due 19 December 2025: CALL FOR PAPERS / APPEL À COMMUNICATION: 43rd Canadian Conference of Medieval Art Historians / 43e colloque canadien des historiens de l’art médiéval

CCMAH / CCHAM

CALL FOR PAPERS / APPEL À COMMUNICATION

The 43rd Canadian Conference of Medieval Art Historians will be co-hosted by the University of Toronto and the Art Gallery of Ontario on March 27–28, 2026. Papers are invited on any topic related to the art, architecture, and visual/material culture of the Middle Ages, broadly defined, or its post-medieval revivals. Papers may be delivered in English or French. Please submit a short abstract (max. 250 words) and a one-page c.v. to ccmah2026toronto@gmail.com by December 19, 2025. Scholars at every stage of their careers are encouraged to submit proposals. There may be funding available for graduate-student travel and accommodations.

L’Université de Toronto e le Musée des beaux-arts de l’Ontario accueilleront conjointement le 43e colloque canadien des historiens de l’art médiéval qui se tiendra à Toronto les 27 e 28 mars 2026. Les communications portant sur tout sujet relatif à l’art, à l’architecture et à la culture visuelle/matérielle du Moyen Âge, au sens large, ou à ses renaissances postmédiévales seront bienvenues, et peuvent être présentées en anglais ou en français. Veuillez soumettre un bref résumé de votre communication (250 mots maximum) et un c.v. d’une page à ccmah2026toronto@gmail.com avant le 19 décembre 2025. Les chercheurs/chercheuses à tous les stades de leur carrière académique sont encouragé(e)s à participer. Des fonds pourraient être disponible pour les frais de déplacement et d’hébergement des étudiant(e)s diplômé(e)s.

Boston University HAA Guest Lecture featuring ICMA Member: Higher Ground: Medieval Foundations and the Formation of Heathen Prehistory, Gregory Bryda, at Boston University, 23 Oct. 2025, 6:00PM

Boston University HAA Guest Lecture featuring ICMA Member

Higher Ground: Medieval Foundations and the Formation of Heathen Prehistory

Gregory Bryda, Assistant Professor of Art History, Barnard College.

History of Art & Architecture Fall 2025 Guest Lecture Series

CAS 132, Boston University

Thursday, October 23, 2025, 6:00PM

The Guest Lecture Series in the History of Art & Architecture at Boston University cordially invites you to the first installment of our 2025-26 lecture series. This event is generously sponsored by the Boston University Center for the Humanities.

On Thursday, October 23rd, we will welcome Gregory Bryda, Assistant Professor of Art History at Barnard College. He will present a lecture entitled “Higher Ground: Medieval Foundations and the Formation of Heathen Prehistory.”

Abstract: This talk argues that in the Middle Ages, Christians used art to exaggerate a pagan affinity with the land to invent a false contrast, which enabled a redefinition of the landscape through a Christian lens. From the eleventh to the fifteenth centuries, as Christianity spread eastward across northern Europe in successive waves, artworks in wood sculpture, monumental stone carving, manuscript illumination, panel painting, and woodcut consistently portrayed non-Christian peoples as nature-bound idolaters—tree-worshippers, grove-dwellers, keepers of wells and stones. Scholars have long mined these representations for traces of authentic pagan ritual, frequently construing them as proof of syncretism in the process of conversion. I contend that the artworks portray retrospective fictions. Produced after Christianity had taken root, these works were directed less at pagans than at other Christians. By portraying a primitive “other” bound to earth and nature, ecclesiastical communities of various stripes—parish churches, cathedral chapters, Cistercian monks, Teutonic Order knights—cast themselves as its opposite: orthodox, rational, divinely sanctioned. In doing so, they justified their authority, sharpened rivalries, and claimed stewardship over the land as a sacred trust. What has been read as proof of confrontation thus emerges instead as self-reflective, with patrons deploying the arts to reshape both the perception and the use of land to align with their own specific needs.

For more information, visit https://www.bu.edu/haa/2025/09/23/haa-fall-2025-guest-lecture-series/

Mary Jaharis Center for Byzantine Art and Culture 2025-2026 Lecture Series: Daily Life Encounters between the Byzantines and the Ottomans, Siren Çelik, 20 Oct. 2025, 12:00PM EDT, Via Zoom

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

Daily Life Encounters between the Byzantines and the Ottomans

Siren Çelik, Marmara University

October 20, 2025 | 12:00 PM (EDT, UTC -4) | Zoom

Theodore Metochites and Christ mosaic, detail, ca. 1316–1321. Chora church, Constantinople (Istanbul)

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

The Byzantines and the Ottomans were both rivals and neighbors, co-existing and fighting each other at the same time. In addition to their political, military and economic interactions, the Byzantines and the Ottomans were also in close cultural contact with each other. Byzantine and Ottoman histories as well as material artefacts preserve the memories of these encounters. Moreover, sources such as Byzantine religious dialogues and travelers’ accounts provide fascinating insights into the daily life encounters between these two cultures whose borders and life styles were often fluid. This talk will present some vignettes of daily life encounters between the Byzantines and the Ottomans, especially exploring the Byzantines’ perception of the Ottomans’ daily habits, food and clothing.

Siren Çelik is an associate professor at the History Department of Marmara University, Istanbul. She obtained her PhD in Byzantine Studies from the University of Birmingham in 2016. Her research interests are late Byzantine history, Byzantine literature, daily life and Byzantine-Ottoman interactions. Along with several articles and book chapters, she is the author of Manuel II Palaiologos (1350-1425): A Byzantine Emperor in a Time of Tumult (Cambridge University Press, 2021, paperback 2022) and a Byzantine poetry anthology in Turkish translation, with notes and commentary. She has held fellowships from Dumbarton Oaks, ANAMED-Koç University, Boğaziçi University and Harvard University.

Advance registration required. Register: https://maryjahariscenter.org/events/daily-life-encounters-between-the-byzantines-and-the-ottomans

Call for Papers: Confounding Images: Frustration as Art Historical Method, Association for Art History Conference, University of Cambridge (8-10 Apr. 2026), Due by 2 Nov. 2025

Call for Papers

ASSOCIATION FOR ART HISTORY CONFERENCE

CONFOUNDING IMAGES: FRUSTRATION AS ART HISTORICAL METHOD

UNIVERSITY OF CAMBRIDGE

8th-10th APRIL 2026

Due by 2 November 2025

If the mission of Art History is to make sense of visual and material cultures, then what can be learned from objects that resist art historical study?

This panel invites contributors to reflect on pre-modern artworks that they find compelling, but which they feel they have ‘failed’ to satisfactorily engage in art historical study. We encourage contributors to consider objects and images that they find confounding, have struggled to write about, have abandoned study of or which they have found resistant to art historical methodologies. We also invite papers which consider methodological ‘failings’: art historical theories that present significant challenges when applied to pre-modern art. In reflecting on encounters with the limits of art historical research, we hope to provoke generative discussion about what can be learned from this friction, about both these objects and Art History as a discipline. In doing so, we conceive frustration as a productive method in the study of material culture.

This panel discussion will consist of 10-minute presentations followed by a round table discussion and Q&A. We therefore invite papers that reflect on: a single pre modern artwork, object, image or method. Papers should raise issues which may form the basis of a broader conversation between panellists and with the audience. We welcome papers which consider pre-modern objects from across periods and geographies, including those related to the ‘afterlives’ of pre-modern objects.

Please submit an abstract using the form on the AAH website (https://forarthistory.org.uk/confounding-images-frustration-as-art-historical-method/) by Sunday 2nd November 2025.

Contributing panellists will have the opportunity to submit their paper for publication in a special issue of the open-access journal, Different Visions, titled ‘Points of Friction’ and co edited by Millie Horton-Insch and Lauren Rozenberg. More details may be found here: https://differentvisions.org/special-issue-points-of-friction/.

Online Conference: British Archaeological Association Postgraduate Conference, Via Zoom, 27 Nov. 2025, 12.20-17.30 (GMT) / 7.20-12.30 (EST)

Online Conference

British Archaeological Association Postgraduate Conference

Via Zoom

27 November 2025, 12.20-17.30 (GMT) / 7.20-12.30 (EST)

The British Archaeological Association are excited to present a diverse conference which includes postgraduates and early career researchers in the fields of medieval history of art, architecture, and archaeology. The British Archaeological Association postgraduate conference offers an opportunity for research students at all levels from universities across the UK and abroad to present their research and exchange ideas.

The conference will take place online via Zoom.

Register to attend the conference using this link.

For more information, including the program, visit https://thebaa.org/events/2025-baa-postgraduate-conference/

For a PDF of the conference program, click here.

Call for Papers: Rethinking Popular Religion from Late Antiquity to the Early Medieval Period, Ca’ Foscari University of Venice (12-13 Mar. 2026), Due by 30 Sept. 2025

Call for Papers

Rethinking Popular Religion from Late Antiquity to the Early Medieval PerioD

12–13 March 2026

Department of Humanistic Studies, Ca’ Foscari University of Venice

Due by 30 September 2025

The relationship between popular culture and religion in the centuries between the fourth and the eleventh centuries has long posed interpretive challenges. Sources from this period often depict lay religious practices as deviant, syncretic, or unorthodox—testimonies that are as partial as they are polemical. As a result, categories such as popular religion, lived religion, syncretism, and hybridity have emerged in recent scholarship as tools to understand the religious experiences of communities often excluded from formal theological or institutional narratives.

