Feb
26
to Feb 28

ICMA in North Carolina: Study visits to the North Carolina Museum of Art, Duke University Libraries, Nasher Museum of Art, and Ackland Art Museum- REGISTER TODAY!

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ICMA in North Carolina
Study visits to the North Carolina Museum of Art, Duke University Libraries, Nasher Museum of Art, and Ackland Art Museum
Raleigh, Durham, and Chapel Hill, North Carolina
Thursday 26 February-Saturday 28 February 2026

Register HERE

ICMA members and local medievalists are invited to a special tour of the medieval collections in North Carolina on 26-28 February 2026. This is a multi-day event with multiple site visits. Attendees are responsible for transportation and travel costs between venues. Lunch and refreshments will be provided on Friday 27 February.

SCHEDULE

Thursday 26 February 2026 at the North Carolina Museum of Art in Raleigh, North Carolina

  • Afternoon session featuring a conversation in the medieval gallery and with objects in storage with curator Lyle Humphrey 

  • Tour of the exhibition The Book of Esther in the Age of Rembrandt (more information HERE)

Friday 27 February 2026 at Duke University Libraries and the Nasher Museum of Art in Durham, North Carolina

  • Morning session on medieval manuscripts with Curator of Collections Andy Armacost at Duke University Libraries

  • Afternoon session at the Nasher Museum of Art with curator Katherine Werwie, beginning with a tour of the medieval gallery and study storage visit, with a focus on recent testing on a head from Notre-Dame 

Saturday 28 February 2026 at the Ackland Art Museum in Chapel Hill, North Carolina

  • Morning session with curator Dana Cowen on their Islamic, medieval, and early modern collections 


Space is limited. Please indicate which part of the program you will attend. Priority will be given to those who attend all sessions.

Register HERE

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Feb
27
12:00 PM12:00

Annual Lecture of Mary Jaharis Center and Harvard University: The Frankish Kingdom and the Eastern Empire: Rethinking Their Interconnections from a Medieval Perspective, Laury Sarti, Zoom

Annual Lecture of The Mary Jaharis Center for Byzantine Art and Culture

and Harvard University Standing Committee on Medieval Studies

The Frankish Kingdom and the Eastern Empire: Rethinking Their Interconnections from a Medieval Perspective

Laury Sarti

University of Bonn

February 27, 2026 | 12:00–1:30 pm (EST, UTC -5) | Zoom

Detail from a page in the earliest surviving manuscript of the Chronicle of Fredegar, featuring Eusebius, Jerome, a bird-like figure, and an inscription with Greek letters. Paris, Bibliothèque nationale, lat. 10910, fol. 23v. Image: © BnF, Gallica (gallica.bnf.fr/ark:/12148/btv1b10511002k/f58). Public domain

The Mary Jaharis Center for Byzantine Art and Culture is pleased to announce the 2025–2026 edition of its annual lecture with the Harvard University Standing Committee on Medieval Studies.

How did the Byzantines perceive the Franks since the end of Antiquity, and to what extent did they recognise Frankish imperial claims at the time of Charlemagne? This lecture reassesses the sources to challenge the traditional view of general Byzantine superiority, focusing on contemporary perspectives. It examines the relationship and connections between the Franks and the empire from the Merovingian period, and how these relations evolved over time. It does so by employing three approaches: the study of connectivity, exploring interactions and infrastructures; the study of networking, tracing the processes and outcomes of these interactions; and entanglement, analysing intersecting socio-political factors. The evidence shows that Charlemagne’s recognition in 812 followed standard imperial protocols, that the dual imperial order remained conceptually viable, and that the Franks retained ties to imperial structures while gradually asserting autonomy. Elite-level networks—embassies, marriage proposals, and Greek learning—sustained a limited but enduring imperial connection, which only weakened by the Ottonian period.

Laury Sarti is Heisenberg Professor in the Department of History at the University of Bonn. Her research focuses on war as a factor of social change after the end of the Roman Empire, the legacy of Rome in the early medieval West, and physical mobility until the Late Middle Ages.

Advance registration required. Register: https://maryjahariscenter.org/events/the-frankish-kingdom-and-the-eastern-empire

Contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center for Byzantine Art and Culture, with any questions.

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Feb
28
12:00 AM00:00

Call for Papers, The Purple and the Book: Precious Manuscripts from Late Antiquity to Renaissance, Turin (18-20 Nov. 2026)

Call for Papers

The Purple and the Book: Precious Manuscripts from Late Antiquity to Renaissance

Turin, 18-20 November 2026

Due by 28 February 2026

Purple manuscripts represent a distinctive genre in Western bookmaking production, holding significant artistic and cultural value. Known since Late Antiquity, the purple colour imparts a high symbolic worth: a mark of imperial authority, it later became, with the advent of Christianity, a symbol of the blood of Christ, of martyrs, and of the authority of the Church. After a revival during the Carolingian era, which influenced Ottonian and Romanesque illumination, these manuscripts experienced renewed prominence during the Humanist and Renaissance periods.

This international conference, as the concluding event of the PURple Parchment LEgacy project (PRIN 2020; https://purpleproject.it), brings together scholars from various fields, time periods, and traditions of book decoration. The aim of the meeting is to offer a comprehensive and multidisciplinary overview of purple manuscripts and the use of purple in manuscript decoration. In addition to invited keynote talks, there will be an open session dedicated to more focused themes and case studies.

Proposals are invited for papers (maximum 15 minutes) addressing, but not limited to, the following research areas, covering periods from Late Antiquity to the Renaissance:

  • case studies on single works or small groups of manuscripts, with a particular focus on their historical-artistic context

  • in-depth studies of techniques and materials (dyes, writing supports, bindings, etc.)

  • research on written sources that contribute to the reconstruction of historical-artistic, documentary, and technical aspects

  • the history of purple manuscripts, with attention to their provenance and collecting histories

Submissions from PhD students, postdoctoral researchers, and early-career scholars are especially encouraged, as well as presentations of ongoing research or projects.

Proposals should be submitted in a single document (Word or PDF format) by 28 February 2026 to: convegno.purple@unito.it. Submissions should include:

  • Full name, email address, and current affiliation

  • Paper title

  • Abstract (maximum 2,000 characters, including spaces)

  • Short CV (maximum 1,000 characters, including spaces)

Proposals may be submitted in Italian, French, English, or German, and will be reviewed by the organizing committee. The outcome of the selection process will be communicated by March 2026.

The conference will take place in person in Turin. Accommodation expenses will be covered by the organization (travel expenses will be the responsibility of the participants). The conference proceedings will be published following a peer-review process

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Mar
2
12:00 AM00:00

Call for Papers: Where is Scotland? Navigating Identities and Communities by Land and Sea, CSCS Postgraduate Symposium, University of Glasgow (28 May 2026)

Call for Papers

Centre for Scottish & Celtic Studies Postgraduate Symposium

Where is Scotland? Navigating Identities and Communities by Land and Sea

University of Glasgow, 28th May 2026

Due by 2 March 2026

We are pleased to invite PGTs and PGRs to submit proposals for a 15-minute paper, in English or Gaidhlig, for the annual Centre for Scottish and Celtic Studies (CSCS) hybrid postgraduate symposium to be held at the University of Glasgow on 28th May 2026.

Movement and the landscape are increasingly recognised for their role in shaping not only Scotland but Celtic nations of the present and Celtic cultures of the past. This interdisciplinary conference aims to foster dialogue across institutions and showcase the latest research of postgraduates across the fields of Scottish Archaeology, History, Literature, and Celtic & Gaelic Studies.

We encourage abstracts addressing themes including, but not limited to:

  • Scottish and Celtic diaspora: the nation beyond its borders

  • The role of empire and colonisation in Early Modern identities and beyond

  • Boundaries and points of contact

  • Mapping populations, landscapes, identities, languages, archaeological sites

  • Scotland's literary topoi

  • Popular memory and folklore in shaping Celtic arts, literature, media

This conference provides a supportive and friendly environment for postgraduates to share their latest research or works-in-progress with an audience of peers including Post-Docs, Eatly Career Researchers, and foremost thinkers in similar themes across a wide array of disciplines.

Prospective speakers should submit a title, abstract (100-200 words), and a brief biography (c.50 words) in English or Gaidhlig, by 2nd March 2026

Additionally, if you are a PGT and would like to attend the symposium but not present a paper, we invite you to send us a brief, one sentence summary of you research interests, or thesis title, for inclusion in a PGT research spotlight.

Please send any abstracts or questions to arts-cscs@glasgow.ac.uk.

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Mar
4
12:00 AM00:00

Registration Ends for Online Workshop for Graduate Students and ECRs: GIS Basics for Byzantinists Workshop Series, Becky Seifried (13 & 20 Mar. 2026), Zoom

Online Workshop for Graduate Students and ECRs

GIS Basics for Byzantinists Workshop Series

Becky Seifried

University of Massachusetts Amherst

March 13 and March 20, 2026

Zoom

Registration Ends 4 March 2026

The Mary Jaharis Center for Byzantine Art and Culture and the Byzantine Studies Association of North America are pleased to offer a a GIS basics workshop series for graduate students and early career researchers in collaboration with Becky Seifried of the University of Massachusetts Amherst.

The GIS Basics for Byzantinists workshop series will provide an introduction to the core concepts of Geographic Information Systems (GIS) through participatory sessions geared towards map creation and design. Using QGIS, a free and open-source GIS desktop software package, participants will learn how to create new research data and then transform it into an effective digital or static final map. The sessions are independent, but attending both is recommended to get the most out of the series. Participants are invited to use their own research project or idea as a basis for exploring the tool. Demo data will also be provided if needed. This workshop series is intended for those who have very little or no experience with GIS.

Each workshop is limited to 15 participants. Students enrolled in graduate programs in North America and early career researchers working in North America will be given priority. Registration is first come, first served.

Registration closes March 4, 2026.

To read a full description of the workshop series and register your interest, please visit https://maryjahariscenter.org/events/gis-basics-for-byzantinists.

Contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center for Byzantine Art and Culture, with any questions.

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Mar
4
12:00 PM12:00

Mary Jaharis Center for Byzantine Art and Culture Lecture: Spindle Whorls and Women’s Work: Reframing Middle Byzantine Lives in the Athenian Agora, Fotini Kondyli, Zoom

Mary Jaharis Center for Byzantine Art and Culture 2025-2026 Lecture Series

Spindle Whorls and Women’s Work: Reframing Middle Byzantine Lives in the Athenian Agora

Fotini Kondyli

University of Virginia

March 4, 2025 | 12:00–1:30 pm (Eastern Standard Time, UTC -5)| | Zoom

Middle Byzantine spindle whorls from the American School of Classical Studies’s Athenian Agora Excavations attached to cataloguing cards. Photo: Fotini Kondyli

The Mary Jaharis Center for Byzantine Art and Culture is pleased to announce the final lecture in our 2025–2026 lecture series.

Over 150 Middle Byzantine spindle whorls in bone and steatite have been uncovered in the Athenian Agora Excavations, found in domestic and work spaces as well as in burials. In this lecture, I move these objects out of the artifact catalogues where they often linger and let them speak, telling the stories of the women who used them and the non-elite lives they illuminate.

