Lecture: Beyond Text: Objects and Manuscripts in Sacred Storerooms across Medieval Africa, Dr. Ariel Fein, at University of Minnesota, Minneapolis, 6 Nov. 2025 7:00-8:30PM

Carl Sheppard Memorial Lecture in Medieval Art History

Beyond Text: Objects and Manuscripts in Sacred Storerooms across Medieval Africa

Dr. Ariel Fein

1210 Heller Hall, 271 19th Ave S, University of Minnesota, Minneapolis, MN 55455

Thursday 6 November 2025 | 7 - 8:30 PM

The Cairo Geniza has long been celebrated as an accidental archive of “sacred trash”—a repository where medieval Jews deposited worn texts bearing God’s name. But what if this narrative of passive preservation of manuscripts obscures a more dynamic reality? Alongside manuscripts, the Geniza also preserved Torah ark doors, dedicatory panels, and carved inscriptions that moved between the synagogue’s walls and the storage chamber across centuries. This material reality—long overlooked in favor of textual treasures—reveals a broader phenomenon across medieval Africa. From the Great Mosque of Kairouan, where precious Qur’ans shared space with chandeliers, woodcarvings, armor, and manuscript chests, to Ethiopian monasteries preserving textiles beneath parchment deposits, to Coptic churches assembling new sanctuary screens from centuries-old wooden fragments, religious communities across the Mediterranean world stored objects and texts together in sacred repositories. Drawing on new evidence from Jewish, Islamic, and Christian sites, this lecture reveals how the medieval Mediterranean and Africa were connected through unexpected practices of material preservation—and what these practices tell us about memory, devotion, and the very nature of the sacred in the medieval world.

Ariel Fein is an art historian specializing in the visual cultures of Byzantium and the Islamic world, with a particular focus on intercultural and interreligious relationships across the Mediterranean. Her forthcoming book, Refugee to Kingmaker: George of Antioch and the Shaping of Norman Sicilian Visual Culture, examines how a twelfth-century Arab-Christian refugee rose from displacement to become Norman Sicily’s most influential administrator and cultural innovator. Her current project, Medieval Wood Networks, investigates the circulation, consumption, and preservation of decorated wooden objects across the Mediterranean, including extensive research on the carved furnishings of Cairo’s Ben Ezra Synagogue. Her research has been supported by the Institute for Advanced Study, the Metropolitan Museum of Art, the Bard Graduate Center, the Medieval Academy of America, and the Mary Jaharis Center for Byzantine Art and Culture. Dr. Fein received her PhD from Yale University and holds degrees from the Courtauld Institute of Art and Barnard College.

The Carl Sheppard Lecture is an annual lecture in honor of the late Carl Sheppard, former University of Minnesota professor of medieval European art history. Begun in 2012 and held every fall, the Carl Sheppard Memorial Lecture in Medieval Art History celebrates the richness and diversity of global medieval art by inviting an internationally-renowned scholar to the University of Minnesota. The event is open to the University community and the general public.

If you would like to make a gift, you can contribute to the Carl Sheppard Memorial Fund through the University of Minnesota Foundation. 

This event is cosponsored by the James Ford Bell Library and the Center for Jewish Studies.

For more information and to register, visit https://cla.umn.edu/premodern/news-events/events/beyond-text-objects-and-manuscripts-sacred-storerooms-across-medieval-africa

Curator Roundtable: Sing a New Song: The Psalms in Medieval Art and Life, The Morgan Library & Museum, 17 Sept. 2025 6-7 PM

Curator Roundtable

Sing a New Song: The Psalms in Medieval Art and Life

Gilder Lehrman Hall, The Morgan Library & Museum, New York, NY

Wednesday, 17 September 2025, 6–7 PM

Chanting Clerics, from the Windmill Psalter, England, London, late thirteenth century. The Morgan Library & Museum, MS M.102, fol. 100r (det).

Tickets: Free; advance registration is required.

Join curators Roger Wieck, Deirdre Jackson, Joshua O’Driscoll, and Frederica Law-Turner to explore the exhibition’s themes and objects. Moderated by art historian Lucy Freeman Sandler, the discussion will delve into the Psalms’ origins, the uses of Psalters in daily life, and the curatorial process.

The Hebrew Book of Psalms is a collection of sacred poems that constitute the longest and most popular book of the Bible. These poems include expressions of lament and loss, petitions and confessions, as well as exclamations of joy and thanksgiving— universal themes that speak to what it means to be human. The exhibition Sing a New Song: The Psalms in Medieval Art and Life traces the impact of the Psalms on men and women in medieval Europe from the sixth to the sixteenth century.

The program takes place in Gilder Lehrman Hall on the Ground Floor. Doors to the Hall will open 30 minutes before the program begins. Attendees are invited to view Sing a New Song: The Psalms in Medieval Art and Life from 5:30-6 PM.

Please e-mail public_programs@themorgan.org with questions about accessibility.

