Kathryn Gerry
Bowdoin College, The Peary-MacMillan Arctic Museum and Arctic Center, Department Member
- Art History, Medieval Studies, Codicology of medieval manuscripts, Art and architecture associated with the medieval cult of saints, manuscript illumination in the greater North Sea region, 11th and 12th c, Composite or Otherwise Transformed Works of Art, and 21 moreAnglo-Norman literature and culture, History of Art, Renaissance Studies, Medieval Art, History of Museums, Rare Books and Manuscripts, Hagiography, Medieval illuminated manuscripts, Book of Hours, Walters Art Museum, Early Medieval Archaeology, Manuscript Studies, Medieval Church History, Social and Collective Memory, Medieval Architecture, Museum, Early Medieval Ireland, Garden History, Early Medieval Art, Vegetation History and Archaeobotany, and Jérôme Baschetedit
- At the Arctic Museum, I work to connect people - especially young people - with the cultures, histories, and environm... moreAt the Arctic Museum, I work to connect people - especially young people - with the cultures, histories, and environments of the Arctic. A large region spanned by water, across which many people have formed important and productive networks, I recognize significant similarities between the Arctic and the regions I have studied as a medievalist, centered around the North and Mediterranean Seas.
My research centers on medieval European portable objects, particularly works that have been significantly altered at some stage after their initial creation. I have worked in both museum and academic settings, taught at large research universities and small private colleges, published articles on 12th- and 13th-century portable arts, and contributed to a number of catalogues and reference works.
At Bowdoin, I taught courses on European medieval art and took on some curatorial projects, major and minor, at the Bowdoin College Museum of Art. At the Memphis College of Art, where I was an assistant professor until the college announced its imminent closure, I taught a wide variety of courses on western and global topics, and served as Area Head for Art History. As a VAP at the Univ. of Kansas, I taught the western survey and courses in medieval art, including stained glass, manuscripts, and the cult of saints; I also designed and built an online version of the survey. At the Walters Art Museum I co-authored a book on medieval art (2011, with Martina Bagnoli), curated the exhibition “The Saint John's Bible: A Modern Vision through Medieval Methods” (2009; with Ben Tilghman), contributed to the exhibitions “Prayers in Code: Books of Hours from Renaissance France” (2009), and “Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe” (2010-2011), and collaborated with colleagues in the conservation, education, and IT departments on many projects, including initiatives to make the museum's collections accessible to a broader public through online tools. I have organized several symposia and conference panels at venues including the Courtauld Institute of Art, London, the College Art Association annual conference, and the International Medieval Congress at Leeds.edit
Surviving accounts of the material culture of medieval Europe - including buildings, boats, reliquaries, wall paintings, textiles, ivory mirror cases, book bindings and much more - present a tantalising glimpse of medieval life, hinting... more
Surviving accounts of the material culture of medieval Europe - including buildings, boats, reliquaries, wall paintings, textiles, ivory mirror cases, book bindings and much more - present a tantalising glimpse of medieval life, hinting at the material richness of that era. However, students and scholars of the period will be all too familiar with the frustration of trying to piece together a picture of the past from a handful of fragments. The "material turn" has put art, architecture, and other artefacts at the forefront of historical and cultural studies, and the resulting spotlight on the material culture of the past has been illuminating for researchers in many fields. Nevertheless, the loss of so much of the physical remnants of the Middle Ages continues to thwart our understanding of the period, and much of the knowledge we often take for granted is based on a series of arbitrary survivals.
The twelve essays in this book draw on a wide array of sources and disciplines to explore how textual records, from the chronicles of John of Worcester and Matthew Paris and inventories of monastic treasuries and noble women to Beowulf and early English riddles, when combined with archaeological and art-historical evidence, can expand our awareness of artistic and cultural environments. Touching on a broad range of issues around how we imaginatively reconstruct the medieval past and a variety of objects, both precious and ephemeral, this volume will be of fundamental interest to medieval scholars, whatever their disciplinary field.
