist? This question, which traverses the history of contemporary art, has never been resolved. It reflects – and confronts – aesthetic, philosophical, cultural and perhaps even religious concepts. From the standpoint of art history, however, the answer can only be positive, given that artistic production is largely a matter of artist-to-artist legacies and transmissions, whether on a daily basis in the studio and the closed circuit of the school or through the study of works and artists over a wide spectrum of time and space. This issue of Perspective is intended to examine recent research on the ways of learning to be an artist from antiquity to the present day, and especially over a wide variety of geographical areas and cultures. Such an approach necessarily draws on a vast multidisciplinary effort, involving contributions from the education sciences, visual arts, history and sociology, ethnology and digital humanities. 

This issue Learning/Teaching seeks to be transhistorical and international in its scope and methodological approaches alike. To this end, we would like to explore the diverse modes of learning and their evolution in terms of four main themes:

1. Theories and practices of transmission

2. Participants in the learning/teaching process

3. Material conditions, places and time frames of training

4. Art history for artists

Taking care to ground reflections in a historiographic, methodological, or epistemological perspective, please send your proposals (an abstract of 2,000 to 3,000 characters/350 to 500 words, a working title, a short bibliography on the subject, and a biography limited to a few lines) to the editorial email address (revue-perspective@inha.fr) no later than February 10, 2025.

Perspective handles translations; projects will be considered by the committee regardless of language. Authors whose proposals are accepted will be informed of the decision by the editorial committee by the end of February 2025, while articles will be due on June 1st, 2025.

Submitted texts (between 25,000 and 45,000 characters/ 4,500 or 7,500 words, depending on the intended project) will be formally accepted following an anonymous peer review process.

For a PDF of the call for papers, click here.

For additional information, visit the journal’s page on the INHA website and browse Perspective online.

Pour son numéro 2026 – 1, conjointement dirigé par Thomas Golsenne (INHA), Déborah Laks (CNRS) et Guy Lambert (École nationale supérieure d’architecture de Paris-Belleville), la revue Perspective pose la question de l'apprentissage de l'art.

Apprend-on à devenir artiste ? Cette question, jamais résolue, traverse l’histoire de l’art contemporain. En elle, des conceptions esthétiques, philosophiques, culturelles, peut-être même religieuses, se cristallisent et s’opposent. Du point de vue de la discipline de l’histoire de l’art cependant, la réponse ne peut être que positive, tant la production artistique est affaire d’héritages, de transmissions d’artiste à artiste, tantôt dans le quotidien de l’atelier ou le cénacle de l’école, tantôt dans l’ouverture diachronique de l’étude d’œuvres et d’artistes de tous horizons. Ce numéro entend examiner le renouvellement des études sur les manières de se former à l’art, de l’Antiquité à nos jours, en privilégiant une diversité d’aires géographiques et de cultures. Il s’inscrit dans une vaste actualité scientifique pluridisciplinaire, à laquelle contribuent notamment les sciences de l’éducation, les arts plastiques, l’histoire et la sociologie, l’ethnologie ou les humanités numériques. 

Le numéro Apprendre se veut transhistorique et international dans ses terrains comme dans ses approches méthodologiques. Nous souhaitons y faire état des manières d’appréhender la diversité des modalités d’apprentissage et leur évolution, selon quatre axes : 

1. théorie et pratiques de la transmission

2. acteurs et actrices de l'apprentissage

3. matérialités, lieux et temporalités de la formation

4. l'histoire de l'art pour les artistes

En prenant soin d’ancrer la réflexion dans une perspective historiographique, méthodologique ou épistémologique, prière de faire parvenir vos propositions (un résumé de 2 000 à 3 000 signes, un titre provisoire, une courte bibliographie sur le sujet et une biographie de quelques lignes) à l’adresse de la rédaction (revue-perspective@inha.fr) au plus tard le 10 février 2025.

Perspective prenant en charge les traductions, les projets seront examinés par le comité de rédaction quelle que soit la langue. Les auteurs ou autrices des propositions retenues seront informées de la décision du comité de rédaction d'ici la fin du mois de février 2025, tandis que les articles seront à remettre pour le 1er juin 2025. Les textes soumis (25 000 à 45 000 signes selon le projet envisagé) seront définitivement acceptés à l’issue d’un processus anonyme d’évaluation par les pairs.