We invite PhD students and early career scholars to explore the multiple forms through which religion was lived, negotiated, and contested outside the bounds of orthodoxy and ecclesiastical authority. Rather than seeking to fix definitions, we aim to interrogate the value and limits of these categories, and to reflect on how religious practice and belief were shaped by encounter, adaptation, and everyday agency.
We welcome proposals for case studies or theoretically engaged reflections that address, but are not limited to:

  • Religious practices of laypeople and local communities;

  • Subaltern or gendered experiences of religiosity;

  • Encounters between Christian, pagan, and other religious traditions;

  • The role of material culture, ritual, and domestic space;

  • Discourses of heresy, deviance, and unofficial religion;

  • Methodological approaches to studying fragmented or polemical sources.

Submission Guidelines

Please send:

  • An abstract of approximately 300 words of your proposed paper and

  • A short statement (max. 200 words) describing how your proposed paper relates to your broader research interests or ongoing work

  • A CV is not required

to lilian.diniz@unive.it with subject “abstract – Rethinking popular religion” by 30 of September 2025.

Accommodation and travel expenses will be covered for participants without institutional funding.

For any questions, please contact Lilian Diniz.

Call for Applications: Folger Institute Long-Term Fellowships, Due December 15, 2025

Call for Applications

Folger Institute Long-Term Fellowships

Due December 15, 2025

Each year the Folger Institute awards research fellowships to create a high-powered, multidisciplinary community of inquiry. This community of researchers may come from different fields, and their projects may find different kinds of expression. But our researchers share cognate interests in the history and literature, art and performance, philosophy, religion, and politics of the early modern world.

The Folger Institute offers four Long-Term Scholarly fellowships at $70,000 for the 2026-2027 academic year (approximately $7,777 per month, for a standard period of 9 months). These fellowships are designed to support full-time scholarly work on significant research projects that draw on the strengths of the Folger’s collections and programs. Scholars must hold a terminal degree in their field in order to be eligible.

Additionally, The Folger Institute offers one Long-Term Public Humanities fellowship. For the 2026-27 year, the Folger Institute will offer one Long-term Public Humanities Fellowship at $70,000 for a standard period of 9 months (approximately $7,777 per month). This fellowship is designed to support significant, full-time research and public humanities project implementation related to the histories, concepts, art, and objects of the early modern world (ca. 1400-1800) and its legacies

The Public Humanities fellowship is open to college and university faculty, independent scholars, artists, public scholars, writers, PhD candidates, postdocs, community leaders, cultural workers, educators and other knowledge holders. Applicants are not required to hold a terminal degree but should describe their equivalent training and industry-specific experience in their CV.

Please note that for the 2026-27 fellowship year, all long-term fellows will have the option to take up to 3 months of their 9-month fellowship virtually. This virtual time may be taken at any point in the fellowship and does not have to be taken concurrently. Applicants may propose any research schedule that best fits their project’s needs.

The deadline for all Long-Term fellowship applications is December 15, 2025.

For more information and to apply, visit https://www.folger.edu/research/the-folger-institute/fellowships/apply-for-a-fellowship/

18th International Complutense Conference on Medieval Art: Transculturality and Medieval Art in Dialogue: Negotiating New Identities, Madrid, 7-8 Oct. 2025, Register by 6 Oct. 2025

18th International Complutense Conference on Medieval Art

Transculturality and Medieval Art in Dialogue: Negotiating New Identities

Madrid, Spain, 7–8 October 2025

Universidad Complutense de Madrid, Facultad de Geografía e Historia

Museo Arqueológico Nacional

Casa Árabe

Registration until 6 October 2025

© 62317-ID015, Pomo de kohl, Museo Arqueológico Nacional. Inv. 62317. Photo: Ariadna González Uribe.

Architecture, objects, and material culture, as structuring agents of human relationships, play a key role in discovering the potential of understanding medieval art through the paradigm of transculturality. This method examines the negotiation of fluid artistic identities shaped by the mobility of people, circulation of objects, and transmission of ideas across diverse social, geographical, and religious contexts. The materiality of transcultural objects has rendered them repositories of memory, bearing witness to historical encounters across cultures. Their various re-contextualization, restaging, and differing forms of appreciation have made them subject to manipulation, reuse, and re-signification, even after their integration into private collections or museums. Addressing these themes allows for a broader reflection from educational and museum studies. By examining intersections of gender, class, and ethnicity, the eighteenth edition of the Complutense International Conference on Medieval Art aims to uncover micro-histories that offer a more nuanced understanding of otherness in the Middle Ages.

Contact: jornadas.transculturalidad@ucm.es

For the program, click here.

For more information online, visit https://www.ucm.es/intersections/jornadas-transculturalidad

To register, visit https://eventos.ucm.es/139996/detail/xviii-jornadas-internacionales-complutenses-de-arte-medieval-transculturalidad-y-arte-medieval-en-d.html

For the poster, click here.

Call for Papers: ICMA-Sponsored Session at Forum Kunst des Mittelalters 2026: Tricks of the Trade: The Visual and Material Dimensions of Medieval Sex Work, due 15 October 2026

Call for Papers

VIII. Forum Art of the Middle Ages

WORK | ARBEIT

Spuren, Konstallationen, Wertungen

Traces, Constallations, Valuations

23-26 September 2026

Due by 15 October 2025

Flore and the prostitutes, from Philip the Bold's copy of Boccaccio's Des cleres et nobles femmes, 1402, Paris BnF, MS fr. 12420, fol. 98v

ICMA SPONSORED SESSION:
(21) Tricks of the Trade: The Visual and Material Dimensions of Medieval Sex Work

organized by Rowanne Dean

In his vita of the “saved prostitute” (turned “crossdressing” ascetic) St. Pelagia, James the Deacon describes how Nonnus, a bishop of Antioch, reproaches his male religious peers for averting their eyes from the courtesan’s beauty and bodily adornment. He implores them to instead comprehend her as an exemplative lesson: just as Pelagia lavishes time and attention to the work of decorating her body for her lovers, so too, should the bishops prepare their souls for their eternal Bridegroom. In the Golden Legend, Pelagia is similarly said to have “painted herself so meticulously” that she should be brought forth on the day of Judgment against those who take little care to please their heavenly Spouse. Though here a courtesan’s cosmetic labor is analogized in positive terms, the work involved in providing commercial sexual gratification was, by turns, merely tolerated and actively vilified in medieval theological, literary, and legal discourse. Building on the classic studies of Ruth Karras, Leah Lydia Otis, and Jacques Rossiaud, among others, recent scholarship has considered the visual dimensions of medieval sex work in various ways. Judith M. Bennet and Shannon McSheffrey have discussed female “crossdressing” in late medieval London, which was associated with sex work; Jess Bailey has analyzed depictions of disabled sex workers in the drawings of Urs Graf; and Jelle Haemers has examined the material culture of prostitution in the late medieval Southern Low Countries. This session aims to further explore the question of how sex work was thematized in medieval material and visual culture. How were sex workers represented? How were they thought to represent themselves? And how were viewers implicated in their visual apprehension? Paper proposals might explore the following topics: the visual marking of the prostitute’s body through garment regulations and sumptuary laws; the question of sex work as a craft or trade; representations of brothels; notions of illusion and deception in discussing sex workers; relationships between sex-work and (visible) gender non-conformity; the idealization and/or vilification of (feminized) sex workers’ beauty; sex work and cosmetics or bodily adornment; iconographic traditions such as the Prodigal Son with prostitutes or the Whore of Babylon.

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. 

HOW TO SUBMIT:

The German Association for Art Research cordially invites you to the eighth Forum Art of the Middle Ages, which will be held in 2026 in cooperation with Prof. Dr. Ulrich Rehm (Ruhr University Bochum) and Prof. Dr. Kirsten Lee Bierbaum (Technical University Dortmund). The topic is "Arbeit / Work. Spuren, Konstellationen, Wertungen / Traces, Constellations, Valuations".

Papers of 300 words are now being requested for a total of 22 sections, each discussing the proposed thematic approach. Presentations will last a maximum of 20 minutes. We ask for your understanding that only one speaker is allowed per presentation and that only one submission per person can be accepted. Conference languages are primarily German and English.

After submission, the contributions will be reviewed by the advisory board and section heads; you will be notified of the selection at the end of the year.

Please submit only via the website https://www.dvfk-berlin.de/forum/ - submissions sent by e-mail cannot be considered.

Please submit an abstract for one of the sections by October 15, 2025. The results of the selection and the program will be published at www.dvfk-berlin.de and in the relevant portals.

Here is the link to the official call: https://www.dvfk-berlin.de/en/call-2/

Organization: Deutscher Verein für Kunstwissenschaft e.V. together with Prof. Dr. Ulrich Rehm, Ruhr-Universität Bochum in cooperation with Prof. Dr. Kirsten Lee Bierbaum, Technische Universität Dortmund. Kirsten Lee Bierbaum, Technical University of Dortmund

OTHER SESSIONS:

(1) The artistic moment“ within accounts, contracts, descriptions of objects and self-portrayel in the High Middle Ages.

Jens Rüffer

Medieval work processes based on the division of labour, nevertheless the responsibility – not necessarily the execution – lay with the magister operis or the master workman. The beginnings of a artistic self-conception start there, where a portion of the wage is paid as a general gratuity for the execution itself, inscriptions referring to the craftsmen or similar symbols of status. This material remuneration or the intangible recognition honours what can be retrospectively described as additional artistic value. In northern Italy, this type of gratification became established earlier than north of the Alps. In general, the question arises as to when this phenomenon begins to occur, in which geographical regions it can be observed and in which social structure (monastery, city, court) it emerges. Furthermore, it is necessary to ask about those persons and groups of persons who decided whether and how much this “special remuneration“ was.