By tracing the “biographies” of these tools—their birth (materials, making, design), working life (use, skill, transmission), and economic movement (exchange, display, disposal)—we can reconstruct rhythms of women’s labor and situate spinning within the urban economy of Byzantine Athens. Highly decorated surfaces, combining polished planes with incised grooves and circles, reveal a tactile aesthetic meant to be felt as much as seen. These designs, often associated with sacred or protective motifs, suggest that spindle whorls were not merely functional but active participants in religious experience and domestic protection. Decoration also connects these objects to a wider world: parallels with Islamic spindle whorls from the 9th–10th-century point to cultural exchange through textiles and luxury goods, and their appropriation for aesthetic and apotropaic purposes in Byzantine contexts.

Portable and publicly performed, spinning transformed these tools into communication objects, signaling skill, status, and adherence to social norms, while transmitting tacit knowledge across generations. Thinking through these encounters, this lecture reframes spinning as a socially and religiously meaningful, economically consequential performance at the heart of Middle Byzantine urban life.

Fotini Kondyli is Associate Professor of Byzantine Art and Archaeology at the University of Virginia. She researches spatial practices, community-building processes, the material culture of Byzantine non-elites, and cultural, economic, and political networks in the Eastern Mediterranean in the Late Byzantine period (13th-15th centuries).

Advance registration required. Register: https://maryjahariscenter.org/events/spindle-whorls-and-womens-work

Contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center for Byzantine Art and Culture with any questions.

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Mar
4
5:00 PM17:00

BAA Annual Lecture Series: The transformation of the monastic enclosure at Marmoutier between the 11th and the early 13th centuries, Elisabeth Lorans, Society of Antiquaries of London & Online

BAA Annual Lecture Series

The transformation of the monastic enclosure at Marmoutier (Tours, France) between the 11th and the early 13th centuries

Elisabeth Lorans

Emeritus Professor of Medieval Archaeology, University of Tours (France)

Society of Antiquaries of London & Online

Wednesday, 4 March 2026, 5:00pm

Tea is served from 5 p.m. and the Chair is taken at 5.30 p.m. 

A re-reading of the narrative sources produced by the communities at Marmoutier and at St Martin between the 11th and the 13th centuries, when confronted with the archaeological data, allows us better to understand the topographical and architectural transformation carried out by Marmoutier during this period. This paper will examine in turn the four major aspects of these transformations: a. the formation of the enclosure and its surrounding funerary areas (or not) around 1096 as a sacred space; b. the growing role of the Repos de St Martin as a sanctuary; c. the development of a new devotional core centred on the chapel of Our Lady of the Seven Sleepers, with easier access for the pilgrims; and finally d. the lengthening of the nave of the Romanesque church, which required the destruction of the Galilee porch and the removal of the abbatial and seigniorial tombs which it contained to the chapter house. These transformations show the community’s desire to augment the surface of the enclosure and the monumental nature of its buildings, in order to move further away from the episcopal authority, within the framework of the Gregorian Reform, as well as to create a martinian centre on the right bank of the Loire, which would rival the left bank sanctuary containing the tomb of the saint.

The lectures are open to all; non-members are welcome to attend occasional lectures but are asked to make themselves known to the Hon Director on arrival, and to sign the visitors book.

To watch online, click here.

For more information, click here.

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Mar
10
9:30 AM09:30

Upcoming Exhibition: Licornes!, Musée de Cluny, Paris, 10 Mar. 2026 - 12 July 2026

Upcoming Exhibition

Licornes!

Musée de Cluny, Paris

10 Mars 2026 - 12 Juillet 2026

Connue depuis l’Antiquité, souvent mentionnée et représentée au Moyen Âge, la licorne est aujourd’hui encore une créature mythique qui suscite la fascination. Elle peuple la littérature fantastique comme les univers enfantins. Elle revêt des significations variées, évocatrices de singularité ou de succès, à l’exemple du terme licorne pour désigner une start-up florissante.

L’exposition invite petits et grands à explorer l'histoire fascinante de cette créature. Elle révèle la licorne non seulement comme un animal fantastique, mais aussi comme un symbole aux multiples résonances. Organisée en huit sections, elle étudie l'iconographie de la licorne dans une perspective historique, mais aussi intellectuelle et esthétique, et incite les visiteurs à des lectures multiples.

Une exposition du Museum Barberini, Potsdam et du musée de Cluny - musée national du Moyen Âge, Paris, en collaboration avec le GrandPalaisRmn.

Consultez la page dédiée à l'événement. 

Pour plus de détails, consultez https://www.musee-moyenage.fr/activites/programmation/licornes.html

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Mar
11
6:00 PM18:00

Special viewing + reception for "Praymobil - Medieval Art in Motion", Suermondt-Ludwig-Museum, Aachen

Special invitation from our friends at the Suermondt-Ludwig-Museum

Praymobil: Medieval Art in Motion

Exhibition viewing + reception

Suermondt-Ludwig-Museum
Aachen, Germany

Wednesday 11 March 2026, 18:00-21:45

 

RSVP  info@suermond-ludwig-museum.de

As the preview day of The European Fine Art Fair in Maastricht approaches on Thursday 12 March 2026, the Suermondt-Ludwig-Museum and Friends of the Museum welcome ICMA members to their museum in neighboring Aachen.

As in previous years, the team of the Suermondt-Ludwig-Museum in Aachen (Wilhelmstraße 18, 52070 Aachen) and the Friends of the Museum are delighted to invite you and your friends on Wednesday 11 March 2026 at 18.00 h (6 pm) to join us for a reception until approximately 21.45h.

This year we have the pleasure to offer you not only snacks and drinks but also an exclusive visit to our current exhibition Praymobil: Medieval Art in Motion. Michael Rief, Deputy Director of the museum and Curator of this critically acclaimed exhibition, will offer guided tours before the show closes on 15 March.

We’re looking forward to welcoming you and ask that you send a short RSVP to: info@suermond-ludwig-museum.de

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Mar
12
12:00 AM00:00

Call for Papers: The Changing Landscapes of Holiness in the Mediterranean during the Middle Ages, University of Lleida, Spain (3-5 June 2026)

Call for Papers

International Medieval Meeting Lleida

The Changing Landscapes of Holiness in the Mediterranean during the Middle Ages

University of Lleida, Spain

3-5 June 2026

Due 12 March 2026

The session seeks to explore the conceptualizations of landscape(s) of holiness in the Mediterranean viewing landscape as a participant in religious life and not only a mere background. Suggested topics, on a time frame between 300-1500, may include, but are not limited to:

  • Spaces and places of holiness: Churches, catacombs, and graveyards

  • Nature and holiness: landscapes of the wilderness

  • Architecture, cosmology, and environments: monasteries, churches

  • Political geographies of holiness: use of sacred spaces for political power, identity

  • Landscape in textual sources: preaching, hagiography

  • Images and landscapes of holiness: maps, pilgrimage routes

  • Affective and sensorial approaches to holy places

  • Rituals and landscapes of holiness in the Mediterranean

Submissions from a variety of disciplines (and sources) are accepted including but not limited to: history, art history, visual culture, social history, cultural history, hagiography, religious studies, cultural studies, textual studies in a transdisciplinary perspective.

The language of the panel is English. Fees to be covered by participants.

Please submit a short CV and a 300-words abstract (PDF or Word.doc), in English, clearly underlying the innovative aspect of your current research - that should be at an advanced level.

Deadline: 12 March 2026

Contact email: andreabianka.znorovszky@udl.cat

Contact information: Andrea-Bianka Znorovszky, University of Lleida, Spain (andreabianka.znorovszky@udl.cat)

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Mar
15
12:00 AM00:00

Call for Proposals: AVISTA SMART Grant

Call for Proposals

AVISTA SMART Grant

Due 15 March 2026

The AVISTA START (Science, Technology, and Art Research/Teaching) Grant is a new award that provides up to $3,000 USD in seed funding for the initial stages of a long-term scholarly project. It is sponsored by Robert E. Jamison, Professor Emeritus of Mathematics at Clemson University, in collaboration with AVISTA (the Association Villard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art).

The grant is open to any Ph.D.-holding researcher (full-time faculty, part-time faculty, or independent scholar). Eligible projects must engage the intersection of science, technology, and art or architecture in the medieval world—with a preference for initiatives that feature a public—facing component. Examples include, but are not limited to, publications, exhibitions, symposia, conferences, public demonstrations, research resources, and teaching resources.

The submission deadline is Sunday, March 15, 2026. Complete applications will be reviewed by AVISTA’s Grants and Awards Committee. The winning recipient will be notified in mid-April and announced at AVISTA-sponsored events at the International Congress on Medieval Studies in Kalamazoo, Michigan, in mid-May.

All questions and applications should be sent to:

Sarah Thompson at: avistatreasurer@gmail.com

NOTE ON FILE SUBMISSION: Please submit PDF files when appropriate with the file named as LAST NAME first, then the item.

Example: SMITHdescription.pdf, SMITHbudget.pdf, SMITHcv.pdf

Applicants are asked to submit the following materials for consideration:

  1. A CV (curriculum vitae).

  2. Project summary, including a title, list of goals, list of products, and discussion of the expected project impact (two pages max)

  3. Project timeline, including a description of which portion of the initiative would be covered by the grant (one page)

  4. Project budget, including a description of which portion of the initiative would be covered by the grant (one page)

  5. List of additional funding sources to which the applicant has applied or will apply to ensure the successful completion of the project (one page).


For more information, visit: https://www.avista.org/opportunities-prizes-and-grants

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Mar
15
10:00 AM10:00

Exhibition Closing: Praymobil: Medieval art in motion, Suermondt Ludwig Museum, Aachen

Exhibition Closing

Praymobil

Medieval art in motion

Suermondt Ludwig Museum, Aachen, Germany

29 November 2025 - 15 March 2026

Special Opening Hours: tur-sun 10-17h

Süddeutschland (Umkreis Erasmus Grasser): Christus auf dem Palmesel reitend, um 1500, Holz/ ältere Bemalung, SLM, Aachen © Anne Gold 

Sculptures which weep, bleed, and talk, sculptures which open and close their eyes and mouths. Sculptures with movable arms and legs, as well as sculptures on wheels for processions. Sculpted doves descending from the vaults of Gothic churches into the nave to represent the Holy Ghost, and angels who seem to ascend to heaven:

Medieval participants in church liturgies, religious ceremonies, and mystery plays were keen on dramatic reenactments of biblical events. During the festive days throughout the year, they therefore set various sculptures, mostly made of wood, in motion in ritual ceremonies. Although moved by human hands, the sculptures thus appeared to be alive. This now forgotten aspect of medieval art is the subject of a fascinating exhibition at the Suermondt-Ludwig-Museum in Aachen, which demonstrates that sculptures in churches weren’t always motionless.

Instead, they were “played” with in a dignified, but also tangible manner, in order to enable people to actively participate in the history of salvation and to involve themselves emotionally in these events.

The exhibition audience is confronted with concrete uses of medieval objects, which live on in folk customs in many parts of Europe to this day. Be enchanted by 80 late medieval objects from European museums, private collections, and remote parishes in this world-first exhibition on medieval art in motion.

A complementary exhibition catalogue is available for 49,95 Euro.

