Medieval Art Research

Job: Full Professor of History of Art and Architecture (500-1500), Radboud University, deadline 2 May 2023

Are you an innovative, experienced and inspiring scholar in the field of the history of art and architecture between 500-1500? Do your research and teaching explore cross-cultural connections and expand or complicate the geographical and cultural boundaries of the ‘medieval’? As a full professor at Radboud University, you will join and lead a diverse group of dedicated scholars, shape the field of art and architectural history, and flourish in a friendly and vibrant academic community.

We warmly invite you to browse our vacancy and apply! You would preferably begin employment between 1 September 2023 and 1 January 2024.

Find out more and apply here.

Colloquium: Revisiting the Cloisters Cross: A One-day Colloquium, Courtauld Institute of Art, Vernon Square, London, Friday 12th May 2023, 10.30am-6.30pm (BST)

The Cloisters Cross is widely recognised as a masterpiece of late Romanesque art. Carved of walrus ivory, it appeared after World War II in a private collection and was subsequently acquired by the Metropolitan Museum in New York. The earliest scholarly publications identified it as English, and that probably remains the majority opinion. However, over the years, other attributions have been suggested. What has become clear in the process is that the Cross merits study in the broad intellectual and artistic context of northern Europe, from the Ile de France up to Scandinavia, and England across to Germany.

This one-day colloquium, jointly held by the British Archaeological Association and The Courtauld, will review and extend the debates about the origins and history of the Cloisters Cross. Speakers include Charles T. Little, Sabrina Harcourt-Smith, Robyn Barrow, Miri Rubin, Neil Stratford, Cecily Hennessy and Sandy Heslop.

Organised by Cecily Hennessy and Sandy Heslop on behalf of the British Archaeological Association.

Registration cost includes lunch and refreshment

More information can be found here.

Purchase your tickets here.

Programme

10.30 to 11.00 Coffee and registration (Reception and Research Forum Seminar Room)

11.00-11.10 Welcome: John McNeill and Tom Nickson (Lecture Theatre 2)

11.10-12.40 Session 1, Chair: Lloyd de Beer

Charles T. Little: ‘Through a glass darkly’: Seventy Years of Understanding and Misunderstanding the Cloisters Cross

Sabrina Harcourt-Smith: Reflections on the Cloisters Cross in a preaching context

12.40—1.40 Lunch (provided – Research Forum Seminar Room)

1.40-3.20 Session 2, Chair: Jessica Barker

Robyn Barrow: Split Tooth: The Cloisters Cross and the Walrus Tusk

Neil Stratford: The British Museum and the Cloisters Cross

Miri Rubin: ‘Synagoga, agnus dei’ and the Cloisters Cross

3.20-3.40 Tea break (Research Forum Seminar Room)

3.40-5.10 Session 3: Chair: Richard Plant

Cecily Hennessy: The Cloisters Cross and the Sphere of Henry the Lion and Matilda of England

Sandy Heslop: The Oslo Corpus and the Cloisters Cross Revisited

5.10-5:40 Final Discussion

5.40-6.30 Drinks (Research Forum Seminar Room – generously supported by Sam Fogg)

Online Lecture: ‘Chôra and the Creation of Sacred Space in Byzantine Architecture’ with Jelena Bogdanović, Thursday 30 March 2023, 12pm (EDT)

Thursday, March 30, 2023 | 12:00 PM EDT | Zoom

The Mary Jaharis Center for Byzantine Art and Culture is pleased to announce the final lecture in its 2022–2023 lecture series.

Can we talk about Byzantine architecture beyond buildings? What is at stake?