A large number of accounts or contracts have survived in which such references can be found (building workers, goldsmiths, carpenters, glass painters, etc.). Sometimes these documents also provide information about the work process itself, about the division of labour, in-house or external work, hierarchies within the workshop, the establishment of a temporary object-related working group or production according to oneʼs own or someone elseʼs design. These “facts“ or “realities“ can be contrasted with descriptions of objects that do not primarily follow the rhetorical strategy of ekphrasis, but describe in more detail what is experienced in the viewing. In this respect, all descriptions are interesting, even if they do not express anything about that what is considered as an “artistic“ moment from todayʼs point of view. Because this is also a statement about the contemporary perception of this kind of work. Finally, there are various medieval visualisations that depict master craftsmen or work processes, inscriptions that praise the work and/or the master, which must also be critically examined for their informative value. Older research has interpreted a lot into this.

This section is looking for contributions that critically scrutinise the above-mentioned source genres in an exemplary way with regard to the “artistic“ moment. Since northern Italy plays a pioneering role here, trans- and cisalpine sources should not be mixed without reason. However, they can be compared with each other from a socio-historical point of view.

 

(2) Arte-factum. Theory formation through working practice in the arts of the Middle Ages

Heike Schlie

This session will discuss how working practices, and their material and technological conditions generated the formation of art theories in various genres during the Middle Ages. Despite extensive research on the reception of works and the self-image of medieval artists, the idea persists that "craft" prevailed in the Middle Ages and "art" emerged under new conditions in the early modern period. However, it is often overlooked that the Christian Middle Ages first made a re-evaluation of the artes mechanicae possible. Their work and products were considered a partial restoration of paradise on earth. Consequently, the creation of the artes mechanicae was seen as a continuation of God's creative power. This concept integrated the artifex's expertise and the material conditions of artifact production. Materials, material effects, tools, and techniques are not contingent on the earth, but are intended by divine creation and the salvation plan to glorify God and generate knowledge of all kinds. This has consequences for both the status of the artifex and the products of the artes. At the same time, artists employed various strategies to link their work to the artes liberales (e.g. geometry: architectural drawing, optics: oil painting, arithmetic: bronze casting). Theologians theorized and allegorized the artes, materials, and techniques in their writings, resulting in a condensation of the discourse, which is reflected in the works' argumentation about their working practices. Ultimately, these allegorizations belong to theological theorems, thus generating them in the craft.

Possible topics and key questions:

·       Visualization, meaning, and theorization of material and technical processes in the artifact

  • Artistic practical knowledge as a contribution to theory formation

  • Symbioses instead of dualisms of form and material, theory and practice: observations from source texts (e.g. art theory treatises, recipe books, theological writings) and artifacts

  • Terms and concepts from image and art theory (e.g. mimesis, perspective), metaphors (e.g. window, mirror, veil), basic categories (e.g. transparency/opacity): To what extent can these be (re)thought in terms of material and artistic practice?

  • Artistic self-reflexivity between theory and practice (e.g. artists' self-portrayals, Lukas-Madonna, signatures, etc.)

 

(3) Artists at (Municipal) Work: Image-Making and Civic Governance

Masha Goldin

What common ground existed between artistic work and the business of governing cities in the Late Middle Ages? This session seeks to address this question by examining case studies in which artistic practice and municipal regimes became intertwined. Such instances are particularly evident in the oeuvres of artists who, in addition to their workshop activity, held roles as civic officials. Examples include Tilman Riemenschneider, who served as mayor of Würzburg from 1520 to 1525, and the prolific illuminator Diebold Schilling, who acted as notary of the civic court of law in Bern from 1481 to 1515. In what ways did these dual roles inform one another? Numerous other artists held official roles in town councils as a result of their guild membership. At the same time, sculptors, painters, goldsmiths, and other craftspeople working in various media—bearing no governmental titles—were hired by municipalities to pursue artistic projects for civic ends. How did municipal patronage shape the products of the artists’ labor? What kinds of artefacts were used or produced in the bureaucratic work of town councils?

The session seeks to broaden the discussion by inviting contributions that consider proto-curatorial and urban planning practices, often carried out by municipal authorities when arranging installations of objects, such as civic insignia or loot, or when envisioning visual programs for public spaces in their towns. What guided municipal administrators in undertaking the task of commissioning shared civic infrastructures, such as city walls, commerce facilities or prisons? And how did artistic techniques, concerns, and discourses play into communal rulership? Papers that explore these or related questions across late medieval cultures and urban centers are welcome to apply.

 

(4) Stone Connects – Building Guild Networks from the Middle Ages to the 19th Century

Katja Schröck

The medieval large-scale construction sites of church buildings were not only places of artistic and craftsmanship production but also hubs of complex personnel and material networks. The supra-regional networks of builders´ huts enabled the transfer of knowledge, design models, and technical solutions, as well as the mobility of master builders, stonemasons, and sculptors. The construction sites of the Ulm and Bern Minsters exemplify an artistic and craftmanship practice that was interconnected far beyond their respective locations. Already in the Middle Ages, close professional contacts between the construction sites can be documented – this axis was revived in the 19th century.

However, the continuity of these guilds was often abandoned in the late Middle Ages for various reasons. During the long 19th century, various completion efforts led to a return to the tradition of building guilds.

This section examines, among other things, the personnel, material, and ideological/conceptual connections between construction sites as a model for reexamining the dynamics of medieval art production in terms of "work" and the continued or resumed structures: as a cooperative practice, as a socially embedded processes, and as an object of social evaluation. The aim will be to understand how work processes, constellations of actors, and networks in medieval construction can be reconstructed – and how they were (re)constructed, remembered, and made productive in the 19th century.

 

(5) Ora et labora? Talking and writing about artistic labour in the Middle Ages

Bruno Klein

The value of physical labour was viewed ambivalently during the long period of the Middle Ages: According to Max Weber, it was only in the late Middle Ages that precursors of the ‘Protestant ethic’, which sees work as the essential content of a fulfilled life, developed from a rather negative assessment of work in antiquity.

The verb “laborare” (Latin: to labour, to struggle) hardly appears in medieval artists' inscriptions, and even in early modern Paragone, intellectual labour was still given priority over physical labour, in line with the tradition mentioned above.

But how was artistic labour - from physical to mental - spoken and written about in the Middle Ages? After all, it was a reality, and it took up or absorbed a great part of manpower, for example in the construction of large cathedrals or town churches and their furnishings. Is this perhaps not adequately reflected in writings because the producers of texts did not belong or did not want to belong to the group of physically labouring people?

How and (from) when was such labour mentioned and named in treatises, textbooks, work contracts or corporate regulations, either directly or indirectly, e.g. in the definition of maximum working hours? Or in narrative sources such as those on the so-called cart cult, i.e. the collective physical labour, which was also similar to worship, for the construction of churches?

The section welcomes contributions that deal with this question specifically or systematically on the basis of individual or multiple sources. For example, by relating specific findings from building archaeology or ledger books on the amount of work involved to their further written mention and appreciation.

There is a particular interest in finding out whether and (from) when there was a special valuation of artistic labour and how this was defined. Sideways glances at pictorial representations, whose analysis could help to clarify these questions, are very welcome.

 

(6) Workways of Ornament

Irina Dudar

Ornament arises from the ordered and structured repetition of units. To make these requires, almost by definition, repetitive forms of work. These in turn can imply specialized tools creating repeatable forms: punches, stencils, and print blocks for instance. But ornament can also be created through the more-or-less exact repetition of simple gestures in defined intervals, in a process partly determined by the properties of the human body.

Although ornament has often been considered as the end result of a creative process, less attention has been paid to the working of ornament and its repetitive nature. Historically and still today, the former has served positivist goals such as workshop attribution and the distinction of individual hands; in more recent years, research has also turned to the skills involved in creating ornament, as well as to the sourcing and use of particular material. In addition, the cognitive and affective potential of ornament have been increasingly studied, but overwhelmingly from the reception side. This section prefers to analyse the cognitive dimension of ornament and its need for repetition from the perspective of those working, who act as the bridge between the idea and its material mise-en-oeuvre, the concept and the labor process. Objects of study from this perspective are repetitive gestures, concepts, and material processes, as well as the impact of repetition on the structure of labor.

In this section, we wish to consider how the repetitive forms of work implied by ornament both engender and spring out of embodied knowledge of materials, tools, and the body itself, and how this embodied knowledge in turn feeds into the cognitive work of planning ornament for any particular material circumstance.

We invite presenters to reflect on the following questions:

  • what happens at the intersection of planning and improvisation in the creation of ornamental fields?

  • how is improvisation practiced and repeated?

  • how do embodied knowledge and technique inform the planning process for ornament?

  • on the other hand, when is knowledge created from repetitive forms of work, including but not limited to the iterative planning of ornament in similar tasks?

  • when and how do the knowledge and technique gained from ornament-making inform the creation of figural forms?

 

(7) Aesthetic norms and technical reproducibility – aspects of serial production in Medieval Europe

Juliane von Fircks

Standardized work processes, which used identical materials, techniques, and forms to produce similar artifacts, were common in many medieval artists' workshops. A typical example of this are the workshops of Limoges, which, since the 12th century, have been producing a wide range of materially and aesthetically high-quality objects on a highly developed technological basis, intended for various functions in connection with Christian worship and courtly culture. The processional crosses, reliquaries, book covers, bishop's croziers, and decorative plaques produced in the Limousin workshops reproduced design standards that had been established over a long period of time. Characteristics associated with the enamel technique, such as colouring, figure formation and ornamentation, ensured that the artefacts were highly recognisable and this was probably responsible for the widespread sale of the objects throughout Europe. Similar phenomena can also be observed in the workshops of ivory carvers, silk weavers, embroiderers, goldsmiths, and seal engravers.