For more information and to register, visit https://www.themorgan.org/programs/curator-roundtable-sing-new-song-psalms-medieval-art-and-life

Lecture: Mirror of Eternity: The Croce Dipinta and the Franciscans Between Medieval and Renaissance, Holly Flora, at Boston College, 23 Sept. 2025 6-7pm and reception

The Annual Josephine von Henneberg Lecture in Italian Art

Mirror of Eternity: The Croce Dipinta and the Franciscans Between Medieval and Renaissance

Professor Holly Flora

Tuesday, September 23

6:00–7:00 pm, with reception to follow

McMullen Museum of Art, Boston College, Chestnut Hill, MA

Free; Open to the public; McMullen Museum of Art, 2101 Commonwealth Avenue, Room 111

The McMullen Museum and the Art, Art History & Film Department welcome Holly Flora, Professor of Art History at Tulane University, whose work sheds new light on the legendary artist Cimabue, revealing his sophisticated engagement with complicated intellectual and theological ideas about materials, memory, beauty, and experience. 

Holly Flora's scholarly work explores the themes of narrative, imagination, materiality, and gender in the devotional art of late medieval and early Renaissance Italy. Flora authored The Devout Belief of the Imagination: the Paris Meditationes Vitae Christi and Female Franciscan Spirituality in Trecento Italy (Brepols, 2009) and was recently awarded the Premio San Francesco from the Pontifical University of Saint Anthony (Antonianum) in Rome for her book Cimabue and the Franciscans (Brepols, 2018). She is also co-editor, along with Sarah S. Wilkins, of Art and Experience in Trecento Italy: Studies from the Andrew Ladis Memorial Conference in New Orleans, and is co-editor of the book series Trecento Forum. She is also co-editor with Peter Toth of The Meditationes Vitae Christi Recosidered: New Perspectives on Text and Image (Brepols, 2021). Her articles have appeared in a number of journals, including Gesta, Ikon, Studies in Iconography, Art History, and I Tatti Studies, as well as several edited volumes of essays. She has received a number of research fellowships, including awards from the American Association of University Women, the Metropolitan Museum of Art, the Scuola Normale Superiore in Pisa, Italy, the Samuel Kress Foundation, and the International Center of Medieval Art. In 2010-11 she was appointed the Millicent Mercer Johnsen Rome Prize Fellow in Medieval Studies at the American Academy in Rome and in 2015-16 she was the Jean-Francois Malle Fellow at the Harvard Center for Renaissance Studies at Villa I Tatti in Florence.

Co-sponsored by the Art, Art History, & Film Department and the McMullen Museum of Art, Boston College

For more information, click here.

Lecture: Extracting the Past: How the ‘AI’ Industry Exploits Art History and What We Can Do to Stop It, Sonja Drimmer, at Wesleyan University (CT), 16 Sept. 2025 4:30 pm

Lecture

Extracting the Past: How the ‘AI’ Industry Exploits Art History and What We Can Do to Stop It

Sonja Drimmer

Tuesday, September 16, 2025 at 4:30pm

Boger Hall, Room 112, 41 Wyllys Avenue, Wesleyan University, Middletown, Connecticut

Free and open to the public.

Sonja Drimmer, Associate Professor of Medieval Art at the University of Massachusetts Amherst, will discuss the relationship between artificial intelligence and the practice of art history in the lecture “Extracting the Past: How the ‘AI’ Industry Exploits Art History and What We Can Do to Stop It.”

Over the last several years, universities and museums have partnered with commercial technology firms like Google, Microsoft, and Meta, who have promised that their AI products will enhance both historical research and accessibility to historical collections. These promises, however, are not supported by the reality of what computer vision—the branch of AI most relevant to the history of art—can achieve. So why have major institutions in education and the arts been so quick to take up these firms' offers?

This talk responds to this question by providing an introduction to computer vision’s origins in military surveillance, an overview of its development under late capitalist regimes of exploitative micro-labor, and an orientation to how computer vision works. However, the main focus of this talk is not what computer vision does. Rather, Drimmer considers the culture of the AI industry, its main objectives, and the dangerous vision for the future that it promises—and whether those promises are credible or even in good faith. This vision for the future has relied on extracting history, and art history in particular, and Drimmer argues that it is our responsibility as art historians to be knowledgeable about the forms this extraction takes. Drimmer concludes with suggestions about what we can do to protect the subjects and practitioners of our discipline, as well as education in the humanities more broadly, against this incursion. Drimmer does not intend an intransigent rejection of a given technology; rather this talk articulates a challenge that is grounded in knowledge of the historical origins and corporate practices of the AI industry today.

Drimmer is Associate Professor in the Department of the History of Art and Architecture at the University of Massachusetts Amherst. A scholar of medieval European art with expertise in illuminated manuscripts and early print, Drimmer's longstanding interests in premodern notions of reproduction, replication, and media theory have led her to move beyond the medieval world and focus on the relationship between modern technology--from photography to artificial intelligence--and the history of art. Her first book, The Art of Allusion: Illuminators and the Making of English Literature, 1403–1476 (UPenn, 2018) is the first study devoted to the origins of the English literary canon as an illustrated corpus, and it received High Commendation for Exemplary Scholarship from the Historians of British Art. She is currently completing a monograph titled Impressive Politics: Print before the Press in Late Medieval England. Her writing on AI has appeared in both public and academic venues, including Artforum, The International Journal for Digital Art History, The Conversation, Art in America, and Art News.