The twelve essays in this book draw on a wide array of sources and disciplines to explore how textual records, from the chronicles of John of Worcester and Matthew Paris and inventories of monastic treasuries and noble women to Beowulf and early English riddles, when combined with archaeological and art-historical evidence, can expand our awareness of artistic and cultural environments. Touching on a broad range of issues around how we imaginatively reconstruct the medieval past and a variety of objects, both precious and ephemeral, this volume will be of fundamental interest to medieval scholars, whatever their disciplinary field.
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Why does medieval art matter today? This beautifully illustrated book will examine this question through the lens of the magnificent objects in the Wyvern Collection of Medieval and Early Renaissance art, accompanying the collection’s... more
Why does medieval art matter today? This beautifully illustrated book will examine this question through the lens of the magnificent objects in the Wyvern Collection of Medieval and Early Renaissance art, accompanying the collection’s first exhibition in the United States. Works include exquisite examples of metalwork, stone and wood sculpture, and illuminated manuscripts from across Europe, as well as the Christian community of Ethiopia. Offering new photography and an accessible text, this book will be an essential resource for one of the world’s most important private collections of medieval art, and a fascinating read for all interested in the Middle Ages and the role of art history in exploring our world.
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From the flap: The Medieval World is a beautifully illustrated book that explores significant themes of medieval art through the examination of nearly 150 stunning objects from the Walters Art Museum, one of the richest collections of... more
From the flap:
The Medieval World is a beautifully illustrated book that explores significant themes of medieval art through the examination of nearly 150 stunning objects from the Walters Art Museum, one of the richest collections of medieval art in the United States. The book features examples of sculpture, metal work, enamels, stained glass, jewelry and illuminated manuscripts, ranging in date from Late Antiquity to the early Renaissance.
By means of a lively narrative, this book serves as a guide to a fuller understanding and appreciation of medieval art. Divided into topics such as the classical tradition, materials and manufacture, liturgical implements and their context, relics and reliquaries, and objects from daily life, each of the chapters is generously illustrated with full views, feature boxes and details.
A final chapter on the nineteenth-century revival of interest in medieval art among collectors and scholars puts emphasis on Henry Walters (1848–1931), the Baltimore-based businessman who founded the Walters Art Museum. A pioneer collector of medieval art in America, it was Walters’ passion for the Middle Ages, together with his knowledge and subtle aesthetic sense, that created the collection of medieval art and illuminated manuscripts which forms the core of the museum’s medieval holdings.
This book features a selection of works from the museum’s collection; an extensive and fully annotated checklist, bibliography, and index provide a gateway to further reading. The Medieval World is a celebration of the creativity, ingenuity, and skill of the artists who produced the works of art, as well as the tastes of their patrons.
The Medieval World is a beautifully illustrated book that explores significant themes of medieval art through the examination of nearly 150 stunning objects from the Walters Art Museum, one of the richest collections of medieval art in the United States. The book features examples of sculpture, metal work, enamels, stained glass, jewelry and illuminated manuscripts, ranging in date from Late Antiquity to the early Renaissance.
By means of a lively narrative, this book serves as a guide to a fuller understanding and appreciation of medieval art. Divided into topics such as the classical tradition, materials and manufacture, liturgical implements and their context, relics and reliquaries, and objects from daily life, each of the chapters is generously illustrated with full views, feature boxes and details.
A final chapter on the nineteenth-century revival of interest in medieval art among collectors and scholars puts emphasis on Henry Walters (1848–1931), the Baltimore-based businessman who founded the Walters Art Museum. A pioneer collector of medieval art in America, it was Walters’ passion for the Middle Ages, together with his knowledge and subtle aesthetic sense, that created the collection of medieval art and illuminated manuscripts which forms the core of the museum’s medieval holdings.
This book features a selection of works from the museum’s collection; an extensive and fully annotated checklist, bibliography, and index provide a gateway to further reading. The Medieval World is a celebration of the creativity, ingenuity, and skill of the artists who produced the works of art, as well as the tastes of their patrons.