Only at first glance do the aspects of serial production in the workshops of the 14th and 15th centuries north and south of the Alps appear to be completely different. Precisely the same time when the names of individual artists were becoming widely known, painters and sculptors north and south of the Alps were particularly open to economizing their work. They experimented with the reproduction of heads, figures, compositions, and certain details of clothing and armor. They used cartoons and stencils, including mechanical fabric imitations such as pressed brocade. Sculptors experimented with artificial stone and clay, which allowed them to reproduce figures and compositions identically. In that era, the printing of patterns and images on fabric and paper was invented, which was to profoundly change the media landscape in Europe.

This section examines artistic genres and techniques from the High and Late Middle Ages in light of the following questions: What was the relationship between economized work processes and the appearance of the finished work? Were standardized procedures, including mechanical reproduction, used primarily to produce more effectively and in greater quantities, or was it also a matter of securing established aesthetic standards or reproducing certain “archetypes”? What was the relationship between effective repetition of form and style? How did the division of labor work in detail? Who supplied the designs, and what kind of quality controls were in place? Who was credited as the author? For which customer groups were the works intended, and how was sales organized? Were the artworks and artifacts in question also perceived as serially produced in their reception? Under what conditions could artefacts produced serially or using standardized working methods achieve an auratic effect and that status of unmistakable uniqueness in cult and social practice that Walter Benjamin described as the essence of the artwork in the pre-industrial age?

 

(8) Between Work, Science, and Wonder: Automata and the (In-)Visibility of Labor

Joanna Olchawa

Automata are among the most remarkable objects in the history of medieval art, science, and technology. Whether in the form of clocks, fountains, organs, steam machines, or figurative ensembles, these works seem to move on their own, produce sounds, or carry out complex processes. Driven by pneumatics, hydraulics, or finely tuned mechanics, they create the illusion of ‘work without workers,’ challenging fundamental notions of labor or (transcendent) creative force. While the underlying mechanisms are often hidden, work must still be done to set them in motion and maintain their operation. This, in turn, required highly specialized workshops. Automata thus create a rather ambivalent view of labor, blurring the boundaries between art and skill, and between work, science, and wonder.

This session focuses on the previously underexplored connection between automata (from the Latin West, Byzantium, and regions under Islamic rule) and labor between the eighth and fifteenth centuries CE. It is particularly interested––though not exclusively––in: 1) the ‘working’ mechanisms such as gears, weights, pulleys, and other technical components; 2) the social positioning of those involved in their creation, and thus the question of who designed, built, and maintained these objects; 3) the symbolic implications of labor made visible or hidden by automata, and how these relate to contemporary notions of human, mechanical, and ‘divine’ efficacy; and 4) periodization, as automata are often associated with the Early Modern period or Modernity, even though they were known, admired, and integrated into various visual and material contexts and discourses in the Middle Ages.

By combining approaches from the history of technology, social history, and visual culture, this session aims to explore the phenomenon of automata as a focal point of medieval concepts of labor, while also offering a new perspective on art-historical debates concerning the relationship between art and technology, nature and culture, craft and imagination, and play and seriousness.

 

(9) Working with Fire: Collaborative Art(Work) across Pyrotechnologies

Hallie G. Meredith

Fire, long regarded as one of the fundamental natural forces and elements, is universallyaccepted as vital to human life. Mediated by human action, the controlled application of fireunderpins a vast array of historic technologies, from clay crafts (baked bricks, clay pipes, pottery)to metal production (copper alloy, gold, silver) and silica-based arts (faience, glass, porcelain). Acrucial aspect of craftwork involving fire is the transformation produced. Transformative craftschange raw materials through pyrotechnology or chemical processes to create a new material.The fundamental question that underpins this proposed session concerns the interactivitybetween craftworkers and the elements - not only fire but also air, water, and nature writ large -during the dynamic late Antique/early Medieval era (c. 4th-6th centuries CE) and throughout theMedieval period.The focus of this session will be the art(work) that embodies and communicates suchinteractivity. Pyrotechnic industries, for example, relied on tools, such as braziers, furnaces andkilns (often made of earth), that served to some extent as a means of containing, gradating, andmanipulating fire, which cannot happen without air. These industries included the production ofceramics, encaustic, glass, lime, metal, and even the heating of baths, among others. Scholarsstill commonly approach pyrotechnologies as isolated and independent, but many of these werelikely interconnected activities, with overlap in terms of labour, skill sets, tools, locations, as wellas marketing and trade. The possibility of such networks is relevant to the burgeoning study ofinter-industry relations or cross-craft.The constellations of collaborative making may include the relations between craftworkers, theimagined exchange between a human labourer and a divine creator, or the interaction between ahuman worker and one or more non-human, engineered materials. Inter-industry relations andhow they may have impacted the division of labour and the notion of a specialist are alsopotentially fruitful areas of enquiry. The overall goal of this session is to highlight the place ofthe materials themselves in shaping the realities of craftwork - and craft society - in earlyMedieval history, bringing to light transformations both within and beyond.

 

(10) Working on the Object: Reuse and Transformation as an Art Historical Approach

Carolin Gluchowski

When is the work on an object finished? When can an artwork be considered complete – with the final brushstroke? With the payment of the invoice? Upon delivery to the patron? Or does a new phase begin after the work on the object is completed – namely, the work with the object, once it enters into use?

The reuse and transformation of artworks is not a modern phenomenon but rather an anthropological constant that can be observed across different cultures and historical periods. In the Middle Ages, reworking, adapting, modifying, integrating, expanding, or reducing objects was a common and accepted practice – driven by pragmatic, aesthetic, religious, or symbolic motives. In recent years, art historical scholarship has increasingly turned its attention to this phenomenon, using conceptual frameworks such as reuse, reframing, deframing, recycling, appropriation, or resemanticization.

This proposed panel seeks to shift the focus toward the ongoing work on the object itself and to enrich theoretical and terminological debates through concrete case studies. We invite contributions that approach the topic from the perspective of the object and centre on specific practices of alteration and transformation:

What kinds of changes can be traced materially on the object? What remains stable, what is removed or added? Which intermaterial relationships are interrupted, redirected, or created? And which methodological tools are available to art historians to detect, reconstruct, and analyse such traces of work?

These questions also prompt an investigation of the contexts in which reworking took place: In what social, religious, or economic circumstances was work on an object resumed or continued? What motivated premodern actors to alter an object? Who carried out this work – and how were these individuals perceived: as artists, artisans, creators, or restorers?

The aim of the panel is to take the forum’s theme – work – literally: as a visible, reconstructable, and contextualisable activity enacted upon medieval objects. In doing so, the panel contributes to ongoing discussions surrounding processes of making, object biographies, authorship, (inter)materiality, and the social embeddedness of artistic production.

 

(11) Working with Ivory – Material, Craftsmanship, Trade

Svea Janzen

Questions about work processes – concerning producers, techniques, and material-specific manufacturing possibilities – occupy a central position in the research of medieval ivory carvings. Over the past century, stylistic analysis has allowed for the geographical and chronological classification of numerous groups of artefacts, as well as the reconstruction of individual artists’ or workshops’ oeuvres. Based on these foundations and motivated by the growing interest in the artefacts of material culture within the ‘global Middle Ages’, ivory research has recently gained fresh momentum, leading to the expansion and refinement of questions and methods. The subject of ‘work’ with this precious raw material and its more accessible alternatives remains a central focus of scholarly investigation:

Research on sources and the trade of materials such as elephant tusk and walrus ivory has significantly advanced our understanding of major developments in ivory art, while studies of historical sources and the evaluation of archaeological contexts have provided a more nuanced picture of ivory-working trades and their clientele. Object-centred investigations into specific material processing have provided insights into production methods, ranging from custom work to serial production. Moreover, the incorporation of previously understudied everyday objects (mirrors, combs, etc.), as well as artefacts of lesser value made from more affordable surrogates (buttons, dice, etc.), offers significant potential to reconsider medieval everyday culture and the organization of craftsmanship. All these approaches inspire for further research; especially, in a research landscape traditionally divided into ‘Romanesque’ and ‘Gothic’ periods, the potential to address questions through a comparative perspective spanning the entirety of the Middle Ages still remains.

In this context, the session calls for contributions that explore all aspects of working with ivory and related organic materials (walrus and narwhal tusks, bone, antler, and horn) during the Middle Ages. Possible topics for discussion include: trade and availability of raw materials; production techniques and traces of work; steps of processing between different locations and crafts; output of individual workshops; the work organization and collaboration with other crafts; resources and use of the valuable raw material; ivory carvers operating within urban centres, courts, and ecclesiastical institutions; market for ivory artefacts (including patrons, clients, and intermediaries, etc.); and other related themes. Contributions are welcome from art historians, conservators, historians, and archaeologists alike.

 

(12) Coworking spaces – Collaborative working in the Middle Ages

Julia von Ditfurth

In contemporary coworking spaces, professionals from various fields come together to work in an inspiring working environment and to benefit from mutual exchange. A similar dynamic could already be observed in the workshops of Gothic cathedrals, where craftspeople from various trades shared a platform that encouraged interdisciplinary dialogue and laid the groundwork for artistic innovation. Although ‘Romanticism’ recognised the value of such collaboration, academic discourse split the ‘fine’ and ‘applied’ arts and overlooked their interplay in favour of isolated, media-specific approaches.