Sponsored by the Samuel Silipo ’85 Distinguished Visitors Fund, Department of Art and Art History, Department of Mathematics and Computer Science, and the Medieval Studies Program.

For more information, visit https://www.wesleyan.edu/cfa/events/2025/09-2025/09162025-sonja-drimmer.html

Call for Papers: Journeys — Borders — Encounters, SASMARS Biennial International Conference (2-6 Sept. 2026, Stellenbosch, South Africa), Due by 31 Dec. 2025

Call for Papers

The Southern African Society for Medieval and Renaissance Studies (SASMARS) Biennial International Conference

Journeys — Borders — Encounters

Mont Fleur Conference Venue, Stellenbosch, South Africa, 2-6 September 2026

Due by 31 December 2025

We are pleased to announce that the 27th Biennial International SASMARS Conference will be held from 3 to 6 September 2026 at the Mont Fleur Conference Venue in Stellenbosch, South Africa.

Papers for this interdisciplinary conference may cover any period within the Middle Ages and Renaissance, in any geographical space, and deal with any area of interest or discipline that could be relevant to the topic “Journeys — Borders — Encounters”.

Ideas to consider could include, but need not be limited to:

  • Travel and migration

  • Spiritual journeys and pilgrimage

  • Trade routes, trade, and trade goods

  • Encounters between cultures, peoples, religions, and the like

  • Physical or metaphorical boundaries

  • Maps and map-making

  • Evirnoments and ecology

  • Medicine and medical knowledge exchange

  • Intellectual and textual encounters and exchanges

  • War and campaigning

Proposals should consist of a title and abstract of up to 250 words, as well as the author’s name, affiliation, contact details, and a brief biography of no more than 100 words. Papers should be no longer than 20 minutes when read (approximately 2,500 words) and will be followed by a Q and A.

Please submit proposals to Carin Marais (samedrensociety@gmail.com) by 31 December 2025. Any enquiries can be sent to the same email address.

Our keynote speaker for the 2026 conference will be Professor Jordi Sánchez-Martí of the University of Alicante, Spain.

Professor Sánchez-Martí, B.A. (Jaume I), M.A. (Bristol), Ph.D. (Cornell) is a professor in English Literature and a Partner Principal Investigator on Re-mediating the Early Book: Pasts and Futures (REBPAF). Professor Sánchez-Martí has a particular interest in Middle English romances and their transmission, as well as Iberian books of chivalry in English translation and their circulation.


Please click for the conference details. More information and contact details on the SASMARS Facebook page and website.

Call for Papers for Special Session: Queer(ing) Medieval Art (2): New Queer Notations: Glimpses, Sketches, Fledgling Ideas, ICMS Kalamazoo 2026, Due by 15 Sept. 2025

call for Papers for Special Session

Queer(ing) Medieval Art (2)

New Queer Notations: Glimpses, Sketches, Fledgling Ideas

61st International Congress on Medieval Studies

Western Michigan University, Kalamazoo, MI

May 14-16, 2026

Due by 15 September 2025

Fledgling ideas and reflections on queer(ing) medieval art often begin as glimpses and sketches. Scholars regularly set these “small” discoveries or field notes aside in the hopes of returning to them later or building them into larger, more formalized projects. This exploratory session invites speakers to share in-progress research or potential new approaches to queer medieval studies, with the aim of fostering generative conversations and collaborations. Following five to six lightning papers (max. 10–12 minutes), the session organizers will act as respondents and discussion facilitators. We invite participants to return to those provocative, marginal, or fugitive pieces of visual and material culture they have yet to “solve,” and to expand the possibilities and directions of the field.

To reduce barriers, this session is being offered in a hybrid format. Speakers are welcome to present virtually or in person.

Please submit proposals, including an abstract of no more than 100 words, via the ICMS-Kalamazoo Confex website by September 15, 2025: https://icms.confex.com/icms/2026/prelim.cgi/Session/7381

Questions? Contact Kris Racaniello (kris.racaniello@gmail.com) or Erika Loic (eloic@fsu.edu).

Call for Papers for Session: Queer(ing) Medieval Art (1): Queer Spatiality, ICMS Kalamazoo 2026, Due by 15 Sept. 2025

Call for Papers for Session

Queer(ing) Medieval Art (1)

Queer Spatiality

61st International Congress on Medieval Studies

Western Michigan University, Kalamazoo, MI

May 14-16, 2026

Due by 15 September 2025

De balneis Puteolanis, Italy, ca. 1400 (New York, Morgan Library and Museum, detail of MS G.74 fol. 19r)

Centering the relational as subject, this session defines spatiality through the interpersonal and intermedial, seeking papers addressing queer places and spaces. Although typically evocative of architectural studies, we envision "Queer Spatiality" as an expansive category, encompassing a variety of subfields, including performance studies, sensory studies, and textual studies. This session seeks papers addressing the places and spaces where queer people moved, lived, died, bathed, and made. Where was medieval queerness practiced, resisted, felt out, negotiated, managed, materialized, forbidden, or visualized?