For more information, visit https://suermondt-ludwig-museum.de/en/exhibition/praymobil-medieval-art-in-motion/

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Mar
15
11:00 AM11:00

Exhibition Closing: Modern Bestiary: Creatures from the Collection, Asheville Art Museum, NC, 20 Aug. 2025 - 15 Mar. 2026

Exhibition Closing

Modern Bestiary: Creatures from the Collection

Judith S. Moore Gallery (level 3)

Asheville Art Museum, North Carolina

August 20, 2025–March 15, 2026

J. L. Nippers, "Critter," circa 1985, cedar wood, oil paint, rope, glass marble, 12 × 23 × 13 ½ inches. Asheville Art Museum. Gift of Dr. and Mrs. A. Everette James, Jr. © J. L. Nippers

In medieval Europe, a bestiary—or “book of beasts”—was a popular type of handwritten, illustrated manuscript whose stories and images taught Christian lessons. Animals in the bestiary were associated with particular human traits and behaviors, making abstract moral lessons easier to communicate to a mostly illiterate public. While the books themselves were rare and precious, their thought-provoking tales and vivid imagery were a familiar part of everyday life in the Middle Ages (500–1500 CE). Tapestries, metalwork, jewelry, sculptures, sermons, and popular storytelling all incorporated motifs from the bestiary.

Medieval bestiaries featured real animals alongside imaginary creatures, like unicorns and griffins, to present a holistic view of divine creation. Artists relied on secondhand accounts, written descriptions, and popular legends to depict animals that they had never seen for themselves. As a result, strange hybrids and mythic beasts accompanied realistic portrayals of ordinary animals—blending natural history, misinformation, and metaphor. Bestiaries inspired medieval audiences to observe and collect information about the world around them, setting the stage for a new encyclopedic era focused on gathering and organizing knowledge of the natural world.

Modern Bestiary: Creatures from the Collection explores the artistic legacy of the medieval bestiary through a selection of animals and fantastic beasts from the Museum’s Collection. Building on Anthony Hecht and Aubrey E. Schwartz’ A Bestiary Portfolio (1962), the exhibition examines how contemporary artists across a range of styles and media incorporate real and imagined creatures in their work, drawing on categories rooted in the medieval manuscript tradition.

This exhibition is organized by the Asheville Art Museum and Robin S. Klaus, PhD, assistant curator.

For more information, visit https://www.ashevilleart.org/exhibitions/modern-bestiary/

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Mar
15
11:58 PM23:58

CFP -- Queer Sanctity: Contemporary Visions of Medieval and Renaissance Art

CFP -- Queer Sanctity: Contemporary Visions of Medieval and Renaissance Art

due Sunday 15 March 2026

https://differentvisions.org/queer-sanctity-call-for-participation/

I'm pleased to share a CFP for a volume I'm editing: https://differentvisions.org/queer-sanctity-call-for-participation/

Different Visions is an on-line journal dedicated to innovative scholarship on medieval art, and in partnership with them, Queer Sanctity: Contemporary Visions of Medieval and Renaissance Art will be a virtual exhibition and catalogue of work from scholars at any stage of their career (from undergrads to post docs to professors, curators, artists, and more). The focus will be on LGBTQIA2+ artists working in North America (Canada, Mexico, and the US) from about the 1980s to the present who draw inspiration from medieval and Renaissance art, whether directly or indirectly. The chronological limits of medieval/Renaissance and contemporary are quite flexible, as are the queer and trans approaches that we hope to represent by the volume / virtual exhibition.

This project is taking shape beyond the bounds of a museum or gallery, since those constraints were posing challenges to embarking on the collaborative work of creating spaces to share research on the attraction, critiques, or ruptures between LGBTQIA2+ creators, premodern art, and the institutions where these works are found (be they museum, gallery, religious setting, bathhouse, bar, archive, etc.).

There has been a surge of art historical research on queerness/transness in the premodern world, as well as monographic exhibitions devoted to queer/trans contemporary artists and their individual relationships with religion, visual culture, etc. Equally rich is the bibliography on queer/trans European and Brazilian artists working in historicizing modes. With this project, we're hoping to bridge art history, curation, religious studies, and more.

Another goal is to be intentional about expanding beyond Christian histories and visual traditions (Orthodox, Catholic, Protestant, etc.) to include Jewish, Islamic, and other religions from the premodern world that create those temporal connections between past and present.

At the above link, you'll see the official CFP, as well as a video introduction I recorded. We're asking interested participants to fill out a Google Form (also linked on the CFP) with the type of contribution they might like to produce: a longer scholarly essay, a shorter object entry, a reflection piece, a video / multimedia work, an interview, etc.

One of the things I love about Different Visions is the creative flexibility we have.

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Mar
22
10:00 AM10:00

Exhibition Closing: GLOBAL Nuremberg 1300–1600, GERMANISCHES NATIONALMUSEUM, Nuremberg

Exhibition Closing

GLOBAL Nuremberg 1300–1600

GERMANISCHES NATIONALMUSEUM, Nuremberg, Germany

25/09/2025 – 22/03/2026

This special exhibition focuses on Nuremberg’s global networks between 1300 and 1600, the city’s importance as an international trading center in the heart of Europe, and its cultural interactions worldwide. At the same time, the GNM critically reflects on Nuremberg’s role, past and present, in an increasingly globalized world.

Nuremberg was a hub for luxury goods arriving on trade routes from all corners of the world, while businesses such as the arms trade contributed to the city’s thriving prosperity. Churches and ruling dynasties from all over Europe ordered works of art and other precious items here, while most of the traded goods were mass-produced in serial workshop production.

But global trade went far beyond the import and export of goods and raw materials. Pilgrims, merchants, diplomats, and artists from Nuremberg traveled the world. Their city became an important center for the dissemination of news of all kinds. Countless broadsheets and pamphlets describing European expeditions and the people and animals of distant lands were printed in Nuremberg. The world’s oldest surviving globe, the Behaim Globe, was made here.

Nuremberg imported raw materials, too, from all over the world, such as coconuts, ostrich eggs, and sea snails, which local goldsmiths turned into ornate, luxury cups. Artists traveled to Nuremberg from far and wide to hone their skills and take their newfound knowledge back out into the world.

Albrecht Dürer’s motifs were replicated by Indian illuminators, and his famous rhinoceros even appears on a mural as far away as Colombia.

But the exhibition also highlights the darker side of early-modern globalization. Nuremberg merchants were involved in the transatlantic slave trade and the colonization of the Americas. Together with the Portuguese, they waged brutal economic wars on the east coast of Africa and in India.

The exhibition brings together a large number of high-caliber loans from across Europe, all of which relate to Nuremberg and illustrate the city’s many entanglements in early global history.

To buy tickets, visit: https://onlineshop.gnm.de/de/tickets/eintrittskarte

Free admission on Wednesdays from 17.30.

For more information, visit: https://www.gnm.de/your-museum-in-nuremberg/ausstellungen/aktuell/nuernberg-global

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Mar
29
10:00 AM10:00

Exhibition Closing: Spectrum of Desire: Love, Sex, and Gender in the Middle Ages, The MET Cloisters, New York

Exhibition Closing

Spectrum of Desire: Love, Sex, and Gender in the Middle Ages

Gallery 002, The MET Cloisters, New York, NY

Through March 29, 2026

Free with Museum admission

Set in the stunning atmosphere of The Met Cloisters, this exhibition explores the often-overlooked themes of desire, sexuality, and gender in the medieval past, a period of time when most artistic production served religious purposes.

Desire in the Middle Ages was multifaceted. It could be courtly or carnal, sacred or subversive, and expressed as a kind of longing, suffering, or joy. Medieval artists could be both deeply serious and comical in their evocations of these feelings. Drawing on decades of scholarship, Spectrum of Desire opens up new ways of seeing the past through stirring works of art that inspire us to think more expansively about people who lived in the Middle Ages, their relationships, and the artworks they produced.

Featuring more than fifty works—from gold jewelry and ivory sculptures to stained glass, illuminated manuscripts, and woven textiles—this exhibition showcases the richness of visual expression in western Europe from the 13th to the 15th century, drawing primarily from The Met collection. This exploration of the visual language of desire in its many forms invites us to reflect on our own ideas of love, identity, and kinship today.

The exhibition is made possible by the Michel David-Weill Fund and Kathryn A. Ploss.
The catalogue is made possible by the Michel David-Weill Fund and Nellie and Robert Gipson.
Additional support is provided by Wendy A. Stein and Bart Friedman.

For more information, visit https://www.metmuseum.org/exhibitions/spectrum-of-desire-love-sex-and-gender-in-the-middle-ages

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Mar
29
11:00 AM11:00

Exhibition Closing: EINE MORD(s) GESCHICHTE, Essener Domshatz, Essen, 08 Nov. 2025 - 29 Mar. 2026

Exhibition Closing

EINE MORD(s) GESCHICHTE

Essener Domshatz, Essen, Germany

08.11.2025 bis 29.03.2026

Vor 800 Jahren erschütterte der gewaltsame Tod des Kölner Erzbischofs Engelbert von Berg das gesamte Reich und die Region, die heute als Ruhrgebiet bekannt ist. Vermeintlicher Auslöser dieses Mordes war ein Streit um die Vogtei des Essener Frauenstifts, die zu diesem Zeitpunkt Engelberts Neffe, Friedrich von Isenberg, innehatte. Die Ausstellung EINE MORD(s) GESCHICHTE vom 08.11.2025 bis 29.03.2026 im Domschatz Essen beleuchtet die Ereignisse rund um Engelberts Tod.

Dabei rücken die Macht- und Besitzstrukturen des Essener Frauenstifts in den Fokus. Warum war ausgerechnet der Besitz dieser Institution von so großem Interesse für die umliegenden Herrscher und welche Mittel und Wege nutzten die Essener Stiftsfrauen, ihn zu wahren? War die Kontrolle über den Stiftsbesitz wirklich alleiniger Auslöser für die dramatischen Ereignisse des 7. November 1225? Und welche Spuren Engelberts lassen sich eigentlich nach so langer Zeit im Essener Domschatz noch entdecken?

Es geht auf eine spannende Reise in das frühe 13. Jahrhundert. Die Ausstellung zeigt selbstbewusste und machthungrige Akteur*innen, die in die Ereignisse rund um den Mord an Engelbert verstrickt waren und betrachten bekannte und unbekannte Objekte des Essener Domschatzes im Licht der dramatischen MORD(s) GESCHICHTE.

Die informationen: https://domschatz-essen.de/der-essener-domschatz/aktuelles-und-termine/details/eine-mords-geschichte

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Apr
1
5:00 PM17:00

BAA Annual Lecture Series: Thumbnails, or A Digital Wild Goose Chase, Jack Hartnell, Society of Antiquaries of London & Online

BAA Annual Lecture Series

Thumbnails, or A Digital Wild Goose Chase

Jack Hartnell

Head of Research at the National Gallery, London

Society of Antiquaries of London & Online

Wednesday, 1 April 2026, 5:00pm

Tea is served from 5 p.m. and the Chair is taken at 5.30 p.m. 

As medieval manuscripts make their way into increasingly diverse parts of our digital visual ecosystem, they leave palimpsests of technologies past and the people who once operated them. This talk goes in search of a single finger, but finds instead a complex world of lost photographic labour at the boundaries of the page.

The lectures are open to all; non-members are welcome to attend occasional lectures but are asked to make themselves known to the Hon Director on arrival, and to sign the visitors book.

To watch online, click here.

For more information, click here.