This section will explore the various forms of collaboration between stained-glass painters and other visual arts, examining the communicative coordination processes and reflecting on both its potential and limitations.

We welcome contributions that address the relationship between stained glass and architecture: As a medium inherently tied to architecture, stained glass required close coordination with architects and stonemasons. The visual correspondence of architectural framing in stained glass painting to the built architecture invites reflection on the exchange of designs. What role did stained-glass painters play in the creation of new decorative forms, and how did this involvement influence their working practices?

Submissions focusing on the subject of design and execution are particularly encouraged. Stained glass serves as a prime example of a transfer process, as its realisation always requires a preliminary design. While both design and execution were originally undertaken by a single person, growing specialisation in the late Middle Ages saw panel painters increasingly entrusted with the design. In regions where close collaboration between panel and stained-glass painters is documented (Strasbourg, Nuremberg and Augsburg), the active role of panel painters in execution and the adoption of painting techniques warrants further investigation. Can traces of this cooperation be detected in the surviving works through modern art-historical or technological analysis? What role did guild regulations play in shaping workshop practices? What rules governed collaboration, and where were boundaries clearly defined?

Finally, various late medieval written sources reveal that stained-glass painters often also worked as panel painters or manuscript illuminators. What artistic interactions took place across these media, and what was the specific organisational structure of such workshops?

 

(13) The Work of Goldsmiths

Rebecca Müller

At first glance, we seem to have ample information with which to understand the ‘work of goldsmiths’: the objects that come down to us are increasingly being examined in the spirit of an interdisciplinary ‘technical art history’, and texts such as the Schedula diversarum artium provide us with sources that encompass, among other aspects, practical and socio-artistic dimensions. Yet, outside of the few touchstone sources and objects, one can identify surprising desiderata when it comes to the actual conditions of goldsmiths’ work, particularly for the period before 1300: questions persist regarding training, degrees of specialization, geographical fields of activity, the procurement of materials and tools, and labor organization – all compounded by the often multifaceted nature of goldsmithery in terms of techniques and materials. This section invites both case studies and broader reflections on these themes, including from the fields of Islamic and Byzantine art history.

Possible topics include: What conclusions about the working process may be drawn from the objects themselves – whether from materials, techniques, toolmarks, alterations, etc., or from images and inscriptions? How did goldsmiths themselves give directives (e.g., offset marks), and to whom: the assembler or the user? Why might an object have been reused, discarded, or left unfinished? Historically, how have traces of the working process been interpreted? Also of relevance are the media involved in fabrication that remained separate from, or ‘invisible’ in relation to, the resulting object (e.g., drawings, fillings used in repoussé work, wooden cores).

How informative are written sources with respect to the production of goldsmiths’ work and its social contexts, such as the organization of workshops, the division of labor, and associated technical procedures? Particularly crucial is the issue of whether changes can be identified between the ‘Middle Ages’ and the ‘early modern period’, and thus whether the attribution of epochal differences is justified – a question that comes to bear also on the evaluation of goldsmiths’ art.

Submissions are welcome from all fields related to the work of goldsmiths, and especially from museums and conservation science.

 

(14) Textile Work in the Middle Ages: Production Processes between scientiae mechanicae and artes liberals 

Corinne Mühlemann

In the Middle Ages, textile work was among the most complex and economically significant branches of production. Situated at the intersection of artisanal specialization, artistic sophistication, economic relevance, and social attribution, it offers a rich field for the art-historical analysis of textile artefacts. This session addresses textile production from two interrelated perspectives: on the one hand, within the framework of historical systems of knowledge such as the scientiae mechanicae, and on the other, through material traces that provide insight into manufacturing processes.

Knowledge about raw materials, their processing and refinement through dyeing and other techniques goes back to antiquity and are recorded in texts such as Pliny the Elder’s “Naturalis historia” and Isidore of Seville’s “Etymologiae”. In the 12th century, Hugh of St. Victor defined lanificium – the science of textile production – as the first of the seven scientiae mechanicae, in parallel to the seven artes liberales, in his “Didascalicon”. Additional insight into textile production processes is offered by written sources from the Mediterranean, including documents from the Cairo Geniza, ḥisba treatises, and the «Trattato dell’Arte della Seta».

These sources provide detailed information about the complex workflows involved – from the procurement and transformation of textile fibers to the production and finishing of yarns, and finally to the creation of textile surfaces, such as woven fabrics or tapestries. These pieces could be the final products in their own right or further processed with increasing complexity – through painting/printing, embroidery, and/or tailoring – into furnishings, garments (both liturgical and ceremonial), or close-fitting clothing.

Counting and measuring were essential at every stage of production: while counting was indispensable in weaving (e.g. in setting up looms), precise measurements became especially relevant in trade and in tailoring. The variety of medieval metrological standards and the impressive lengths of woven pieces (coupons) point to specialized technical knowledge and a sophisticated division of labour. This is particularly evident in high-quality artistic products that employ seemingly restrictive techniques such as weaving. In this context, creative ambition can also be seen as a form of playful engagement with the artes liberales, e.g. in ‹free› techniques such as embroidery through a counted-thread or repetitive structure. Such choices may reflect a nuanced self-image on the part of the makers.

The session jointly developed by Caroline Vogt and Corinne Mühlemann invites contributions that explore material evidence and written sources shedding light on production processes, division of labour and the visibility of the artisans and artists involved in textile production, and their social status in medieval Europe and the Islamic world. We also welcome papers on the historiography of the field, especially regarding the perception and appreciation of textiles and their makers in art-historical discourse.

 

(15) Temposensorial Settings – Zeit und Sinnlichkeit im Kontext mittelalterlichen Arbeitens

Hanna Christine Jacobs

Against the backdrop of the fast-paced work of today's era of rationalization, digitalization, and AI, where routine tasks are completed with great haste on the one hand and work-induced flow experiences are celebrated on the other, this session asks about the conscious experience of time and sensuality in the context of medieval work and work-free “festive times” and their reflection in artworks of this era.

First, questions of time perception will be addressed: How can the conscious experience of time be described against the backdrop of the close connection between work and daily structure? Does the design of the artifacts reveal anything about the value of the category of time within their production, function, or reception? Where, how, and when do the works of art refer to the experience of time? To what extent do elaborate objects (such as hard stone carvings or goldsmith work) reflect the enormous amount of time that went into their production, and does this influence their reception? Does the temporal limitation with which objects are used in the context of ritualized actions influence their form? Can the traditional media concept of art history be expanded to include temporal, fluid, situational, and processual aspects?

Secondly, we focus on the aspect of sensuality in connection with the working process itself and with rituals that can be understood as a contrast to everyday work: How is the sensual experience taken into account in specific situations of use during production? How does it determine the material development of objects? How do multisensory material affordances guide the work on the pieces? And how and by what means do the objects become part of rituals that are staged as pauses from recurring work? How do those people who are not allowed to perform the liturgical or ceremonial acts participate through the craftwork they put into the objectsand their festive activation?

Thirdly, the section also wants to ask what opportunities for insight practical, sensually experienceable work with 3D printing, virtual reality, and other digital media offers for art historical research. Under these and other aspects of “temposensorial settings”, the section will examine the “working” steps involved in the production, use, and reception of medieval works of art.

 

(16) The object in focus – on the contribution of object autopsy to art historical research using goldsmithing as an example

Stephan Patscher

The surviving works of art from the Middle Ages also include works of goldsmithing. They are often characterised not only by the use of high-quality materials, but also by a high level of craftsmanship. Due to the relative resistance of precious metals and many decorative materials to degradation and corrosion processes, they are comparatively well preserved. This also applies to tool marks and other traces of manufacture and to signs of wear and tear caused by the use of the object in question. Accordingly, these objects of medieval treasure art can be subjected to an autopsy in order to scientifically determine the materials, identify the construction and recognise and analyse traces of manufacture and use.

But in what way can such an interdisciplinary autopsy contribute to actually expanding the level of art historical knowledge about an object or group of objects? To what extent does it allow conclusions to be drawn about the production process and thus about the technological and technical knowledge and skills at the time of creation? To what extent is it suitable for helping to resolve art historical disputes, for example regarding the integrity of an object, its use or even its place of origin? 

Welcome are contributions that can show exemplary how a broadly based autopsy of an individual object or groups of objects can answer questions from art studies such as those mentioned above.

 

(17) Working on the Original, Engaging the Public: Medieval Craft Traditions in the Contemporary Museum

Katja Triebe

In the Middle Ages, artists translated complex theological ideas into tangible forms, shaping key themes through their craftsmanship. Today, museums face both familiar and new challenges when presenting these works. Most medieval artefacts are fragile, often fragmentary, and displayed outside their original contexts within art-historical frameworks. At the same time, museums must justify their work to funders, sponsors, and increasingly diverse audiences with varying expectations.

Many visitors lack prior knowledge of medieval art. Religious imagery, liturgical functions, and theological content are no longer self-evident. Meanwhile, medieval themes are flourishing in popular culture –including video games, films, TV series, and novels – often with increasing historical sophistication. These media also influence how the Middle Ages are perceived within the museum context and are already being strategically employed to offer accessible yet substantively relevant pathways into medieval art. In this process, materials, historical working techniques, and tools often come to the fore in object interpretation. Might it be that artistic craftsmanship is what connects us across the centuries with sacred art?

