ࡱ>  =bjbjS>S> 4P1T_1T_4dd   8B>#T $p%@B%B%B%B%V%%suuuuuu$Fr%B%B%%%B%B%\@\@\@%FB%B%s\@%s\@\@*kl ;R_Ĥ0j>kk? \@%%%t?%%%%%%%%%%%%%%%%dX : CLAIRE J. FARAGO Department of Art and Art History 鶹Ƶ Boulder, CO 80309 Home: 4265 Marina City Drive, #511W Marina del Rey, CA 90292 email:  HYPERLINK "mailto:farago@colorado.edu" farago@colorado.edu EDUCATION UNIVERSITY OF VIRGINIA. Charlottesville, Ph.D. Art History, 1988 Dissertation: Leonardo da Vincis Paragone: A Critical Interpretation of the Parte Prima of the Codex Urbinas Vaticanus 1270 [Thesis Director: David Summers] BROWN UNIVERSITY, Providence, M.A., Art History, 1980 Thesis: Botticellis Mystic Nativity, 1500 WELLESLEY COLLEGE, Wellesley, A. B., Sarah Durant Scholar, 1970 EMPLOYMENT Fall 2021 SMITH COLLEGE, Northampton, Massachusetts, Ruth and Clarence Kennedy Professor in Renaissance Studies October 2018 UNIVERSITY OF ZURICH, SWITZERLAND, Visiting Professor, Institut fr Kunstgeschichte 1988-present UNIVERSITY OF COLORADO BOULDER, Department of Art and Art History; Professor Emerita since June 2017; Professor of Early Modern art, theory, and criticism since 2000; Associate Professor, 1995-2000; Assistant Professor, 1988-1995 2011-12 UNIVERSITY OF YORK, U.K., Department of Art History, Unaugural Fulbright Scholar and Visiting Research Professor 2008 UNIVERSITY OF MELBOURNE, MELBOURNE, AUSTRALIA, School of Culture and Communication, MacGeorge Fellow, Visiting Research Professor, Aug 24-Dec 12, 2008 2006 UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL, Department of Art and Art History, Visiting Wiley Professor of Renaissance Art, fall semester 1997 UNIVERSITY OF CALIFORNIA AT LOS ANGELES, Department of Art History, Art Council Chair Visiting Distinguished Professor 1991-1992 OREGON STATE UNIVERSITY, Corvallis, Oregon, Department of Art History, Visiting Associate Professor, winter and spring terms 1980-1983 VIRGINIA MUSEUM OF FINE ARTS, Richmond, Acting Curator of Twentieth-Century Art; Coordinator of the Virginia Artists Biennial Program BOOKS IN PRINT [refereed] 2018 The Fabrication of Leonardo da Vinci's Trattato della Pittura, with a scholarly edition of the Italian editio princeps (1651) and an annotated English Translation, Editor and principal contributing author. Author of historical introduction, two chapters, co-author of translation and readers notes; includes transcription and the first English translation, critical apparatus, readers notes, appendices, and eight additional essays by Claire Farago, Janis Bell, Carlo Vecce, Matthew Landrus, Anna Sconza, Juliana Barone, Maria Rascaglia, and Mario Valentino Guffanti. Foreword by Martin Kemp. 2 vols. Leiden: Brill Press 2012 Art Is Not What You Think It Is, co-author with Donald Preziosi, Oxford-New York: Blackwells-Wiley Publishing, Manifesto Series 2009 Re-Reading Leonardo: The Treatise on Painting across Europe 1550 to 1900, Contributing Editor, Aldershot: Ashgate Press 2008 Leonardo da Vinci and the Ethics of Style, Contributing Editor, Manchester University Press. 2006 Transforming Images: New Mexican Santos in-between Worlds, Principal Co-author with Donna Pierce, and additional contributors, Pennsylvania State University Press 2004 Grasping the World: The Idea of the Museum, Contributing Co-editor with Donald Preziosi, Aldershot: Ashgate 2003 Compelling Visuality: the Work of Art in and out of History, Contributing Co-editor with Robert Zwiijnenberg, Minneapolis: University of Minnesota Press, 2003 1999 Leonardo da Vinci: Selected Scholarship in English, Contributing Series Editor, 5 vols., New York and London: Garland Publishing Inc/Taylor and Francis Publishing Group 1995 Reframing the Renaissance: Visual Culture in Europe and Latin America 1450 to 1650. Contributing Editor, New Haven and London: Yale University Press 1992 Leonardo da Vinci's 'Paragone': A Critical Interpretation with a new edition of the text in the Codex Urbinas. Leiden: E. J. Brill BOOKS IN PRINT [invited] 2021 Co-edited with Flavia Galli Tatsch, A 'virada global' como um futuro discilinar para a Histria da Arte/ The 'Global Turn' as a Disciplinary Future for Art History, guest-edited section of Modos: Revista de Histria da Arte 5/3 (September-December 2021) 2020 Paragone: Parte prima di Libro di Pittura di M. Lionardo da Vinci, Pittore et Scultore Fiorentino 1492, trans. from Italian and preface Claire J. Farago, trans. from German and preface Hans Zwipp, Dresden: Hille Verlag 1996 Leonardo da Vinci, Codex Leicester: A Masterpiece of Science, Principal author, with contributions by C. Pedretti, M. Kemp, and