Different Visions: An open-access journal devoted to progressive scholarship on medieval art.
Different Visions aims for inclusive publishing and welcomes a variety of approaches and topics reflecting the diversity of medieval visual and material culture. It publishes work that engages with all forms of critical theory, including Premodern Critical Race Studies, Gender Studies, the global Middle Ages, and Medievalism. The journal also seeks integrated, socially-engaged, or pedagogical projects that examine the role of medieval visual culture in our contemporary world. In addition, the journal welcomes projects that work at the intersection of medieval art history and the digital humanities. Unlike a traditional print journal, the e-format of Different Visions accommodates dynamic and interactive new media. We invite submissions that include digital content, including but not limited to film and audio clips, three-dimensional models, and gigapixel and spherical panoramas.
Current Managing Editors
Jennifer Borland (Professor of Art History, Oklahoma State University) specializes in medieval European art, most recently focusing on images of medieval healthcare and medical manuscripts. Her work has also converged with a variety of other topics including feminism and gender, materiality, audience and reception, medievalism and collecting, and engaged art history and pedagogy.
Nancy Thompson (Professor of Art History, St. Olaf College) specializes in later medieval European art, with a focus on stained glass in central Italy. For the past several years, she has spent much of her scholarly energy co-authoring the forthcoming (2021) textbook Medieval Art 250-1450: Matter, Making, and Meaning.
Andrea Myers Achi
Andrea Myers Achi (Assistant Curator, Department of Medieval Art and The Cloisters, Metropolitan Museum of Art) specializes in late antique and Byzantine art, manuscript studies, and late Roman ceramics. Her current projects include writing on the monastic economy in medieval Egypt, exploring translations of Byzantine art and culture by local and foreign artists working in Africa from the fourth through fifteenth centuries, and curating medieval northeast African art through the lens of critical race theory.
Maeve Doyle (Assistant Professor of Art History, Eastern Connecticut State University) is a specialist in the book arts of later medieval Europe, with interests in gender and queer theory, reception, and digital art history.
Rachel Dressler (Associate Professor of Art History, Emerita, SUNY Albany) is leading scholar in the field of medieval feminist art history and specializes in English medieval tomb sculpture. She is also the founder of the original Different Visions.
Shirin Fozi (Associate Professor of Art History, University of Pittsburgh) mostly writes about German art in the long twelfth century, with a focus on sculpture and its many audiences, and teaches History of Art and Architecture and Museum Studies at the University of Pittsburgh.
Liz Lastra (Assistant Professor, Art Department, Vassar College) specializes in northern Spanish art and society in the eleventh and twelfth centuries. She is interested in pilgrimage, urbanism, and social and religious pluralism.
Risham Majeed (Associate Professor of Art History, Ithaca College) specializes in medieval art in western Europe in tandem with the historical arts of Africa. Her research explores how the two were treated, sometimes together, in the course of their respective receptions in European and American museums.
Mikael Muehlbauer (Core Lecturer, Department of Art History and Archeology, Columbia University) is a specialist in the architecture of Medieval Ethiopia and Egypt.
Christine Sciacca (Associate Curator of European Art, 300 – 1400 CE, The Walters Art Museum) is a specialist in German, Italian, and Ethiopian medieval art, with a focus on liturgy, devotional practice, and patronage. Other interests include: illuminated manuscripts, medieval women, architecture, and textiles. She is currently developing an exhibition on Ethiopian art and its impact on surrounding cultures.
Ben Tilghman (Associate Professor of Art History, Washington College) specializes in the art of early medieval Europe. He has written extensively on the role of ornament in manuscripts and on the visual nature of writing, and is currently exploring ecocritical approaches to art history.
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