Presenters might address how liquid waterworks or textile architectures shaped queer medieval identities and communities, discussing, for example, caravansaries or bathhouses, or soundscapes generated by itinerant sexworkers' pavilions. How did class factor into making and archiving queer space? Other subjects might include the production of queer olfactory zones, "unsettled" living or settlement rejection (broadly defined, from migration to enslavement), burial settings as utopian community building, explorations of the materials, construction methods, and iconographies that characterized or archived these spaces and architectures, etc. We particularly welcome papers with a secular/non-Christian medieval queer or Trans* focus and especially papers on lesbians/wlw.

*The ICMA is able to offer Kress Foundation reimbursements for this session for domestic travel up to $600; overseas travel up to $1200: https://www.medievalart.org/kress-travel-grant

Please submit proposals, including an abstract of no more than 100 words, via the ICMS-Kalamazoo Confex website by September 15, 2025: https://icms.confex.com/icms/2026/prelim.cgi/Session/7380

Questions? Contact Kris Racaniello (kris.racaniello@gmail.com) or Erika Loic (eloic@fsu.edu).

Please consider submitting to one of two Queer(ing) Medieval Art sessions at Kalamazoo! This IN-PERSON session is sponsored by the ICMA (reimbursements for domestic travel up to $600; overseas travel up to $1200).

Call for Papers for Special Session: Contesting the Sacred: Profanation, Theft, and Claims over Religious Images, ICMS Kalamazoo 2026, Online Event, Due by 13 Sept. 2025

Call for Papers for Special Session

Contesting the Sacred: Profanation, Theft, and Claims over Religious Images

61st International Congress on Medieval Studies

Western Michigan University, Kalamazoo, MI

May 14-16, 2026

Online Event

Due by 13 September 2025

This session investigates the complex dynamics involving sacred images and relics in the medieval period, focusing on profanation, theft, and disputes over ownership that reshaped their spiritual, social, and cultural significance. It examines acts of contestation that challenged established hierarchies and redefined sacrality. The panel will explore how medieval communities negotiated power, devotion, and identity through their relationships with sacred objects, with particular emphasis on the intertwined role of images and relics in religious life and social contexts.

Interdisciplinary contributions are encouraged, particularly in art history and anthropology. Through in-depth case studies covering various media, geographic areas, and historical periods, participants will analyze both symbolic meanings and practical implications of possession and contestation. The session will explore the social, legal, and theological frameworks that shaped late medieval perceptions of ownership, sacrality, and profanation, highlighting their role in conflicts and negotiations surrounding sacred objects.

This session aims to provide a nuanced understanding of how medieval societies engaged with sacred images and relics beyond veneration. It will highlight the cultural, devotional, and political tensions underpinning these interactions, offering new perspectives on authority, piety, and subversion within the medieval religious landscape.

Scholars are invited to submit a 300-word abstract, excluding references. Proposals should also include name, affiliation, email address, the title of the presentation, 6 keywords, a selective bibliography, and a short CV. Please send the documents to kalamazoocallforpapers@gmail.com by September 13, 2025.

NEW AVISTA Book: American Gothic: Reflections on Gothic Scholarship in America 1925–2025

NEW AVISTA Book

American Gothic: Reflections on Gothic Scholarship in America 1925–2025

Edited by Robert Bork

The Association Villard de Honnecourt for the Interdisciplinary Study of Technology, Science, and Art (AVISTA) are excited to announce the publication of the 18th volume in our Brill series, AVISTA Studies in the History of Medieval Technology, Science, and Art, with "American Gothic: Reflections on Gothic Scholarship in America 1925–2025," edited by Robert Bork.

Use code DGBCONFC for 35% off the list price through October 31st, 2025, here: https://brill.com/display/title/72359

This book chronicles the contributions of American scholars to the study of European Gothic architecture. It traces this history through a series of biographical case studies of major figures ranging from Arthur Kingsley Porter to Robert Branner and Jean Bony to Caroline Bruzelius, calling attention to their influence as mentors and to the character of their professional networks. These biographical chapters are supplemented by thematic essays and a roundtable discussion of current issues in the field. Altogether, the book explains how working from overseas presents both significant challenges and valuable perspectives, allowing American scholars to enrich dialog in the field.

Call for Papers: Medievalism in Time and Space, The International Society for the Study of Medievalism Annual Conference (Nov. 14-15, 2025), Online, Due by 15 Sept. 2025

Call for Papers

The International Society for the Study of Medievalism Annual Conference

Medievalism in Time and Space

Fully Online

November 14-15, 2025

Due by 15 September 2025

Hosted by Anita Obermeier and the Institute for Medieval Studies at the University of New Mexico

Medievalism is the reception of the Middle Ages in postmedieval times—as well as the ongoing invention, reinvention, construction, and reconstruction of the global medieval past, broadly defined.