This presentation engages with the scholarly opportunities for theoretical considerations of sacred architecture in light of Byzantine intellectual and creative practices. Primarily focusing on principles of architectural design, sacred space is highlighted here not as an abstract category nor as a specific sacred place or location but rather as a combination of the two. As such, sacred space points to a historical and evocative locale and associated events; yet it remains inseparable from its essential qualities. By revisiting the architectural design of Byzantine churches, this talk will demonstrate the meaningful relations between created sacred space and the faithful, between physical objects in space, and the significance of non-material aspects of built structures in communicating the vitality of architectural form as a kind of participatory icon of space. Especially important is the philosophically and architecturally suggestive concept of chôra (χώρα) and its cognate hypodochē (υποδοχή), originally introduced by Plato in his instrumental text Timaeus. This presentation will analyze the relevance of chôra and hypodochē for understanding the modes of creation of sacred space and religious architecture in the late antique and Byzantine Mediterranean.

Jelena Bogdanović (Ph.D. Princeton University) is an Associate Professor of History of Art and Architecture and Classical and Mediterranean Studies at Vanderbilt University. She studies cross-cultural and religious themes in the architecture of the Balkans and Mediterranean.

Advance registration required at https://maryjahariscenter.org/events/chora-and-the-creation-of-sacred-space

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

Online Lecture: ‘Divine King or Sacrilegious Upstart? The Portrait of Emperor Yǝkunno Amlak in Gännätä Maryam’ with Jacopo Gnisci, Tuesday 21 March 2023,12:00pm (EDT)

East of Byzantium is pleased to announce the next lecture in its 2022–2023 lecture series.

In the third quarter of the thirteenth century Yǝkunno Amlak led a rebellion against the Zagwes – a line of Christian rulers who had been in control of most of the Empire of Ethiopia since at least the first half of the twelfth century. He initiated a line that would rule the country until the twentieth century: the Solomonic dynasty. Apart from these general facts, we know relatively little about the life of the first emperor of this dynasty. In this paper I hope to further our understanding of Yǝkunno Amlak’s reign and visual strategies by focusing on his only known contemporary portrait in the church of Gännätä Maryam. By analysing this image in its wider setting, I aim to shed some light on its socio-political background and reflect on the reactions it might have triggered.

Jacopo Gnisci is a Lecturer in the Art and Visual Cultures of the Global South at University College London and a Visiting Scholar in the Department of Africa, Oceania, and the America at the British Museum. He is the co-Principal Investigator of the projects Demarginalizing medieval Africa: Images, texts, and identity in early Solomonic Ethiopia (1270-1527) (AHRC Grant Ref. no. AH/V002910/1; DFG Projektnummer 448410109) and Material Migrations: Mamluk Metalwork across Afro-Eurasia (Gerda Henkel Stiftung).

Advance registration required. Register: https://eastofbyzantium.org/upcoming-events/

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

An East of Byzantium lecture. EAST OF BYZANTIUM is a partnership between the Mashtots Professor of Armenian Studies at Harvard University and the Mary Jaharis Center that explores the cultures of the eastern frontier of the Byzantine empire in the late antique and medieval periods.

Call for Sessions: Mary Jaharis Center Sponsored Panel, 49th Annual Byzantine Studies Conference, deadline 3 April 2023

As part of its ongoing commitment to Byzantine studies, the Mary Jaharis Center for Byzantine Art and Culture seeks proposals for a Mary Jaharis Center sponsored session at the 49th Annual Byzantine Studies Conference to be held at Simon Fraser University in Vancouver, Canada, October 26–29, 2023. We invite session proposals on any topic relevant to Byzantine studies.

The conference will be in-person only.

Session proposals must be submitted through the Mary Jaharis Center website. The deadline for submission is April 3, 2023.

If the proposed session is accepted, the Mary Jaharis Center will reimburse a maximum of 5 session participants (presenters and chair) up to $800 maximum for scholars based in North America and up to $1400 maximum for those coming from outside North America. Funding is through reimbursement only; advance funding cannot be provided. Eligible expenses include conference registration, transportation, and food and lodging. Receipts are required for reimbursement. Participants must participant in the conference in-person to receive funding. The Mary Jaharis Center regrets that it cannot reimburse participants who have last-minute cancellations and are unable to attend the conference.

