Job: Lecturer in Art History, Ernest G. Welch School of Art & Design, Georgia State University, Deadline: 9 January 2023

The Welch School of Art & Design seeks a full-time, benefits-eligible, non-tenure-track Lecturer in the art of the ancient and/or medieval world. Appointment date: August 2023.

This position entails teaching surveys of Western art and upper-level courses that incorporate at least two of the following: ancient Egypt, ancient Greece, ancient Rome, and the European Middle Ages. The successful candidate must value working with diverse student populations and cultural perspectives. The successful candidate will join an established Art History area within the Welch School of Art & Design’s growing faculty. They will play a significant role in the College of the Arts’ contribution to Georgia State University’s strategic goals of highlighting the arts and media as vital to the quality of all major cities, demonstrating that students from all backgrounds can achieve academic and career success at high rates.

Opportunities for growth and support in this position include university-level teaching fellowships and grants through the Center for Excellence in Teaching, Learning and Online Education, leadership in instructional innovation through our active learning classroom program, and successive promotion to the ranks of Senior Lecturer and Principal Senior Lecturer.

Responsibilities include:

  • Teaching four courses per semester
  • service to the area, school, college, university, community and/or profession
  • serving on MA/MFA thesis committees
  • advising undergraduate Art History majors

Necessary qualifications:

  • PhD in Art History by the time of the appointment
  • strong teaching skills
  • excellent oral and written communication skills
  • command of computer-mediated technologies related to the discipline

Salary range: $45,000-50,000

To Apply

Submit a PDF for this job application to wsadrecruiting@gsu.edu either through email or through direct download (such as WeTransfer). Complete applications will include PDF documents in this order:

  • A cover letter including past and/or potential contributions to diversity, equity, and inclusion through teaching and service
  • Curriculum Vitae
  • statement of teaching interest
  • Names, email addresses, telephone numbers, and titles of at least three professional references

Review of applications will begin immediately and continue until the position is filled. To ensure consideration, submit all materials by January 9, 2023. Questions about the position can be directed to the search committee chair at wsadrecruiting@gsu.edu. Should you be recommended for a position, an offer of employment will be conditional on background verification.

For more information, visit here.

Funding: Polonsky Postdoctoral Fellowships, Van Leer Jerusalem Institute, Deadline for applications 5 January 2023

The Polonsky Academy at the Van Leer Jerusalem Institute in Jerusalem will award up to seven Fellowships in the humanities or social sciences for up to four years (with a possible fifth year in exceptional circumstances), beginning October 1, 2023.

The fellowship offers an annual stipend of $40,000 and $2,000 for research and related expenses.

Fellows are expected to be physically present at the Institute for consecutive years during the period of the award. Applications will be considered from those awarded a Ph.D. on or after October 1, 2018.

Online applications should include the following documents in English, in separate files: statement of research plans (3-5 pages, with title); summary of previous research (3 pages); one single-authored published article or equivalent unpublished work; curriculum vitae, including list of publications; complete contact information, including phone numbers, for three referees.

Outstanding candidates will be invited for interviews on March 28-29 either in person or by video conference. The Polonsky Academy strives to promote diversity and encourages applicants from all backgrounds to apply.

The deadline for submission is 5 January 2023.

Candidates can apply online here.

The Polonsky Academy is committed to providing an environment for research excellence. Fellows work under the best possible conditions for innovative research, including professional autonomy, a scholarly community, and a highly efficient network dedicated to supporting fellows in pursuit of their academic goals. They are provided with state-of-the-art services, including individual offices, a library, advanced IT, a lecture hall, and multiple meeting spaces in the award-winning facility in which they are housed.

CFP: ‘Perspective: actualité en histoire de l’art’, 2024 – 1 issue. Deadline for proposals 16 January 2023

The journal Perspective : actualité en histoire de l’art will explore, in its 2024 – 1 issue, the question of autonomy in art.

 The notion of autonomy has been key to understanding the work of art, at least since the development of aesthetic philosophy in the eighteenth century. If it is disputed, it is because of the different meanings it evokes in the various branches of the human and social sciences. It can relate to art or aesthetics (with respect to the political, social, moral, or even religious fields), the artworks themselves (their referentiality and, more broadly, their own life—in this sense, it also concerns their reception), the artist (whose history should be considered within the context of the advent of the individual or, for example, from its later Romantic definition), and finally, art history (as an autonomous discipline) all periods and geographical areas combined. 