Just as Arthurian legend, Beowulf, Norse/Viking myth, and The Thousand and One Nights are continually reinvented, so too are Arabic sīras, Indian epics and Bhakti/Sufi traditions, and Chinese classical novels and poetry—each reshaped to meet modern cultural, national, and global needs.

We welcome proposals that explore:

  • Medievalisms in Time and Space: temporalities and their relations; interior/psychic spaces, contested spaces, real and imagined geographies, Outer Space, and trans-temporalities.

  • Trans-Medievalisms (broadly conceived): e.g., transgender medievalisms, transformative medievalisms, transgressive medievalisms, and other “trans-” crossings of period, genre, medium, and place.

While we encourage work engaging these themes, papers on any aspect of medievalism are welcome.

Submission: Please submit your proposal via the Google Form below by September 15, 2025.
Queries: Angela Weisl (angela.weisl@shu.edu) or Michael Evans (michaelevans@delta.edu)
Submission Form: We may charge a nominal fee of $30 to faculty, but we will not charge international participants with undervalued currencies. For folks outside of the USA, Canada, and Europe, participation is for free.

Call for Papers for Session: Disability Studies in Byzantium: Toward Inclusive Futures, IMC Leeds 2026, Due By 12 Sept. 2025

Call for Papers for Session

Disability Studies in Byzantium: Toward Inclusive Futures

Leeds International Medieval Congress, 6-9 July 2026

Due by 12 September 2025

Disability Studies offers powerful tools for interrogating embodiment, normativity and lived experience, all of which can be traced in the textual, material and visual record of Byzantium.

Despite this potential, the field has only just begun to be explored. This panel seeks to highlight the richness of Byzantine evidence and to showcase how productive disability-focused approaches can be.

Disability in Byzantium was neither fixed nor uniform. This panel foregrounds the historical and cultural specificity of how disabled bodies were perceived, represented, and regulated across time. By tracing these shifting understandings in texts, art, and archaeology-we also engage the broader theme of temporality, asking how disability in Byzantium shaped and was shaped by change over time, whether at the scale of history or individual lives.

We welcome proposals from all disciplines within Byzantine studies, including but not limited to history, art history, theology, archaeology, philology, and manuscript studies.

Possible topics include, but are not limited to:

• Disability and social status

• Disability and gender

• Disability and the lifecycle

• Disability, pain, suffering, and violence

• Disability, gain, pleasure, and aesthetics

Please send proposals for 20-minute papers (in English), including a title, an abstract (max. 250 words) and a brief CV (max. 2 pages) to marossi@princeton.edu by September 12, 2025. Include "Disability Studies in Byzantium: Proposal" in the email subject line.

Organisers: Yorgos Makris (University of British Columbia), Maroula Perisanidi (University of Leeds), and Maria Alessia Rossi (Princeton University)

Call for Papers for Session: Birgitta of Sweden and her Legacy, IMC Leeds (6-9 July 2026), Due By 14 Sept. 2025

Call for Papers for Session

Birgitta of Sweden and her Legacy

International Medieval Congress, Leeds, UK

6 July 2026 - 9 July 2026

Due by 14 September 2025

Revelationes caelestes, Lübeck: Bartholomaeus Ghotan, before 1492, f. 288v (München, BSB, 2 Inc.c.a. 2689)

No medieval conference without Birgitta, right? For International Medieval Congress - University of Leeds, we invite papers investigating all aspects of time in the life, works, and afterlife of Birgitta of Sweden, as well as the history of the Birgittine Order.

Possible themes:

  • Times in Birgitta's works (depictions of past and contemporary historical events, sacred history, or visions)

  • Birgittine piety in connection with time

  • The novelty of Birgitta's work and teaching

  • The afterlife of Birgitta (canonisation, veneration, criticism, or postmedieval representations)

  • Innovations and changes in the Birgittine monasteries

  • Relationships of Birgittine monasteries to Birgitta

We are deliberately aiming broadly now and will narrow the session(s) depending on your suggestions.

Please send an abstract of around 200 words and a brief biography by 14 September 2025 to Iliana Kandzha (ilk@hum.ku.dk) and Barbara Müller (barbara.mueller@uni-hamburg.de). We will let you know by the end of September; if relevant, the bursary application deadline is 15 October.

Keynote for Index of Medieval Art Conference: Art as Proof: Statues and High Relief as Ideological Statements at the Time of the Image Controversy, c.750–850?, Francesca Dell’Acqua, 5 Dec. 2025 5-6PM

Weitzmann Lecture—Keynote for Dec. 6 Index of Medieval Art Conference

Art as Proof: Statues and High Relief as Ideological Statements at the Time of the Image Controversy, c.750–850?