For further details and submission instructions, please visit https://maryjahariscenter.org/sponsored-sessions/49th-bsc.

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

CFP: ‘Visualizing Drugs & Dyes: Art & Pharmacology in (Early) Medieval Worlds (600–1400)’ conference at Basel University, deadline 2 April 2023

International Conference, Basel University, 4-6 September 2023

Organized by:

Theresa Holler (Basel University)
Hannah Baader (Kunsthistorisches Institut in Florenz – Max-Planck-Institut/Berlin)
Andrew Griebeler (Princeton University)

Plants have long shaped the material practice and imagination of pharmacy. Far more than animals or minerals, plants and their products were central to medicine in premodern epistemologies. Over centuries, images and imaginings of vegetal materia medica played a profound role in human conceptions of and interactions with the natural world. In many ways, they continue to do so. Conversely, the therapeutic efficacy of plants and their products impacted broader visual and material cultures and practices. Thus, premodern pharmacological techniques interacted with the practices of image-making, artistic processes, and art.

Notwithstanding this close, underlying relationship between art and pharmacology in surviving medieval texts on healing and pharmacy produced between the 7th- 14th century, visualizations of medical substances have not yet sufficiently been the focus of art historical studies. Images of plants and their pigments and dyes, invite further investigations into their epistemic status as well as their therapeutic, and mimetic capacities. What forms of knowledge do these images, materials, and substances provide? What audiences do they address? How can they be situated, between the practices and interests of scribes/painters, scholars, nuns and monks, physicians, apothecaries, gardeners, rhizotomes, and also readers – while taking into consideration the changing status of these human actors across society, gender, time, and space? What can such images, materials, and substances tell us about the interconnections between human and vegetal worlds? What role do colors, pigments and dyes, scent or the incorporation of prayers and charms play in the creation of images of healing? Moreover, how does medicinal, pharmacological or toxicological, plant-related knowledge circulate across vast (plant) geographies? The conference wants to connect the representations of simplicia such as ginger, plantain, pennyroyal, saffron, artemisia, liquorice, or strawberry from cities, rural communities, courts, and religious congregations in the Indo-Pacific, the so-called Levant, the Black Sea, the Mediterranean, and the Medieval West.

Visualizing Drugs & Dyes seeks a dialogue among scholars engaged in the history of science, literary studies, history of medicine, art history, and the burgeoning field of plant studies and related disciplines. We welcome papers from all geographical regions, within a premodern, medieval timeframe. We are particularly interested in studies focused on before 1200. We invite contributions which might relate, but are not be limited, to the following topics:

• Pharmacological geographies in early medieval worlds
• Circulation of materia medica and economic history
• Drugs & dyes and transmitting knowledge
• Color and medicine
• Taxonomies
• Drugs & dyes in poetry and literature
• Nomenclature and translations
• The aesthetics of plants and of medicinal substances
• Painting/writing and healing
• Mimesis in medical practice
• Interconnections between human and vegetal worlds

Abstracts for 30-minute papers (max 2000 characters including spaces), together with a brief biography (max 1500 characters including spaces) should be submitted to: Theresa Holler (theresa.holler@unibas.ch). Travel expenses (up to 400CHF) and accommodation costs will be covered. The event will by hybrid and we accept online participation, please indicate whether you wish to attend remotely. More information here.

Abstracts’ language accepted: English, German, Italian, French, Spanish

Call for Journal submissions: ‘De coloribus: Material, Symbolic and Social Crossroads of Medieval and Renaissance Painting’, Dossier CAIANA #23, deadline 29 May 2023

Coordinators: Nadia Mariana Consiglieri (Universidad de Buenos Aires – Universidad Nacional de las Artes- CONICET, Argentina); and María Cristina Correia Leandro Pereira (Universidade de São Paulo, Brasil)

