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Books

Co-editor (with Noa Turel), , Brill's Studies on Art, Art History, and Intellectual History 321/50 (Leiden: Brill, 2021)

Co-editor (with Jessica Brantley and Elizabeth C. Teviotdale), , Studies in Iconography: Themes and Variations, 2 (Kalamazoo: Medieval Institute Publications/DeGruyter, 2021)

. 
(Brunswick: º¬Ðß²ÝÑо¿ÊÒ Museum of Art, 2017.  Distributed by New Haven and London: Yale University Press)
 

 (Chicago: University of
Chicago Press, 2009) [REVIEWS: Harper’s320:1918 (March, 2010): 69-70; H-France Review 10: 212 (December, 2010), 910-914; CAA Reviews (December, 2010)] [AWARD: The 2009 Morris D. Forkosch Prize for Best Book in Intellectual History, awarded by the Journal of the History of Ideas].

 Selected Articles and Essays

“Death Commodified: Macabre Imagery on Luxury Objects, c. 1500,” in Perkinson and Turel (eds.),  Picturing Death, 1200-1600, Brill’s Studies on Art, Art History, and Intellectual History 321/50 (Leiden: Brill, 2021), 278-307.

“The Making of ‘Mynding Signes’: Copying, Convention, and Creativity in Late Medieval English Alabasters,” in Perkinson and Brantley, Alabaster Sculpture in Medieval England: A Reassessment, Studies in Iconography: Themes and Variations, 2 (Kalamazoo: Medieval Institute Publications/DeGruyter, 2020).

“Anatomical Impulses in Sixteenth-Century Memento Mori Ivories,” in , ed. Catherine Yvard (London: Courtauld Books Online, 2017), 76-92.

“Portraits and their Patrons: Reconsidering Agency in Late Medieval Likenesses,” in Medieval Patronage: Patronage, Power and Agency in Medieval Art, ed. Colum Hourihane (College Station: Penn State University Press, 2013), 237-254.

“Likeness,” Studies in Iconology: Special Issue: Medieval Art History Today – Critical Terms 33 (2012): 14-28.

Invited contributor, Census of Gothic Sculpture in America, volume III, ed. Joan Holladay and Susan Ward (anticipated date of publication: 2012).

“‘As they learn it by sight of images’: Alabasters and Religious Devotion in Late Medieval England,” in Object of Devotion: Medieval English Alabaster Sculpture from the Victoria and Albert Museum, ed. Paul Williamson and Fergus Cannan (London: Victoria and Albert Museum, October 2010) [Exhibition on view at the º¬Ðß²ÝÑо¿ÊÒ Museum of Art February 26 - June 26 2011.]

"Likeness and Loyalty: Portraiture in the Calendar Scenes of the Très Riches Heures," in  38 (2008): 142-174.

“Rethinking the Origins of Portraiture,” Gesta 46:2 (2007): 135-158.

"Sculpting Identity," in , ed. Charles T. Little (New York: The Metropolitan Museum of Art, 2006), 120-123. (Exhibition catalogue published in conjunction with the exhibition "Set in Stone: The Face in Medieval Art," on view at the Metropolitan Museum of Art in New York City, 26 September 2006 through 18 February 2007.)

“Courtly Splendor, Urban Markets: Some Recent Exhibition Catalogues” [Review of Art from the Court of Burgundy, 1364-1419 (Dijon: Musée des Beaux-Arts; Cleveland, Ohio: Cleveland Museum of Art; Paris: Réunion des Musées Nationaux, 2004), Paris 1400: Les arts sous Charles VI (Paris: Fayard, 2004), Les princes des fleurs de lis: La France et les arts en 1400(Paris: Réunion des Musées Nationaux, 2004), and Les Très Riches Heures du duc de Berry et l’enluminure en France au Début du XVe siècle(Chantilly: Musée Condé, 2004)],” Speculum 81:3 (2006), 1150-1157.

“Ivory Devotional Diptych: The Virgin in Glory and The Crucifixion, Paris, ca. 1320,” in The º¬Ðß²ÝÑо¿ÊÒ Museum of Art Newsletter (Winter/Spring 2005): 8-9.

"From 'Curious' to Canonical: Jehan Roy de France and the Origins of the French School,"  87:3 (2005): 507-532.

“Portraits and Counterfeits: Villard de Honnecourt and Thirteenth-Century Theories of Representation,” in Excavating the Medieval Image: Manuscripts, Artists, Audiences – Essays in Honor of Sandra Hindman, Nina A. Rowe and David Areford, eds. (Aldershot, U.K.: Ashgate Press, 2004), 13-35.

“From an ‘Art de Memoire’ to the Art of Portraiture: Printed Effigy Books of the Sixteenth Century,” The Sixteenth Century Journal 33:3 (2002): 687-723.

“Engin and artifice: Describing Creative Agency at the Court of France, c. 1400,” Gesta 41:2 (2002): 51-67.

“Insurgent Voices: Illuminated Versions of Christine de Pizan’s Livre du duc des vrais amans” (co-authored with Sandra Hindman), in The City of Scholars: New Approaches to Christine de Pizan, Zimmermann and De Rentiis editors, (New York and Berlin: De Gruyter, 1994), 221-231.

Exhibitions Curated at the º¬Ðß²ÝÑо¿ÊÒ Museum of Art

"Displaying Devotion," February 17, 2011 - June 19, 2011.

"Between the Lines: Trends in Early Modern Printmaking," May 1, 2011 - June 1, 2008.
"From "Saint Makers" to Artists: Prints and Printmakers in Northern Renaissance," March 4, 2003 - April 13, 2003.

• Art at the Late Medieval Courts of Northern Europe.
• History of Portraiture in Late Medieval and Early Modern Europe.
• The illustration of secular manuscripts in the later Middle Ages and early Renaissance.
• Artistic interactions between Christians, Muslims, and Jews in the Middle Ages and Renaissance.

• º¬Ðß²ÝÑо¿ÊÒ, 2002-present.
• University of Denver, 1999-2002.
• Skidmore College, 1998-1999

• Scholar in Residence, Niederländisches Forum, Freie Universität Berlin, June 2010.
• Alexander von Humboldt Foundation “CONNECT” Grant, Summer 2010.
• J. Paul Getty Postdoctoral Fellowship in the History of Art and the Humanities, Summer 1999 to Summer 2000.
• Northwestern University Dissertation Year Grant, Fall 1997 to Spring 1998.
• Chateaubriand Fellowship, French Cultural Services, Embassy of France, Fall 1995 to Summer 1996.
• Belgian-American Educational Foundation Graduate Fellowship (declined full fellowship; awarded Honorary Fellow status), Fall 1995 to Summer 1996.