Vous trouverez le texte complet de l’appel en pièce jointe ainsi que des précisions sur les deux formats possibles d'articles publiés dans la revue.

Pour un PDF de l'appel à contributions, cliquez ici.

Pour plus d'informations, visitez la page de la revue sur le site internet de l'INHA et parcourez Perspective en ligne.

Call for Applications

British Archaeological Association

Coventry Study Day

21 March 2025

St Mary’s Guildhall, Holy Trinity Church, St Michael’s Cathedral

Applications Due By 7 February 2025

Join the BAA on Friday 21 March 2025 for a unique study day in Coventry. This study day offers unparalleled access to remarkable heritage sites, including St Mary’s Guildhall, Holy Trinity Church, and St Michael’s Cathedral.

Cost: £25 for members, free for students (with travel grants available). Spaces are limited to 20 attendees, so apply by 7 February 2025 for your chance to attend.

For more details and to apply, email studydays@thebaa.org.

For more information, click here.

Lecture

A Life Among Medieval Book of Hours

Christopher de Hamel

6 December 2024 - 7.30-9.00pm

Bruges Public Library (Reading Room), Belgium

On 6 December we will welcome Christopher de Hamel in Bruges for an evening lecture followed by a drinks reception.

With his extensive experience as the librarian of the Parker Library at Corpus Christi College, Cambridge, and as an auction expert at Sotheby’s, Christopher de Hamel is a leading authority on medieval manuscripts. He became widely known to the public through his award-winning book Meetings with Remarkable Manuscripts, in which he revisits famous manuscripts from multiple perspectives, uncovering surprising new insights. This makes him the perfect advocate for the multidisciplinary vision of Mmmonk School!

Christopher de Hamel will tell a little of his life among medieval manuscripts, especially encounters with manuscripts illuminated in Flanders, often for export, and why these are important in English and European history. He will follow the migrations of two Bruges Books of Hours of the Use of Sarum now in New Zealand, and will touch on discoveries made while at Sotheby’s, including finding the Spinola Hours in 1975, and on work on Simon Bening for several chapters of his book on The Manuscripts Club.

Lecture in English.

5 Euros/ Free for Friends of the Bruges Library / 1 Euro Opportunity Rate Uitpas Brugge

Registration link for Christopher de Hamel on 6 December at Bruges Public Library.

ICMA Annual IDEA Lecture
Staging medieval art: Photography, archaeology, and living objects in Afghanistan

Martina Rugiadi, speaker

Since centuries, the town of Ghazni has been the site of devotion, visited by those seeking to be blessed and healed at the tombs of its saints. Yet our scholarly gaze has primarily focused on the city’s short-lived royal past of the 11th-12th centuries, the remains of which were meticulously documented with stunning photographs in the 1950s and 60s. Uncovering these images, this talk aims to reveal broader, more inclusive histories that transcend disciplinary boundaries.

Martina Rugiadi is Associate Curator in the Islamic Art Department at the Metropolitan Museum of Art in New York, where she is preparing an exhibition on medieval Afghan marbles. As an archaeologist, she has worked mostly in Iran, Afghanistan, and Syria, and now co-directs the Towns of the Karakum project in Turkmenistan. Her recent research explores medieval drinking, Islamic-period spolia, agency and visual languages, and the juncture of art history, cultural heritage, and the museum. 

Hybrid Seminar

IHR European History 1150-1550 Seminar Series

William of Auvergne and the Things We Can’t See

Lesley Smith (Oxford)

Hybrid | Online via Zoom & IHR Pollard Seminar Room, N301, Third Floor, IHR, Senate House, Malet Street, London WC1E 7HU

6 February 2025, 12:30-2:00PM EST/ 5:30-7:00PM BST

All welcome- this seminar is free to attend but booking in advance is required. To book, click here.
Contact: ihr.events@sas.ac.uk (Email only)

New Exhibition

Sam Fogg & Les Enluminaures

East Meets West: Indian and Persian Drawings

1 – 28 February 2025

Les Enluminures, 23 E 73rd St, Penthouse, 7th Floor, New York, NY 10021

Mary Jaharis Center for Byzantine Art and Culture

2025–2026 Grant Competition

Due 1 Feburary 2025

Mary Jaharis Center Co-Funding Grants promote Byzantine studies in North America. These grants provide co-funding to organize scholarly gatherings (e.g., workshops, seminars, small conferences) in North America that advance scholarship in Byzantine studies broadly conceived. We are particularly interested in supporting convenings that build diverse professional networks that cross the boundaries of traditional academic disciplines, propose creative approaches to fundamental topics in Byzantine studies, or explore new areas of research or methodologies.