Colour, both in its material and light dimensions, played a leading role in Medieval and Renaissance visual culture. Taking part in altarpieces, sculptures, architecture, tapestries, wall paintings and illuminated manuscripts, colour embraced multiple variants. Likewise, the translucent, ethereal but also brilliant and changing tones of enameled pieces and goldsmiths, gems, mosaics and stained glasses acquired an equally vital importance. Far from the imaginaries built during the nineteenth century about a Middle Ages plunged into dark and monochromatic grey buildings, the language of colour and light was a constant factor in the visual cultures of this period. Since the last decades of the past twentieth century, the investigations of Michel Pastoureau reconsidered colour as an object of historical study plausible itself to be approached as a visual code from its multiple symbolic, social, cultural and religious dimensions. Moreover, Herbert L. Kessler stressed the dynamic and material performance of colours and Jean- Claude Bonne emphasized their diverse roles within ornamentation. In addition, specific investigations began to be carried out on typologies, modes of application and commercial routes of pigments used for the production of illuminated manuscripts, as well as collective studies on the diversity of techniques and the relationships between makers and patrons.

This dossier aims to open a new field of debate on the ways in which colour appears and acts on pictorial surfaces of different images, objects, devices and spaces produced between the eleventh and fifteenth centuries. Within this broad temporal spectrum, it is not intended to focus only on the Medieval and Renaissance West, but also on chromatic objectualities from the East and from groups considered the “otherness” from Western Christianity perspective, in order to rethink the diversity of processes, exchanges, assimilations and overlaps. How did colours circulate in their different versions? ; how were material and symbolic exchange networks woven?; what were the roles of the itinerant and permanent painters, circles and workshops of artisans?; how did the technical and material knowledge of colour spread among them?; how did patrons and receivers interact?; what iconographic and ornamental relationships can engage colours with images?

We invite to submit papers related at least to one of the following topics:

Qualities of pictorial matter: diversity of supports, pigments, materials and techniques. Plurality of materials as interaction devices with the pictorial surface: pastiglia reliefs, use of gold leaf, etc.
Painting and praxis: recipe books, treatises and model compilation notebooks.
Medieval theories on colour, light, materiality and their symbolic dimensions.
The roles of artisans and patrons: miniaturists, painters and enamellers’ ways of making. From monastic environments to secular workshops. Regulations, the action of guilds, contracts.
Reception and agency of the pictorial matter: changes, interventions, damages, outrages.
Iconographic, constructive, syntactic, symbolic, aesthetic and rhythmic roles of ornamentation.
The pictorial materiality in objects and Islamic environments: their interactions with the Christian sphere.
Details and features in Medieval and Renaissance pictorial works (paintings, illuminated manuscripts) belonging to the Latin American artistic heritage. Collecting, museographical links and historiographical perspectives.

Find out more here.

ABOUT THE SUBMISSIONS

Articles must be original and not be simultaneously evaluated by other publications. To be submitted to peer review modality, the articles must be sent to the email: revistacaiana@gmail.com, indicating in the subject: “LAST NAME_Dossier caiana #23”

Deadline for papers submission: May 29, 2023.

Issue publication date: November – December, 2023.

CAIANA is indexed in the catalog of the Latindex information system, the European Reference Index for Humanities (ERIH PLUS) and DOAJ (Directory of Open Access Journal).

Papers must comply with the publishing standards of the journal: Normas para la publicación – Caiana

CFP: ‘En femenino: Art and Women in the Middle Ages’, XVI Jornadas Complutenses de Arte Medieval, deadline 30 April 2023

During the last decades, references to women’s participation in medieval artistic processes have ceased to be the story of an absence. Similarly, studies of medieval female iconography have transcended their mere representation as wives, mothers, lovers, sinners and sin-inducers, or nuns. Throughout the Middle Ages, women projected, enjoyed and created art; there is no doubt about it. An increasing number of works focus on female patronage, sometimes shared with her husband but often practised autonomously and with incalculable value as a self-affirmation mechanism. Other proposals highlight female identities hidden among the list of male practitioners of any of the arts or give names to faces represented in sacred and profane episodes. Through the testimonies of material and visual culture linked to women, social realities different from the power relations established in those times are being outlined more straightforwardly and precisely. Even so, artistic studies still lag behind those focused on other disciplines such as history, philosophy or literature.