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Apr
9
1:00 PM13:00

Byzantine Disability Hub Inaugural Lecture: Community and Difference: Freaks and Byzantine ‘Healing’, Prof. Glenn Peers, Zoom

New Scholarly Space

Byzantine Disability Hub

Inaugural Lecture

Community and Difference: Freaks and Byzantine ‘Healing’

Prof. Glenn Peers

Thursday 9 April at 6pm GMT / 1PM EST (Zoom)

Nearly every film dealing with disability falls into the error of the ‘narrative prosthetic’, wherein another character’s disability becomes a mechanism for the normative lead to reach positive self-realization. The only film dealing with disability that has avoided this condescension is a 1932 Hollywood production, Freaks, directed by Tod Brown. Diverse bodies, startling still to contemporary sensibilities, are foregrounded in the film, the actors are given real agency within the narrative, and the people are allowed to express themselves fully and distinctively. And they exact their revenge on the ‘normals’. This paper seeks to perform a thought experiment in which Freaks is the lens by which we look at and try to understand Byzantine scenes of ‘healing’. The scare quotes indicate this paper’s position: the images seldom show healing as such, and perhaps they do imply whole bodies are coming in the next frame, but they still simply reveal non-normative bodies, graced by the presence of divinity. This paper, then, looks at some images from the art of Byzantium and reflects on them from a perspective granted by the extraordinary ‘freaks’ of the film. Were Byzantine artists able to produce empathetic representations of the diversely-abled persons they knew? Can they speak to our own conflicts and ambivalences like Freaks does, if only we ask different questions?


We are pleased to announce the establishment of the Byzantine Disability Hub, a new scholarly space dedicated to exploring physical and mental difference in the Byzantine world. The Hub aims to bring together scholars, students, and all those interested in the lived experiences, representations, and social dimensions of disability in Byzantium and the medieval eastern Mediterranean.

Serving as a central platform for our activities and resources, the Byzantine Disability Hub offers a gateway to lectures, group discussions, conference updates, and a curated repository of relevant scholarship. We envision the Hub as a meeting place—one that fosters connection, collaboration, and contribution within this emerging field of study. By encouraging dialogue and highlighting ongoing work, the Hub seeks to strengthen international networks, inspire new research, and support future projects that broaden our understanding of Byzantium and its diverse communities.

For more information about the Lecture, please use this link: https://byzantine-disability-hub.leeds.ac.uk/events/invited-lecture-prof-glenn-peers/

For more details about the Hub, please use this link: https://byzantine-disability-hub.leeds.ac.uk/

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Apr
13
9:00 AM09:00

BAA Ninth Bienniel International Romanesque Conference: Toulouse – Transmission, Reception and Imitation in Romanesque Art and Architecture, Toulouse, 13-17 Apr. 2026

Conference

BAA Ninth BIENNIEL International Romanesque Conference

Toulouse – Transmission, Reception and Imitation in Romanesque art and architecture

Hôtel d'Assézat, Toulouse, France

13-17 April 2026

The British Archaeological Association will hold the ninth in its series of biennial International Romanesque conferences in Toulouse from 13-17 April, 2026.

The British Archaeological Association will hold the ninth in its biennial International Romanesque conference series on 13-17 April 2026. The theme is Transmission, Reception and Imitation in Romanesque art and architecture, and the aim is to examine not only the ways in which techniques, iconographic motifs and styles moved around Romanesque Europe but also the ways and reasons they were adopted, and particularly how they were transformed in their new environment.  Some aspects of the question are well-researched: the movement of artists or masons, patronal activity and monastic affiliation are obvious examples, and perhaps in need of critical re-examination. Other factors, the pre-existing artistic  background, liturgical concerns, economic and social factors or transcultural exchanges will also have played a part. 

The conference will be held at the Hôtel d’Assézat in Toulouse from 13-15 April 2026 with the opportunity to stay on for two days of visits to Romanesque buildings in the surrounding area on 16-17 April. These will include visits to monuments and museums in Toulouse itself, and an excursion to Moissac. Booking forms and further information about  the conference will be sent out later in the year. 

Speakers include Dustin Aaron, Claude Andrault-Schmitt, Mañuel Castiñeiras, Kathleen Doyle, Cecily Hennessy,  Wilfried Keil, Nathalie Le Luel, Javier Martínez de Aguirre, Robert Maxwell, Luigi Carlo Schiavi, Béla Zsolt Szakács,  Elizabeth Valdez del Álamo, Rose Walker, and Michele Vescovi.

Conference Convenors: Quitterie Cazes and Richard Plant Conference Secretary: Kate Milburn. All enquiries about the conference should be sent to conferences@thebaa.org.

It would not be possible to mount this conference without John Osborn, and the British Archaeological Association wishes to take this opportunity to thank him for the boost to Romanesque scholarship afforded by his great generosity. 

For more information, visit https://thebaa.org/events/2026-romanesque-conference/

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Apr
17
9:00 AM09:00

BAA Ninth Bienniel International Romanesque Conference: Toulouse – Transmission, Reception and Imitation in Romanesque Art and Architecture, Toulouse, 13-17 Apr. 2026

Conference

BAA Ninth BIENNIEL International Romanesque Conference

Toulouse – Transmission, Reception and Imitation in Romanesque art and architecture

Hôtel d'Assézat, Toulouse, France

13-17 April 2026

The British Archaeological Association will hold the ninth in its series of biennial International Romanesque conferences in Toulouse from 13-17 April, 2026.

The British Archaeological Association will hold the ninth in its biennial International Romanesque conference series on 13-17 April 2026. The theme is Transmission, Reception and Imitation in Romanesque art and architecture, and the aim is to examine not only the ways in which techniques, iconographic motifs and styles moved around Romanesque Europe but also the ways and reasons they were adopted, and particularly how they were transformed in their new environment.  Some aspects of the question are well-researched: the movement of artists or masons, patronal activity and monastic affiliation are obvious examples, and perhaps in need of critical re-examination. Other factors, the pre-existing artistic  background, liturgical concerns, economic and social factors or transcultural exchanges will also have played a part. 

The conference will be held at the Hôtel d’Assézat in Toulouse from 13-15 April 2026 with the opportunity to stay on for two days of visits to Romanesque buildings in the surrounding area on 16-17 April. These will include visits to monuments and museums in Toulouse itself, and an excursion to Moissac. Booking forms and further information about  the conference will be sent out later in the year. 

Speakers include Dustin Aaron, Claude Andrault-Schmitt, Mañuel Castiñeiras, Kathleen Doyle, Cecily Hennessy,  Wilfried Keil, Nathalie Le Luel, Javier Martínez de Aguirre, Robert Maxwell, Luigi Carlo Schiavi, Béla Zsolt Szakács,  Elizabeth Valdez del Álamo, Rose Walker, and Michele Vescovi.

Conference Convenors: Quitterie Cazes and Richard Plant Conference Secretary: Kate Milburn. All enquiries about the conference should be sent to conferences@thebaa.org.

It would not be possible to mount this conference without John Osborn, and the British Archaeological Association wishes to take this opportunity to thank him for the boost to Romanesque scholarship afforded by his great generosity. 

For more information, visit https://thebaa.org/events/2026-romanesque-conference/

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Apr
30
12:00 AM00:00

Call for Papers for Themed Volume: Fame and Fortune, CERÆ: An Australasian Journal of Medieval and Early Modern Studies, Vol. 13

Call for Papers for Themed Volume

CERÆ: An Australasian Journal of Medieval and Early Modern Studies

Fame and Fortune

Volume 13 (2026)

Due by 30 April 2026

Fortune et sa roue, Étienne Colaud, Encadrement, ca. 1530. Bibliothèque nationale de France, Français 130 fol.1v.

Fame and fortune are slippery things. They can be welcome or ironic, tangible or out of reach. In medieval and early modern thought, fortune was imagined as a capricious and unpredictable force, shaped by chance, reputation, belief, and intervention – be it divine, magical, ritual, or social. Fame could be the due of the martial hero as well as the martyred saint; but fortune could sometimes be a punishment, as when the hapless cleric in the Marian Theophilus legend sells his soul to the Devil. Luck charms, tokens, and other apotropaic magical artefacts are visible in the archaeological record, while accusations of attempts to manipulate or harness fortune appear in legal and ecclesiastical sources. Some historical and legendary figures exceed the boundaries of their time, while others wither into dust. The mysterious hand of fortune also shaped the fates of entire historical populations (both human and animal): early modern financial speculation raised some to great wealth and others to penury; the ‘discoveries’ of the New World turned societies upside down in numerous way; and environmental or climatic shifts could alter the course of rivers and coastlines, bringing famine or gluts, or be harbingers of catastrophe and destruction.

This theme invites the scholar to consider these various twists and turns of history. 

Topics may include, but are not limited to:

  • Concepts of luck, fate, and misfortune

  • Fortune as a negotiable or managed resource (economic, spiritual, or social)

  • Games and gambling, including ludic theory

  • Legendary and national heroes; the infamous, the notorious, and the famously forgotten

  • Political hegemony – how is “luck” expressed at a societal level

  • Economic and financial history

  • Environmental and climate history

  • Social luck and movement across class divides

  • Financial bubbles and speculation (eg, The Dutch tulip bubble or the infamous South Sea bubble)

  • Deities and personifications of luck: Fortuna, the Wheel of Fortune.

  • Fortune and luck in the material sphere: lucky objects

  • Charms, talismans, and prayers

  • Theological aspects of free will

  • Soothsayers, oracles, and seers

  • Magic as a fulcrum for both good and bad luck

There is no geographic or disciplinary limitation for submissions, which can consider any aspect of the medieval or early modern world or its reception.

Full length articles should be 5000–8000 words, excluding references. Ceræ also accepts short notes, creative writing, translations, and review essays of up to 3000 words for our varia section.

Themed submissions must be submitted by 30 April 2026.

For full details on submission requirements and stylistic guidelines, please visit the Submissions section of this website.

Ceræ particularly encourages submissions from postgraduate and early career researchers, and there is a $200 AUD annual prize for the best postgraduate/ECR essay. Further information on our annual essay prize can be found here.

This volume is currently accepting submissions.

For more information, visit https://ceraejournal.com/volume-13-2026/

Non-Themed articles and varia are accepted year-round – please contact the Editors for further details.

If you are interested in submitting a book review – please contact the Review Editors.

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May
1
12:00 AM00:00

Call for Papers: Threads of Knowledge: Weaving and the Life of Textiles in the Middle Ages and Renaissance, Barnard College, New York City (5 Dec. 2026)

Call for Papers

Threads of Knowledge: Weaving and the Life of Textiles in the Middle Ages and Renaissance

The 29th Biennial Conference of the Medieval and Renaissance Studies Program of Barnard College

Barnard College, New York City
December 5, 2026

Due May 1, 2026

The 29th Biennial Conference of the Medieval and Renaissance Studies Program of Barnard College. For centuries, textiles clothed bodies and books, veiled relics, marked liturgical and political boundaries, and insulated and adorned walls. Their portability and preciousness made them ideal agents of exchange. They carried forms, materials, and techniques across vast regions and cultures. It is through textiles, perhaps more than any other artistic medium, that the global interconnectedness of this historical period comes into view. At the same time, their manufacture could remain insistently local and idiosyncratic, dependent as it was—before industrustrialization—on individual touch and rhythm. Textiles could be a luxury or a thing of everyday life, and medieval and Renaissance writers exploited the double entendre of the Latin textus—both a woven and written thing—in their expositions on divinity and knowledge. Jerome characterized the Evangelists as those who “wove the truth of history” (historiae texere veritatem), a metaphor Erasmus, among others, revived in describing eloquence as a woven fabric of words. In Arabic, al-Jāḥiẓ described poetry as “a kind of weaving (ḍarb min al-nasj).”

This one-day conference invites scholars from across disciplines (archaeology, art history and conservation, history, literary studies, religion, history of science, legal history) to explore how textiles, and the metaphors they inspired, shaped medieval and Renaissance life. Topics could include but are not limited to the following: production and labor; global trade and circulation; technical knowledge and transmission; gendered and domestic craft practices; liturgical and ceremonial textiles; clothing and identity; textiles as diplomatic or political gifts; conservation and material analysis; weaving and intertextuality; and the role of textiles in shaping networks and communities.

