Global Medieval Art
PhD Harvard University
email@example.com (she, her)
2033 William Johnston Building
Dr. Erika Loic specializes in global medieval art history, manuscript illumination, and the Iberian Peninsula. She is especially interested in materiality and the effects of translating word and image across media, not only historically but also in Digital Humanities initiatives. Before joining the art history faculty at Florida State University in 2020, she held the Postdoctoral Fellowship in Medieval Art and Digital Humanities in the Department of Visual Studies at the University of Toronto Mississauga. In this role, she helped develop web-based teaching and research tools to support a new textbook (Jill Caskey, Adam S. Cohen, and Linda Safran, Art and Architecture of the Middle Ages: Exploring a Connected World, forthcoming from Cornell University Press).
In addition to her training in art history, Dr. Loic’s formal education has included film studies, communications, and cultural studies. After attending a practice-based film school in Toronto, she completed a Master’s degree with a focus on experimental animation and abstraction in 16mm film. Her background in filmmaking and film studies informs much of her current work on the art of the book, from the earliest codices to more recent experiments in sculptural, projection-based, and digital artists’ books.
Dr. Loic is currently preparing a monograph on the eleventh-century Ripoll and Roda Bibles, which were produced at the monastery of Santa Maria de Ripoll in the Marca Hispanica (Catalonia). She is also the editor, with Elsa De Luca and Alicia Miguélez Cavero, of an upcoming special issue of the Journal of Medieval Iberian Studies: “Connecting the Dots: New Research Paradigms for Iberian Manuscripts as Material Objects” (forthcoming 2022). Her scholarship has been supported by the Social Sciences and Humanities Research Council of Canada, the Burlington Magazine Foundation and Francis Haskell Memorial Fund, and the Andrew W. Mellon Foundation (Santiago Cathedral Project).
The Ripoll Bibles: Art and Monastic Practice in Eleventh-Century Catalonia
“Bell-Lamp of Oran from the Perspective of Art History: Object Case Study.” In Bloomsbury Encyclopedia of the Global Middle Ages, edited by Alice Isabella Sullivan. London: Bloomsbury Publishing, 2020. https://doi.org/10.5040/9781350990005.0050
“Terrestrial and Celestial Connections through Symbolic Schemata: The Stone Choir within the Sacred Topography of Santiago de Compostela.” In El Pórtico de la Gloria: Arquitectura, materia y visión / The Portal of Glory: Architecture, Matter and Vision, edited by Francisco Prado-Vilar, 133–56. Madrid: Fundación General de la Universidad Complutense, 2020. https://issuu.com/fundacioncomplutense/docs/el_portico_de_la_gloria_b_150
“The Letter as Presence, Process, and Partnership: Mergers of Message and Medium in the Medieval Initial.” Visual Resources 36, no. 1–2 (2020): 1–27.
“Dominus Tonans: The Voice and Light of Christianity’s Tempestuous God in Late Antiquity and the Middle Ages.” Word & Image 35, no. 4 (2019): 403–25.
“Creativity at the End(s) of an Empire: Biblical Compilation and Illustration at the Monastery of Ripoll.” In After the Carolingians: Re-defining Manuscript Illumination in the 10th and 11th Centuries, edited by Beatrice E. Kitzinger and Joshua O’Driscoll, 161–82. Berlin: De Gruyter, 2019.