Congratulations to the new ICMA Board. The following colleagues were confirmed at the ICMA meeting at CAA in New York in February, 2011:

Lawrence Nees, President (University of Delaware)
Nancy Sevcenko, Vice President (Independent Scholar)
Gerry Guest, Secretary (John Carroll University)

Directors (Class of 2014)
Elizabeth C. Teviotdale (Western Michigan University)
Eva Hoffman (Tufts University)
Melanie Holcomb (Metropolitan Museum of Art)
Charles McClendon (Brandeis University)
Elizabeth Morrison (J. Paul Getty Museum)
Benjamin Withers (University of Kentucky)
Kirsten Noreen (Loyola Marymount)

Chair of Nominating Committee
Conrad Rudolph (University of California, Riverside)

Nominating Committee
Jill Caskey (University of Toronto)
Anna Russakoff (American University of Paris)
Andrew Tallon (Vassar College)
Karen Blough (SUNY Plattsburgh)

Congratulations to the new Associate members of the ICMA Board! The following colleagues were elected as Associates at the Fall 2010 Meeting of the ICMA Board of Directors:

ICMA Associates (Class of 2014)
Magda Laptas (Univ. of Warsaw)
Jennifer O’Reilly (University College, Cork, emeritus)
Stella Panayotova (Fitzwilliam Museum)
Hiltrud Westermann-Angerhausen (Former Director, Schnutgen Museum)

Biographies of our new associates:

Magdalena Laptas. Born in Cracow Magdalena Laptas graduated from its Jagiellonian University in 1991. Her MA thesis concerned the icons of Red Russia. She completed postgraduate studies at Courtauld Institute of Art and Istituto di Antichità Ravennati e Bizantine in Ravenna. In 1993 Magdalena Laptas started working in the Faras Gallery of the National Museum in Warsaw. Since 1999 she has also been employed at the Cardinal Stefan Wyszynski in Warsaw. In 2005 she presented her Ph.D thesis entitled Archangels in Nubian Art. The main field of her research continues in Byzantine and Post-Byzantine art, particularly in the field of Nubian painting, which was gained during excavations in the Sudan. For 10 years she has been annually participating in fieldworks conducted there dealing with documentation and research of mediaeval murals uncovered in Banganarti. Since 2008 Dr Laptas has been cooperating with Polish restorers in the Lebanon uncovering Crusader murals. She is an author of articles on Nubian iconography, co-author of entries to catalogues of the Nubian painting and a member of the editorial board of “Eastern Christian Art in its Late Antique and Islamic Context” published by Peeters. Currently she is completing a dissertation concerning the Apostolic College in the Nubian art.

Stella Panayotova. Stella Panayotova is the Keeper of Manuscripts and Printed Books at the Fitzwilliam Museum, Cambridge University. She has an MA in Classics from the University of Sofia and a D.Phil. in Medieval History from the University of Oxford. She was the Curator of The Cambridge Illuminations exhibition (2005), a co-editor of the exhibition catalogue, and the Director of The Cambridge Illuminations Research Project, which is publishing a multi-volume series of catalogues of medieval and Renaissance illuminated manuscripts in the Colleges of Cambridge and the Fitzwilliam Museum. She completed commentary volumes for facsimile editions of the fourteenth-century English Macclesfield Psalter (Thames&Hudson, Oct. 2008) and of a fifteenth-century Flemish Book of Hours (Folio Society, 2009). She is currently preparing a major exhibition to celebrate the millennium of the completion of the Shahnameh, Epic of the Persian Kings: The Art of Ferdowsi’s Shahnameh (11 September 2010 – 9 January 2011).

Jennifer O’Reilly. Jennifer O’Reilly is a graduate of the University of Nottingham, where she completed her doctoral thesis, ‘Studies in the Iconography of the Virtues and Vices in the Middle Ages’. She briefly taught in the Department of Medieval History in St Andrews, Scotland, but has spent most of her professional life in the Department of History in University College Cork, Ireland, developing a wide range of courses in medieval cultural history, including the visual arts, at undergraduate and postgraduate level. She helped to establish the History of Art as a full discipline within the University in 2001 and has contributed courses on various aspects of Late Antique, Medieval and early Renaissance art and iconography to its degree programme. Her research interests and publications concern the medieval reception and transformation of exegetical and iconographic traditions from the world of Late Antiquity, as seen in certain themes in early monastic culture and particularly the work of Adomnán and Bede, in Insular illuminated manuscripts (especially the Book of Kells, the Durham Gospels and the Codex Amiatinus), and in the art of the late Anglo-Saxon monastic reform. She is a Fellow of the Society of Antiquaries (London) and a Member of the Royal Irish Academy.

Hiltrud Westermann-Angerhausen. Studied art history, medieval history and archeology in Münster and Vienna. Her doctoral thesis undertaken in 1972 was on Ottonian reliquaires and goldsmith’s works from Trier. She was a research scholar for the Deutsche Forschungsgemeinschaft and worked on compiling a Corpus of medieval  censers, before becoming assistant keeper  in Paderborn, Diocesan Museum in 1997. She has taught medieval art history at the universities of Münster, Bochum  since 1980. In 2003 she was appointed professor for art history at Seminar für Kunstgeschichte in Düsseldorf.  She was Director of the Museum Schnütgen from 1991 to 2010,  and while there organized major exhibitions  including Himmel – Hölle -Fegenfeuer, Cologne-Zürich 1994; Schatz aus den Trümmern – Der Gertrudenschrein von Nivelles, Cologne/Paris 1996; Joseph Beuys und das Mittelalter 1997;  Himmelslicht 1998; Zum Sterben Schön! 2006. Contributions to exhibitions on medieval art in Germany include Bernward von Hildesheim, Hildesheim 1993, Otto der Große, Magdeburg 2000; 799 – Kunst und Kultur der Karolingerzeit, Paderborn 1999; Canossa, Erschütterung der Welt, Paderborn 2006; Karl der Kühne, Berne/ Brügge, 2008.  Her main interests are studying medieval art in the context of cultural history, museology and museum didactics; metalwork, spolia and relics in the context of representational and liturgical arts.