Mary Jaharis Center Dissertation Grants are awarded to advanced graduate students working on Ph.D. dissertations in the field of Byzantine studies broadly conceived. These grants are meant to help defray the costs of research-related expenses, e.g., travel, photography/digital images, microfilm.

Mary Jaharis Center Publication Grants support book-length publications or major articles in the field of Byzantine studies broadly conceived. Grants are aimed at early career academics. Preference will be given to postdocs and assistant professors, though applications from non-tenure track faculty and associate and full professors will be considered. We encourage the submission of first-book projects.

Mary Jaharis Center Project Grants support discrete and highly focused professional projects aimed at the conservation, preservation, and documentation of Byzantine archaeological sites and monuments dated from 300 CE to 1500 CE primarily in Greece and Turkey. Projects may be small stand-alone projects or discrete components of larger projects. Eligible projects might include archeological investigation, excavation, or survey; documentation, recovery, and analysis of at risk materials (e.g., architecture, mosaics, paintings in situ); and preservation (i.e., preventive measures, e.g., shelters, fences, walkways, water management) or conservation (i.e., physical hands-on treatments) of sites, buildings, or objects.

The application deadline for all grants is February 1, 2025. For further information, please visit the Mary Jaharis Center website: https://maryjahariscenter.org/grants.

Contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center, with any questions.

ICMA in Paris
Last look and exhibition tour Figures du Fou Du Moyen Âge aux Romantiques

Friday 31 January 2025, 18:00
Musée du Louvre
In person

Register HERE
Register by Friday 24 January 2025

ICMA members are invited to a last look at the exhibition Figures du Fou Du Moyen Âge aux Romantiques at the Musée du Louvre on Friday 31 January 2025 at 18:00. Exhibition co-curator Pierre-Yves Le Pogam will lead the group through the exhibition. Afterwards, members are invited to an offsite café for an apéro.

Capacity is limited to 15 people. Please register by Friday 24 January 2025. Attendees must be ICMA or IMS members; guests will be added to a waitlist and receive confirmation the week of the event, should spaces be available.

The exhibition examines the omnipresence of fools in Western art and culture at the end of the Middle Ages, and attempts to parse the meaning of these figures, who would seem to play a key role in the advent of modernity. The fool may make us laugh, with his abundance of frivolous antics, but he also harbours a wealth of hidden facets of an erotic, scatological, tragic or violent nature. Capable of the best and of the worst, the fool entertains, warns or denounces; he turns societal values on their head and may even overthrow the established order.

Within the newly renovated Hall Napoléon, this exhibition, which brings together over 300 works from 90 French, European and American institutions, brings us on a one-of-a-kind journey through Northern European art (English, Flemish, Germanic, and above all French), illuminating the profane aspects of the Middle Ages and revealing a fascinating era of surprising complexity. The exhibition explores the disappearance of the figure of the fool with the Enlightenment and the triumph of reason, and its resurgence at the end of the 18th century and all throughout the 19th. The fool then became a figure with which artists identified, wondering: ‘What if I were the fool?

For more information on the exhibition, click HERE.

Register HERE

New Exhibition

Sam Fogg & Luhring Augustine Tribeca

Treasures of the Medieval World

31 January – 8 March 2025

Luhring Augustine Tribeca, NYC, 17 White Street, New York, NY 10013

Special Monday Opening: 3 Februrary 2025  

Public Reception: Friday 31 January; 6pm – 8pm

Treasures of the Medieval World is the fourth in a series of exhibitions showcasing medieval works of art in a contemporary context to be mounted in collaboration with Luhring Augustine, New York. Following the success of the first three iterations, Of Earth and Heaven (2018), Gothic Spirit (2020), and The Medieval Body (2022), this new iteration will open at Luhring Augustine Tribeca on 31st January and runs through 8th March.Treasures of the Medieval World brings together over forty rare objects spanning the fields of sculpture, painting, ceramics, textiles, and goldsmith’s work. Collectively they evince medieval Europe’s astonishing and enduring artistic legacy.