In addition to contributions focusing on the nineteenth and twentieth centuries, which seem to be the periods most concerned, the journal in this issue coordinated with Maxime Boidy (Université Gustave Eiffel) would like specialists in the history of modern art, the Renaissance, Middle Ages, and Antiquity, to explore the prehistory of this notion, anywhere the political order, religious structures, and cultural and social dynamics have shaped or anticipated its contemporary definitions.

The editors invite contributors to rethink autonomy within the context of the shifts in the academic landscape that have happened in recent decades, focusing on non-Western as well as European contexts, following five main lines of thought from which contribution proposals can be formulated:

1. First, there is the question of considering the current conditions of autonomy as applied in art history, beginning from questions that initially appeared in the field of institutional theory. In producing a criticism of this notion, Andrea Fraser, for example, has underlined the centrality that autonomy maintains in contemporary art, as independence of the visual works “from rationalization with respect to specific use or function, whether moral, economic, political, social, material or emotional” (in Alberro 2005, p. 56). To what extent has this need to conceptualize become generalized or not? What new disciplinary definitions, what situated notions of autonomy have emerged, and via what channels?

2. This issue also seeks to interrogate the aesthetic dimension of this concept and to work on establishing an inventory of formalist art criticism’s legacy. How have artistic forms supported or reshaped the idea of autonomy, from the modernist painting defended by Greenberg to minimalist sculpture, and extending to contemporary photography? And what remains of the utopia of the modernist autonomous aesthetic, understood as a driver of the spectator’s emancipation?

3. From the perspective of the history of the discipline, it is a question of thinking about art history’s autonomy, but also of archeology, photographic and film studies, and so on, as independent, specialized disciplinary spheres, especially in light of recent transformations in their areas of research (recurrent calls for interdisciplinarity, the importation of Anglo-American studies, new methods and approaches, etc.).

4. In parallel, an axis will be dedicated to the political dimension of autonomy as applied to art. At several moments in history, artistic movements, artists, architects, even art historians, have appropriated the forms and/or discourses of certain ideological or political currents, weaving links with them: consider the example of the theorists bound to Italian Marxist workerism, beginning in the 1960s (Galimberti 2022). However, is the history of political autonomy in art limited to these defined and already claimed uses? Can we consider the landmarks of its history in a more comprehensive perspective?

5. Finally, we would like to reflect, from the perspective of the new forms of imagery autonomy induced by current technologies, on the technical dimension of this question (artistic expertise, status of the artwork, auctoriality, etc.). Quite early, filmmaker Harun Farocki underlined this with his concept of “operational image”: the visible has become a terrain which machines organize for themselves. This “invisible visual culture” can be a starting point to investigate, in retrospect, a longer history of the autonomy of artwork and images (Paglen 2016).

Authors should take into account the reciprocity between objects and ideas: what does an image, a work, a form, teach us about the definitions of autonomy that they invoke? What does autonomy teach us about other elements of the artistic vocabulary (interactivity, immersion, and so on), the political (emancipation, self-determination, etc.), or the academic (including heteronomy and criticism)? No matter the proposed subject, contributions must be in line with the editorial guidelines of Perspective, which publishes overviews and historiographic essays on substantive issues underpinning and/or relevant to the discipline’s latest developments within the proposed theme. Case studies are only acceptable in so far as they provide the opportunity to address critical questions of a more general nature concerning the approaches, orientations, and stakes of the discipline of art history.

Perspective : actualité en histoire de l’art
Published by the Institut national d’histoire de l’art (INHA) since 2006, Perspective is a biannual journal which aims to bring out the diversity of current research in art history through a constantly evolving approach that is explicitly aware of itself and its own historicity and articulations. It bears witness to the historiographical debates within the field, while remaining in continuous relation with the images and works of art themselves, updating their interpretations, and thus fostering global, intra- and interdisciplinary reflection. The journal publishes scholarly texts which offer innovative perspectives on a given theme. These may be situated within a wide range, yet without ever losing sight of their larger objective: going beyond any given case study in order to interrogate the discipline, its methods, history and limitations, while relating these questions to topical issues from art history and neighboring disciplines that speak to each of us as citizens.

Please submit your proposal (2,000-3,000-character / 350 to 500-word summary, with a provisional title, a short bibliography on the topic, and a 2-3 line biography) to the editorial contact (revue-perspective@inha.fr) by January 16th, 2023 at the latest. 