In its sixteenth edition, the Conference will be devoted to highlighting the role of Women in medieval artistic creation. This role will be understood in the broadest possible way: from patronage to creation and reception, as a channel for power strategies, a transmitter of science or a generator of specific iconographic types, regardless of their active or passive role in all this creative dynamic. Women and Gender will serve as the priority vectors to articulate the scientific content of Conference sessions.

We invite the academic community to submit abstracts in Spanish, English, Italian and French consisting of a 500 words summary highlighting the innovative nature of the paper together with the chosen session and a brief curriculum vitae (max. 300 words) before the 30th of April 2023 to the following address: enfemenino@ucm.es

Proposed topics:
● Women and artistic creation: artists, trades, textiles
● Depictions and portraits, identity
● Female spaces and architecture
● Art and female spirituality
● Patronage and Memory management
● Costume and textile trade
● Cross-cutting gender issues: prostitution, transsexuality, marginalisation, otherness, old-age
● Science, techné, art and women

Confirmed keynote speakers: Verónica Abenza (UCM), Jessica Barker (The Courtauld Institute of Art), Bárbara Boloix (Universidad de Granada), Irene González (UCM), Jitske Jasperse (CCHS-CSIC), Elizabeth L’Estrange (University of Birmingham), Diana Lucía (UCM), Therese Martin (CCHS-CSIC), Ana Maria Rodrigues (Universidade de Lisboa), and Marta Poza (UCM).

The organising committee shall acknowledge receipt of submissions and select those considered most closely aligned with the meeting objectives, responding before the 25th of May. Following peer review, these will be published in a monograph.

Scientific-organising Committee: Marta Poza, Elena Paulino, Laura Rodríguez, Alexandra Uscatescu, Irene González, Diana Lucía, Diana Olivares, Verónica Abenza, Ángel Fuentes and Alba García-Monteavaro.

More information: https://www.ucm.es/historiadelarte/en-femenino

Call for submissions: ‘The frontiers of art history and visual studies: Thoughts on their object of study’ (Eikón Imago Vol. 13, 2024), deadline for submissions 30 June 2023

Special Guest Editor: Gorka López de Munain (UNED – Vitoria-Gasteiz)

The journal Eikón / Imago, indexed in Scopus and awarded with the Quality Seal of Scientific Journals by FECYT, is open to receive original contributions for its monographic issue until June 30, 2023.

In recent decades, reflections on the nature of the object of study of art history and visual studies have intensified in an extraordinary way. Parallel to this, numerous disciplines have undertaken a profound theorization of the status of the image that, with the advent of digital images, has questioned the very essence of many of these branches of knowledge. However, as Mieke Bal has already warned, while the object of study of a given field of knowledge is constantly changing, the way in which it is carried out –the disciplinary methodology– is not being updated at the same pace.

In this dynamic, as agitated as it is stimulating, art history has been shaken and questioned, offering answers in different directions. On the one hand, the impulse of other ways of thinking about images, with pioneering studies such as those of David Freedberg, Margaret Olin, Svetlana Alpers, Michael Camille or Hans Belting, widened the field of interest towards new practices, many of which had hitherto remained relegated to the margins. On the other hand, the impetus with which Visual Studies or the German Bildwissenschaft emerged seemed to threaten the very foundations of art history, offering alternative ways of approaching images. A narrative was thus emerging in which this longed-for opening of the disciplinary field towards new objects of study seemed to be possible only from these innovative proposals. However, other thinkers such as Horst Bredekamp strove to reclaim an “abandoned tradition” of art history as Bildwissenschaft (science of the image), of Warburgian inspiration, in which the newly created media have always had a place. An approach to art history that not only focused on the great masters, but looked with scholarly interest at photography, advertisements, film, video, political iconography and also at the so-called minor arts through a broad chronological framework ranging from the earliest prehistoric productions to the present day.