O. Gingerich, New York: American Museum of Natural History BOOKS IN PROGRESS [refereed] Writing Borderless Histories of Art: on the Future of Cultural Memory in the Era of Climate Disruption. Routledge Press, contracted November 2017, scheduled for submission in fall 2022. SELECTED ARTICLES, ESSAYS [refereed] Non finito: Leonardo's Saint Anne and its Written Legacy, Decoding Leonardos Codices: Compilaton, Dispersal, and Reproduction Technologies, ed. by Paolo Galluzzi and Alessandro Nova, pp. 111-30. Kunsthistorisches Institut in Florenz/Max-Planck-Institut and Museo Galileo, Florence. Venice: Marsilio, 2022. "Collaboration," co-authored with Donald Preziosi, in Storytellers of Art Histories: Living and Sustaining a Creative Life, ed. Alpesh Kantilal Patel and Yasmeen Siddiqui, 53-61. Bristol-Chicago: Intellect, 2022. Race, nation et histoire de lart,in Ide nationale et architecture en Europe, 1830-1919 vol. 2. Architecture and national identities in Europe 1830-1919, ed. Jean-Yves Andrieux, Fabienne Chevalier, and Anja Kervanto Nevanlinna, 17-41. Presses Universitaires de Rennes, 2019. Ingenuity and Artists Ways of Knowing, in Renaissance Futurities: Art, Science, Invention, ed. Charlene Villaseor Black and Mari-Tere lvare, 130-150. Berkeley: University of California Press, 2019. Re-Reading Richter and MacCurdy: Lessons in Translation, in Leonardo in Britain: Collections and Historical Reception. Ed. Susanna Avery-Quash and Juliana Barone, 323-352. Florence: Olschki and Vinci: Biblioteca Leonardiana, 2019. The Global Turn in Art History: Why, When, and How Does It Matter?, in The Globalization of Renaissance Art, ed. Daniel Savoy, 299-313, Leiden: Brill Press, 2017. The Face of the Other: The Particular versus the Individual, Boletim do Museu Paraense Emilio Goeldi. Cincias Humanas 22/10 (2017): 101-126. with Matthew Landrus. Leonardo da Vinci. In Oxford Bibliographies in Renaissance and Reformation. Ed. Margaret King. New York: Oxford University Press, on-line publication. Understanding Visuality, in Seeing across Cultures, ed. Jeanette Peterson and Dana Leibsohn, 239 - 56. Aldershot: Ashgate Press, 2012. Reframing the Renaissance Problem Today: Developing a Pluralistic Historical Vision, in Crossing Cultures: Conflict/Migration/Convergence, 32nd Congress of the International Committee of the History of Art, ed. Jaynie Anderson, 227-232. University of Melbourne Press, 2009. Who Abridged Leonardo da Vincis Treatise on Painting?, in Re-Reading Leonardo: The Treatise on Painting across Europe 1550 -1900, ed. Claire Farago, 77-106. Aldershot: Ashgate Press, 2009. Three Ducats in Venice: Connecting Giorgione and Leonardo, in Leonardo da Vinci and the Ethics of Style, ed. Claire Farago, 147-58. Manchester: Manchester University Press, 2008. The Peripatetic Life of Objects in the Era of Globalization, in Travel, Cultural Exchange and the Making of European Art 1400-1900, ed. Mary Sheriff, 17-42. Chapel Hill: University of North Carolina Press, 2010. Reframing the Renaissance Problem Today, in Reframing the Danish Renaissance, ed. Mi. Andersen, H. Johannsen, B. Johannsen, Copenhagen: Danish National Museum, 2011, 71-78. Thinking beyond the Baroque, in Rethinking the Baroque, ed. Helen Hills, 99-122. Aldershot: Ashgate Press, 2011. The Sacred, the Secret, and the Ethics of Historical Interpretation: What I Learned from the Santos of New Mexico, in Medieval and Early Modern Devotional Objects in Global Perspective: Translations of the Sacred, ed. Elizabeth Robertson and Jennifer Jahner, 229-48. Palgrave Press, 2010. The Grotesque Idol: Imaginary, Symbolic, and Real, with Carol Parenteau, in The Idol in the Age of Art, ed. Mi. Cole and R. Zorach, 105-132, Aldershot: Ashgate Press, 2009. Remaking Art History: Working Wonder in the Universitys Ruins, in Making Art History: A Changing Discipline and Its Institutions, ed. E. Mansfield, London: Routledge, 2007. 