Highlights include one of only five autograph works carved by the master sculptor Tilman Riemenschneider still in private hands, an early ‘inhabited’ carpet made by Anatolian weavers in the years around 1500, a stupendous silver-gilt Portuguese display ewer made for a member of the royal court in the first two decades of the sixteenth century, a complete English alabaster altarpiece from the first half of the fifteenth century, and a Renaissance altarpiece by the famed Sevillian panel painter Alejo Fernandez.   

For more information, visit https://www.samfogg.com/exhibitions/59/.

Symposium

Records of Care:
informing approaches to the conservation of Britain’s wall paintings

31 January 2025, 9:00-18:30

Vernon Square Campus, Lecture Theatre 2, The Courtauld Institute of Art, London, England

To book tickets and for more information, click here.

£15.00, concessions available

Hosted in partnership with colleagues at The Church of England, Icon, and English Heritage, this symposium marks the culmination of the first major phase of a grant-funded digitisation project to make the National Wall Paintings Survey publicly accessible through a dynamic new online database.

Begun by Professor David Park at The Courtauld in 1980, the Survey has grown into a vast and internationally important resource, comprising records of all known British medieval wall paintings as well as extensive material on post-medieval schemes of painted decoration. Encompassing photographic records, conservation reports, annotated publications and previously unpublished research, the archive documents the UK’s most lavish courtly and ecclesiastical murals alongside paintings in more humble contexts. Incorporating material bequeathed from the archives of some of the UK’s earliest pioneering conservators, the Survey constitutes an exceptional record of the condition of Britain’s wall paintings and forms an essential point of reference, both for scholars of art history and for those charged with the ongoing care of these works.

This interdisciplinary study day is an opportunity for those working across the field of British wall paintings to reflect upon the evolution of approaches to their study and conservation, and to explore collaborative endeavours which might better inform their future care. Comprising three sessions of short papers from a diverse and engaging line-up of scholars and heritage professionals, the day will conclude with an informal panel discussion around the theme of collaboration.

Organised by Emily Howe (Project Lead, National Wall Paintings Survey at The Courtauld) with Tracy Manning (Cathedral & Church Buildings Department, Church of England), Sarah Pinchin (Chair, Icon Stone & Wall Paintings Group) and Sophie Stewart (Collections Conservation, English Heritage).

Programme:

9.30 – 10.00: Registration opens
Coffee and tea provided

10.00 – 11.15: Session I – Emerging Approaches
Chaired by Caroline Babington, formerly Palace of Westminster 

Emily Howe, National Wall Paintings Survey Project,
Towards a national repository for the documentation of wall paintings
Tracy Manning, Cathedral & Church Buildings Department, Church of England,
Managing the care of wall paintings in churches: following the rules and finding good advice
Sophie Stewart, English Heritage,
From the Ministry of Works to English Heritage: conserving the nation’s wall paintings
Mark Perry, Perry Lithgow Partnership,
Wall painting conservation in private practice

11.15 – 11.45: Break
Coffee and tea provided

11.45 – 13.00: Session II – Improving Approaches
Chaired by Jane Spooner, The Courtauld

Kate Giles, Centre for the Study of Christianity and Culture, University of York,
Writing on the walls: locating and using historical sources to inform understanding of past conservation practices
Tobit Curteis, Tobit Curteis Associates,
Working with others: wall painting conservation in building projects
Lizzie Woolley, Opus Conservation,
Imaging techniques for the conservator’s toolbox
Stephen Rickerby, Rickerby & Shekede
Focusing conservation aims and requirements

13.00 – 14.00: Lunch 
Provided for all attendees with ticket purchase

14.00 – 15.30  Session III – Interdisciplinary Approaches
Chaired by Alixe Bovey, The Courtauld

Miriam Gill, University of Leicester,
Variations and identifications: intersections between conservation and art history
Andrea Kirkham, Andrea Kirkham Conservation,
Recording domestic wall paintings
Florence Eccleston, The Courtauld,
Navigating the challenges of researching wall paintings
Jane Rutherfoord, Rutherfoord Conservation,
‘The Conservator as Art Historian’ and the approach to the wall paintings at Llancarfan
Sophie Godfraind, Historic England,
The role of Historic England in the care of wall paintings

15.30 – 16.00: Break
Coffee and tea provided

16.00 – 17.00  Session IV – Collaborative Approaches
Chaired by Sarah Pinchin, Icon/Historic Royal Palaces

Discussion session, led by a panel of heritage professionals, conservators and conservation scientists.