Current exhibition practices vary widely, ranging from permanent displays and open storage to blockbuster shows and small-scale exhibitions. These presentations are often situated in dialogue with artworks from other cultures, contemporary art, and broader global discourses. Moreover, the museum's own working processes – such as provenance research and conservation – are becoming integral parts of the narrative. New strategies emphasise participatory, inclusive, and interdisciplinary approaches, supported by emerging scholar initiatives and cross-institutional collaborations.

Against this backdrop, the question arises: which aspects of medieval art are (or should be) conveyed through this diversity? Is this development beneficial or overwhelming – and for whom?

This session aims to examine how museums work with medieval art in order to explore potential answers. What constitutes effective mediation of medieval art today? Central to the discussion are questions of appropriate modes of presentation amidst the tension between conservation demands, religious sensitivity, digital transformation, and scholarly responsibility. For whom, and how, should museums operate today?

We warmly welcome practice-based reports, conceptual approaches, analyses, and visions!

 

(18) Recasting Byzantium: Tracing Work and Craftsmanship in Popular Culture

Antje Bosselmann-Ruickbie

This session addresses how Byzantine work and workmanship are reimagined in global popular culture across a variety of visual and literary media – including film, graphic novels, comics, video games, music albums, stage design, and costumes – and how they contribute to contemporary conceptions of Byzantium. These media often constitute the primary point of access to historical periods for the general public.

Central to our inquiry is the question of valuation: are these traces of work portrayed with historical specificity and contextual nuance, or are they freely interpreted? Do such representations reflect scholarly engagement with Byzantine arts and crafts, or do they uncritically perpetuate orientalist tropes, aesthetic eclecticism, and romanticised visions of a “lost” empire?

A compelling case in point is the Netflix series Vikings: Valhalla (2022–2024), which follows the eleventh-century Norseman Harald Hardrada to Constantinople. While certain architectural and topographical elements suggest engagement with accessible scholarly reconstructions, the depiction of material culture – and the traces of the elaborate workmanship behind it – from costume and military equipment to interior design and furniture, largely presents a hybridised collage of Byzantine, Western, Islamic, Ottoman, and modern design traditions, replete with clichés of oriental decadence and eroticism. The series thus oscillates between portraying Byzantium as historical reality and as medieval fantasy.

This example reveals the wide scope of artistic license in popular culture – arguably a form of craft in its own right – and raises critical questions about the dichotomy between historical accuracy and authenticity. This panel considers how Byzantine arts and crafts shape cultural memory, and how knowledge of material culture circulates, mutates, and acquires meaning beyond academic frameworks – informing aesthetic perception and memetic transmission. The growing use of Byzantium as a reference model reflects rising interest, but this contrasts with limited public knowledge – leaving ample space for imaginative, politicised, or ideologically charged projections. By including both visual and literary media, we highlight the breadth of this still underexplored yet increasingly relevant field.

Proposals from advanced students and scholars at all career stages are expressly welcome.

 

(19) Images that Operate: Representing Medical Knowledge & Labor in Medieval Scientific Manuscripts

Reed O’Mara

In medical texts like Roger of Salerno’s (c. 1080–1119) Surgery or John of Arderne’s (1307–1392) Fistula in ano, images of doctors and their patients—or simply parts of their bodies—visualize ailments and procedures in vivid detail. The roles such images as well as accompanying diagrams play in medieval scientific, especially medical, manuscripts from the later Middle Ages have yet to be fully analyzed. Their contextualization within the increasing professionalization of surgeons and other medical practitioners in the Middle Ages also remains to be seen. How these images and diagrams “work” in relation to and beyond the texts they accompany, and what they meant for the standardization of medical knowledge, including the development of its verbal and visual terminology, has only recently come under art historical investigation. The relationship between word, image, and the actual labor of medical practitioners and surgeons requires further study. Therefore, this session welcomes papers analyzing the creation, use, and reception of illustrated scientific works like, but not limited to, Fistula in ano, Galenic surgical treatises, and Robert of Salerno’s Surgery. Papers that investigate the shared medical traditions of Latin and Hebrew medical manuscripts are especially encouraged.

Guiding questions for papers include the following: how do the labors of the author, scribe, artist, and physician-reader in illustrated medical manuscripts all intersect? What are the limitations of using the term “illustrated” to describe such volumes? What is the necessity or value of having such robust and frequently repetitive image programs? What is the divide between the diagrammatic and the imagistic? What is the significance and purpose of diagrams within such volumes? What role does gender play in medical representation? How do the images and diagrams themselves perform and operate? How are patients and doctors alike figured and conceptualized within these image cycles and what is the cultural backdrop of these representations?

 

(20) Labours of the Month – The Occupational Calendar

Gia Toussaint

In the rural society of pre-modern times, work was largely linked to the cycle of the year with its seasons and their specific climatic conditions and challenges. A fixed system of activities structured the entire year from January to December and made work a cyclically recurring activity. These activities are visualized in the "labours of the month", images that portray the work that had to be completed in a specific month, such as the grape harvest in September.

Labours of the Month cycles have been preserved in manuscripts since Carolingian times. Their integration into liturgical and paraliturgical manuscripts indicates the importance of the calendar structured by Christian festivals and saints' days with specific work associated with them. While work came to a standstill on high Christian festivals, saints' days were proverbially associated with certain activities (e.g. ‘St. Martin brings the cattle into the stable’ on 11 November). In this way, the rough monthly division was thoroughly organized down to the smaller units of (saints') days and was additionally linked to the favourable influence of certain saints, whose blessings were implored for the work to be done. In addition, work was linked to cosmological influences, as each month was dominated by a specific sign of the zodiac and an individual position of the moon and sun, whose specific powers had an effect on nature and humans. Work, seasons, celestial bodies and saints' days formed a fixed unit that had to be recognized and implemented anew throughout the course of the year.

Calendars illustrated with monthly tasks were effective teaching aids and offered practical and religious guidance. They placed working people in a God-given order in which every job had its place. However, this section will not only discuss calendars in manuscripts, but also examine the function of monthly tasks on church portals and furnishings (e.g. Chartres). How is work depicted in the image sources: as drudgery, as a source of meaning, or even as pleasure? Was the work depicted adapted to specific groups of recipients? Were only “godly” activities worthy of being depicted, or were trades on the margins of society also represented? How relevant are the accompanying texts in classifying the depictions of work, or can the images stand on their own?

 

(21) Tricks of the Trade: The Visual and Material Dimensions of Medieval Sex Work

Rowanne Dean

(sponsored session ICMA)

In his vita of the “saved prostitute” (turned “crossdressing” ascetic) St. Pelagia, James the Deacon describes how Nonnus, a bishop of Antioch, reproaches his male religious peers for averting their eyes from the courtesan’s beauty and bodily adornment. He implores them to instead comprehend her as an exemplative lesson: just as Pelagia lavishes time and attention to the work of decorating her body for her lovers, so too, should the bishops prepare their souls for their eternal Bridegroom. In the Golden Legend, Pelagia is similarly said to have “painted herself so meticulously” that she should be brought forth on the day of Judgment against those who take little care to please their heavenly Spouse. Though here a courtesan’s cosmetic labor is analogized in positive terms, the work involved in providing commercial sexual gratification was, by turns, merely tolerated and actively vilified in medieval theological, literary, and legal discourse. Building on the classic studies of Ruth Karras, Leah Lydia Otis, and Jacques Rossiaud, among others, recent scholarship has considered the visual dimensions of medieval sex work in various ways. Judith M. Bennet and Shannon McSheffrey have discussed female “crossdressing” in late medieval London, which was associated with sex work; Jess Bailey has analyzed depictions of disabled sex workers in the drawings of Urs Graf; and Jelle Haemers has examined the material culture of prostitution in the late medieval Southern Low Countries. This session aims to further explore the question of how sex work was thematized in medieval material and visual culture. How were sex workers represented? How were they thought to represent themselves? And how were viewers implicated in their visual apprehension? Paper proposals might explore the following topics: the visual marking of the prostitute’s body through garment regulations and sumptuary laws; the question of sex work as a craft or trade; representations of brothels; notions of illusion and deception in discussing sex workers; relationships between sex-work and (visible) gender non-conformity; the idealization and/or vilification of (feminized) sex workers’ beauty; sex work and cosmetics or bodily adornment; iconographic traditions such as the Prodigal Son with prostitutes or the Whore of Babylon.

 

(22) “By the sweat of your brow you will eat” and create(?): Ritual and creative implications of medieval representations of the labours

Vladimir Ivanovici

Over the twelfth century, labours associated with each month of the year began to be depicted in prominent locations of Christian buildings and on key liturgical furnishings, namely cathedral portals and windows, baptismal fonts, and church pavements and columns. Replacing or accompanying depictions of the zodiac constellations – for which Christians had continued to use the polytheistic imagery inherited from the Romans – the new images of the labours signalled a changed perspective on work, as various types of physical work were presented as joyful activities. Past research focused on the iconographic formulas and explored their socio-political implications, as instruments meant to appease social unrest and confirm the status quo of medieval communities. This session invites papers that explore instead the ritual and creative dimensions of the images. Considering their locations and the rituals performed there, papers should inquire how the representations were integrated into or contributed to the experience, whether strictly religious (i.e., baptism) or the varied, civic and religious celebrations performed in front of cathedral portals decorated with images of the works. In addition, we invite contributions that investigate how the new outlook on work that the images promote might have influenced the creative efforts that characterise this period. In particular, we are interested to see how the transformation of the symbol par excellence of humanity’s fall – i.e., the physical labour required of Adam (Gen. 3.19) – into a testimony of one’s contribution to the cosmic order established by God inspired the creative efforts of this period. Ultimately, this session invites us to ponder whether the development and dissemination of the Gothic style would have been possible without a changed perspective on work, given that Suger’s St. Denis already contained the representation of the monthly labours.