Authors of selected proposals will be informed of the committee’s decision by the end of February 2023. Full texts of accepted contributions will need to be sent by May 1st, 2023. These will be definitively accepted after the journal’s anonymous peer-review process.

CFP: Fragmentology, online/Lugano, 3-4 March 2023, Deadline 7 February 2023

The Research Centre for European Philological Tradition organises a conference dedicated to Fragmentology, in hybrid mode, in presence in Lugano and via Zoom. New studies and research will be presented concerning liturgical-musical fragments, reused fragments, disiecta membra of codices of which the parent manuscript can be reconstructed.

Anyone interested in participating as a speaker is requested to send a short abstract (20 lines) with their CV to info(at)receptio.eu by 7 February.

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BANDO DI PARTECIPAZIONE

Il Research Centre for European Philological Tradition organizza un convegno dedicato alla Frammentologia, in modalità ibrida, in presenza a Lugano e a distanza via Zoom. Verranno presentati nuovi studi e ricerche concernenti frammenti liturgico-musicali sciolti, frammenti di riuso, disiecta membra di codici dei quali è possibile ricostruire il manoscritto madre. Chiunque fosse interessato a partecipare in veste di relatore, è pregato di inviare un breve abstract (20 righe), corredato dal proprio CV all’indirizzo info(at)receptio.eu entro il 7 febbraio.

Image: Johnson papyrus, fragment of an illustrated herbal showing a plant, possibly symphytum officinale (comfrey). Wellcome L0015764

Online conference: The Art Museum in the Digital Age, online/Vienna 16-20 January 2023

The Belvedere Research Center is continuing its conference series on the digital transformation of art museums with its fifth event on the topic. While the 2022 conference challenged binary concepts such as analog/ digital, this year’s event critically examines the imagined cultural metaverse. In four thematic sessions and an on-site workshop, the lectures deal with the immersive experiences of virtuality and reality, cultural heritage data, value discourse surrounding the metaverse and NFTs, and self-perception and the social role of museums.


Programm | Program

Mo | Mon, 16.01.2023

17:00
Begrüßung & Einführung | Welcome & Introduction
Stella Rollig; Christian Huemer; Anna-Marie Kroupova (Belvedere, Wien | Vienna)

Panel 1: NFTs & Blockchain
Moderation: Johanna Aufreiter (Belvedere, Wien | Vienna)

7:20
Remonopolisation or Protection of Cultural Heritage? The Moral Capital of the “Institution in the Service of Society” Between Open Access, Protection of Cultural Heritage, and NFTs 
Grischka Petri (FIZ Karlsruhe – Leibniz-Institut für Informationsinfrastruktur | Leibnitz Institute for Information Infrastructure; Universität | University of Tübingen)

17:45
What Museums May Have Learned from NFTs
Amalyah Keshet (Naomi Korn Associates, London)

18:10
NFTs as a Social Practice. Exploring Tokenisation at National Museums Liverpool
Frances Liddell (University of Manchester)

19:00
Keynote Lecture
Moderation: Christian Huemer (Belvedere, Wien | Vienna)
The Virtual Muse(um): Authenticity, Immersion, and New Forms of Delusion
Johanna Drucker (University of California, Los Angeles)

Di | Tue, 17.01.2023

Panel 2: Meta-Spaces
Moderation: Sonja Gasser (Stiftung für Kunst, Kultur und Geschichte, Winterthur)

17:00 
Designing Art Metaverse Portal. Converging, Creating, Experimenting with, and Minting Crypto Arts 
Natalia Grincheva (LASALLE College of the Arts, Singapur | Singapore; University of Melbourne)

17:25 
Die Dichotomie des Metaverse. Dezentrale oder zentrale Gateways: Was braucht das Metaverse in Kunst und Kultur?
Johannes von Hülsen (METRUM, München | Munich); Annabell Vacano (Cultatio, München | Munich)

17:50 
DFC Francisco Carolinum. Ein Museum im Metaverse 
Markus Reindl (OÖ Landes-Kultur GmbH, Linz)

18:15 
Vier Jahre VRlab am Deutschen Museum. Implikationen für die Einbindung virtueller Technologien in Museen 
Andrea Geipel (Deutsches Museum, München | Munich)

18:40
Framing Future. Das Dresdner Damaskuszimmer in VR und in Zukunft
Jacob Franke (Staatliche Kunstsammlungen Dresden | Dresden State Art Collections)