Participants include:

Jonathan Deeming, Heritage Architect, Purcell,
Helen Howard, Scientific Department, National Gallery,
Katy Lithgow, Formerly Head of Conservation, National Trust,
Peter Martindale, Peter Martindale Conservation
Ruth McNeilage, McNeilage Conservation,
Nigel Walter, Archangel Architects

17.00 to 18.00: Drinks reception

The National Wall Paintings Survey Project is funded by grants from the Paul Mellon Centre for Studies in British Art, Pilgrim Trust, and Marc Fitch Fund.

Call for Applications

2025-2026 Predoctoral Research Residencies

Center for the Art and Architectural History of Port Cities “La Capraia,” Naples

Due By January 31, 2025

The Center for the Art and Architectural History of Port Cities “La Capraia” (Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali “La Capraia”) was founded in 2018 as a collaboration between the Museo e Real Bosco di Capodimonte, the Edith O’Donnell Institute of Art History at the University of Texas at Dallas, Franklin University Switzerland, and the Amici di Capodimonte.

Housed in “La Capraia,” a rustic eighteenth-century agricultural building at the heart of the Bosco di Capodimonte, the Center engages the Museo di Capodimonte and the city of Naples as a laboratory for new research in the cultural histories of port cities and the mobilities of artworks, people, technologies, and ideas. Global in scope, research at La Capraia is grounded in direct study of objects, sites, collections, and archives in Naples and southern Italy. Through site-based seminars and conferences, collaborative projects with partner institutions, and research residencies for graduate students, La Capraia fosters research on Naples and the south as a site of cultural encounter, exchange, and transformation, and cultivates a network of scholars working at the intersection of the global and the local.

The Advisory Committee of the Center for the Art and Architectural History of Port Cities “La Capraia” invites applications for Predoctoral Research Residencies for PhD students in the earlier stages of their dissertation research. Projects, which may be interdisciplinary, may focus on art and architectural history, archaeology, music history, histories of collecting, the digital humanities, or related fields, from antiquity to the present. Projects should address the cultural histories of Naples and southern Italy as a center of exchange, encounter, and transformation, and, most importantly, make meaningful use of local research materials including artworks, sites, archives, and libraries.

2025-2026 Predoctoral Research Residencies will run from 8 September 2025 through 7 June 2026. Research Residents are granted free lodging at La Capraia (private bedroom/study/bath and communal study/living/kitchen spaces) and a modest stipend of 7,000 EUR, administered by the Amici di Capodimonte, to help defray the cost of living. During their time in Naples, Residents are expected to work on their projects full time and in residence, and to participate in scholarly programs that La Capraia organizes over the course of the year. La Capraia advises Residents on access to collections, sites, archives, and libraries as needed for their projects; at Capodimonte, we arrange access to collections and research resources insofar as it is possible during the museum’s current partial closure for renovation. In the spring semester, Residents are expected to present their research in an informal seminar, gallery talk, or site visit. In the summer following the residency period, Residents are invited to contribute a short essay to the Center’s annual research report.

Research Residents are responsible for obtaining appropriate visas (the Center provides official letters of support) and for providing proof of health insurance. Residents must arrange their own travel to and from Naples.

We welcome applications from doctoral students of any nationality, in the earlier stages of research for the dissertation. Applicants are invited to submit a letter of interest, a CV, and a research proposal of 1,000-1,500 words that frames the central questions, methods, and scholarly contributions of project, and describes the resources that will be used while on site in and around Naples. Materials should be sent in a single PDF file, with last name as the title of the file, to Center Coordinator, Dott.ssa Francesca Santamaria (francesca.santamaria@utdallas.edu). In addition, applicants must invite three recommenders to send letters of support directly to the same email address. All materials, including letters of recommendation, are due by January 31, 2025. Finalists will be invited to interviews held via Zoom with representatives from the O’Donnell Institute and Capodimonte.