157-72. Letting Objects Rot, in Artwork through the Market, ed.Jan Bakos, 239-62. Komenius University, Bratislava, Slovakia, 2005. Leonardo's Prospettiva Composta in the History of Pictorial Composition, in I mondi di Leonardo. Arte, scienza e filosofia, ed. Carlo Vecce, 107-129. Milan: Edizioni Univ IULM, 2003. Silent Moves: Locating the Ethnographic Subject in the Discourse of Art History," in Art History and its Institutions, ed. Elizabeth Mansfield, 191-214. London: Routledge, 2002. "Die sthetik der Bewegung in Leonardos Kunsttheorie, in Leonardo da Vinci: Natur im Ubergang, ed. F. Fehrenbach, 137-168. Munich: Wilhelm Fink, 2002. "Transforming Images: New Mexican Santos between History and Theory," in The Visual Culture of American Religions, ed. D. Morgan and S. Promey, 191-208, Berkeley-LA: U. of California, 2001. Co-author with Donald Preziosi, a review of Neil Cummings and Marysia Lewandowska, The Value of Things, Basel-Berlin: Birkhuser and London: August, 2000, 222 pp., for College Art Association Reviews web site ( HYPERLINK "http://www.caareviews.org/" http://www.caareviews.org/), 2001. Exiting Art History: Locating Art in the Modern History of the Subject, Konsthistorisk Tidskrift 70/1-2 (2001): 3-19. "The Defense of Art and the Art of Defense," Achademia Leonardi Vinci X (1997): 13-22. "The Battle of Anghiari: A Speculative Reconstruction of Leonardo's Design Process," Achademia Leonardi Vinci IX (1996): 73-86. "'Vision Itself Has Its History': 'Race,' Nation, and Renaissance Art History," Reframing the Renaissance: Visual Culture in Europe and Latin America 1450 to 1650, ed. Claire Farago, 67-88, New Haven and London: Yale University Press, 1995. "Jean de Lry's Anatomy Lesson: the Persuasive Power of Word and Image in Constructing the Ethnographic Subject," in European Iconography East & West, Jozsef Attila University, ed. G.Szny, 109-127. Leiden: E. J. Brill, 1995. "Leonardo's Battle of Anghiari: A Study in the Exchange between Theory and Practice," Art Bulletin 76 (1994): 301-330. REPRINTED IN Leonardo's Artistic Career after 1500, ed. C. Farago, vol. 3 of Leonardo da Vinci: Selected Scholarship in English, ed. C. Farago, 5 vols., New York and London: Garland Publishing Inc/ Taylor and Francis Publishing Group,1999. "Renaissance Art out of the Canon: Art, Gender, and Cultural Diversity, 1500-1600," in Women of Color and the Multicultural Curriculum: Transforming the College Classroom, eds. Liza Fiol-Matta and Mariam K. Chamberlain, 152-155. New York: The Feminist Press at The City University of New York, 1994. "Leonardo da Vinci's Defense of Painting as a Universal Language," Word & Image Interactions, A Selection of Papers Given at the Second International Conference on Word and Image, Universitt Zrich, August 27-31, 1990, ed. M. Heusser with M. Nnny, P. de Voogd, and H. Lthy, 125-133. Basel: Wiese Verlag, 1993. "Fractal Geometry in the Organization of Madrid MS II," Achademia Leonardi Vinci VI (1993): 47-55. "The Classification of the Visual Arts during the Renaissance," in The Shapes of Knowledge from the Renaissance to the Enlightenment, ed. Richard Popkin and Donald Kelley, 23-48. Dordrecht-London: Kluwer Academic Publishers, 1991. "On Leonardo da Vinci's Defense of Painting against Poetry and Music and the Grounding of Aesthetic Experience," Italian Culture, IX (1991): 153-170. "Leonardo da Vinci's Color and Chiaroscuro Reconsidered: The Visual Force of Painted Images," The Art Bulletin, 73 (1991): 53-78. REPRINTED IN Leonardo's Science and Technology: Essential Readings for the Non-Scientist ed. C. Farago, vol. 5 of Leonardo da Vinci: Selected Scholarship in English, ed. C. Farago, 5 vols., New York and London: Garland Publishing Inc/ Taylor and Francis Publishing Group,1999. SELECTED ARTICLES, ESSAYS [invited essays in refereed publications, including book reviews in refereed journals] Co-authored and co-edited with Flavia Galli Tatsch, "A 'virada global' como um futuro discilinar para a Histria da Arte/ The 'Global Turn' as a Disciplinary Future for Art History," in Modos: Revista de Histria da Arte 5/3 (September-December 2021): 97-120 (Introduction to co-edited section of this issue) 'Thoughts on the 'Global Turn' as a Disciplinary Future: Escaping Eurocentric Approaches," Modos: Revista de Histria da Arte 5/3 (September-December 2021): 122-139. "A Very Different Kind of National Art History: Looking to the Future from the Past," in On the Challenges of Writing on Modernism in Central Europe, ed. Steven Mansbach, special issue of Umen Art 2 LXIX (2021): 196-99, 242, Institute of Art History of the Czech Academy of Sciences in Prague, simultaneously published in Journal of art Historiography 2021. The Future of the Past: What Comes after World Art History?, inMix & Stir: New Outlooks on Contemporary Art from Global Perspectives, ed. Helen Westgeest and Kitty Zijlmans, Amsterdam: Valiz, 2021, 395-401. Leonardo on Reading Pictures: The Paragone in the Workshop," Leonardo's Paragone in Context, ed. Johannes Gebhardt and Frank Zllner, University of Leipzig (Petersburg: Michael Imhof Verlag, 2021), 43-61. Entry on Giorgio Valla, De expetendis et fugiendis rebus, Venice, 1501, with Matthew Landrus, in La Biblioteca di