Francesca Dell’Acqua

Università di Salerno – DISPAC

Princeton University, Princeton, NJ

Friday, December 5, 2025, 5:00 pm – 6:00 pm

Virgin Mary, ’effigiem . . . in statum’, gilt silver, embossed, commissioned by Pope Paul I (757–67), artistic impression; ©Matilde Grimaldi for Francesca Dell’Acqua, 2025.

At a synod convened by Emperor Louis the Pious in Paris in November 825, Frankish clerics debated the correct use of images in churches. After carefully considering texts and the traditions of the Church, they confirmed the long-attested view that the Incarnation (the pivotal Christian doctrine that God took on human form in Jesus Christ) legitimizes images. They also established that images should neither be worshiped nor destroyed. In fact, images could be used to instruct people about religion and morals and to elevate the mind to spiritual things. In this lecture I shall limit myself to considering the presence of high-relief and three-dimensional images in repoussé metalwork or other media in western churches before and after the Paris Synod, in the period of the image controversy (c.720s–850). Generally lost, high-relief and three-dimensional images are recorded in written sources.

High-relief and three-dimensional images from Rome, Gaul/Francia, England, and Langobardia have occasionally been mentioned in studies on early medieval art, either to retrace the re-birth of three-dimensional statuary or to discuss image worship. They have also been occasionally construed as attestations of iconophilia, that is an attitude in favor of sacred images. Whether this kind of image might have functioned as an ideological statement should be evaluated not only by considering the specific circumstances in which they were situated, but also the broader body of evidence offered by written sources and material culture between the fourth and the ninth centuries in various regions of the West. I set out to do this in my paper.

For more information, visit https://artandarchaeology.princeton.edu/whats/events/art-proof-statues-and-high-relief-ideological-statements-time-image-controversy-c750

Save the Date: Index of Medieval Art Conference, Art and Proof in the Ninth Century, 6 December 2025

Save the Date

Index of Medieval Art conference

Art and Proof in the Ninth Century

6 December 2025

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

Please save the date for the next Index of Medieval Art conference, “Art and Proof in the Ninth Century.” Organized by Professors Beatrice Kitzinger and Charlie Barber in collaboration with the Index and co-sponsored by the Department of Art & Archaeology, the conference will follow on the department’s 2025 Kurt Weitzmann Memorial Lecture by Francesca dell’Acqua (Università di Salerno) on December 5, which will double as the conference keynote.

The springing point of the conference is December 825, when the city of Paris witnessed a synod devoted to the discussion of the status of images in the Carolingian world. This meeting, convened in response to flare-ups of the “image question” in Constantinople and Rome, set forth a Latin Christian understanding of images that would remain dominant in early and high Medieval Europe. The dossier affirmed the value of images as mnemonics and devotional aids but ultimately re-asserted the primacy of verbal media in the religious sphere. However, as the conference speakers will show, artistic evidence itself suggests that ninth-century approaches to the role of images complicated and exceeded those prescribed for them by the bishops at Paris.

Prof. dell’Acqua’s lecture will directly address the Roman–Frankish context in which the Paris synod unfolded. The papers that follow will dramatically expand the lens through which we view the central questions by considering the notion of proof in the ninth century through a much wider lens, reaching from the British Isles to Japan and from Georgia to Egypt and representing a wide range of languages and religious communities. Key themes include: the terminology surrounding images and their uses; questions of representation, semiotics, authenticity and truth; propositions that need proving and their modes of proof; the functions and status of images in society, and how these are secured; how occasions for image discussion reflect on local circumstances and priorities; ways in which discussing the validity of images intersects with politics, diplomacy, or self-fashioning; whether the notion of proof in relation to images, which emerged from a specific Christian and European moment, resonates in other contexts; and whether a more global perspective provides different valences for the concept of “proof” through artwork.

Scheduled speakers

Francesca Dell’Acqua [Weitzmann Lecture, Dec. 5, 2025] Associate Professor, Università di Salerno

Andrea Achi, Associate Curator, Metropolitan Museum of Art

Nourane Ben Azzouna, Associate Curator, Metropolitan Museum of Art

Anouk Busset, Lecturer, Université de Lausanne                   

Zsuzsanna Gulacsi, Professor, Northern Arizona University

Rachel Saunders, Assistant Professor, Princeton University

Alexei Sivertsev, Professor, DePaul University

Erik Thunø, Professor, Rutgers University                     

Anca Vasiliu, [Respondent] Director of Research, CNRS, Sorbonne Université

The conference schedule and other details will be posted in the fall. We hope you can join us!

For more information, visit https://ima.princeton.edu/2025/06/17/save-the-date-for-the-next-index-conference-art-and-proof-in-the-ninth-century-dec-6-2025/

Department of Art & Archaeology Lecture Series: Like the Dawn of Creation: Byzantine Fragments in the Queer Imagination, Roland Betancourt, at Princeton University, 2 October 2025 4:30-6:00 PM

Department of Art & Archaeology Lecture Series

Like the Dawn of Creation: Byzantine Fragments in the Queer Imagination

Roland Betancourt

University of California, Irvine

Thursday, October 2, 2025, 4:30 pm – 6:00 pm

East Pyne Building 010, Princeton University, Princeton, NJ

Film still of Suddenly, Last Summer (1959). Courtesy of the Victoria & Albert Museum. 

