College of Arts and Sciences

It was a true privilege to shepherd the department during this academic year. Despite all the complexities, we have accomplished astonishing things! Both our faculty members and our graduate students garnered extremely competitive fellowships and awards, organized international conferences, spoke at a broad variety of venues, published widely, and curated exhibitions. Our studio artists, in turn, exhibited their work across the United States. Our lecture series brought extraordinary scholars to campus; the Graduate Association for Medieval Studies and the Undergraduate Art History Club held a series of fabulous events; and the Cleveland Symposium, which celebrated its 50^th anniversary, was a rousing success.

This year two new faculty members joined our ranks, and we are excited to welcome a new colleague, a specialist in medieval Japanese art, in the fall. Congratulations to our BA and MA graduates, and kudos to our PhD students who secured important curatorial appointments this year! In turn, Barney Taxel retired at the conclusion of this semester, and we are tremendously grateful for his years of service to the Art Studio program.

It was wonderful to celebrate everyone at our end-of-the-year party. I hope you have a magnificent conclusion to this academic year and a glorious summer!

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Members of the CWRU community took the International Congress on Medieval Studies by storm! Rebekkah Hart and Cecily Hughes co-organized a session “Scales of Devotion,” which featured a talk by Gerhard Lutz; Reed O’Mara led an online session on Jewish Women in the Middle Ages; Sarah Frisbie organized two sessions on medieval graffiti; and Prof. Gertsman put together two sessions on medieval materialities, one of which featured Zoe Appleby’s paper on Palermo’s lava stones. Tess Artis, Cecily, Sarah, and Rebekkah also presented papers in various sessions: on the CMA’s macabre double portrait, on sacrament niches, on the Beatus apocalypse, and on the seven sacraments fonts, respectively. Claudia Haines, Anna Farber, Rachel Sweeney as well as Sarah, Rebekkah, and Cecily helped prof. Gertsman run a day-long set of Immersive Realms HoloLens demos, brought to Kalamazoo by the fabulous Peter Gao and Anna Faxon. The gang was joined, at various times, by the alumni Laura Rybicki and Julia LaPlaca, and KSL’s digital preservation librarian and an avid member of GAMS Alyssa Pierce. And the famous book exhibit was greatly enriched by the presence of Nikki DeLuca’s freshly published book on shadows in medieval manuscripts!

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Several grad students joined Prof. Gertsman at the Medieval Academy of America’s centennial meeting at Harvard University.  Cecily Hughes delivered an award-winning paper in the session on Scandinavian art (more on that separately!). Claudia Haines reports that she had the opportunity to hear several fascinating papers (on topics ranging from the integration of music into the social fabric of thirteenth-century Lille, to the diaphanous pages of the Lindisfarne Gospels, to the construction of identity in Scandinavian literature, to narratives of enslavement in Iberia, and beyond), visit many of Boston’s fabulous libraries and museums, reconnect with familiar colleagues and meet new ones—all in all, it was a hugely enriching experience! Rebekkah Hart, in her capacity as a member of the MAA Graduate Student Committee, co-organized and co-chaired a panel on working across institutional and disciplinary boundaries. Sarah Frisbie had a wonderful time attending sessions on materiality, optics, and medieval epistemologies, cheering on Prof. Gertsman, Cecily, and Rebekkah, spending her lunch breaks in the Harvard Art Museums, and eating more than one cannoli. Anna Farber, for whom the MAA was her first conference, says that all the sessions, panels, and gallery visits she attended significantly improved her understanding of the diverse methodologies and subjects with which other medievalists are engaging in the field. Tess Artis, who presented her paper, “Prudent Giving: A Gold Girdle Book and the Rise of the Crokes Under Henry VIII,” at the RSA – held at the same time in the same city – nevertheless made her way to Cambridge to partake in several sessions. And Prof. Gertsman organized and chaired a session on “Form, Thought, and the Pleasure of Looking,” which featured Herbert Kessler, (Johns Hopkins), Megan McNamee (Edinburgh), Jeffrey Hamburger (Harvard), and Vincent Debiais (EHESS).

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We are tremendously proud to announce the Tracing Jewish Histories symposium, co-organized by Reed O’Mara, with sessions introduced and chaired by several of our graduate students! See the full program here.

Works of art and architecture made by or for Jewish communities in the medieval period are often examined through the lenses of persecution and expulsion, or are contrasted against Christian or Muslim “styles.” This symposium seeks to expand and nuance these narratives in order to highlight how works of art and architecture can uniquely trace the history of particular Jewish communities by mapping their movements and traditions across generations and geographies. Medieval Jewish objects and spaces can also serve as loci to examine ideas related to collective memory and cultural identity. To that end, the symposium seeks to open new dialogues regarding the “afterlives” of medieval Jewish art more broadly, initiating discussions regarding the ways in which works of art and architecture continued to bear witness to the richness of Jewish life and culture long after they were created.

Organised by Laura Feigen and Reed O’Mara, this symposium is supported by Sam Fogg and the Mellon Foundation with additional support from The Department of Art History and Art at Case Western Reserve University.

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12:00 pm | Clark Hall Room 206, 11130 Bellflower Road

Embodiment of paradoxes and prophecies, fragmented by metaphors, the heterogeneous, ever-shifting artifact that is the Virgin Mary, Mother of God, could hardly stand further from the natural world. Late antique and Byzantine authors described her womb was the bush that burns and is not consumed, her body as the throne and the altar of God, and her arms as the liturgical spoon. She is a virgin who lactates. Despite her extraordinary qualities, remote from the experiences of womankind, art historians who have attempted to interpret this last facet of a very complex subject – the nursing Virgin Mary – have commonly essentialized it by presenting modern western constructions of nursing and motherhood as ahistorical, self-evident truths that are realized in this image-type. While scholars in many fields have explored the implications of gender theory for well over two decades, little of this work has been directed at Byzantine, and none at Egyptian Christian, art history. The vast distance that separates women engaging in the biologically natural act of nursing from the social construction of a nursing female cult figure shrinks and even disappears in their writings. Elizabeth Bowman, Elsie B. Smith Professor in the Liberal Arts, was motivated by this historiographic pattern and uses this iconographic type as a vehicle for exploring the variability of assemblages of the Virgin Mary Galaktotrophousa, or ‘she who nourishes with milk,’ and her diverse audiences.

An informal lunch will be provided.

Registration is requested. Register HERE.

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