Leonardo, ed. Carlo Vecce, online resource at Museo Galileo, Florence, and eponymous book (Florence: Giunti Press, 2021), 422-427. Entitlements and Entanglements: Situating Global Art: Topologies, Temporalities, Trajectories, ed. Sarah Dornhof, Nanne Buurman, Birgit Hopfener, and Barbara Lutz (Bielefeld: Transcript Verlag, 2018), book review essay, ArtMargins published 3.10.2020, at  HYPERLINK "https://artmargins.com/entitlements-and-entanglements/" https://artmargins.com/entitlements-and-entanglements/ In Defense of the Classical Tradition: How the Humanities Make a Difference Today, Figura: Studies on the Classical Tradition 6/1 (Jan-June 2018): 3-12. Cutting and Sharing the Global Pie: Why History Matters to Discussions of Contemporary Global Art, Decolonizing Art Institutions, special issue of OnCurating, ed. Dorothee Richter and Ronald Kolb, 34 (2017), online journal  HYPERLINK "http://www.on-curating.org/issues.html" http://www.on-curating.org/issues.html Imagining Art History Otherwise, in Global and World Art in the Practice of the University Museum, 115-130. Ed. Jane Chin Davidson and Sandra Esslinger (London and New York: Routledge, 2017). Whose History? Why? When? Who Benefits? And Who Doesnt, New Worlds: Frontiers, Inclusions, Utopias. Ed. Claudia Mattos Avolese and Roberto Conduru, 283- 303. So Paulo: Comit Brasileiro de Historia da Arte and Comit International de lHistoire de lArte and Vasto, 2017. Desiderata for the Study of Early Modern Art of the Mediterranean and Arguing the Mediterranean: A Response to the Panel Discussion, in Reflections: Talking Mediterranean, in Can We Talk Mediterranean? Conversations on an Emerging Field in Medieval and Early Modern Studies, ed. Brian A. Catlos and Sharon Kinoshita, 49-64, 113-119 (Cham, Switzerland: Palgrave Macmillan, 2017). Book Review, Benjamin Schmidt, Inventing Exoticism: Geography, Globalism, and Europes Early Modern World, University of Pennsylvania Press, 2013, in Renaissance Quarterly 69/3 (2016): 1090-91. Conceptions and determinations of Baroque and New Baroque in the Last Decade: A discussion between Jens Baumgarten, Claire Farago, Stefano Jacoviello, Monika Kaup, and Gabriela Siracusano, moderated by Helen Hills, Perspective. Institut national dhistoire de lart [France] 1 (2015): 15-36. A Short Note on Artisanal Epistemology in Leonardos Treatise on Painting, Illuminating Leonardo: A Festschrift for Carlo Pedretti Celebrating his Seventy Years of Scholarship (1944-2014), ed. Constance Moffatt and Sara Taglialagamba (Leiden: Brill, 2015), 51-68. Claire Farago, The Absolute Leonardo. Review essay of: The Lives of Leonardo, ed. Thomas Frangenberg and Rodney Palmer, Warburg Institute Colloquia, ed. Charles Burnett and Jill Kraye, London: The Warburg Institute and Turin: Nino Aragno Editore, 2013. 8500 words. Journal of Art Historiography, December 2015 HYPERLINK "https://arthistoriography.files.wordpress.com/2015/02/farago-review.pdf"13/CF1 [HYPERLINK "https://arthistoriography.files.wordpress.com/2015/02/farago-review.pdf"https://arthistoriography.files.wordpress.com/2015/02/farago-review.pdfaccessed 2.02.2015] "Artisanal Epistemologies and the Artless Art of Post-Tridentine Painting," The Artwork between Technology and Nature, ed. Camilla Skovbjerg and Jacob Wamberg, Aldershot: Ashgate Publishing, 2015, 117-33. Leonardo da Vinci, Encyclopedia of Aesthetics, ed. Michel Kelly, Oxford University Press, 2014, 4: 183-187. "Memory and Place from the Red Center of Australia to the Periphery of Paris: To See the Frame that Blinds Us, in Imagined Spaces/Places, ed Saija Isomaa et al, Newcastle upon Tyne: Cambridge Scholars Publishing, 2013, 3 26. Book Review, Gabriele Paleotti, Discourse on Sacred and Profane Images, intro. Paolo Prodi, trans. William McCuaig, Getty Research Institute, 2012, in Renaissance Quarterly, 67/2 (Summer 2014): 558-560. Understanding Visuality, in Seeing across Cultures in the Early Modern World, ed. Dana Leibsohn and Jeanette Favrot Peterson, 239 - 56. Aldershot: Ashgate Press, 2012. Towards an Archaeology of the Index: Art History between Science and Religion, Taidehistoriallisia tutkimuksia Konsthistoriska Studier - Studies in Art History, volume 44: Tieteidenvlisyys ja rajanylitykset taidehistoriassa. Annika Waeberberginjuhlakirja, Jyvaskyla, Finland, 2012, 35 - 48. with James M. Crdova, Casta Paintings and Self-Fashioning Artists in New Spain, At the Crossroads: The Arts of Spanish America and Early Global Trade, 1492-1850, Papers from the 2010 Mayer Center Symposium, at the Denver Art Museum, ed. Donna