The conference will be held Saturday, December 5, 2026 on the Barnard College campus in New York City. Tours of local collections for conference participants may take place the preceding day, Friday, December 4.

Plenary Speakers:
Timothy McCall, Villanova University
Sharon Farmer, University of California-Santa Barbara

PLEASE NOTE: The conference will be in person. While we will give preference to submissions for papers held in person, we also invite proposals from scholars who are only able to deliver papers remotely on Zoom.

Please submit an abstract of 250-300 words and a 2-page CV to Greg Bryda (gcb2128@columbia.edu)
Submission Deadline: May 1, 2026

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May
6
5:00 PM17:00

BAA Annual Lecture Series: The Papal Palace in Avignon in the light of regional architecture, Alexandra Gajewski

BAA Annual LEcture Series

The Papal Palace in Avignon in the light of regional architecture

Alexandra Gajewski

Wednesday 6 May 2026, 5:00pm

Tea is served from 5 p.m. and the Chair is taken at 5.30 p.m. 

The lectures are open to all; non-members are welcome to attend occasional lectures but are asked to make themselves known to the Hon Director on arrival, and to sign the visitors book.

More details to follow.

For more information, click here.

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Feb
26
1:00 PM13:00

New Scholarly Space! Byzantine Disability Hub, Informal Meeting, Zoom

New Scholarly Space

Byzantine Disability Hub

Informal Meeting

Thursday February 26 at 6pm GMT / 1PM EST (Zoom)

Want to learn more about the Byzantine Disability Hub and the people behind it? Join us for a virtual coffee hour! We will tell you more about our events and future planning and look forward to learning more about your interests.

Fill out the Contact form on the website and we will send you the Zoom link. We look forward to e-meeting you!

We are pleased to announce the establishment of the Byzantine Disability Hub, a new scholarly space dedicated to exploring physical and mental difference in the Byzantine world. The Hub aims to bring together scholars, students, and all those interested in the lived experiences, representations, and social dimensions of disability in Byzantium and the medieval eastern Mediterranean.

Serving as a central platform for our activities and resources, the Byzantine Disability Hub offers a gateway to lectures, group discussions, conference updates, and a curated repository of relevant scholarship. We envision the Hub as a meeting place—one that fosters connection, collaboration, and contribution within this emerging field of study. By encouraging dialogue and highlighting ongoing work, the Hub seeks to strengthen international networks, inspire new research, and support future projects that broaden our understanding of Byzantium and its diverse communities.

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Feb
22
10:00 AM10:00

Exhibition Closing: Paws on Parchment, The Walters Art Museum, Baltimore, August 06, 2025–February 22, 2026

Exhibition closing

Paws on Parchment

Centre Street Building, Level 3, Medieval Gallery

The Walters Art Museum, Baltimore, MD

August 06, 2025–February 22, 2026

Flanders, Prayer Book, late 15th-century. Acquired by Henry Walters.

Cat lovers unite! The Walters is celebrating our feline friends with this paws-itively adorable exhibition. Paws on Parchment explores how medieval people thought about, engaged with, and admired cats through the animals’ presence in manuscripts from the period. Centuries before cat memes took over the internet, the antics of fanciful felines were already popular in the margins of medieval manuscripts. These furry animals delighted readers back then just as they amuse us today.

Cats played an important role in the medieval era. Like today, cats were considered beloved pets whose behavior amused and exasperated their owners. However, felines also served an important function as hunters that protected valuable books and textiles, food stores, and even people from disease-carrying rodents and other vermin. Cats also carried deep symbolic and moral meaning in this period.

In Paws on Parchment, visitors will enjoy medieval depictions of cats preserved in the pages of manuscripts from across the world, including a 15th-century “keyboard cat.” Most notably, visitors can see real pawprints left by a cat walking across the pages of a Flemish manuscript as the ink dried in the 1470s. A handful of these “pawprint” manuscripts are known around the world, and this is the first time the Walters’ example will ever be shown.

Curator: Lynley Anne Herbert, Robert and Nancy Hall Curator of Rare Books and Manuscripts

For more information, visit https://thewalters.org/exhibitions/paws/

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Feb
20
6:00 PM18:00

ICMA Happy Hour in Chicago: please register

ICMA Happy Hour
Friday 20 February 2026, 6:00pm CT
Adams Street Brewery at The Berghoff
Chicago, Illinois


Register HERE 


The ICMA will host a special happy hour at Adams Street Brewery at The Berghoff (17 West Adams Street, near the Art Institute) from 6:00 pm until 7:30pm CT. All are welcome, but please register so we know how many to expect.


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Feb
20
12:00 AM00:00

Call for Papers for Journal: Church Archaeology, Vol. 2026, Due 20 Feb. 2026

Call for Papers for Journal

Church Archaeology

Deadline 20 February 2026

The SCA’s peer-reviewed journal Church Archaeology is seeking submissions for its Vol. 26 (2026) issue. We welcome and provide initial editorial feedback on main research articles, shorter articles, news pieces, and book reviews about all kind of ecclesiastical places of worship, their burial grounds, and material culture.

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

For more information on the journal, visit https://www.liverpooluniversitypress.co.uk/journal/churcharch

Contact: editorchurcharchaeology@outlook.com

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Feb
20
12:00 AM00:00

Call for Papers: Church Archaeology Journal, Society for Church Archaeology

Call for Papers

Church Archaeology Journal

Society for Church Archaeology

Due 20 February 2026

The SCA's peer-reviewed journal Church Archaeology is seeking submissions for its vol 26 (2026) issue. We welcome and provide initial editorial feedback on main research articles, shorter articles, news pieces, and book reviews about all kind of ecclesiastical places of worship, their burial grounds, and material culture.

Contact: editorchurcharchaeology@outlook.com

For more information, visit https://www.churcharchaeology.org/journal and https://www.liverpooluniversitypress.co.uk/journal/churcharch

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Feb
19
11:00 AM11:00

ICMA Sponsored Session at CAA Chicago: The Archival Art Historian

ICMA at the College Art Association Annual Conference, Chicago 2026

ICMA Sponsored Session
The Archival Art Historian
Thursday 19 February 2026, 11am - 12:30pm CT
Hilton Chicago - 3rd Floor - Marquette Room

Session chairs:
Lauren Rozenberg, University of East Anglia
Millie Horton-Insch, The British Museum


The Living Monastery as Archive: Byzantine art in the Monastery of St. Catherine, Egypt Paroma Chatterjee, University of Michigan

Did I Just Genuflect? Learning to Navigate Catholic Spaces in Early Career Research Aoife Stables

Yellow, Orange, and Pink Cards: Archival Backfiles and Research Frontiers at the Index of Medieval Art Jessica Savage, Princeton University

Poetry as Image Theory: Recovering art-historical methods from literary archives Avantika Kumar, Fine Arts Library, Harvard



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Feb
18
6:00 PM18:00

Lecture: Men in Love in the Romance of the Rose, Christopher T. Richards & Eliza Zingesser, The MET Cloisters, New York City

Lecture

Men in Love in the Romance of the Rose

Christopher T. Richards & Eliza Zingesser

The MET Cloisters, New York City

Wednesday, February 18, 2026, 6–7 pm

Christopher T. Richards, Visiting Assistant Professor of Art, Colby College
Eliza Zingesser, Associate Professor of French; Director of French Graduate Studies; Director of French Graduate Admissions, Columbia University

One of the most widely read love poems of the Middle Ages, the Romance of the Rose narrates an erotic dream about a man’s seduction of a woman and includes episodes about other forms of desire. Join us to hear medieval scholars Christopher T. Richards and Eliza Zingesser in conversation on the unexpected imagery inspired by this iconic work of courtly literature.

Presented in conjunction with The Met Cloisters exhibition Spectrum of Desire: Love, Sex, and Gender in the Middle Ages.

Free, though advance registration is required. Please note: Space is limited; first come, first served.

To registers and/or obtain more information, visit https://engage.metmuseum.org/events/education/talks/cloisters/free-talks/fy26/romance-of-the-rose-cloisters/

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Feb
16
12:00 PM12:00

Exhibition Closing: 'Gold: Enduring Power, Sacred Craft', Norton Simon Museum, Pasadena, CA, 24 Oct. 2025 – 16 Feb. 2026

Exhibition

Gold: Enduring Power, Sacred Craft

Norton Simon Museum, Pasadena, CA

October 24, 2025 – February 16, 2026

Giovanni di Paolo (Italian, 1403-1482), Branchini Madonna, 1427, Tempera and gold leaf on panel, 72 x 39 in. (182.9 x 99.1 cm), The Norton Simon Foundation

This exhibition explores the artistic and cultural function of gold in approximately 60 works of art drawn from across the collections of the Norton Simon Museum, which encompass South and Southeast Asia, Europe, North Africa and North America. This compelling group of objects, spanning from around 1000 BCE to the 20th century, reveals unexpected intersections in the circulation, craft and meaning of gold across time and place.

Gold’s elemental nature lends significance to many of the artworks on view in the exhibition. In the realm of religious art, the metal’s malleable yet incorruptible quality enabled artists to create enduring images of devotion. Gilt Hindu and Buddhist sculptures from the 12th to 20th centuries were commissioned by donors to emphasize the spiritual attainments and deified status of various religious figures. The gold on these objects represents one of the highest forms of offering, in terms of both economic and aesthetic value, and it was intended to accumulate merit and provide protection for devotees. Intricate details wrought by the hands of skilled artisans centuries ago are still preserved in the corrosion-resistant metal, which ensured the longevity of the object’s splendor and spiritual power. In 14th- and 15th-century Europe, artists of Christian images used extraordinarily thin, hammered gold leaf to create shimmering divine realms, an effect once dramatically enhanced by candlelit churches and private altars.

Gold’s rarity, and the expertise required to harness it as a medium, contributed to its impact as a visual expression of power. The objects in this exhibition were crafted from metal excavated from mines across three continents and transported over vast regions, often in the form of currency. In the hands of trained craftspeople, this processed gold was transformed into jewelry that adorned Roman patrician women or spun into thread that was then woven into textiles for elite patrons in Europe and Asia. The long historical thirst for gold motivated California’s own extractive 19th-century mining practices, the legacy of which is explored through photographs by Ansel Adams and Edward Weston.

New technical analysis conducted for this exhibition helped to identify the objects’ fundamental material properties, which provoked further questions about their significance—are these works actually gold, and what does it mean if they are not? In some cases, gilding versus solid gold becomes an issue, because it is the purity and preciousness of the material itself that gives these objects power. Alternatively, when “gold” is created through the treatment of another metal such as brass, or by skillful illusionistic painting, the gleaming effect and impressive artistic alchemy become more important than the raw materials.

Organized on the occasion of the Museum’s 50th anniversary, a milestone traditionally associated with this metal, Gold: Enduring Power, Sacred Craft invites fresh inquiry into the nature of gold as an artistic medium. In the process, the exhibition generates new conversations about the cultural and material resilience of these objects, many of which will be displayed together for the first time.

For more information, visit https://www.nortonsimon.org/exhibitions/2020-2029/gold-enduring-power-sacred-craft

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Feb
15
10:00 AM10:00

Exhibition Closing: Fastnacht: Dance and Games at the Nuremberg Carnival, Germanisches National Museum, Nuremberg, 11.11.2025 – 15.02.2026

Exhibition

Fastnacht: Dance and Games at the Nuremberg Carnival

Germanisches National Museum, Nuremberg, Germany

11.11.2025 – 15.02.2026

What is known in Germany as the ‘fifth season’ has brought joy to people for centuries. Nuremberg became a carnival hotspot in the Late Middle Ages, based on customs steeped in the liturgical year.

