Caroline Vout is a cultural historian and art historian with a particular interest in the Roman imperial period and its reception (see e.g. her monographs, Power and Eroticism in Imperial Rome, Cambridge University Press, 2007, The Hills of Rome: Signature of an Eternal City, Cambridge University Press, 2012, Sex on Show: Seeing the Erotic in Greece and Rome, London and Berkeley, 2013, her exhibition catalogue, Antinous: Face of the Antique, Leeds (The Henry Moore Institute), 2006 and the co-edited volume with Helen Lovatt, Epic Visions: Visuality in Greek and Latin Epic and its Reception, Cambridge University Press, 2013). She has published academic articles in, among others, the Journal of Roman Studies, Arion, Ramus, Art History, Journal of the History of Collecting, Proceedings of the Cambridge Philological Society and contributed chapters and reviews to numerous collections of essays and companions. Forthcoming publications include ‘Roman funerary art and the rhetoric of unreachability’, in J. Elsner and M. Meyer (eds.) Art and Rhetoric (CUP), ‘Art and the decadent city’, in Bartsch et al. (eds.) The Cambridge Companion to Nero (CUP); ‘Romantic visions: collecting, display and homosexual self-fashioning’, in J. Ingleheart (ed.) Ancient Rome and the Construction of Western Homosexual Identities (OUP), ‘Lucan, Statius and the piercing eroticism of war’, in Lee Fratantuono (ed.), Wiley-Blackwell Companion to Latin Epic, 14-96 CE, 'The error or Roman aesthetics', in B. Dufallo, Roman Error (OUP), and 'The complex Classicisms of Pater's short stories', in C. Martindale et al. (eds.) Pater the Classicist (OUP). She has also contributed entries to the catalogue of the forthcoming exhibition on Victorian sculpture at the Yale Center for British Art and Tate Britain. She is an editor of Omnibus and Perspective (the journal of the National Institute of Art in Paris), on the Council of the Classical Association and a member of the judging panel of the Criticos Prize. In 2008, she won a Philip Leverhulme Prize for her work in art history. In January, she takes up a British Academy mid-career Fellowship.