Learn more about the Center for the Art and Architectural History of Port Cities “La Capraia” at https://arthistory.utdallas.edu/port-cities/, where you will also find digital editions of our annual research reports. Download an overview of La Capraia at https://tinyurl.com/La-Capraia-overview. Learn about our Research Residencies at https://arthistory.utdallas.edu/port-cities/residencies/. View past and upcoming scholarly programs at https://arthistory.utdallas.edu/port-cities/programs/.

Download a pdf version of this call at https://tinyurl.com/LaCapraia2025-2026Call.

Centro per la Storia dell'Arte e dell’Architettura delle Città Portuali "La Capraia"
a collaboration between
The Museo e Real Bosco di Capodimonte
The Edith O'Donnell Institute of Art History
Franklin University Switzerland
and Amici di Capodimonte

Museo e Real Bosco di Capodimonte / La Capraia
Via Miano 2 Napoli 80131
+39 3494706237
lacapraia@gmail.com | https://arthistory.utdallas.edu/port-cities/

Call for Applications

Council of the Church Monuments Society

Church Monuments Essay Prize

Due 31 January 2025

The Council of the Church Monuments Society offers a biennial prize of £500 called the Church Monuments Essay Prize, to be awarded with a certificate for the best essay submitted in the relevant year. The prize will only be awarded if the essay is considered by the judges to be of sufficiently high standard to merit publication in the peer-reviewed journal Church Monuments. Entries in addition to the winner may be considered for publication.

The competition is open only to those who have not previously published an article in Church Monuments. Entrants need not be members of the Church Monuments Society, but are recommended to familiarise themselves with Church Monuments: abstracts and indexes can be found on the website https://churchmonumentssociety.org.

The focus of the essay must be a monument/s in a church, churchyard or cemetery, of any period and location. Entries must be submitted in English.

The length (including notes) should be between 6,000 and 10,000 words, with a maximum of 10 illustrations.

The closing date for new entries is 31 January 2025.

Please contact the Hon. Journal Editor (Jonathan Trigg, jrtrigg@gmail.com) for a copy of the rules and the guidelines to contributors and/or for advice on the suitability of a particular topic. Download rules and criteria also here: link.

Contact: https://churchmonumentssociety.org/contact-us

Hybrid Seminar

IHR European History 1150-1550 Seminar Series

Judicial Violence in Late Medieval Europe: Corporal Punishments in Tuscany, 1260–1360

Lidia L. Zanetti Domingues (Sheffield)

Hybrid | Online-via Zoom & IHR Wolfson Room NB02, Basement, IHR, Senate House, Malet Street, London WC1E 7HU

23 January 2025, 12:30-2:00PM EST/ 5:30-7:00PM BST

All welcome- this seminar is free to attend but booking in advance is required. To book, click here.

Contact: ihr.events@sas.ac.uk (Email only)

ICMA in London
Early morning viewing of Silk Roads
Thursday 23 January 2025, 9am
The British Museum
In-person

Register HERE

ICMA members are invited to an early morning viewing of Silk Roads at The British Museum on Thursday 23 January 2025 at 9am. Members will be able to view the exhibition prior to the museum’s public opening hours with a brief introduction by one of the exhibition’s curators. Afterwards, members are invited to an offsite location for coffee.

Capacity is limited to 20 people. Please register by Monday 13 January 2025. Attendees must be ICMA members; guests will be added to a waitlist and receive confirmation the week of the event, should spaces be available.

Working with 29 national and international partners to present objects from many regions and cultures alongside those from the British Museum collection, the exhibition offers a unique chance to see objects from the length and breadth of the Silk Roads. From Tang Chinese ceramics destined for ports in the Middle East to Indian garnets found in Suffolk, they reveal the astonishing reach of these networks. 