Call for Submissions for Edited Volume: The Senses and the Elements: Water, Fire, Air and Earth as Sensorial Triggers in Medieval Religious Contexts, Due by 15 Oct. 2025

Call for submissions

Edited Volume

The Senses and the Elements: Water, Fire, Air and Earth as Sensorial Triggers in Medieval Religious Contexts

Due by 15 October 2025

The four elements are inextricably tangled to human life, and therefore to social history. Recent scholarship on ecocritical theory has indeed increasingly turned to an exploration of the agency of natural elements (Bennet 2010). This methodological framework has been fruitfully applied to the study of the past, for example in the pioneering work of Harris (2014), and in more recent studies such as the two volumes of The Elements in the Material World (2024), dedicated respectively to Earth and Water. Nevertheless, research that considers all four elements together as an integrated whole remains scarce, particularly in relation to their role as active agents within religious contexts, where they shape and mediate human experience. To address this gap, the ERC SenSArt project organized several sessions as part of the RSA Conference in Boston, held in March 2025. Building on the lively interest these discussions generated, we now aim to publish a volume entirely devoted to the intersection of the elements and the senses, with the goal of advancing this emerging field.

Within this approach, this book will examine the role played by the elements (water, fire, air, earth) in shaping medieval objects and sacred spaces, as well as in enhancing both the individual and collective experiences of the holy in the Mediterranean basin, broadly conceived to include Western Europe, the Middle East and the Byzantine Empire. We are interested in how these elements affected bodily sensations, influenced behaviors and mindsets, and were harnessed or incorporated into religious experiences as a whole. Water, for instance, played a key role in monastic environments, but was also integrated into processions -for instance, those in 15th-century Brittany following real and symbolic routes connected to the sea or to fountains-, thus shaping the faithful’s encounter with the divine. Similarly, the movement of air through liturgical fans, or monumental censers, such as the one in the Cathedral of Santiago of Compostela in Galicia (Iberian Peninsula), profoundly affected the sensory experience of celebrating and attending mass. Fire too made its presence felt through the light of candles and in the warmth produced by handwarmers, while earth could be carried home by pilgrims as a tangible token of their journey to the Holy Land.

To investigate these dynamics, we encourage potential contributors to draw on a wide range of sources -textual, visual, material, and beyond- and to consider the multisensorial dimensions of the human experience triggered by the elements.

The volume will be published in Gold Open Access within the editorial series The Senses and Material Culture in a Global Perspective (Brepols, https://www.brepols.net/series/SENSART), and will be edited by Teresa Martínez Martínez and Zuleika Murat. The initiative is connected to the ERC research project SenSArt – The Sensuous Appeal of the Holy. Sensory Agency of Sacred Art and Somatised Spiritual Experiences in Medieval Europe (12th-15th century), G.A. nr. 950248, PI Zuleika Murat (https://sensartproject.eu/).

Essay Length:

  • 8,000–10,000 words (including footnotes and bibliography).

Proposal Submission

Please submit by 15 October 2025:

  • provisional chapter title

  • abstract (maximum 300 words)

  • short CV.

Send proposals to zuleika.murat@unipd.it and teresa.martinez@unipd.it

Notification and Timeline

  • Notification of acceptance: 3 November 2025.

  • Full chapter due: 22 March 2026 (8,000–10,000 words).

Peer review: double-blind; authors will receive reports and a revision schedule thereafter.

Guidelines: Author instructions and style guidelines will be provided to accepted authors.

We particularly encourage submissions from scholars at all career stages and welcome interdisciplinary approaches that connect art history, history, religious studies, archaeology, philology, musicology, and related fields.

Call for Applications: Graduate Attendance Grant, Index of Medieval Art Conference, Due 1 Oct. 2025

Call for Applications

Index of Medieval Art Conference

Graduate Attendance Grant

Due 1 October 2025

Hrabanus Maurus, In honorem sanctae crucis, Fulda or Mainz, 820–840. Österreichische Nationalbibliothek, Cod. 652, fol. 17v, det.

The organizers of the upcoming Index conference “Art and Proof in the Ninth Century” are pleased to offer a student travel grant to attend the conference in person. The grant will support attendance by one non-Princeton student who wishes to attend the conference but lacks the financial resources to do so. Up to $500 will be offered in reimbursement for travel and accommodations. Preference will be given to students whose institutions do not offer travel funding, who are not currently supported by a research fellowship, and who would be traveling from outside a 120-mile radius of Princeton. Applicants are asked to send a letter of application that identifies their institutional affiliation, year of study, and research area. They should describe how attending the conference will contribute to their studies, identifying the relevance of the conference topic to their own research and the speakers in whose work they are most interested. They should affirm that they do not have institutional or fellowship funding to support their travel to the conference, and they may, if they wish, include other details about factors that make such travel prohibitive for them. They should append a c.v. and the name of an advisor or other faculty member who is willing to be contacted about their application. Please send all relevant materials to fionab@princeton.edu no later than October 1, 2025.

For more information, visit https://ima.princeton.edu/conferences/

Lecture: Bordered and Bespoke: African, Asian, and European Entanglements in the Silk Objects of Walé Oyéjidé and Geoffrey Chaucer, Andrea Denny-Brown, University of Wisconsin-Madison, 3 Oct 2025, 5pm

Public Lecture

Bordered and Bespoke: African, Asian, and European Entanglements in the Silk Objects of Walé Oyéjidé and Geoffrey Chaucer

Andrea Denny-Brown

University of Wisconsin - Madison

Elvehjem L140

3 October 2025, 5 pm

This talk will explore the entangled medieval histories offered by the silk textile collection of contemporary designer Walé Oyéjidé and his fashion label Ikiré Jones. Oyéjidé’s “Remastering the Old World” silk textile series creates an alternative history centered on combining medieval and renaissance European artworks with African prints and images of African royalty, in order to pose questions about the possibility of a “shared” fashion narrative that crosses national, racial, religious, and even temporal borders. Using Oyéjidé’s work as a guide, I will consider the storytelling legacies of the silk textiles in late medieval Europe. Geoffrey Chaucer’s Trojan romance Troilus and Criseyde, I argue, represents a moment when overtly exoticized silk fashions in crusader romances give way to more refined literary and visual citations based in an emerging perception of discerning European taste. Looking at this narrative through Oyéjidé’s vision, we can see one cultural mechanism by which past aesthetics came not to be shared.

Andrea Denny-Brown, Associate Professor of English at the University of California, Riverside, is a specialist in the poetry and material culture of the European Middle Ages. She is the author of Fashioning Change: The Trope of Clothing in Highand LateMedieval England (2012) and the co-editor, with Lisa H. Cooper, of Lydgate Matters: Poetry and Material Culture in the Fifteenth Century (2008) and The Arma Christi in Medieval and Early Modern Material Culture (2014). She served as guest editor for a double issue of the journal Exemplaria on “The Provocative Fifteenth Century” (2017-18), and as editor of the same journal from 2018-2021. Her current book project, Criminal Ornament: Maligned Style & the Fifteenth Century, studies interdisciplinary techniques of ornament in late medieval verbal, visual, and decorative arts and the backlash against such ornament in the early twentieth century.

Co-Sponsored by the Anonymous Fund, English, the Nancy M. Bruce Center for Design and Material Culture, Art Department, ILS, European Studies, and the Department of Art History.

For more information, visit https://medievalstudies.wisc.edu/upcoming-events/

Exhibition: The Nature of Gothic: Reflecting the Natural World in Historic and Contemporary Artistic Practice, Blackburn Museum & Art Gallery, England, 13 Sept. 2025 - 13 Dec. 2025

Exhibition

The Nature of Gothic: Reflecting the Natural World in Historic and Contemporary Artistic Practice

Blackburn Museum & Art Gallery

Blackburn, England

13th September – 13th December 2025

Inspired by John Ruskin’s phrase “the nature of gothic”, this exhibition explores how artists across centuries have represented the natural world.

From Blackburn’s Hart collection of medieval and Islamic manuscripts, works from the Arts and Crafts Movement, including: ceramics, textiles, Private Press Books, and works by the Pre-Raphaelite Brotherhood. Contemporary artistic responses further demonstrate the influence of the natural world.

The exhibition is part of the outcomes from the Museum’s National Portfolio Organisation (NPO) status, awarded by Arts Council England, as part of a wider story of cultural renewal in Blackburn.

‘The Nature of Gothic’ has also been supported by the Brian Mercer Trust, and by loans from a wide range of museums and galleries across the UK.

Once shaped by industrial wealth, Blackburn is now redefining its identity through art, heritage and community partnerships.

For more information, visit https://blackburnmuseum.org.uk/whats-on/the-nature-of-gothic/

Exhibition Closing: Les Très Riches Heures du duc de Berry, Château de Chantilly, France, 7 June 2025 - 5 Oct. 2025

Exhibition Closing

Les Très Riches Heures du duc de Berry

Château de Chantilly, Institut de France

Chantilly, France

7 June to 5 October 2025

© RMN-GP

Les Très Riches Heures du Duc de Berry is the most famous manuscript in the world. Described as the ‘Mona Lisa’ of manuscripts, this collection of offices and prayers made especially for the Duke of Berry, brother of King Charles V of France, is a testament to the splendour and artistic refinement of the late Middle Ages.