Pierce and Ronald Otsuka, 129 54. Denver: Denver Art Museum, 2012. Preface, Fifty Key Texts in Art History, ed. Diana Newall and Grant Pooke, xxii-xxiv. London-New York: Routledge, 2012. Book Review, Hans Belting, Florence and Baghdad: Renaissance Art and Arab Science, Cambridge: Harvard University Press 2011, in Renaissance Quarterly, 65/3 (Fall 2012): 879-81. with Donald Preziosi, "Preface - culture/cohesion/compulsion: Museological artifice and its dilemmas," in Compelling Cultures: Representing Cultural Diversity and Cohesion in Multicultural Australia, ed. Kylie Message, special issue of The Journal of the Research School of the Humanities, The Australian National University, XV/2 (2009): 1- 8. Redemptive Acts of Seeing: Riegls Australian Legacy, Acts of Seeing: Artists, Scientists, and the History of the Visual. A volume dedicated to Martin Kemp, ed. Assimina Kaniari and Marina Wallace, 61-77. Zidane Press, 2009. Wind and Weather in Leonardo da Vincis Abridged Treatise on Painting, Wind und Wetter: De Ikonologie der Atmosphare, ed. Alessandro Nova and Tanja Michalesky, 9-37. Venice: Marsilio, 2009. The Concept of the Renaissance Today: What Is at Stake?, in The Art Seminar: Renaissance Theory, ed. James Elkins and Robert Williams, 69-84. London: Routledge, 2008. Review Essay, Joseph P. Rishel with Suzanne Stratton-Pruitt, The Arts in Latin America, 1492-1820, exh. cat., Philadelphia Museum of Art, distributed by Yale University Press, 2006, Winterthur Portfolio 41/4 (2007): 1-6. Social Justice and the Work of Art, commissioned essay for "Was Ist links? - What Is left?, special issue of kritische berichte, ed. Tristan Weddigen, 3/2006: 15-20. scraps as it were: Binding Memories, Jl of Victorian Culture 10/1 (Spring 2005): 114-122. Time out of Joint, commissioned by The Art Bulletin 87/3 (2005): 424-429. The Mass of St. Gregory," in Painting a New World, exh. cat., ed. Donna Pierce, Denver Art Museum, Austin: University of Texas Press, 2004, 98-102. How Leonardo da Vinci's Editors Organized his Treatise on Painting and How Leonardo Would Have Done It Differently," in The Treatise on Perspective: Published and Unpublished, ed. Lyle Massey, 20-52. Studies in the History of Art 59, CASVA, NGA, Wash.,D.C, 2003. "Codex Leicester," in Leonardo da Vinci: Master Draughtsman, exh. cat., ed. Carmen Bambach, 191-202; 584-626. Metropolitan Museum of Art, New Haven: Yale U. Press, 2003. Review of Gauvin Alexander Bailey, Art on the Jesuit Missions in Asia and Latin America 1542-1773 (University of Toronto Press, 1999) Renaissance Quarterly 50/1 (Spring 2002): 319-321. Review of Olga Hazan, Le Myth du Progrs Artistique, University of Montreal Press, 1999, for Memini: Travaux et documents, Socit des tudes mdivales du Qubec, 199-203. "Prints and the Pauper: Artifice, Religion, and Free Enterprise in Popular Sacred Art," in Art and Faith in New Mexico: The Nineteenth Century Retablo Tradition, ed. E. Zarur and C. Lovell, exh. cat., 47-56. Las Cruces: University Art Gallery, New Mexico State U. and Smithsonian Institution, Wash., D.C., 2001. Leonardo da Vinci," Oxford Companion to Italian Literature, Oxford University Press, 2000. "Paragone," Encyclopedia of the Renaissance, general ed. Paul F. Grendler, New York: Charles Scribner's Sons, 1999. A review of David Alan Brown, Leonardo da Vinci: Origins of a Genius," Times Literary Supplement, April 30, 1999: 20-21. "Paragone," in MacMillian Dictionary of Art, ed. Hugh Brigstocke and Jane Turner. London: Macmillan Co., 1997; reprinted under title The Grove Dictionary of Art. Consultant Scholar and Editor, Corbis Productions (Microsoft Subsidiary), "Leonardo da Vinci," CD-Rom. c. 180 ms. pages written for the CD-Rom, 1996. Review of George Kubler, Esthetic Recognition of Amerindian Art (Yale UP, 1991), Native American Indian Quarterly 19/2 (Spring 1995): 248-51. "The Status of the 'State as a Work of Art': Re-Viewing Burckhardt's Renaissance from the Borderlines," in Cultural Exchange between European Nations during the Renaissance, Acta Universitatis Upsaliensis, Figura Nova Series, eds. Gunnar Sorelius and Michael Srigley, 17-32. Uppsala: Almqvist & Wiksell, 1994. "Gabriele Paleotti on the Grotesque in Painting: Stretching Old Cultural Horizons to Fit a Brave New World," Medieval Feminist Newsletter, n. 16 (Fall 1993): 20-23. Review of Villa I Tatti Studies, II, ed. Nancy Struever, 1987, in Italica 67/1 (1990): 85-88. ARTICLES IN PRESS [refereed] The Future of World Art History as Cultural Memory, in Memory as the Subject and Instrument of Art Studies, ed. Anna