Mi | Wed, 18.01.2023

Panel 3: Linked Open Data 
Moderation: Harald Klinke (Ludwig-Maximilians-Universität München | Ludwig Maximilian University of Munich)

17:00 
Digital Strategies for Cultural Heritage Institutions. Generating Visibility and Engagement Béatrice Gauvain (Universität | University of Basel)

17:25 
Linked Open Data for Horizontal Integration of Exhibition Information
Thibault Usel; Nicola Carboni; Béatrice Joyeux-Prunel (Universität Genf | University of Geneva)

17:50 
Ingest, Enrich and Index. Building a Cross-Collection Search Service for Durham’s New Cultural Heritage Site
Paul Clough (TPXimpact, United Kingdom | Vereinigtes Königreich; University of Sheffield)

18:15 
The Potential of Metaverse in Liberating the Narrations of the Displaced Objects 
Mingshi Cui (University of Leicester)

18:40
Sacred Geographic Superimpositions. Reimagining African American Public Art as Enshrined Spaces through Augmented Reality 
Synatra Smith (Philadelphia Museum of Art)

Do | Thu, 19.01.2023

Panel 4: Participation & Gamification 
Moderation: Anna-Marie Kroupova (Belvedere, Wien | Vienna)

17:00 
From Metamuseum to Metaverse. Exploring Institutional and Individual Art Curation Practice in Digital Gaming Experience 
Han Jiang (University of Leicester); Xiaozhou Li (University of Sussex)

17:25
The Museum as a Video Game. The Phenomenology of the Virtual Audience 
Melanie Wilmink (Yonsei University, Seoul)

17:50 
Experience Design Insights for Mixed Reality Museum Exhibits. Learnings from Professional Curators, Designers, Artists, and Researchers 
Abhinav Mishra (Northumbria University, Newcastle upon Tyne)

18:15
Creative Exhibitions. Partizipativ Ausstellungserlebnisse in Augmented Reality gestalten
Silke Hockmann; Christiane Lindner (Badisches Landesmuseum | Baden State Museum, Karlsruhe)

18:40
The Playable Museum. Gamification und Kunstvermittlung im digitalen Raum
Chantal Eschenfelder (Städel Museum, Frankfurt am Main)

Fr | Fri, 20.01.2023

14:00
Workshops (Round Tables)*
Die Workshops werden in deutscher Sprache abgehalten und finden vor Ort im Belvedere 21, Wien, statt. Anmeldung zur Veranstaltung ist erforderlich.
The workshops are held in German and take place on site at Belvedere 21, Vienna. Registration for the event is required.

Begrüßung | Welcome: Christian Huemer (Belvedere, Wien | Vienna) 
Florian Wiencek (Musealisten, Wien | Vienna)
Martina Fröschl; Michael Bachhofer (Universität für angewandte Kunst Wien | University of Applied Arts Vienna)
Fabian Müller-Nittel (Museen | Museums of Miltenberg)
Doris Fuschlberger (Digitalisierungsoffensive der Salzburger Landesmuseen | Digital Transformation Initiative of the Salzburg State Museums)
U.a.

17:00
Podiumsdiskussion | Panel Discussion*
Die Podiumsdiskussion findet vor Ort im Blicke Kino, Belvedere 21, Wien, und in deutscher Sprache statt. Aus Platzgründen wird um Anmeldung gebeten. Die Veranstaltung inklusive Simultanübersetzung wird auch über Zoom gestreamt.

The panel discussion takes place on site in the Blickle Kino, Belvedere 21, Vienna, and is held in German. Registration is requested due to space limitations. The event, which includes simultaneous translation into English, is also streamed on Zoom.

Moderation: Christian Huemer (Belvedere, Wien | Vienna) 
Claus Pias (Leuphana Universität Lüneburg | University Lüneburg)
Johanna Pirker (Ludwig-Maximilians-Universität München | Ludwig Maximilian University of Munich; Technische Universität Graz | Graz University of Technology)
Christa Sommerer (Kunstuniversität | University of Arts Linz )

Anmeldung / Registration:
https://www.belvedere.at/digitalmuseum2023

Konferenzsprachen / Conference Languages: Deutsch & Englisch / German & English

Konferenz Komitee / Conference Committee: Johanna Aufreiter, Christian Huemer, Anna-Marie Kroupova (Belvedere, Wien | Vienna), Johanna Drucker (University of California, Los Angeles), Sonja Gasser (Stiftung für Kunst, Kultur und Geschichte, Winterthur), Harald Klinke (Ludwig-Maximilians-Universität München | Ludwig Maximilian University of Munich)

