Different Visions: A peer-reviewed 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 

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

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 textbook Medieval Art 250-1450: Matter, Making, and Meaning (Oxford UP, 2021).

Content Manager

Mya Frieze

Mya Frieze (Associate Course Director of Art History, Full Sail University) specializes in early medieval Irish art, as well as library and information science. Her Master’s thesis (UW-Madison, 2020) focused on connections between early Irish monastics and their Coptic forebears, with an emphasis on sculpture and manuscript decoration.

Research Assistant

Elise Braggs

Elise Braggs is currently a BFA student focusing on printmaking at Oklahoma State University. Her work for Different Visions is sponsored by OSU’s Advancing Undergraduate Research and Creative Activity (AURCA) program.

Founding Editor

Rachel Dressler

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.

Editorial Board

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

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.

Shirin Fozi

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.

Elizabeth Lastra

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

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

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

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.

Benjamin Tilghman

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.

Copyright Information

Work published in Different Visions is licensed under a Creative Commons Attribution-Non Commercial 4.0 International License. By granting a CC-BY 4.0 license in their work, authors retain copyright ownership of the work, but they give explicit permission for others to download, reuse, reprint, modify, distribute, and/or copy the work, as long as the original source and author(s) are properly cited (i.e. a complete bibliographic citation and link to the Different Visions website). No permission is required from the author(s) or the publishers for such use. According to the terms of the CC-BY license, any reuse or redistribution must indicate the original CC-BY license terms of the work.

Authors grant license to Different Visions the non-exclusive right to publish, reproduce, and distribute the work, in whole or in part, throughout the world.

Author retains:  (i) the rights to reproduce, to distribute, to publicly perform, and to publicly display the Article in any medium for noncommercial purposes; (ii) the right to prepare derivative works from the Article; and  (iii) the right to authorize others to make any non-commercial use of the Article so long as Author receives credit as author and the journal in which the Article has been published is cited as the source of first publication of the Article. Adapted from SPARC.

ISSN 1935-5009