Korndorf, Moscow: State Institute for Art Studies, Lomonosov Moscow State University, Russia, ms submitted May 2015. "Leonardo's Disappearing Ingegno," in Approaches to Art and Science after Berenson: Essays on Honour of Martin Kemp, ed. Juliana Barone and Matthew Landrus, accepted for the volume under consideration at Oxford UP, ms submitted February 2013. Queering Singularities co-authored with Donald Preziosi, and Choosing a Path of Resistance. In Living and Sustaining a Creative Life: Storytellers of Art Histories, ed. Alpesh Kantilal Patel and Yasmeen Siddiqui, Intellectual Ltd, submitted January 2020. "From Linear Perspective to the Science of Chiaro e Scuro: History of a Diagram in Search of Leonardo's Spirituality," Leonardo da Vinci: una tema per gli storici dellarte, ed. Chrysa Damianaki, Universit del Salento, Lecce, Italy, ms submitted April 2021 "Leonardo's Ghost Editor: How the Libro di Pittura Became a Catholic Reformation Text," Leonardo Studies III, ed. Constance Moffatt and Sara Taglialgamba, Brill Press, submitted September 2021. GRANTS, FELLOWSHIPS, AND AWARDS Folger Library Institute Research Fellowship, Washington, DC, 2015, to support research for the Historical Introduction to Leonardo da Vinci's Abridged Treatise on Painting, E. J. Brill Press, general editor and principal author, residency fellowship fall 2015 University of Colorado at Boulder, Council on Research," and Creative Work, 2014, to support research for Leonardo da Vinci's Abridged Treatise on Painting, E. J. Brill Press, general editor and principal author University of Colorado at Boulder, Kayden Committee, 2014, to support photographs and fees for Leonardo da Vinci's Abridged Treatise on Painting, E. J. Brill Press, general editor and principal author; and 2015, to support editorial costs. Fulbright Fellowship to the University of York, U.K., AY 2011-12, research professorship Eugene Kayden Book Award, 2009-10, University of Colorado, for Transforming Images: New Mexican Santos in-between Worlds, Penn State Press, 2006, principal author with Donna Pierce and additional contributors Lectures Wellington and Christchurch, New Zealand, Sept 2008, supported by Fulbright Foundation grant to Prof David Maskill, Victoria University, Wellington University of Melbourne, MacGeorge Fellowship, August 24-December 12, 2008 University of Colorado at Boulder, Council on Research and Creative Work, Grant-in-Aid, 2005/6, to support A Cross Cultural Study of Leonardo da Vincis Treatise on Painting Book subvention, for Transforming Images: New Mexican Santos in-between Worlds, Penn State Press, 2006, Wyeth Foundation, College Art Association, 2005 Getty Research Institute, Fellowship, Collaborative Project, June 2001-June 2003, Project Co-Director with Thomas Frangenberg, Art as Institution: Leonardo da Vinci's Abridged Treatise on Painting, 1570-1900, a study in the history of reception University of Colorado at Boulder, Department of Art and Art History, Professional Development Award, 2004, 2005 Association of Art Historians, U.K., travel grant, 2001 University of Colorado at Boulder, Graduate Committee of the Arts and Humanities, Distinguished Scholar Award (to bring visiting scholar), 2013, 2012, 2009, 2000 University of Colorado at Boulder, Council on Research and Creative Work, Faculty Fellowship, with research and travel grant, AY 2000-01 University of Colorado at Boulder, Center for Humanities and the Arts, Faculty Fellowship, 1999-2000 Boulder Daily Camera, Best Curated Exhibition of the Year, for Transforming Images: A Crosscultural Look at Santos and Saintmakers, University Museum, University of Colorado, 1998 University of California at Los Angeles, Designate of Armand J. Hammer International Award for Leonardo da Vinci Studies, 1997 Oregon State University, Corvallis, Faculty Fellowship, Humanities Center, AY 1996-97 Newberry Library, Chicago, Research Fellowship, 1996-97 (declined) University of Colorado at Boulder, Graduate Committee on the Arts and Humanities, travel grant, 1996-97 University of Colorado at Boulder, John and Rebecca Roser Fund, for the lecture series, Global Perspectives on Local Visual Culture for Leonardo da Vinci, CD-ROM, Corbis Productions 1997 Codie, Excellence in Software Awards, winner: Best Use of Visual Arts in Multimedia and Best Home Education for Adults 1997 Milia d'Or Awards finalist, Arts & Culture and MILIA d'Or Overall 1997 National Educational Media Network, winner: Golden Apple Award Arts 1997 Communication Arts, Interactive Design, winner: Entertainment, PC Category 