In all this torrent of conflicting and even contradictory forces scholars are faced with several questions: What is the role of art history? What is its responsibility with respect to the emergence of new digital media? How should it adapt to the demands that seek to interrogate the objects of the past from updated optics and methodologies? What links should it draw with other emerging fields and disciplines such as visual studies or the science of the image? How can we address the rupture of the epistemological differential, as José Luis Brea stated, between the extended field of visual culture and that of artistic practices?

Faithful to the spirit of Bredekamp, this volume aims to reflect on the place of art history in the present, on its boundaries and, ultimately, on the nature of its object of study. The arrival of artificial intelligences such as Dall-E, Midjourney or Stable Diffusion, capable of creating progressively more complex and challenging images, the increasingly solid impulse of immersive experiences with which we relate in totally new ways (virtual, expanded or mixed reality), or the development of new artistic practices such as bio-art, pose an extraordinary challenge that forces Winckelmann’s old discipline not only to update itself permanently, but also to establish unavoidable interdisciplinary working guidelines.

But this monographic issue does not only seek to analyze how new media and digital technologies impact art history and the reflection on its object of study. It also seeks to question this problem from a broader chronological perspective, addressing the way in which other images (both past and present), traditionally considered minor or non-artistic and which have been relegated to the margins, should be fully integrated into the discipline’s field of interest, either by posing new questions or by approaching historic debates through new methodologies. This opening of the framework of study is justified not only because these forgotten images can be the pieces that improve our understanding of the visual cultures of the past, but also because their incorporation constitutes the only way to enter the thresholds of an authentic experiential culture.

In addition, our Miscellany section is available for all interested authors who want to submit contributions related to all areas of the journal’s thematic coverage and remains open all year round.

This complete issue will be published on January 2024 and it will be the first in which our journal adopts the continuous publication model, in which articles will be available on our open access platform right as they successfully pass our double-blind peer review evaluation and the editorial process, without waiting for the publication of the full issue.

More information: https://revistas.ucm.es/index.php/EIKO/index

Proposals can concentrate on the following subjects, as well as other related themes:

Theoretical reflections on the actuality of Visual Studies, Bildwissenschaft, Bildanthropology or similar fields and their relationship with art history.
The role of interdisciplinarity in art history studies.
The relationship between artistic practices, biology and technology (bio-art, immersive images and experiences, images created by artificial intelligences, etc.).
The development and assessment of new methodologies oriented to the integration of the so-called minor arts or non-artistic works within the fields of interest of art history and visual studies.
The chronological framework of this monograph does not contemplate closed limits, since it seeks to know and explore the current state of disciplinary reflections on the object of study through the widest possible perspective; from the remote prehistoric artistic manifestation, through classical antiquity and the medieval and modern ages until contemporary productions.

Symposium: ‘Bringing the Holy Land Home’, Rehm Library College of the Holy Cross, Saturday 25 March 2023

In conjunction with the Cantor Art Gallery exhibition, explore the cross-cultural impact of the Crusades on medieval western Europe.

The Crusades, Chertsey Abbey, and the Reconstruction of a Medieval Masterpiece

In conjunction with the Cantor Art Gallery exhibition, Bringing the Holy Land Home, this daylong symposium explores the impact that the Crusades had on medieval western Europe. At the heart of the exhibition are digitally reconstructed medieval floor tiles depicting the Crusades unearthed at Chertsey Abbey in England. Created during the time when the Holy Land was actively occupied by crusader kingdoms—the tiles are unexpectedly rare and a valuable witness to a significant historical event.

The Crusades were marked both by brutal violence, much of which was directed against people who were not European (Latin) Christians, and by sustained cross-cultural encounters which, for many Europeans, affected their sense of self for centuries to come. It can be difficult to process both of these truths simultaneously, yet essential to develop this more complex and more accurate understanding of the Crusades.