Research Interests:
(from Martina Bagnoli’s introduction to the volume) The medieval collection at the Walters Art Museum is known internationally for its depth and quality. Started by Henry Walters at the beginning of the twentieth century and bequeathed... more
(from Martina Bagnoli’s introduction to the volume)
The medieval collection at the Walters Art Museum is known internationally for its depth and quality. Started by Henry Walters at the beginning of the twentieth century and bequeathed to the City of Baltimore on his death in 1931, the collection has continued to grow in the decades since through gifts, bequests, and acquisitions. Successive generations of curators and scholars have studied and published the Walters' medieval holdings, establishing the collection's renown at home and abroad. The essays in this volume represent another chapter in this tradition of scholarship. The authors are emerging scholars, and the intent of the present florilegium is to bring their voices to bear on the interpretation of objects from a very distant past. Some of the authors tackled "famous" pieces; others explored storage to discover hidden gems. Some authors sought to establish the authenticity of disputed pieces or proposed new attributions for well-known objects; others mined the collection to test new theories in medieval studies or to challenge old ones. Despite the multitude of methodological approaches, all of the essays are equal in one aspect: they all do justice to the Walters' reputation for informed and rigorous research.
The medieval collection at the Walters Art Museum is known internationally for its depth and quality. Started by Henry Walters at the beginning of the twentieth century and bequeathed to the City of Baltimore on his death in 1931, the collection has continued to grow in the decades since through gifts, bequests, and acquisitions. Successive generations of curators and scholars have studied and published the Walters' medieval holdings, establishing the collection's renown at home and abroad. The essays in this volume represent another chapter in this tradition of scholarship. The authors are emerging scholars, and the intent of the present florilegium is to bring their voices to bear on the interpretation of objects from a very distant past. Some of the authors tackled "famous" pieces; others explored storage to discover hidden gems. Some authors sought to establish the authenticity of disputed pieces or proposed new attributions for well-known objects; others mined the collection to test new theories in medieval studies or to challenge old ones. Despite the multitude of methodological approaches, all of the essays are equal in one aspect: they all do justice to the Walters' reputation for informed and rigorous research.
Research Interests:
Isidore of Seville’s seventh-century account of the etymology of words provided the following description of nature (natura): ‘Nature is so called because it causes something to be born, for it has the power of engendering and creating.... more
Isidore of Seville’s seventh-century account of the etymology of words provided the following description of nature (natura): ‘Nature is so called because it causes something to be born, for it has the power of engendering and creating. Some people say that this is God, by whom all things have been created and exist’. Nature has not given birth to this volume of studies, but it has inspired it. The generative process of this project, which was conceived in 2007, has been a considerable one. The numerous and intricate relationships between the natural world and works of art and architecture were discussed at a workshop held at the Courtauld Institute of Art in June 2008. This was followed by a day of sessions at the International Medieval Congress held at Leeds in July that year, and the papers given there have subsequently been revised for publication here. The contributions included in this volume focus on particular examples of references to the natural world in art and architecture from across Europe, made between c. 1000 and c.1400. As a group, however, they provide much broader insights into the understanding and use of the natural world by artists, architects and commentators throughout the period.
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As with many important medieval pilgrimage sites, St Albans Abbey preserves very little of the rich material holdings which were documented at the site in the Middle Ages. The Gesta Abbatum, the main historical record for the abbey, does... more
As with many important medieval pilgrimage sites, St Albans Abbey preserves very little of the rich material holdings which were documented at the site in the Middle Ages. The Gesta Abbatum, the main historical record for the abbey, does not provide a systematic inventory or catalogue, but does mention, with varying degrees of detail, a number of works of art made for the church in the twelfth century, including several textiles which have not yet been the subject of any extended scholarly examination. In this paper I offer some preliminary comments on a textile held by the abbey which depicted scenes from the Passion of St Alban. Although textiles of a similar nature from this period and region are scarce, we can gain some idea as to the appearance of this textile from comparative material. Although any reconstruction must remain speculative, a better understanding of the appearance of this work offers points of departure for examining how the work, as one part of an immersive visual and material experience, might have interacted with other elements of the ritual space of the abbey church in the twelfth century and later, and how the work might have been understood by medieval viewers, whether pilgrims, patrons, or members of the monastic community.