More information about the exhibition: click HERE

Register HERE

Lecture

Murray Seminar

Charles of Luxembourg as a visitor at the papal court in Avignon

Alexandra Gajewski

In-Person & Online

Birkbeck 43 Gordon Square, London

21 January 2025, 12:00-13:30 ET/17:00-18:30 GMT

Online: Book your place

In-Person: Book your place

When on 23rd May 1365 Emperor Charles IV arrived in Avignon accompanied by five hundred knights, he encountered a city that had changed substantially compared to the Avignon he saw on his visits in c.1340, 1344 and 1346, when he was still Margrave of Moravia. The Porte Saint-Lazare, through which the imperial procession probably entered, had not existed in the 1340s, new city walls had been built from 1357/58. The city’s churches had been rebuilt. The Papal Palace had been enlarged with a new entrance, a new staircase and new chapel in the 1340s; dazzling new wall-paintings adorned the walls, a new kitchen been built and polyphonic music had been introduced. Charles slept in Petit Palais whereas in 1340 he had stayed in the Livrée of Pierre de Rosiers. Although, there are only snippets of evidence for the earlier visits, Charles’s adventus in 1365 is reported in a number of sources, in particular in the chronicles by John of Reading and Jan Neplach, who probably based their reports on eyewitness accounts. By crossing the sources relating to Charles’s visits with the topographical and architectural evidence, this paper hopes to show that the documents throw light on the unfolding of the emperor’s visit, in a way that has not been previously understood, and, more broadly, that the walls, the religious topography and the enlarged Papal Palace were active parts in making Avignon a fitting stage for the greatest moment in the city’s history, the entry of the emperor.

Contact name: Allison Deutsch

For more information, visit https://www.bbk.ac.uk/events/?tag=309

Call for Papers

Medieval Art on the Move

The Courtauld Postgraduate Medieval Colloquium 2025

Friday 28 March 2025, London, UK 

Due By 20 January 2025

Now entombed in airless glass vitrines, medieval objects in museums appear static and immovable. But in the Middle Ages, artworks were active and mobile:  they were manipulated in the hand, processed through towns, and traded or gifted across very large geographic areas. Viewers were also on the move: they carried artworks on their body or processed alongside them in religious ceremonies. Merchants, soldiers, and pilgrims travelled to new places and brought artworks home with them. This colloquium will explore medieval artworks as sites of sophisticated meaning-making through the theme of movement, on small and large scales. Medieval works of art were often moved during ritual, and many artworks also integrated moving parts, such as wings or other hinged elements. In a broader context, artworks could travel huge distances, acquiring new significances as they transgressed political, cultural and religious borders. The Silk Roads exhibition currently open at the British Museum speaks to such journeys, presenting the people and objects travelling along overlapping and expansive networks of trade, and asking how these movements shaped meanings and cultures both along the way and at their destinations. To that end, the colloquium looks to open new dialogues regarding the movement of medieval artworks, initiating discussions on how it affected an object’s reception.

We invite submissions for 20-minute papers that investigate the impact of movement on objects and their audiences. Respondents might consider themes including but by no means limited to:

• The vehicles or mechanisms by which medieval objects moved across geographic and cultural boundaries, such as gifting, trade, theft, or war

• Processions and ritual, versus more informal movements

• Distance and proximity

• Motion and stillness

• Intercultural exchanges and movement of ideas

We invite PhD candidates to submit an up to 250-word paper proposal and title, a short CV, together with their complete contact details (full name, email, and institutional affiliation) by 20th January 2025. Please send these to both Sophia Adams (sophia.adams@courtauld.ac.uk) and Natalia Muñoz-Rojas (natalia.munoz-rojas@courtauld.ac.uk).

There may be some limited funding to support travel and accommodation costs for those without institutional support. If you would require funding support, please include a brief budget alongside your abstract.

For a PDF of the Call for Papers and more information, click here.

ICMA in St. Louis
Friday 17 January 2025, 2pm CT
Saint Louis Art Museum
In-person

Register HERE

ICMA members are invited to attend a study event at the Saint Louis Art Museum with curators Maggie Crosland (Birmingham Museum of Art), Judith Mann, and Hannah Segrave. Maggie Crosland will walk attendees through Global Connections, 500-1500, the reinstallation of medieval artworks at the Saint Louis Art Museum. After the Global Connections discussion, Judith Mann and Hannah Segrave will lead a 30 minute tour of the European Art Galleries.

Attendees will also have the opportunity to explore the exhibition Narrative Wisdom and African Arts, which places historical works made by artists across sub-Saharan Africa during the 13th to 20th centuries in conversation with contemporary works by African artists working around the globe.

Click HERE for more information on Global Connections, 500-1500.
Click HERE for Narrative Wisdom and African Arts exhibition information.

Drinks to follow at 6pm at an offsite location. The Saint Louis Art Museum is free and open to the public 10 am–9 pm on Fridays, so arrive early if you want to explore the collection at your own pace. 

Register HERE