On the occasion of the city’s 975th anniversary, the special exhibition ‘Fastnacht: Dance and Games at the Nuremberg Carnival’ presents the fascinating history of Nuremberg’s nearly 600-year-old carnival tradition.

In addition to the many popular Fastnachtsspiele (carnival plays) that are performed in taverns and homes to this day, the people of Nuremberg started celebrating the so-called Schembartlauf (‘bearded-mask’ parade) in the early 15th century. Participants dressed in colorful costumes paraded through the city center, enacting a ‘topsy-turvy world’ and handing out sweetmeats. Within a few decades, the patriciate had transformed the Schembartlauf into an extravagant procession with increasingly elaborate costumes.

The starting point of the exhibition are the precious Schembart books, which were produced in large numbers after the arrival of the Reformation. They found their way around the world and continue to provide insight into the history of the Nuremberg Fastnacht.

What does a closer look at these books reveal? It becomes clear that those involved had political motives and a hunger for power and prestige. What was the Nuremberg Fastnacht really like, beyond the crafted image conveyed in such depictions? The exhibition invites you to embark on a journey through history and explore the Nuremberg Fastnacht through interactive exhibits and a stimulating educational and events program for young and old.

To buy tickets, visit https://onlineshop.gnm.de/de/tickets/eintrittskarte.

Free admission on Wednesdays from 17.30

For more information, visit https://www.gnm.de/your-museum-in-nuremberg/dont-miss/special-exhibitions/carnival.

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Feb
15
12:00 AM00:00

Call for Papers: Different Differentiations. Logiche e pratiche della differenziazione sociale attraverso i secoli, University of Genoa (7-8 May 2026)

Call for Papers

Different Differentiations. Logiche e pratiche della differenziazione sociale attraverso i secoli

University of Genoa, 7-8 May 2026

Due by 15 February 2026

Il Dottorato in Storia, Storia dell’Arte e Archeologia (STARCH) dell’Università di Genova organizza il convegno dottorale Different Differentiations. Logiche e pratiche della differenziazione sociale attraverso i secoli, che si terrà a Genova il 7 e 8 maggio 2026.

La Call for Papers è rivolta a dottorande e dottorandi e a giovani ricercatrici e ricercatori interessati a riflettere sul tema della differenziazione sociale in prospettiva storica, storico-artistica e archeologica.

Tutte le informazioni su temi, modalità di partecipazione e scadenze sono disponibili nel documento della Call for Papers scaricabile in allegato


The Genoa University PhD Course in History, History of Art, and Archaeology (STARCH) is organizing a Doctoral Conference entitled Different Differentiations. Logics and Practices of Social Differentiation Across the Centuries, which will take place in Genoa on May 7 and 8, 2026.

The Call for Papers is aimed at PhD students and young researchers interested in reflecting on social differentiation themes from historical, art-historical, and archaeological perspectives.

Please download the Call for Papers document attached for all information regarding themes, submission guidelines, and deadlines.


For a more in-depth call for papers, click here.

For more information, click here.

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Feb
13
12:00 AM00:00

Call for Papers: Forma Scientiarum: Image (&) Translation, A Collaborative Study Day (17 Mar. 2026, 9:00-17:00), East Anglia

Call for Papers

Forma Scientiarum: Image (&) Translation

A Collaborative Study Day

09:00–17:00, 17 March 2026, University of East Anglia

Due by 13 February 2026

Translation/Translatio, in all its forms, was inherent to the shaping and practice of medieval sciences. Scholarship has long established that written ideas were constantly shifting from one form to another – from places, languages, and milieux.

But what of images?

Today, associating scientific texts with images is taken for granted. But what of medieval images? How did they complexify the communication of ideas and add new perspectives to written elements which could not be translated otherwise? Beyond the long-studied word/image relationship, how did images translate scientific concepts into a visual language of their own?

Images in scientific texts are usually considered through the lenses of standard and/or pre-existing iconographies. Yet, many were produced when new scientific ideas were translated (both physically and linguistically) into Europe and often there were no such visual traditions to refer to. How then did these images visualise the ‘new’?’ Did they function as a cultural visual translation of sorts?

To tackle these questions, the day will be divided into three collaborative sessions. Firstly, participants will reflect on the ‘forma scientiarum’ of the Middle Ages by responding to a pre-circulated image or word. We conceptualise ‘forma’ as encapsulating different languages – textual, visual, and scholarly – which jointly work(ed) toward shaping medieval sciences.
This will be followed by a second, smaller workshop discussing how scholars mediate(d) the role of visual translations into their own scholarship.

Finally, the day will close with a roundtable. For this session, willing participants will be asked to prepare and pre-circulate a short piece; this can take whatever form they find most useful. We are not expecting ‘conference-style’ papers and welcome more creative ‘formae’.

If you are interested in participating, please send a short expression of interest (no more than 250 words) detailing your research interest and what you’d consider pre-circulating for discussion along with a short biography (no more than 150 words) to the organisers Benedetta Mariani and Lauren Rozenberg at b.mariani@uea.ac.uk and l.rozenberg@uea.ac.uk by 13 February 2026.

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Feb
12
1:00 PM13:00

ICMA Study Day: "Spectrum of Desire: Love, Sex, and Gender in the Middle Ages" - REGISTER TODAY!

ICMA Study Day
Spectrum of Desire: Love, Sex, and Gender in the Middle Ages 
The Met Cloisters, New York City
In-person
Thursday 12 February 2026, 1pm

Register HERE

Spectrum of Desire considers how medieval objects reveal and structure the performance of gender, understandings of the body, and erotic encounters, both physical and spiritual. It offers new readings of often familiar objects in which gender, sexuality, relationships, and bodies are central themes. Its methods draw from gender studies and queer theory to help visitors to the exhibition question past assumptions and read against the grain of modern heteronormativity.
 
Join Melanie Holcomb and Nancy Thebaut, co-curators of the exhibition, for a tour followed by group discussion of some of the show’s more challenging objects.  We’ll be able to have a coffee break halfway through the afternoon at the new Cloisters winter café. 

Exhibition website HERE
Register HERE

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Feb
7
5:00 PM17:00

Lecture: Art and Arbitrage: Gold across the Mediterranean in the Middle Ages, Sarah M. Guérin, at Norton Simon Museum, Pasadena, CA

Lecture

Art and Arbitrage: Gold across the Mediterranean in the Middle Ages

Sarah M. Guérin

Associate Professor of Medieval Art, History of Art Department, University of Pennsylvania

Norton Simon Museum, Pasadena, CA

Saturday, February 7, 2026, 5:00 pm – 6:00 pm

During the European Middle Ages, silver was more abundant for the northern shores of the Mediterranean, whereas coastal North Africa enjoyed easier access to gold via trans-Saharan trade. Each had something the other wanted, and sought to leverage the system to their own advantage. This differential led to rivalry, subterfuge and even war, with the Crusade to Tunis in 1270 being largely spurred and motivated by a thirst for gold. In addition to their use for exchange and coinage, gold and silver were artists’ materials, and their paucity or abundance profoundly shaped artistic practice. In this lecture, Guérin reveals how this valuable metal influenced both historical events and artistic production.

Advance tickets for members will be released on January 7.

For more information, visit https://www.nortonsimon.org/calendar/2026/winter-2026/Art-and-Arbitrage-Gold-across-the-Mediterranean-in-the-Middle-Ages-2-7-2026-500pm

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Feb
6
4:30 PM16:30

Jackson Lecture in Byzantine Art: Eastern Europe in Focus: Medieval Art, Cultural Heritage, and Global Conflicts, Alice Isabella Sullivan, Online & At Temple University

Jackson Lecture in Byzantine Art

Eastern Europe in Focus: Medieval Art, Cultural Heritage, and Global Conflicts

Alice Isabella Sullivan

Online & In-Person

Tyler School of Art and Architecture, Temple University, Philadelphia, PA

Friday, 6 February 2026, 4:30-6:00pm

This lecture explores aspects of the history and art of Eastern Europe, which developed at the intersection of competing traditions and worldviews for much of the Middle Ages. Byzantium played a key role in shaping local artistic developments in regions of the Balkan Peninsula, the Carpathian Mountains, and further north, as did contacts with Western and Central Europe. Key objects and monuments reflect aspects of local negotiations among competing traditions, and the shifting meanings and functions of cultural heritage during moments of change, crisis, and conflict. Examples from regions of modern Ukraine, Romania, and North Macedonia, among others, underscore the importance of putting Eastern Europe in focus temporally, geographically, methodologically, and theoretically within the study of medieval, Byzantine, post-Byzantine, and early modern art history.

Alice Isabella Sullivan, PhD, is Assistant Professor and Director of Graduate Studies in the Department of the History of Art and Architecture at Tufts University. She specializes in the artistic production of Eastern Europe and the Byzantine-Slavic cultural spheres in the period between the 14th and 16th centuries. Sullivan is the author of the award-winning book The Eclectic Visual Culture of Medieval Moldavia (2023), Europe’s Eastern Christian Frontier (2024), and co-editor of several volumes. In addition, she is co-director of the Sinai Digital Archive, and co-founder of North of Byzantium and Map­ping Eastern Europe – two initiatives that explore the history, art, and culture of the northern frontiers of the Byzantine Empire in Eastern Europe during the medieval and early modern periods.

This event is free and open to the public. A reception will follow the lecture. Attendees can join in-person in ARCH 104 or virtual via Zoom (https://temple.zoom.us/meeting/register/YEJDqOhrSdGUT4v7hktfUQ)

The Jackson Lecture in Byzantine Art is generously sponsored by Lynn Jackson, with additional support from Temple University's General Activities Fund (GAF).

For more information, visit https://now.temple.edu/events/2026-02-06/jackson-lecture-byzantine-art-eastern-europe-focus-medieval-art-cultural-heritage-global-conflicts

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Feb
4
5:00 PM17:00

BAA Annual Lecture Series: Building for strangers: recent research on England’s medieval inns, Matthew Cooper, Society of Antiquaries of London & Online

BAA Annual LEcture Series

Building for strangers: recent research on England’s medieval inns

Matthew Cooper

Society of Antiquaries of London & Online

Wednesday, 4 February 2026, 5:00pm

Tea is served from 5 p.m. and the Chair is taken at 5.30 p.m. 

Routes require stopping places. The transport of people and their possessions in late Medieval England sustained a rise in commercial hospitality that has left a rich architectural and cultural legacy. Despite their interest, the buildings of medieval inns have received very little academic attention. This lecture discusses the significance of the medieval inn, what distinguishes their architecture and what survives today of these distinctive hostelries.

The lectures are open to all; non-members are welcome to attend occasional lectures but are asked to make themselves known to the Hon Director on arrival, and to sign the visitors book.

To watch online, click here.

For more information, click here.

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Feb
4
2:15 PM14:15

Lecture: Byzanz an der Spree. Das Ravennatische Mosaik aus San Michele in Africisco „revisited“, Michail Chatzidakis, HU-Hauptgebäude

Lecture

Byzanz an der Spree. Das Ravennatische Mosaik aus San Michele in Africisco „revisited“

Michail Chatzidakis

4 Februrary 2026

Mittwochs, 14:15-15:45 Uhr

HU-Hauptgebäude, HS 3075, Unter den Linden 6

Eine Veranstaltung des Instituts für Kunst- und Bildgeschichte

Bildnachweis: Educational specimen box, ca. 1850, (e) V&A Museum, London.