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“Medieval Art in the Twenty-First Century” in New Views of the Middle Ages: Highlights from the Wyvern Collection, ed. Kathryn Gerry (London: Scala, 2020), pp. 15-39
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“Extended Shelf-Life: Manuscript Consolidation in an English Monastic Library” in Illuminating the Middle Ages: Tributes to Prof. John Lowden from his Students, Friends and Colleagues, ed. Laura Cleaver, Alixe Bovey, Lucy Donkin (Leiden:... more
“Extended Shelf-Life: Manuscript Consolidation in an English Monastic Library” in Illuminating the Middle Ages: Tributes to Prof. John Lowden from his Students, Friends and Colleagues, ed. Laura Cleaver, Alixe Bovey, Lucy Donkin (Leiden: Brill, 2020), pp. 207-223.
Examines and discusses the codicological history of a small miscellany made at St Albans Abbey, now New York, Morgan Library MS M.926, in relation to its state as a composite manuscript and its status within the monastic library at St Albans; also considers other composite manuscripts from St Albans, including London, British Library Cotton MS Titus D.xvi, Oxford, Bodleian Library MS Laud. Lat. 67.
Please contact me if you do not have access to this publication and would like a copy.
Examines and discusses the codicological history of a small miscellany made at St Albans Abbey, now New York, Morgan Library MS M.926, in relation to its state as a composite manuscript and its status within the monastic library at St Albans; also considers other composite manuscripts from St Albans, including London, British Library Cotton MS Titus D.xvi, Oxford, Bodleian Library MS Laud. Lat. 67.
Please contact me if you do not have access to this publication and would like a copy.
Research Interests: History of the Book, Medieval Studies, Manuscript Studies, Medieval England, Codicology of medieval manuscripts, and 7 moreMedieval illuminated manuscripts, History of Monasticism, 13th century England, 14th century England, 12th century England, Medieval Monasticism, and St Albans literary production
Examines and analyzes some of the patronage activities of the first two abbots of St Albans Abbey after the Norman Conquest: Paul and Richard. Argues that their patronage of specific objects and types of objects is directly related to... more
Examines and analyzes some of the patronage activities of the first two abbots of St Albans Abbey after the Norman Conquest: Paul and Richard. Argues that their patronage of specific objects and types of objects is directly related to their individual interests and experiences, as well as their institutional priorities. In the case of Paul, considers his destruction of certain monuments as well as his support of others. (Contact me for a copy if your library doesn't have the book.)
Research Interests: Hagiography, Medieval Studies, Iconoclasm, Monastic Studies, Manuscript Studies, and 13 moreMedieval England, Patronage (History), Medieval Art, Anglo-Norman literature and culture, History of Monasticism, Anglo-norman literature and hagiography., Benedictine Monasticism, St Albans literary production, Anglo Norman England, Matthew Paris, Anglo Norman and Angevin England, Medieval Hagiography, and St Albans Psalter
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This paper examines the illustrated Lives of Alexis, Cuthbert, and Edmund found in three previously studied twelfth-century manuscripts (Hildesheim Dombibliothek MS St. Godehard 1, the St Albans Psalter; Oxford, University College MS 165;... more
This paper examines the illustrated Lives of Alexis, Cuthbert, and Edmund found in three previously studied twelfth-century manuscripts (Hildesheim Dombibliothek MS St. Godehard 1, the St Albans Psalter; Oxford, University College MS 165; New York, Morgan Library MS M.736), the earliest known extant examples of illustrated hagiographical texts produced in England after the Conquest. It is argued that these three should be considered as a group, and that when they are examined in relation to each other, several important connections become apparent.