The symposium is held under the auspices of the New England Medieval Consortium and is supported by the Samuel H. Kress Foundation and the McFarland Center for Religion, Ethics and Culture.

Schedule

8:30 – 9 a.m.: Check-in, coffee & pastries

9 – 10:30 a.m.: Welcome and Introduction

“Bringing the Holy Land Home: The Crusades, Chertsey Abbey, and the Reconstruction of a Medieval Masterpiece” | Amanda Luyster, College of the Holy Cross
“Paving Over Paradise: The Aristocratic Landscape and the Crusading Experience, 1187-1291” | Nicholas Paul, Fordham University
Moderator: Cecilia Gaposchkin, Dartmouth College

10:30 – 10:45 a.m.: Break

10:45 a.m. – Noon: Chertsey Abbey and England

“The Middle Ages and the British Museum: Past, Present and Future” | Lloyd de Beer, British Museum
“‘So Much National Magnificence and National History’: The Medieval Abbey at Chertsey, Then and Now” | Euan Roger, National Archives, Kew
“The Chertsey Tiles and ‘Art and Crusade’ in England: Historical and Historiographical Contexts” | Matthew Reeve, Queen’s University
Moderator: Sonja Drimmer, University of Massachusetts Amherst

Noon – 1 p.m.: Lunch

1 – 2 p.m.: Sites

“The Place of Relics in the Crusades” | Cynthia Hahn, Hunter College & Graduate Center of the City University of New York
“The Visual Arts and the Shaping of the Frankish Experience of the Holy Land” | Eva Hoffman, Tufts University
“The Galley as Display Space in the Fourth Crusade” | Paroma Chatterjee, University of Michigan
Moderator: Anne Lester, Johns Hopkins University

2:15 – 3:30 p.m.: Objects

“How to Move a Mountain: Visual Representations of the Pas Saladin” | Richard Leson, University of Wisconsin-Milwaukee
“Fragments and Wholes: Medieval Textiles across the Indian Ocean” | Elizabeth Williams, Dumbarton Oaks
“Material Connections: The St. Eustace Head Relic Wrappings” | Naomi Speakman, British Museum
“Ivories Come to England” | Sarah Guerin, University of Pennsylvania
Moderator: Alicia Walker, Bryn Mawr College

3:30 – 4 p.m .: Break

4 – 5:30 p.m.: Crusades, Then and Now

“A Clash of Civilizations? A Revisionist Reading of the History of Muslim-Frankish Encounters in the Crusader Period” | Suleiman Mourad, Smith College
“A Clash of (Academic) Civilizations: The Politics of Studying the Crusades after 9/11” | Matthew Gabriele, Virginia Tech
Closing Remarks | Paul Cobb, University of Pennsylvania
Moderator: Sahar Bazzaz, College of the Holy Cross

5:30 – 7 p.m.: Exhibition Viewing and Reception | Cantor Art Gallery

Directions

Conference sessions will be held in Rehm Library, 3rd Floor of Smith Hall, at the College of the Holy Cross. Free parking is available in the lots adjacent to the Hogan Campus Center and Prior Performing Arts Center. Directions to campus.

Accommodations

A limited number of rooms have been set aside for symposium attendees at the AC Hotel Worcester Marriott, 125 Front St., Worcester, MA 01608. Reserve by February 22 to receive a special conference rate of $179 per night.

Limited rooms are also available at the Hilton Garden Inn, 35 Major Taylor Blvd., Worcester, MA 01608. Call 508-753-5700 and use the code 2646953 to reserve at the Holy Cross rate of $139 per night.

Review a list of other nearby hotels.

Registration

Registration for the Symposium is $40 plus a processing fee and includes all sessions, lunch, exhibition viewing and reception. Symposium sessions (excluding lunch) are free to Holy Cross faculty, staff and students.