Lecture Series

The Latin word ‘objectum,’ root of the modern English object or German Objekt, means that which is thrown before, which stands in the way, which objects ; it is that on which thought stumbles but also that on which thought rests and to which it refers. In focusing on objects, understood both abstractly as ‘objects of study’ and concretely as things in the world, we point to one of the basic questions of research in the humanities : what is the relationship of the general to the singular ? How can we be true to the experience, motivations, and choices of individuals while also understanding broader currents of historical change?

A focus on individual objects in their materiality both results from and results in object-centered museum collections and exhibits. It is part and parcel of the history of art-historical method, already present in the establishment of art history as an academic discipline in the nineteenth century. Then, the object served as a necessary but problematic locus for the attempt to reconcile the criticism of style with the study of historical context. Today, art history is characterized by a great methodological plurality, which can be said to respond to the insurmountable resistance of objects to complete mental appropriations: since objects can never be fully grasped by the mind, some aspects always fall away or fade to the background, needing to be recovered by a new approach. Among these, the material turn has contributed to recentering objects and their materiality in art-historical inquiry. Within the Ringvorlesung, or lecture series, ‘One-Object Lessons,’ lecturers and researchers at the Institut für Kunst- und Bildgeschichte present case studies around individual objects — from the large-scale and monumental to the smallest and most fragile — and reflect over their methodological approaches. Each object — textile, mosaic, building, paper, painting or sculpture — enables its interlocutor (among other issues) to illuminate different aspects of a specific historical context ; each object also throws up its own methodological challenges.
The talks and dicussions will be held in German or English.

RVL_One-Object_Lessons_Programm_final

For more information, visit https://www.kunstgeschichte.hu-berlin.de/2025/09/ringvorlesung-one-object-lessons-ws-2025-26/

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Feb
2
12:00 AM00:00

Call for Papers: Blessed Are Those Who Mourn: Grief from Antiquity to the Present, Interdisciplinary Conference, University of St. Andrews (24-25 June 2026)

Call for Papers

Interdisciplinary Conference

Blessed Are Those Who Mourn: GRIEF FROM ANTIQUITY TO THE PRESENT

University of St Andrews, Wednesday 24 & Thursday 25 June 2026

Due by Monday 2 February 2026

More than fifty years after the publication of Philippe Ariès' Western Attitudes Toward Death (1974), it is past time for a comprehensive reassessment of the history, culture, and experience of grief, loss, and mourning. Recent decades have seen profound developments across fields, including the rise of global and transnational history; the history of emotions ano affect theory; the anthropology of death; analyses of the politics of "grievability"; and new interdisciplinary approaches to the relationship between brain, body, and society. Together, these innovations open up fresh ways of understanding how individuals and communities negotiate loss across diverse temporal, cultural, and social contexts.

Blessed Are Those Who Mourn seeks to initiate this reassessment by examining grief as a historically situated, socially embedded, and politically resonant phenomenon. Bringing together scholars working across disciplines, periods, and regions, the conference aims to break down siloed approaches and foster new dialogue on the history and culture of grief.

We welcome papers from across the humanities, social sciences and natural sciences. We are particularly, but not exclusively, interested in papers on the below themes:

  • What grief is: boundaries, definitions, and phenomenology

  • The politics of grief, including who is permitted to mourn, when, how, and for whom; the intersection between grief, status and power

  • The connection between grief and other emotions

  • Funerals, mourning and the "practice" of grief after death

  • Grieving, senses and the body

  • Continuity and change

  • Medical approaches to grief, grieving, and consolation

  • The materiality and material culture of grief, including art works, monuments, seals, effigies, tombs, jewellery.

Please send your proposals for twenty-minute papers (to be delivered in English), including a title, an abstract of c. 150 words, and short bio, to griefconference.sta2026@gmail.com by Monday 2 February 2026.

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Feb
1
11:00 PM23:00

Call for Proposals due: ICMA Sponsored Session at College Art Association Annual Conference 2027

Call for Proposals
ICMA Sponsored Session

College Art Association Annual Conference 2027
3-6 February 2027, New York City

Upload proposals
HERE
due Sunday 1 February 2026

The International Center of Medieval Art (ICMA) seeks proposals for sessions to be held under the organization’s sponsorship in 2027 at the annual meeting of the College Art Association (CAA), held 3-6 February 2027 in New York City. 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 Sunday 1 February 2026 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. 



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Feb
1
12:00 AM00:00

Call for Applications: Mary Jaharis Center Grants 2026–2027

Call for Applications

Mary Jaharis Center Grants 2026–2027

Due February 1, 2026

The Mary Jaharis Center for Byzantine Art and Culture is pleased to announce its 2026–2027 grant competition.

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, 2026. 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.

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Jan
31
12:00 AM00:00

Call for Papers: Religious Identities and Funerary Landscapes in Late Antiquity, EABS Annual Conference, Leuven, Belgium (20-23 July 2026)

Call for Papers

EABS Annual Conference 2026

Religious Identities and Funerary Landscapes in Late Antiquity: Mortuary Practices and Social Aspects among Christians, Jews, and Pagans

20th-23rd July 2026, Leuven, Belgium

Due by 31 January 2026

University Library @ Herbert Hooverplein © Filip Van Loock.

Research Unit: Jews, Christians, and the Materiality of Mortuary Rituals in Late Antiquity

In the third and final year of the research unit 'Jews, Christians, and the Materiality of Mortuary Rituals in Late Antiquity', we will focus on mortuary space, namely, on the placement of burials of Jews and Christians in their funerary contexts and in the mortuary landscape in Late Antiquity.

We will discuss the social aspects related to the communities performing mortuary rituals, and the idea that these practices seem to be directed towards the ongoing social personhood of the deceased. We will also discuss how different religious identities (Christian, Jewish and 'pagan') fuse and blend into a more general late antique group identity, depending on the regional or social context.

Furthermore, the panel will address the complex interplay between different religious traditions Christian, Jewish, and 'pagan'— and the ways in which these traditions could be both distinct and intertwined. We will consider how regional variations, urban versus rural contexts, and socio-political factors influenced the extent to which these religious groups maintained separate burial practices or integrated their funerary customs, sometimes resulting in shared mortuary traditions.

Our aim is to combine archaeological evidence, epigraphic sources, and historical texts, employing interdisciplinary methodologies including spatial analysis, material culture studies, and social theory. We will also consider the impact of legal regulations, economic factors, and urban planning on burial practices.

Ultimately, this comprehensive approach seeks to illuminate how mortuary landscapes functioned as dynamic spaces where identity, memory, and social relations were continually re-constructed and re-negotiated in Late Antiquity.

We will accept proposals for papers from a multidisciplinary perspective: scholars of archaeology, art history, iconography, architecture, epigraphy, hagiography, Late Antiquity, early Christian literature, and ancient history. Additionally, all related disciplines are welcome to submit a paper.

The following topics are suggested, but any other relevant topics are welcome as well:

  • Funerary Landscapes and Urban/Suburban Contexts: The location of the necropolises in relation to urban contexts and/or nearby settlements; communication routes; shared or contiguous funerary spaces.

  • Continuity and Transformation of Mortuary Customs: The examination of mortuary practices amid religious and social changes in Late Antiquity.

  • Funerary Architecture and Monuments: The analysis of architectural forms of burials and funerary monuments.

  • Religious Markers in Multi-Confessional Funerary Contexts: The meaning and interpretation of symbols in shared or adjacent funerary spaces.

  • Religious Identity and Social Stratification: The investigation of social hierarchies within religious communities and how these are reflected in expressions of identity within funerary spaces.

  • New Archaeological and Interdisciplinary Techniques for the Study of Late Antique Cemeteries: The use of GIS, archaeobotanical, anthropological, and bioarchaeological analyses conducted in recent excavation contexts.

You are invited to submit an abstract (maximum 300 words) accompanied by a short CV via EABS's systems by 31st January 2026. All submissions should include your name, e-mail address and academic affiliation (if applicable).

Participants are expected to give a 20-30-minute talk, followed by a session for discussion. A publication of the contributions is planned. Further information will be provided during the conference.

If you would like to receive further information or submit an abstract, please visit the EABS website at the following page: https://eabs.my.site.com/

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Jan
31
12:00 AM00:00

Call for Applications: Research grants funded by the State of Lower Saxony 2027, Herzog August Bibliothek

Call for Applications

Research grants funded by the State of Lower Saxony 2027

Herzog August Bibliothek, Wolfenbüttel, Germany

Due January 31, 2026

start: January 1, 2027

The HAB offers different fellowships for post-docs and experienced researchers (senior level) and the state of Lower Saxony funds two different formats in the area of research fellowships. In addition, there are further fellowship opportunities with cooperation partners.

Post-doc Fellowships

Scholars who are within 6 years of receiving their PhD, may apply for a long-term fellowship of between 6 and 10 months. The library will award from 4 to 6 such fellowships annually. The monthly fellowship is € 2.200. The fellowship holder will receive a one-time reimbursement for the cost of travel to and from Wolfenbüttel (max. € 2.000). Fellows who bring their families to Wolfenbüttel may apply for a monthly child supplement (one child: € 300; two children € 400; three or more € 500).
*for applications submitted in January 2026 the PhD must have been awarded in 2020 or later.

Short-term Fellowships

The fellowships are addressed to a broad range of scholars of all career stages (from post-doc to emeriti) wishing to make a short visit in order to gather source material. Applications can be made for stays of between one and three months. The monthly fellowship is € 1.800. A travel subsidy will also be paid (between € 150 and max. € 650, depending on country of origin).

Application for a fellowship at the Herzog August Bibliothek

For your application please request the application forms for the respective fellowship program at ed.bah@gnuhcsrof, stating your research focus and the keyword "Post-doc" or "Short-term". Reviewers will be appointed to evaluate the applications, and the Scientific Advisory Board will select the fellows. You can find the guidelines for the awarding of scholarships in the download area on the right.

For more information, visit https://www.hab.de/en/forschungsstipendien/

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Jan
31
12:00 AM00:00

Call for Applications: Student Scholarship for 2026 BAA Romanesque Conference in Toulouse

Call for Applications

2026 BAA Romanesque Conference in Toulouse

Student Scholarship

Due by 31 January 2026

A limited number of scholarships for students are available to help cover their cost of the 2026 Romanesque Conference in Toulouse: Transmission, Reception and Imitation in Romanesque art and architecture.

Please apply by 31  January 2026, attaching a short CV along with the name and contact details of one referee. Applications should be sent to: rplant62@hotmail.com

It would not be possible to mount this conference without John Osborn, and the British Archaeological Association wishes to take this opportunity to thank him for the boost to Romanesque scholarship afforded by his great generosity. For more information about this conference, head over to the conference event page.

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Jan
31
12:00 AM00:00

Call for Applications: 2026-2027 Predoctoral Research Residencies at La Capraia, Naples, Due by 31 Jan. 2026

Call for Applications

2026-2027 Predoctoral Research Residencies at La Capraia, Naples

Due by 31 January 2026

Founded in 2018, 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”) is 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 southern Italy 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 2026-2027 Research Residencies for PhD students carrying out research for their dissertations. Projects, which may be interdisciplinary, may focus on art and architectural history, archaeology, histories of collecting, technical art history, cultural heritage, the digital humanities, music history, 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, importantly, make meaningful use of local research materials including artworks, sites, archives, and libraries. We welcome applications for projects that engage with histories of the collections and grounds of Capodimonte, and/or artworks and monuments held there. Projects in the earlier phases of research are preferred.