Konferenzpartner / Conference partners: Museumsbund Österreich, ICOM Österreich

Hashtag: #digitalmuseum #belvederemuseum

“*` Das Belvedere Research Center behält sich das Recht vor, die Veranstaltungen vor Ort aufgrund der COVID-19-Pandemiesituation gegebenenfalls abzusagen.
The Belvedere Research Center reserves the right to cancel events on site if necessary due to the COVID-19 pandemic situation.

Funding: Medieval Academy of America Inclusivity and Diversity Research Grant, Deadline 31 December 2022

The Medieval Academy of America Inclusivity and Diversity Research Grant of up to $3,000 will be granted annually to a scholar, at any stage in their career, who seeks to pursue innovative research that will broaden the scope of medieval studies. Projects that focus on non-European regions or topics under the Inclusivity and Diversity Committee’s purview such as race, class, disability, gender, religion, or sexuality are particularly welcomed.

The grant prioritizes applicants who are students, ECRs, or non-tenured. For the current round of applications, we encourage proposals that address the challenges of conducting research during the Covid-19 era.

The deadline for applications is December 31st. To be eligible to apply, you must be a member of the Medieval Academy as of 15 November.

CFP: ‘Soundscapes of Naples: From the Medieval to the Early Modern’, 8-9 June 2023, Naples. Deadline 31 January 2023

Musical practices are inherently woven into a city’s urban fabric: as marker of identity, expression of religious devotion, sonic manifestation of power, or form of entertainment, musicking punctuates the salient moments of a city’s culture. In Naples, for centuries a cultural and political capital and among the most densely populated cities in Europe, music making has always occupied a prominent position in the soundscape of public and private, sacred and secular spaces.

The interdisciplinary conference, Soundscapes of Naples: From the Medieval to the Early Modern, aims to map intersections between the performative dimension of music making and the city’s spaces and places. The organizing committee invites proposals that focus on physical venues (churches, monasteries, theaters, aristocratic palaces, schools, the public piazza, and so on, including their visual programs) as they interface with music performance and production.

We welcome proposals on musicking as a cultural practice from musicologists as well as scholars from sister disciplines, including art and architectural history, archaeology, history, literary studies, and anthropology, on themes and approaches such as manuscript and print production, archival studies, music and gender, patronage/matronage, performance practice, history of the senses, acoustics, history of pedagogy, relationships between music and specific works of art, notions of ability/disability, and instrument making.

Proposals should include a curriculum vitae, a brief narrative biography (max. 150 words), and an abstract (max. 350 words), and may be in either Italian or English. The abstract should also indicate the topic’s relevance to the themes outlined above, and whether the proposed contribution could take the form of a presentation on-site at the monument under discussion. Final presentations (20 minutes) may be made in Italian or English. Please combine these materials in a single Word or PDF document with Lastname_Firstname as the title, and send to lacapraia@gmail.com by 31 January 2023. Selected participants will be notified in mid-February 2023.

Soundscapes of Naples: From the Medieval to the Early Modern is coorganized by the Center for the Art and Architectural History of Port Cities “La Capraia” (a partnership between the Edith O’Donnell Institute of Art History at the University of Texas at Dallas and the Museo e Real Bosco di Capodimonte) and the Butler School of Music at the University of Texas at Austin.

Image details: BnF ms. FR 854, fol. 49r, in Gallica Digital Library

Online lecture: ‘Renaissance Lives: Piero della Francesca and the Invention of the Artist’, by Machtelt Brüggen Israëls, 19 January 2023, 5.30-7pm GMT

Piero della Francesca and the Invention of the Artist – Machtelt Brüggen Israëls will be in conversation with Paul Taylor (Warburg Institute) and François Quiviger (Warburg Institute), at a free online lecture hosted by The Warburg Institute on 19 January 2023, between 5.30 and 7pm GMT.

As one of the most innovative and enlightened painters of the early Italian Renaissance, Piero della Francesca brought space, luminosity and unparalleled subtlety to painting. In addition, Piero invented the role of the modern artist by becoming a traveller, a courtier, a geometrician, a patron and much else besides.