1997 Digital Media Awards, winner: General Interest Category 1996 IN! Ovation Award, indelibleNews!, winner: creativity, originality, and general interest in digital publishing University of Colorado at Boulder, Committee on Research and Creative Work, Research Grant, 1995; 2010 University of Colorado at Boulder, Graduate Committee on the Arts and Humanities, Book Subvention, 1994 (for the book Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650) University of Colorado at Boulder, Faculty Book Award, 1993-94 (for the book Leonardo da Vincis Paragone: A Critical Interpretation, 1992) University of Colorado at Boulder, Faculty Fellowship, AY 1993-94 University of Colorado at Boulder, Presidents Undergraduate Curriculum Development Grant, 1993 University of Colorado at Boulder, Graduate Council on the Arts and Humanities, Travel Grant, 1992 National Endowment for the Humanities, Research Fellowship in Residence, John Carter Brown Library, Brown University, 1991-92 University of Colorado at Boulder, Committee on Research and Creative work, Research Grant, 1991 American Council of Learned Societies, Travel Grant, 1990 University of Colorado at Boulder, Council on Teaching, Grant-in-Aid, 1990 University of Colorado at Boulder, Humanities Special Purchase Fund Award for Special Collections, Norlin Library, 1990 University of Colorado at Boulder, Committee on University Scholarly Publications, Book Subvention, 1989 and 1990 (for the book, Leonardo's Paragone: A Critical Interpretation with a New Edition of the Text) University of Colorado at Boulder, Junior Faculty Development Award, 1989 University of Colorado at Boulder, Graduate Council on the Arts and Humanities, Travel Grant, 1989 University of Colorado at Boulder, Center for Studies in Race and Ethnicity, Curriculum Development Award, 1989 Folger Shakespeare Library, Washington, D. C., Postdoctoral Research Fellowship, National Endowment for the Humanities, 1988 Institute for Research in the Humanities, University of Wisconsin-Madison, Honorary Fellow, 1988 PUBLIC LECTURES/SCHOLARLY TALKS/PAPERS [since 1995] Artisanal Knowledge as a Transcultural Category, Session Chair, Migrations, International Congress of the History of Art (CIHA), So Paulo, Brazil, August 2 6, 2021 Melzis Book on Painting and Leonardos Artistic Practice 1508+, Leonardo da Vinci: una tema per gli storici dellarte, International Conference, Universit del Salento, Lecce, Italy, November 21-22, 2019 What Would Leonardos Visual Strategies Be for Compelling Action on Climate Science?, Leo 500: A Celebration of the Life of Leonardo da Vinci, 1452-1519, Center for Medieval and Renaissance Studies, University of California at Los Angeles, October 18-19, 2019 Unfinished Business: Leonardos Artful Art and its Written Legacy, Decoding Leonardos Codices, Kunsthistorisches Institut Florenz and Museo Galileo, Florence, Italy, October 10-12, 2019 Exchanges between Theory and Practice: St. Anne and the Trattato, Paragone: Leonardo in Context, International Conference, Leipzig University, Germany, July 18-21, 2019 Moderator, Closing Roundtable, Making Worlds: Art, Materiality, Early Modern Globalization Conference 3: Other Worlds, organized by Bronwen Wilson and Angela Vanhaelen, William Andrews Clark Memorial Library, Los Angeles, May 3 4, 2019 Writing Glocal Art History, This is Not the Latin American Survey, Conference, Wellesley College, Wellesley, Massachusetts, February 28, 2019 Imagining Borderless Art Histories: Vagabond Tactics and the Public Good, Center for Medieval and Renaissance Studies, UCLA, Los Angeles, California, February 4, 2019 Unfinished Business: Leonardos Artful Art, Institute for European Art History, University of Heidelberg, Heidelberg, Germany, October 31, 2018 Notes for a Post-Human History of Art, Developing an Ecological Approach to the History of World Culture, Recalibrating Culture Re-envisioning the (Trans)Cultural Cest quoi la (trans-)culture?,Workshop, Heidelberg Centre for Transcultural Studies, University of Heidelberg, Germany, October 31, 2018 Ways of Seeing Otherwise: Honoring John Berger in the Now-Time, Zurich University of the Arts, Zrich, Switzerland, October 19, 2018 Imagining Art History Otherwise, From B to X. Making Art (History) since John Berger, International Symposium, Swiss Institute for Art Research (SIK-ISEA, Lausanne and Zurich), the Muse de lElyse (Lausanne), and the Universitt Bern, October 11-12, 2018 On the Insecure Materiality of Matter: Developing a Dynamic Model for Writing Art History in an Expanded Field, Art History, Rituals