All materials, including letters of recommendation, are due by January 31, 2026.

Read the full Call and learn how to apply at https://utdallas.box.com/v/LaCapraiaCall2026-2027

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Jan
30
12:00 AM00:00

Call for Papers: Women Religious: Patronage and Networks from Medieval to Modern, Queen Mary University of London (11-12 June 2026)

Call for Papers

Women Religious: Patronage and Networks from Medieval to Modern

Queen Mary University of London, 11-12 June 2026

Due 30 January 2026

The History of Women Religious in Britain and Ireland annual conference will take place at Queen Mary University of London on the 11 and 12 June 2026 with the broad theme of: ‘Women Religious: Patronage and Networks from Medieval to Modern’.

We welcome papers on the following or related topics:

  • Transpational and/of national netwotks

  • Collaborations between female religious congregations and communities

  • * Relationships with the secular and regular dergy

  • Relationships with lay pattons

  • Family and friendship networks

  • Pinancial nerworke and economic patronage

  • Calcural networka

  • Digital networks

  • Network analysis

  • Queer nerworke

  • Missions as networks opirtual bones belween women religious and the wider community

  • The role of lay and choir sistere

  • Almsgiving and charitable networks

Abstracts of between 250-300 words together with a short biography may be sent to: hwrbi.conference@gmail.com on or before Friday, 30 January 2026.

H-WRBI encourages participants from all career stages and international participants

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Jan
29
12:00 AM00:00

Call for Papers: Violence in the Medieval and Early Modern North, Aberdeen Medieval and Early Modern Conference, University of Aberdeen (25-26 May 2026)

Call for Papers

Violence in the Medieval and Early Modern North

Aberdeen Medieval and Early Modern Conference

25-26 May 2026, University of Aberdeen, Scotland

Due by 29 January 2026 at 18:59 (ET)/ 23:59 (GMT)

At the second annual Aberdeen Medieval and Early Modern Conference, we encourage researchers to explore how violence was interpreted, enacted and avoided in the medieval and early modern north. How does the reality of the medieval and early modern world reflect how we view the past? How did distinct or militaristically violent roles (i.e. Vikings, Knights and Musketeers) handle the violence of their occupations? Do we still enact violence on the past as researchers? What were the aftereffects of violence, on the body, on architecture, and on society?

We are seeking papers on the topic of violence and its intersections with:

  • Memory and Trauma

  • Judicial and Legal Systems

  • Literature and Art History

  • Gender, Race, Class, and Disability Studies

  • Military and War Studies

  • Religious and Ecclesiastical History

  • Histories of Medicine and the Body

  • Medievalism and Early Modern Reception

  • History of Emotions (e.g. anger, humour etc.)

  • Ecocriticism

  • Manuscript Studies and Material Culture

While we invite papers on all parts of the north, we especially welcome papers on Aberdeen and northern Scotland.

The conference will be held on 25-26 May 2026 at the University of Aberdeen, Scotland.

Please email abstracts of no more than 250 words to medievalandearlymodernaberdeen@gmail.com.

Deadline: 29 January 2026 @ 23:59 (GMT)

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Jan
27
10:00 AM10:00

New Exhibition: Beginnings: The Story of Creation in the Middle Ages, Getty Center, January 27 – April 19, 2026

New Exhibition

Beginnings: The Story of Creation in the Middle Ages

January 27 – April 19, 2026

Museum North Pavillion, Plaza Level

Getty Center, Los Angeles, CA

Left: Portrait of Eve (detail), 2021, Harmonia Rosales. Oil, gold leaf, and silver leaf on panel. The Akil Family. © Harmonia Rosales. Photo: Brad Kaye

Creation stories imagine the world’s origins, often leading to a shared cultural vision of identity and values. For medieval Christians, the Biblical story of the seven days of Creation was essential to understanding the natural and spiritual realms, as well as humanity’s role in bridging the two. This exhibition features manuscripts from Getty’s collection alongside select contemporary paintings by LA-based artist Harmonia Rosales to explore how the Creation was visualized, represented, and interpreted both in the Middle Ages and today.

This exhibition is presented in English and Spanish. Esta exhibición se presenta en inglés y en español.

For more information, visit https://www.getty.edu/exhibitions/creation-story/

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Jan
26
10:00 AM10:00

Exhibition Closing: Gothicisms, Musée du Louvre Lens, France, September 24, 2025–January 26, 2026

Exhibition Closing

Gothicisms

Musée du Louvre Lens, Lens, France

September 24, 2025–January 26, 2026

From the birth of the cathedrals to the Goth counterculture and fantasy, Gothic art truly has traversed the centuries. In ground-breaking fashion, the Louvre-Lens is presenting its first ever panorama of Gothic art from the 12th to the 21st century, from its emergence through to the neo-Gothic style and right up to the “Goths” of today. 

Gothic art is closely associated with the age of the cathedral builders. As the first pan-European movement, it inspired exceptional artistic forms endowed with unparalleled expressive force. Sculptures, art objects, graphic arts, painting, photography, installations and furniture are gathered here in a journey through some 200 works of art. Together they reveal the recurrences and continuity of these Gothic languages, which blossomed during medieval times, came to life again in the 18th and 19th centuries, and still inspire us now. But where does the word Gothic come from? Why is this colourful art today associated with a dark aesthetic of black, night and the fantastic? How can this endlessly recurring attraction be explained? This chronological journey is interspersed with forays into specific topics, touching on the Gothic script, music, film and literature. It is an immersion into history and into society’s collective imagination to understand the origins and singularity of the Gothic movement: unique, multifaceted and very much alive today.  

Exhibition curators:
General curator: Annabelle Ténèze, director of the Louvre-Lens
Scientific curator: Florian Meunier, chief heritage curator at the Department of Art Objects, Musée du Louvre
Scientific advisor: Dominique de Font-Réaulx, general heritage curator, specialising in the 19th century, special advisor to the President-Director of the Musée du Louvre
Associate curator: Hélène Bouillon, general heritage curator
Assisted by Caroline Tureck, head of publications and documentation at the Louvre-Lens
Scenography: Mathis Boucher, scenographer, Louvre-Lens

This project was made possible thanks to the support of the Musée de Cluny – Musée national du Moyen Âge, Cité de l’architecture et du Patrimoine, Bibliothèque nationale de France and the Musée des Arts décoratifs de Strasbourg.

For more information, visit https://www.louvrelens.fr/en/exhibition/gothicisms-2/

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Jan
25
10:00 AM10:00

Exhibition Closing: Fra Angelico, Fondazione Palazzo Strozzi, Florence, Italy, 26 Sept. 2025 - 25 Jan. 2026

Exhibition Closing

Fra Angelico

Fondazione Palazzo Strozzi, Florence, Italy

26 September 2025 - 25 January 2026

Beato Angelico, Trittico francescano (det.), 1428-1429. Su concessione del Ministero della Cultura – Direzione regionale Musei nazionali Toscana – Museo di San Marco

From September 26, 2025, to January 25, 2026, the Fondazione Palazzo Strozzi and the Museo di San Marco present Fra Angelico, an extraordinary and unprecedented exhibition devoted to an artist who symbolises fifteenth-century Florentine art and stands out as one of the greatest masters of Italian art of all time.

The exhibition, organized in collaboration between the Fondazione Palazzo Strozzi, the Ministero della Cultura – Direzione regionale Musei nazionali Toscana and Museo di San Marco in a close dialogue between cultural institutions and the region, is one of the leading cultural events of 2025. It celebrates a father of the Renaissance in two venues: the Palazzo Strozzi and the Museo di San Marco.

The exhibition explores Fra Angelico’s art, development and influence and his relation to painters such as Lorenzo Monaco, Masaccio, and Filippo Lippi, as well as sculptors like Lorenzo Ghiberti, Michelozzo, and Luca della Robbia. Curated by Carl Brandon Strehlke, Curator Emeritus of the Philadelphia Museum of Art, with – for the Museo di San Marco – Angelo Tartuferi, former Director of the Museo di San Marco, and Stefano Casciu, Regional Director of Musei nazionali Toscana, Fra Angelico marks the first major exhibition in Florence dedicated to the artist exactly seventy years after the monographic show of 1955, creating a unique dialogue between institutions and the region.

For more information, visit https://www.palazzostrozzi.org/en/archivio/exhibitions/angelico/,

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Jan
22
10:00 AM10:00

ICMA in Florence: Tour of FRA ANGELICO exhibition

ICMA in Florence
Last look! Exhibition tour of Fra Angelico 
Museo di San Marco and Palazzo Strozzi 
Thursday 22 January 2026, starting at 10am

Register HERE

ICMA members and local medievalists are invited to an exhibition tour of Fra Angelico, led by Dr. Allie Terry-Fritsch, Professor of Italian Renaissance Art History (BGSU) and Fra Angelico Expert/Contributor to the Florence Fra Angelico exhibition and catalogue.

The day will begin at the Museo di San Marco at 10am (meet time is 9:45am) with a general tour, highlighting the context of the humanist users of the library at San Marco and the rare manuscripts included in the exhibition. After a lunch break (lunch provided by the ICMA), we will continue at the Palazzo Strozzi at 2:30pm for the second portion of the exhibition.

While tickets are currently sold out online, we have special access to Museo di San Marco. For Palazzo Strozzi, we will retrieve tickets at the ticket desk (there might be a wait). ICMA will cover the cost. 

The exhibition brings together more than 140 works of art across the two venues that include paintings, drawings, sculptures, and illuminated manuscripts. The result of over four years of preparation, the project has enabled an undertaking of exceptional scholarly and cultural importance, thanks also to an extensive campaign of restorations and the singular opportunity to reunite altarpieces that were disassembled and dispersed over two hundred years ago.

Register HERE

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Jan
18
10:00 AM10:00

Exhibition Closing: Saints, Sinners, Lovers, and Fools: 300 Years of Flemish Masterworks, Royal Ontario Museum, Toronto

Exhibition Closing

Saints, Sinners, Lovers, and Fools: 300 Years of Flemish Masterworks

Level 3, Centre Block

Royal Ontario Museum, Toronto, Canada

28 June 2025 - 18 January 2026

Jan Sanders van Hemessen (1550-1566), Double Portrait of a Couple, 1532. Oil on panel. Antwerp, The Phoebus Foundation.

The Southern Netherlands — better known today as Flanders — was home to revolutionary artists such as Peter Paul Rubens, Anthony Van Dyck, Hans Memling, and others. These extraordinary painters found new ways to depict reality, portray humanity, and tell stories that created parallels to their world then - and to our world today.

This large-scale exhibition, featuring over 80 stunning art works and objects — medieval, Renaissance, and baroque paintings, sculptures and more — offers a doorway into the Southern Netherlands of 1400 to 1700, a dynamic environment where new artistic genres and styles were created and flourished. The exhibition's unique presentation introduces the visitor, through these rare, extraordinary artworks, to stories of enterprising townspeople, prosperous cities, and an ever-developing society.

For more information, visit https://www.rom.on.ca/whats-on/exhibitions/saints-sinners-lovers-and-fools-300-years-flemish-masterworks

Saints, Sinners, Lovers, and Fools: 300 Years of Flemish Masterworks is co-organized by the Denver Art Museum and The Phoebus Foundation SON, Antwerp (Belgium).

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