Produced throughout the 15th century, this exceptional work was illuminated by the Limbourg brothers, distinguished artists affiliated with the courts of Burgundy and Berry, whose work profoundly transformed the course of art history. Consisting of 121 miniatures, Les Très Riches Heures capture the imagination with their depictions of historic castles, noble scenes and seasonal work in the fields that have shaped our perception of the Middle Ages.

To celebrate the restoration of this masterpiece, which has only been shown to the public twice since the end of the 19th century, an international exhibition has been set up, featuring almost 150 exhibits from all over the world. The exhibition provides visitors with an insight into each stage of the creation of the Très Riches Heures over almost a century and explains why the manuscript is still so popular.

For more information, visit https://chateaudechantilly.fr/en/evenement/les-tres-riches-heures-du-duc-de-berry/

Exhibition Closing: Another History of The Book of Hours, Château de Chantilly, France, 7 June 2025 - 6 Oct. 2025

Exhibition closing

Another History of The Book of Hours

Château de Chantilly, Institut de France

Chantilly, France

7 June to 6 October 2025

The Present Hours for the Use of Tournai are complete, without omissions. Printed in Paris for Simon Vostre around 1512 The Parable of Lazarus and the Rich Man, hand-colored woodcut. © Musée Condé

As an extension of the major exhibition devoted to Les Très Riches Heures of the Duke of Berry, the Reading Room presents a remarkable collection of over fifty Books of Hours, both manuscripts and printed editions, dating from the late 12th to the 19th century. These once-overlooked works now reveal the rich and fascinating history of a treasured book form that was both dreamt of and venerated.

What can be found in the Books of Hours? How, by whom and where are they created? Why are they so important in the history of art and books in general? All the questions that might be asked about books of hours are addressed in the works on display.

For more information, visit https://chateaudechantilly.fr/en/evenement/another-history-of-the-book-of-hours/

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

New Exhibition

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/,

Call for Papers: Cambridge Medieval History Graduate Workshop for Michaelmas Term 2025 (Virtual and In-Person), Due by 29 Sept. 2025

Call for Papers

Cambridge Medieval History Graduate Workshop for Michaelmas Term 2025

Virtual and In-Person

Due by 29 September 2025

The Cambridge Medieval History Graduate Workshop is inviting paper submissions for Michaelmas term 2025. We host presentations on the cultures, economies, literature, material cultures, politics, thought, religions, and reception of the medieval world, which we define as broadly as possible as the global period between c.500 and c.1500. We welcome interdisciplinary scholarship and encourage submissions which stretch our conception of ‘medieval’ in
time or space, from late antiquity to modern reception and from Scandinavia to the Middle East and beyond, or which deal with the practice of medieval history.

These short 15–20-minute workshop papers are excellent ways to share your work, gain presentation experience, and receive constructive feedback in a supportive environment run for and by graduate students. In terms of scope, we are looking for focused studies that offer snapshots into ongoing graduate research, and particularly encourage primary source work and case studies, rather than sweeping overviews of large topics or summaries of entire dissertations/theses.

We welcome submissions from Master’s and PhD students from any discipline or university, but especially encourage graduate students based in or around Cambridge to submit. Accepted speakers will have the opportunity to be featured on our blog, Camedieval. The Workshop meets alternate Thursdays, 4–5 :30pm, with the option of virtual attendance on Microsoft Teams for audience members. In each session we will have two 15–20-minute papers, followed by in-person socialising and refreshments.

Please send abstracts of not more than 250 words and a short bio by 29th September 2025 to: cambridgemedieval@gmail.com.

For more information, visit https://medieval.ox.ac.uk/2025/09/11/cfp-cambridge-medieval-history-graduate-workshop/

Exhibition: Retablos II: Spanish Paintings and Polychromed Sculpture from the 13th to 16th Centuries, Sam Fogg Gallery, London, 18 Sept. 2025 - 17 Oct. 2025

Exhibition

Retablos II

Spanish Paintings and Polychromed Sculpture from the 13th to 16th Centuries

Sam Fogg Gallery, London, England

18 September - 17 October 2025

The late medieval period was a time of extraordinary artistic dynamism in the Spanish kingdoms. Among its most remarkable expressions was the retablo, a type of fixed monumental altarpiece unique to the Iberian Peninsula. Positioned behind the altar table and completely filling the apse in a display of brilliant colours and shimmering gold leaf, Spanish retablos reached towering dimensions, combining panel paintings, polychromed sculptures and sumptuous traceried frames. Their scale, presence, and graphic depiction of the lives and deaths of the Christian saints made them the visual and spiritual focus of Spanish churches, framing the liturgy and guiding devotion. 

Over the centuries, many retablos were dismembered as a result of renovation, changing taste, or simple decay. Most have been scattered across private collections and museums right around the world, a process which, paradoxically, often ensured their survival. Following the success of the gallery's first exhibition of Spanish late-medieval retablos in 2019, this new iteration brings together eighteen panel paintings alongside five polychromed sculptures created by artists working in the wealthy northern Spanish kingdoms of Castile and Aragon between around 1250 and 1520. Selected highlights from the exhibition can be seen below, by scrolling down this page, but a complete digital catalogue of the exhibition is available upon request. 

The arresting, inventive, and iconographically complex works of art brought together for this new exhibition all reflect the rich and rapidly changing artistic climate that characterised the Iberian Peninsula during the period. The earliest paintings in the group vividly document the influence of the so-called 'International Gothic' style with its decorative stylisation, rich colour and lavish application of gold, which persisted in Spain longer than anywhere else in Europe. As we move through the fifteenth century however, we begin to discern new models and innovations introduced from Northern Europe through trade routes, itinerant artists and the circulation of drawings and prints. Rather than abandoning tradition, artists and workshops right across Spain adapted to change in remarkable, creative ways, assimilating foreign influences and transforming them into a distinctive Iberian style which, though regionally diverse, stands out for its material richness and complexity. Collectively, these astonishing and arresting works of art help to shine a searing light on the extraordinary artistic splendour of medieval Spain as it developed and evolved from the end of the Romanesque to the birth of the Renaissance.

For more information, visit https://www.samfogg.com/exhibitions/64/

Gallery Reopening: Arms and Armor Galleries, Worcester Art Museum, MA, 22 November 2025

Gallery Reopening

Arms and Armor Galleries

Worcester Art Museum, MA

Opens 22 November 2025

Image: Concept design rendering for the forthcoming arms and armor galleries. Courtesy TSKP x IKD.

Building a new home for a beloved collection

Work is currently underway on the Worcester Art Museum’s new Arms and Armor Galleries, opening on November 22, 2025. Through innovative design solutions and immersive displays, the new 5,000-square-foot galleries will allow visitors to explore more than 1,000 objects from the Museum’s Higgins Armory Collection, the second largest of its kind in the country. 

For more information about the opening, visit https://www.worcesterart.org/about/campus-transformation/arms-and-armor-gallery/

For more information about the Arms and Armor Galleries, visit https://www.worcesterart.org/exhibitions/arms-and-armor/

Call for Submissions: Season 5 of The Multicultural Middle Ages Podcast (MMA), Due by 15 Oct. 2025

Call for Submissions

Season 5 of

The Multicultural Middle Ages Podcast (MMA)

Due By 15 October 2025

After four successful seasons, The Multicultural Middle Ages Podcast (MMA) will return for its fifth in 2026. Sponsored by the Medieval Academy of America, MMA is an anthology-style podcast that seeks to continue conversations and generate new avenues of inquiry related to the Middle Ages that emphasize the period’s diversity and the scholarship related to it. We highlight thoughtful reflections on culturally responsible approaches to the study of the Middle Ages (expansive beyond western Europe) and its afterlives.

We invite proposals from individuals and collaborators of all ranks and disciplines, especially graduate students, for single podcast episodes aimed at fellow medievalists and the wider public.

Possible topics include, but are not limited to, the following:

  • innovative methodological/disciplinary approaches to the Middle Ages

  • the future of medieval studies

  • research on the multicultural, multiracial, and multiethnic Middle Ages

  • discussions of recent scholarship

  • archival discoveries

  • academic activism and responses to misappropriations of the Middle Ages

  • pedagogical approaches

  • medievalisms

  • medieval culture in contemporary political and public discourse

  • cultural heritage and approaches to curating exhibitions of the Middle Ages

Possible formats may include narrative expositions, interviews, textual analysis, visual analysis, oral performances, and panel discussions.

No previous experience with podcasting is required. The Graduate Student Committee of the MAA has hosted several podcasting workshops, which are now available on the MAA YouTube channel. If accepted, an MMA team member will support you through the episode development process and post- production.

To help us assess the project’s potential, your submission should include a brief description (500 words) of your proposed episode, noting the following:

  • the chosen topic and its relevance

  • the plan for adapting the topic to a podcast medium (we encourage 35–45 min. episodes but also welcome proposals for shorter or longer episodes)

  • the episode format (interview, narrative, etc.) with an outline of its structure

  • if you require technical assistance to realize the episode (by facilitating an interview, helping record the episode, or taking care of the audio editing)

Please also include each author’s name and CV.

Submit your proposals and any questions to mmapodcast1@gmail.com and Loren Cantrell (lorenlee325@gmail.com) by October 15, 2025.

Full call available on the website: https://www.multiculturalmiddleages.com/


The Multicultural Middle Ages Podcast Production Team

Will Beattie | wbeattie@nd.edu

Jonathan Correa Reyes | jonatcr@clemson.edu

Loren Easterday Lee Cantrell | lorenlee325@gmail.com

Reed O’Mara | reed.omara@gmail.com

Logan Quigley | quigleylogan@gmail.com