(Matter of Faith: An Interdisciplinary Study of Relics and Relic Veneration in the Medieval Period, ed. James Robinson and Lloyd de Beer with Anna Harnden (London: British Museum Research Publication no. 195, 2014), pp. 47-55)
(Matter of Faith: An Interdisciplinary Study of Relics and Relic Veneration in the Medieval Period, ed. James Robinson and Lloyd de Beer with Anna Harnden (London: British Museum Research Publication no. 195, 2014), pp. 47-55)
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[2 Mar 2015, Modified with higher resolution PDF] The Alexis Quire, a single gathering now embedded in the St. Albans Psalter but originally an independent hagiographic pamphlet, contains the vernacular Life of St. Alexis and several... more
[2 Mar 2015, Modified with higher resolution PDF] The Alexis Quire, a single gathering now embedded in the St. Albans Psalter but originally an independent hagiographic pamphlet, contains the vernacular Life of St. Alexis and several ancillary texts and illustrations. This early twelfth-century manuscript was produced at St. Albans Abbey, intended to promote a fledgling cult of St. Alexis at that monastery. Moving beyond an iconographic reading of the images in the context of the adjoining texts, this paper explores the structural role of the pictures in relation to the textual components of the manuscript and argues that the arrangement of these elements within the manuscript matrix enhances and reinforces the main argument of the pamphlet: that St. Alexis, a relative newcomer to England in the decades following the Conquest, is a saint worthy of veneration at an English monastery. The picture cycle includes a half-page illustration of the Life of St. Alexis and three full-page depictions of the story of Christ at Emmaus. The placement of these pictures in relation to the main text and the appended letter of Gregory the Great regarding Christian images encourages the reader/viewer to draw certain conclusions about the relationship between Alexis and Christ, conclusions which are further strengthened by compositional resonances between the pictures. The message promulgated by the Alexis Quire relies not only on the meaning of the individual elements, but on the specific arrangement of those elements, requiring an understanding of the pictorial syntax at play in order to decode the full sense of the ensemble.
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Researchers in many fields have long believed that the St Albans Psalter was made for Christina of Markyate, a mystic with ties to St Albans Abbey; the book has also been recognized as the product of several stages of production. Both of... more
Researchers in many fields have long believed that the St Albans Psalter was made for Christina of Markyate, a mystic with ties to St Albans Abbey; the book has also been recognized as the product of several stages of production. Both of these widely accepted ideas will here be re-visited, and several of the apparent changes in the manuscript will be considered in light of the concerns of the monastic community at St Albans, and their interest in promoting a companion for their patron saint, Alban. In the first section of this paper, the original function of the Alexis Quire will be discussed, namely that it was created as part of an effort to inaugurate a cult of Alexis at the abbey. In the second section, the changes visible in the Alexis Quire will be examined and it will be argued that these changes document the transformation of the gathering from a small hagiographic booklet to a preface for a deluxe psalter. In the third section, the relationship of the manuscript to Christina of Markyate will be reconsidered, and it will be demonstrated that many of the seemingly solid connections between the book and Christina are tenuous at best. In conclusion, I will propose an understanding of the current state of the manuscript that reconciles the accretive nature of the book, the Alexis material, and the Christina references.
A small portable altar in the Walters collection (53.77) provides an opportunity to study the reuse and adaptation of an item valued not only by its original patrons but by subsequent owners as well. Probably made in the twelfth century,... more
A small portable altar in the Walters collection (53.77) provides an opportunity to study the reuse and adaptation of an item valued not only by its original patrons but by subsequent owners as well. Probably made in the twelfth century, the work incorporates several panels of an earlier antependium. It was not the pictorial content of these panels that was being salvaged, however, but their connection with the past. As argued in this paper, the narrative message con¬veyed by the reliefs appears to have been a secondary concern; instead, their state as venerable sculpted panels was the most important factor contributing to their value.
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The Alexis Quire is often considered to be an integral part of the St. Albans Psalter but was originally a stand-alone booklet and was only later added to the larger manuscript. This article examines the context surrounding the production... more
The Alexis Quire is often considered to be an integral part of the St. Albans Psalter but was originally a stand-alone booklet and was only later added to the larger manuscript. This article examines the context surrounding the production of the booklet, and it is argued that the Alexis Quire is best understood as an expression of the concerns of the entire monastic community of St. Albans. The manuscript was one component of the community's efforts to establish a cult of St. Alexis, and is here considered in light of the two other illustrated hagiographical manuscripts made in Anglo-Norman England in the first half of the twelfth century.
