"Studies in Iconography" is an annual journal hosted by the Index of Medieval Art and published in partnership with Medieval Institute Publications. It presents innovative work on the meaning of images from the medieval world broadly construed, between the fourth century to the year 1600. Past articles have addressed subjects as diverse as Byzantine fresco programs, Carolingian architectural diagrams, Gothic rent books, Jewish ritual images, and Islamicate stucco ornament. We encourage article submissions that offer interdisciplinary, theoretical, or critical perspectives. Works of both established and emerging scholars are welcome. Reviews of selected books on iconography and art history are included in every volume.
MIP also publishes the journal's associated book series, Studies in Iconography: Themes and Variations.
Conrad Rudolph is Distinguished Professor of Medieval Art History Emeritus at the University of California, Riverside. He is a Fellow of the Medieval Academy and has received awards from Guggenheim, Getty, Mellon, Kress, and the National Endowment for the Humanities. He is the author of numerous books and articles, including The Mystic Ark: Hugh of Saint Victor, Art, and Thought in the Twelfth Century (Cambridge University Press), “The Tour Guide in the Middle Ages: Guide Culture and the Mediation of Public Art” (Art Bulletin), and “Macro/Microcosm at Vézelay: The Narthex Portal and Non-elite Participation in Elite Spirituality” (Speculum).
Kerry Paul Boeye received his doctorate from the University of Chicago in 2010. He is an associate professor at Loyola University Maryland in Baltimore, where he teaches a wide range of courses on medieval, Islamic, and African American art, as well as courses in aesthetics and museum studies. His research focuses upon English and French manuscripts from the twelfth and thirteenth centuries, but he has also published on art history pedagogy with Dr. Mavis Biss and on a twelfth-century Italian altar frontal with Dr. Nandini Pandey. Currently he is working on a survey of Western medieval illustrations of the Solomonic books of the Bible.
Meg Bernstein is Assistant Professor of Art History at the New York State College of Ceramics at Alfred University. She earned her PhD at the University of California, Los Angeles in 2019. Her research on ecclesiastical art and architecture in northwest Europe has been supported by the Kress Foundation, the Yale Institute of Sacred Music, the Fulbright Program, and the Paul Mellon Centre for Studies in British Art. Her work on English parish churches examines their social and spatial developments, demonstrating that these buildings were a vehicle for the expression of new religious and social identities. She is the editor of Towards an Art History of the Parish Church, 1200–1399 (Courtauld Books Online, 2021). Meg’s other publications have appeared in Journal of the Society of Architectural Historians, British Archaeological Association Conference Transactions, Vetusta Monumenta: Ancient Monuments, A Digital Edition, and Digital Humanities and Material Religion.
Alana O’Brien is an adjunct research fellow of La Trobe University, Australia and a former fellow of the Medici Archive Project, Florence, Italy. Her research focuses primarily on the reception of and response to artworks in religious settings by historical and near-historical viewers. She endeavors to re-create artworks’ devotional, physical, social, and liturgical environments to discern how contemporary and near-contemporary observers might have understood and engaged with them. The primary foci of her studies are the Order of the Servants of Mary, their church of the Santissima Annunziata in Florence, and the devotional cult of Saint Filippo Benizi. In a related aspect of her work, she explores the connections of artists and artisans with Florentine confraternities and the mechanisms used by artists to gain access to restricted spaces containing significant artworks.
Annemarie Carr: University Distinguished Professor Emerita, Southern Methodist University; Vice President, Cyprus American Archaeological Research Institute in Nicosia.
Kirk Ambrose is professor and chair of the department of Art and Art History at the University of Colorado Boulder. He is author of The Nave Sculpture of Vézelay: The Art of Monastic Viewing (2006) and The Marvellous and the Monstrous in the Sculpture of Twelfth-Century Europe (2013), as well as many book chapters and journal articles, including in The Art Bulletin, Gesta, Nineteenth-Century Art Worldwide, Studies in Iconography, Traditio, and Word & Image. Along with Robert A. Maxwell, he edited and translated Current Directions of Romanesque Sculpture Studies (2010). His current projects include a documentary and exhibition catalogue on women artists in Colorado in the early twentieth century. He has served as Editor-in- Chief of The Art Bulletin.