This talk explores how Byzantium operates as a queer cipher in modern culture, appearing as an adjectival modifier, “the Byzantine,” rather than as a distinct historical referent. Analyzing Gore Vidal’s 1959 adaptation of Tennessee Williams’s Suddenly, Last Summer, I demonstrate how Byzantine references encode queer identity through the film’s absent protagonist, whose unspeakable sexuality mirrors Byzantium’s own unintelligibility. Drawing on extensive archival research, I show how “the Byzantine” articulated coded queerness for these writers and artists. My talk proposes reimagining Byzantine art history through modes of “queer fragmentation,” recognizing Byzantine elements across temporal boundaries. 

Roland Betancourt is currently the Andrew W. Mellon Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art and Chancellor’s Professor, Department of Art History, at the University of California, Irvine. His book, Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages, won the Jerome E. Singerman Prize from the Medieval Academy of America. His next book is Disneyland and the Rise of Automation (Princeton University Press, 2026). 

For more information, visit https://artandarchaeology.princeton.edu/whats/events/dawn-creation-byzantine-fragments-queer-imagination

Online Lecture: Ancient India: sacred stone, British Museum, 18 Sept. 2025, 12:30-13:30 ET (17:30-1830 BST)

Online Lecture

British Museum

Ancient India
sacred stone

18 September 2025, 17.30–18.30 BST (12:30–13:30 ET)

Join award-winning earth scientist Dr Anjana Khatwa in conversation with Dr Sushma Jansari, curator of the Ancient India: living traditions exhibition, as they discuss the sacredness of rock.

Rock is an often-invisible aspect of our natural world – a backdrop to our busy lives that exists silently, unseen and unrecognised. But for thousands of years on the Indian subcontinent, it has been seen as sacred – imbued with the spirit of Ma Dharti, Mother Earth.

The 21 incarnations of Ma Dharti take shape in wondrous forms, from Parvati, goddess of the Himalaya mountains, to a small rocky outcrop in a temple worshipped as the goddess Shitala. Even the red quartz pebbles found in the Narmada River in India are considered sacred, seen as representations of Lord Shiva. These belief systems align with other cultures across the world – where animacy, life and spirit is present even in inanimate aspects of the natural world. In this talk, Khatwa reframes our relationship with the geological landscape by drawing together science, Indigenous knowledge and wisdom from global majority cultures.

This event is part of the Art History Festival 2025 organised by the Association for Art History. It's also part of the public programme supporting the exhibition Ancient India: living traditions (open until 19 October).

For more information and to book tickets, visit https://www.britishmuseum.org/events/ancient-india-sacred-stone

Exhibition: Ancient India: Living Traditions, British Museum, 22 May - 19 Oct. 2025

Exhibition

Ancient India
living traditions

British Museum

22 May – 19 October 2025

Volcanic stone Ganesha from Java, Indonesia, about AD 1000-1200.

Where does the image of the beloved and playful Hindu god Ganesha, with his elephant head and rounded belly, originate? What inspired depictions of the serene Buddha and Jain enlightened teachers?

Reaching back more than 2,000 years, this new exhibition explores the origins of Hindu, Jain and Buddhist sacred art in the ancient and powerful nature spirits of India, and the spread of this art beyond the subcontinent.  

One of the first major exhibitions in the world to look at the early devotional art of India from a multi-faith, contemporary and global perspective, it will highlight the inspiration behind now-familiar depictions of the deities and enlightened teachers of these world religions – and how they were shared across the Indian Ocean to Southeast Asia and along the Silk Roads to East Asia.  

Colourful, multi-sensory and atmospheric, this exhibition was developed in collaboration with an advisory community panel of practising Hindus, Buddhists and Jains. These living religious traditions and their sacred art are now integral to the daily lives of almost two billion people around the world including in the UK. Key loans from our community partners help to tell this contemporary story.    

The exhibition will showcase more than 180 objects – including sculptures, paintings, drawings and manuscripts – from the South Asian collection at the British Museum as well as generous loans from national and international partners. It will highlight provenance, examining the stories, from creation to acquisition by museums, of every object in the show.  

From the symbolic footprints which preceded portrayals of the Buddha in human form to the cosmic serpents incorporated into Hindu art and the nature spirits who attend Jain enlightened teachers, this compelling exhibition tells the ancient stories behind these living traditions.  

For more information, visit https://www.britishmuseum.org/exhibitions/ancient-india-living-traditions

Exhibition: Knights, Pointe-à-Callière, Old Montréal, 22 May 2025 - 19 October 2025

Exhibition

Knights

Pointe-à-Callière, Old Montréal (Québec), Canada

May 22nd, 2025 — October 19th, 2025

An exceptional collection introducing you to the world of chivalry

They have left their mark on history, literature, and legends... And still today, knights, their legacy, and their traditions remain a source of endless fascination.