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UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest, The Alexis Quire in the St Albans Psalter and the monastic community of St Albans. by... more
UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest, The Alexis Quire in the St Albans Psalter and the monastic community of St Albans. by Gerry ...
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A blog post about a presentation I gave at the Institute of English Studies in London
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The careful planning and structuring of medieval books offer implied guidelines for how they should be used, but as is made clear by many of the manuscripts themselves, readers were free to follow or ignore such guidelines. This session... more
The careful planning and structuring of medieval books offer implied guidelines for how they should be used, but as is made clear by many of the manuscripts themselves, readers were free to follow or ignore such guidelines. This session will include papers on the physical manifestations of use in medieval manuscripts, with an emphasis on the ways medieval readers/viewers interacted with their books. Interaction could include touching, rubbing, kissing, or adding/removing materials from medieval manuscripts, at any stage in the course of their lives; evidence of such interaction might be manifest in the materials of a given manuscript (including leaves, bindings, pigments, inks, gold, etc), or might be reflected in a later copy, description or depiction. Papers might also explore ways in which producers of books (or portions of books) sought to direct, control, hinder, or otherwise mediate the responses of readers/viewers. We seek papers from researchers in art history, history, lite...
The material turn has put art history at the forefront of historical and cultural studies, and the resulting spotlight on the material culture of the past has been illuminating for scholars in many fields. But for medievalists, the loss... more
The material turn has put art history at the forefront of historical and cultural studies, and the resulting spotlight on the material culture of the past has been illuminating for scholars in many fields. But for medievalists, the loss of so much of the material remnants of the Middle Ages continues to be a frustrating reality. Textual accounts of buildings, interiors, and objects, and documentation of secular collections and sacred treasuries offer a tantalizing glimpse of medieval life, today only visible in what is probably a small subset of surviving objects and sites. This session will examine how we can attempt to reconstruct this lost material past, and what we might hope to gain by doing so. We welcome proposals for papers addressing this issue, including proposed reconstructions of particular lost objects, collections, or environments, discussions of methodological approaches to doing so, or theoretical papers exploring the ramifications of such attempted reconstruction of the material past. Papers on any period or region that fall broadly into the category of 'medieval' will be considered; the topic of the session might narrow depending on the proposals received. Papers should be 20 minutes in length, delivered in English. Please submit a proposal or abstract of no more than 250 words and a current cv to both Laura Cleaver (CLEAVERL@tcd.ie) and Kate Gerry (kbgerry@gmail.com) ; informal questions about the session can also be sent to both of us. Please send proposals by 15 September 2018.
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https://www.medievalart.org/icma-news/2020/9/3/calling-all-grad-students-new-initiatives-competition-due-30-september-2020 Calling all Grad Students! New Initiatives Competition, due 30 September 2020 September 3, 2020 Calling all Grad... more
https://www.medievalart.org/icma-news/2020/9/3/calling-all-grad-students-new-initiatives-competition-due-30-september-2020
Calling all Grad Students! New Initiatives Competition, due 30 September 2020
September 3, 2020
Calling all Grad Students! New Initiatives Competition!
The ICMA is eager to serve the needs of our expanding community (memberships are at a record high!). To this end, we have created a New Initiatives Working Group (NIWG). The NIWG seeks to progress how the ICMA facilitates professional gatherings, encourages international public engagement with medieval art, and supports scholarly study and outreach strategies in both the real and virtual worlds. We want to hear your ideas about what we can do in the coming months and years to help our members and the field of medieval art history.
Recognizing that graduate students are the future of the field and often have creative approaches to intellectual and professional life, we are holding a competition for the best initiative idea. Dream big!
If you are a graduate student, please submit your suggestion here, where you will find a slot for a 150-word description of your idea. Deadline: September 30, 2020. You must be an ICMA member. Only one entry per person. The NIWG will assess the proposals based on originality, viability, and relevance to the field.
