Biography

Dr Meg Boulton studied Fine Art as an Undergraduate, and completed her doctorate in Art History in 2013 at University of York. Since then she has taught at various Institutions, including the Department of Continuing Education at Oxford, the University of Leeds and the V & A and has recently held a three-year Teaching Fellowship at the University of Edinburgh. Research interests include: Sculpture, space, theories of viewing and reader reception/s. She has special interests in theory and in a transhistorical practice of the History of Art. She has published widely on topics including early Medieval Art, Inuit Sculpture and the writings of Eve Kosofsky Sedgwick and is currently completing a monograph titled Set in Stone: Phenomenologies of Space in Medieval English Sculpture. She is also developing a longer-term research project called Living in the Vitrine: Animals, Art, and the Anthropocene.

Publications

Edited Books

• The Art, Literature and Material Culture of the Middle Ages: Transition, Transformation and Taxonomy, edited with J. Hawkes (Dublin: Four Courts Press, 2015)
• Space and Place in the Medieval World, edited with J. Hawkes and H. Stoner (Abingdon: Routledge/Taylor and Francis, 2018). To be reissued in paperback (April 2020).
• Insular Iconographies: Essays in Honour of Jane Hawkes (Woodbridge: Boydell and Brewer, 2019)All Roads Lead to Rome: The Creation, Context & Transmission of the
• Codex Amiatinus, edited with J. Hawkes (Turnhout: Brepols, Studia Traditionis Theologiae series, 2019).

 Selected Book Chapters

• ‘Bone, Stone, Wood: encountering material ecologies in early medieval sculpture’ in Michael Bintley and Pippa Salonius (eds) The Surrounding Forest ((Woodbridge: Boydell & Brewer, Ltd., forthcoming 2023)
•      ‘(Visualising) Jerusalem in early Medieval England’ in Katherine Hurlock and Laura Whatley (eds) Crusading and Ideas of the Holy Land in Medieval Britain (Turnhout: Brepols, forthcoming, 2022)
• ‘Pearls before Paradise: Considering the material associations of Heavenly Waters, Precious Stones and Liminality in early Christian Art’ in Carolyn Twomey and Daniel Anlezark (eds) Meanings of Water in early Medieval England (Turnhout: Brepols, 2021), pp.145-166
• ‘Mosaics, marbles, and medievalisms: Displaying the Foundation Narrative of the English Church in Westminster Cathedral’ in Simon Thompson (ed) Medieval Stories and Storytelling: Multimedia and multi-temporal perspectives (Turnhout: Brepols, 2021), pp.133-156
•  'Behold The House of the Lord: Encountering Architecture in the Codex Amiatinus' in Jane Griffiths and Adam Hana (eds) Architectural Space and the Imagination Houses in Literature and Art from Classical to Contemporary (Cham, Switzerland: Palgrave Macmillan, 2020), pp.69-84
•  ‘Exploring Frozen Worlds: Inuit Art in the Hull Maritime Museum’ for Turner and the Whale (ed.) Jason Edwards (Bloomsbury, 2017), pp. 122-144 – the catalogue goes alongside an exhibition of Turner’s Whaling Paintings, loaned from TATE, displayed alongside objects from the collection of the Hull Maritime Museum, coinciding with the city being the Capital of Culture in 2017 https://hoaportal.york.ac.uk/hoaportal/turnerwhale.jsp
•     ‘Art History in the Dark Ages: (Re)Considering Space, Stasis and Modern Viewing Practices in Relation to Anglo-Saxon Imagery’, in M. D. J. Bintley, M. Locker, V. Symons and M. Wellesley (eds) Stasis in the Medieval West?: Questioning Change and Continuity (London: Palgrave Macmillan, 2017), pp. 69-86
•     ‘“Waiting in the Dark”: Musing/s on Sedgwick's Performative(s)’, in J. Edwards (ed.), Bathroom Songs: Eve Kosofsky Sedgwick as a Poet (Punctum Books, Brooklyn, NY, 2017) pp. 169-176 [open access]
•      ‘(Re)Viewing “Iuxta Morem Romanorum”: Considering Perception, Phenomenology and Anglo-Saxon Ecclesiastical Architecture’ in S. Thompson and M. D. J. Bintley (eds) Sensory Perception in the Medieval World: Manuscripts, Texts, and other Material Matters (Turnhout: Brepols, 2016), pp 206-226