In this nuanced account of his life and art, Machtelt Brüggen Israëls reconstructs how Piero came of age. Successfully demystifying the persistent notion of Piero’s art as enigmatic, she reveals the simple and stunning intentions behind his work.


Renaissance Lives is a series of biographies published by Reaktion Books(Opens in new window) as well as a series of conversations discussing the ways in which individuals transmitted or changed the lives of traditions, ideas and images. 

FREE VIA ZOOM. PLEASE BOOK IN ADVANCE HERE.

Call for Applications: Seminar ‘The Art Historical Image in the Digital Age’, 26 June-7 July 2023, Florence. Deadline 2 January 2023

The Art Historical Image in the Digital Age, Kunsthistorisches Institut in Florenz – Max-Planck-Institut (KHI), June 26–July 7, 2023

The Art Historical Image in the Digital Age is a two-week summer seminar that will explore ways that digital materials have transformed research practices in the field in both conceptual and practical ways. What constitutes image data? What are the principles, conventions, and structures by which archives, museums, libraries, conservation labs, and scholars classify, organize, and use this data as it moves from single reproductions to digital repositories to our own personal research workspaces and eventually to publications? What are some of the continuities and discontinuities between analogue and digital formats? What are some of the new relationships between image-based and object-based research facilitated by digital materials and computational methods? What kinds of opportunities might this interrogation present to think strategically about the development of a more global, inclusive art history? Participants in this seminar will engage with these questions by considering the art historical image and its complex material and digital ecosystems.

The seminar will be hosted by the Kunsthistorisches Institut in Florenz – Max-Planck-Institut (KHI), home to one of the most important art historical photo archives in Europe. The seminar will familiarize participants with key concepts related to photography and imaging in art historical research, image data and its integral role in the digital humanities, and equip them with the basic skills necessary to organize and manage digital images for their research. Organized visits to the photo archives of the KHI, Villa I Tatti, and other institutions (including a group excursion to Rome) will introduce participants first-hand to current methods and practices of image data management used by institutions and repositories. These visits will familiarize participants with analogue institutional holdings, and provide opportunities for discussion with photo archivists and the technical teams working on digitization and image data. The seminar will also include discussion of readings and current digital projects across a variety of periods and fields as a way to connect participants’ own work to the expanding constellation of historiographical and methodological issues around digital art history.

The course is ideal for graduate students, faculty, and independent scholars seeking an introduction to digital practices and methods to enrich and advance their scholarship and/or for integration into their teaching and curricula in a discussion-based context. Participants should be working on projects in European art from antiquity to the early nineteenth century and/or global traditions represented in European image and photographic archives. Participants will be selected on the basis of their ability to formulate compelling research questions around the conjunction of art history and digital imaging technologies. 

The seminar will be led by Emily Pugh, Principal Research Specialist for Digital Art History, Getty Research Institute, and David Ogawa, Associate Professor of Art History, Union College.

This seminar has been funded by a grant from the Samuel H. Kress Foundation. This funding enables us to offer participants lodging in Florence for the duration of the seminar, transportation for site visits, and transportation and lodging for the excursion to Rome. Participants will be responsible for their own airfare/transportation to Florence, meals, and daily expenses; there will be no cost to participate.

Applications are due January 2, 2023.

CFP: In Sickness and in Health: Medieval Healing and the Community. Tenth Annual Medieval Studies Colloquium, 21 April 2023, University of Wisconsin-Madison, Deadline: 10 January 2023

Please join the Graduate Association of Medieval Studies at the University of Wisconsin–Madison for the Tenth Annual Medieval Studies Colloquium: “In Sickness and in Health: Medieval Healing and the Community.”

The colloquium will take place Friday, April 21st, 2023, in-person at the University of Wisconsin–Madison with a keynote address by Dr. Erin Sweany (English, Western Michigan University).

The Tenth Annual GAMS Colloquium is sponsored by the Program in Medieval Studies, Department of Art History, Department of History, Department of English, Department of French & Italian, Department of Spanish and Portuguese, and the Department of German, Nordic, and Slavic +. For accessibility accommodations, please contact: gams@rso.wisc.edu.

The Graduate Association of Medieval Studies at UW–Madison invites abstracts from graduate and undergraduate students on topics relating to sickness, health, and community (broadly defined). Please submit abstracts of no more than 300 words to gams@rso.wisc.edu by January 10th, 2023.

For further information visit the conference website.