The Knights exhibition brings these legendary figures back to life through an exceptional selection of objects, including the collection of European weaponry and armour from the Stibbert Museum in Florence, Italy. Complete suits of armour, helmets, swords, shields—most of the pieces on display are true masterpieces, bearing witness to the expertise of the era’s artisans.

From battlefields to royal courts, the exhibition explores the various aspects of the knights’ life—their training, their equipment, their code of honour, their role in military actions and in the societies of the Middle Ages and the Renaissance.

Having become symbols of bravery and honour around the 12th century, knights were prominent figures in feudal society, putting their status on display at tournaments and within the court. The exhibition invites visitors to experience “castle life” by exploring such themes as courtly love, a woman’s place in this masculine world, leisure activities, and religious aspects.

A true immersion into the world of knights, with some 250 objects on display.

A unique experiential zone

The Knights exhibition features an area designed to give all visitors a chance to experience the knighthood by trying on pieces of equipment, gauging the weight of armour, wielding a sword, and taking on a few challenges worthy of the greatest tournaments! Interactive stations will also allow you to follow the journey of a young knight and design your own coat of arms.

A famous copy of the Mona Lisa at the Museum!

A truly exceptional piece will be on display in the exhibition: a copy of the Mona Lisa, created between 1600 and 1625. Remarkably faithful to Leonardo da Vinci’s original work, this painting is one of the jewels of the Stibbert Museum’s collection. It offers a rare opportunity to view and admire a reproduction of such high quality.

The Knights exhibition is produced by Pointe-à-Callière, Montréal’s Archaeology and History Complex, in collaboration with the Stibbert Museum and Contemporanea Progetti.

Form ore information, visit https://pacmusee.qc.ca/en/exhibitions/detail/knights/

Upcoming Exhibition: Medieval | Renaissance: A Dialogue on Early Italian Painting, McMullen Museum of Art, Boston College, 2 Sept. 2025 - 7 December 2025

Upcoming Exhibition

Medieval | Renaissance: A Dialogue on Early Italian Painting

Daley Family Gallery, McMullen Museum of Art, Boston College, Chestnut Hill, MA

September 2, 2025–December 7, 2025

Umbria or Marche, Croce dipinta, ca. 1295. Tempera and metals on panel. The Frascione Collection.

The closing centuries of the Middle Ages in Italy witnessed profound transformations in the art of painting. New techniques gave way to an expanded repertoire of formats and artistic styles; patronage systems and workshop practices evolved in tandem with reassessments of the merit of authorship; and long-standardized criteria for value and authenticity in representation were steadily redefined. These paradigm-shifting developments—exemplified in Early Italian painting—ramified into the academic study and connoisseurship of the nineteenth and twentieth centuries, creating a blurry line between the Medieval period and early modernity that has proven difficult to shake.

Medieval | Renaissance foregrounds this distinction, exhibiting nineteen rarely shown works from the Frascione Collection in Florence, founded in 1893. Featuring devotional icons, altarpiece panels, narrative scenes, and portraits from the late thirteenth through early sixteenth centuries, the exhibition charts innovations in the craft and conceptualization of painting in Italy after 1300. These paintings represent a liminal epoch between the later Middle Ages and the Early Renaissance, whose works and artists are shared—even “claimed”—by two divergent art historical fields, “Medieval” and “Renaissance,” with their own cultures, questions, and interpretive methods.

Curated by John Lansdowne and Stephanie C. Leone, specialists in Medieval and Renaissance art, respectively, the exhibition invites viewers to contemplate the works through two distinct art historical lenses and from either side of a long-standing and long-debated disciplinary divide.

Organized by the McMullen Museum, Medieval | Renaissance has been underwritten by Boston College with major support from the Patrons of the McMullen Museum.

For more information, visit https://mcmullenmuseum.bc.edu/exhibitions/medieval-renaissance/

Conference: Medieval + Monsters: MAM, MAMA, and IMA Joint Conference with The Newberry Library, Dominican University & The Newberry Library, 17-18 Oct. 2025 (In-Person & Online)

ConFerence

Medieval + Monsters: 
MAM, MAMA, and IMA Joint Conference with The Newberry Library

October 17 & 18, 2025

Dominican University, River Forest, IL & the Newberry Library, Chicago, IL

In-Person & Online

Two workshops will be offered at the Newberry on Saturday, October 18. Registration is limited to 20 participants; please sign up for a workshop on the registration form. Learn more.

Les Enluminures have invited Saturday participants of our Medieval + Monsters Conference for a brief tour and introduction to their manuscripts. Learn more.

For more information about the conference, visit https://www.dom.edu/medieval-monsters-conference

To register for the conference visit, https://www.dom.edu/medieval-monsters-conference-registration-form

Please note: Registration for the Conference includes the Keynote Speech.

To register only for the keynote by author Maria Dahvana Headley, click here.