The winner will be notified by November 30, 2020 and will receive 400 USD as an expression of our gratitude. No further involvement is required of the winner beyond the idea submission.
Beyond this competition, we welcome ideas from across the ICMA membership. Please go to “ACTION” on the ICMA website and you will find a link for the New Initiatives Working Group.
Best wishes,
The ICMA New Initiatives Working Group
Debra Strickland (Chair)
Laura Tillery
Francesca dell'Acqua
James Sigman
Kathryn Gerry
Sherry Lindquist
https://www.medievalart.org/icma-news/2020/9/3/calling-all-grad-students-new-initiatives-competition-due-30-september-2020
Calling all Grad Students! New Initiatives Competition, due 30 September 2020
September 3, 2020
Calling all Grad Students! New Initiatives Competition!
The ICMA is eager to serve the needs of our expanding community (memberships are at a record high!). To this end, we have created a New Initiatives Working Group (NIWG). The NIWG seeks to progress how the ICMA facilitates professional gatherings, encourages international public engagement with medieval art, and supports scholarly study and outreach strategies in both the real and virtual worlds. We want to hear your ideas about what we can do in the coming months and years to help our members and the field of medieval art history.
Recognizing that graduate students are the future of the field and often have creative approaches to intellectual and professional life, we are holding a competition for the best initiative idea. Dream big!
If you are a graduate student, please submit your suggestion here, where you will find a slot for a 150-word description of your idea. Deadline: September 30, 2020. You must be an ICMA member. Only one entry per person. The NIWG will assess the proposals based on originality, viability, and relevance to the field.
The winner will be notified by November 30, 2020 and will receive 400 USD as an expression of our gratitude. No further involvement is required of the winner beyond the idea submission.
Beyond this competition, we welcome ideas from across the ICMA membership. Please go to “ACTION” on the ICMA website and you will find a link for the New Initiatives Working Group.
Best wishes,
The ICMA New Initiatives Working Group
Debra Strickland (Chair)
Laura Tillery
Francesca dell'Acqua
James Sigman
Kathryn Gerry
Sherry Lindquist
https://www.medievalart.org/icma-news/2020/9/3/calling-all-grad-students-new-initiatives-competition-due-30-september-2020
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Jorge S. Arango's review of two exhibitions at the Bowdoin College Museum of Art: New Views of the Middle Ages: Highlights from the Wyvern Collection (curator Kathryn Gerry) and Transformations: New Acquisitions of Global Contemporary Art... more
Jorge S. Arango's review of two exhibitions at the Bowdoin College Museum of Art: New Views of the Middle Ages: Highlights from the Wyvern Collection (curator Kathryn Gerry) and Transformations: New Acquisitions of Global Contemporary Art (curator Sean Burrus).
https://www.pressherald.com/2021/07/11/art-review-bowdoin-museum-reopens-with-two-exhibits-that-exemplify-our-interconnected-world/
https://www.pressherald.com/2021/07/11/art-review-bowdoin-museum-reopens-with-two-exhibits-that-exemplify-our-interconnected-world/
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This website offers an online companion to the exhibition New Views of the Middle Ages: Highlights from the Wyvern Collection (Bowdoin College Museum of Art, Sept 2020-August 2021). It includes images and labels of all objects included in... more
This website offers an online companion to the exhibition New Views of the Middle Ages: Highlights from the Wyvern Collection (Bowdoin College Museum of Art, Sept 2020-August 2021). It includes images and labels of all objects included in the exhibition, and catalogue entries authored by Bowdoin students. https://www.bowdoin.edu/art-museum/exhibitions/digital/wyvern/index.html
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An online public program introducing the Wyvern Collection, organized by students and hosted by the Bowdoin College Museum of Art, Brunswick Maine: https://www.youtube.com/watch?v=bZ5b22DLfaU
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Review of the exhibition, curated by Kathryn Gerry and Ben Tilghman, at the Walters Art Museum, Baltimore, 15 Feb - 24 May, 2009; reviewed by April Oettinger for caa.reviews