and Bronze Age, Workshop, Nationalmuseet, Carlsberg Foundation, Copenhagen, Denmark, October 8-9, 2018 The Lives of Peripatetic Objects: On the Insecure Materiality of Matter, keynote lecture, The Finnish Network for Artefact Studies, International Conference: Object Biographies, University of Helsinki, Finland, March 2-3, 2018 Theory in the Workshop: Material Evidence Supporting Leonardo da Vincis Collaborative Practices, Sinebrykoff Art Museum, Helsinki, Finland, March 1, 2018 Mnemic Traces in the Race to Extinction: (How) Can Art History Make a Difference?, College Art Association Annual Conference, Los Angeles, February 24, 2018 Beyond the Binary: Artists Ways of Knowing in the Era of the Anthropocene, College Art Association Annual Conference, Los Angeles, February 24, 2018 Why History Matters to Discussions of Contemporary Global Art, How to Cut and Share the Global Pie: Transcultural Approaches to Participation and Activism in Art, ASAP9, University of California-Berkeley, October 26-28, 2017 Defining a Historical Approach to Leonardos Treatise on Painting: Making Leonardo French, Montreal Museum of Fine Arts, co-sponsored with lUniversit de Montreal and Concordia University PhD Art History program, Montreal, March 6, 2017 Re-Reading Richter and MacCurdy: Lessons in Translation, Leonardo in Britain: Collections and Reception, National Gallery of Art and the Warburg Institute, University of London, U.K., May 25-27, 2016 The Promise of Art History, Free University of Berlin, May 23, 2016; Seeing through History, Part 2: Workshop with Claire Farago, Transcultural Negotiations in the Ambit of Art Research Unit, Free University Berlin, May 24, 2016 Race, Nation, and Art History, Begriffsgeschichte as Global Concept and Travelling Theory, Heidelberg Centre for Transcultural Studies, University of Heidelberg, Germany, May 19-21, 2016 Seeing through History, Part 1: Workshop with Claire Farago, University of Heidelberg, Germany, May 18, 2016; workshop participant, Cultural Histories of the Material World: Early Modern Books and Objects, Folger Shakespeare Library, Washington, D.C., April 21, 2016 Panelist, Roundtable on Reframing the Renaissance in the 21st Century, Renaissance Society of America Annual Conference, 29 March 2 April, 2016, Boston Reckoning with Things: Sensorial Regimes, commentator for Sensorial Regimes: Reflections on Postcolonial Art History in Latin America, College Art Association Annual Conference, February 3-6, 2016, Washington, D.C. Participant, Roundtable, The Globalization of Renaissance Art, convened by Daniel Savoy, Manhattan College, Riverdale, NYC, January 29, 2016 Leonardo and the Legibility of Religion, Manhattan College, Riverdale, NYC, January 28, 2016 Rethinking Leonardo da Vinci: from Collaboration in the Workshop to the Trattato della Pittura, Florida State University, Department of Art History, Graduate Student Symposium Keynote Speaker, Tallahassee, October 2, 2015 Whose History? Why? When? Who Benefits, and Who Doesnt?, Plenary Talk, New Worlds: Frontiers, Inclusion Utopias, Comit Brasileiro de Histria da Arte and Comit International de lHistoire de lArt, Museu Nacional de Belas Artes, Rio de Janeiro, 24-29 August, 2015 Leonardo: Drawing and 鶹Ƶy, Minneapolis Institute of Arts, July 23, 2015 Artists Ways of Knowing Leonardos Trattato della Pittura, Material Evidence: Visual Knowledge Conference, Visual Studies Research Institute, University of Southern California, Los Angeles, April 30-May 1, 2015 Remembering Tomorrow: Toasting my Time with Mr. Summers, Symposium to Honor David Summers, McIntyre Department of Art, University of Virginia, April 17, 2015 The Global Turn in Art History: Why, When, and How Does It Matter?, De-limiting the Global in Renaissance/Early Modern Art History, Renaissance Society of America Annual Conference, Berlin, March 26-28, 2015 Participant, Peripatetic Objects and Transcultural Renaissances, Roundtable, Renaissance Society of America Annual Conference, Berlin, March 26-28, 2015 Is Visual Culture Usefully Applied to Pre-modern Material and Why Does it Matter?, II International Visual Culture and History Seminar, UNICAMP (University of Campinas), Sao Paulo, Brazil, November 4-7, 2014 The Future of World Art History as Cultural Memory, International Sarabianov Congress of Art Historians. The State Institute of Art Studies, Moscow, October 15-16, 2014 Troubling Time: When Is Art Renaissance, Baroque, or Early Modern?, Italian Art Society Session, Periodization Anxiety in Italian Art: Renaissance, Baroque or Early Modern, College Art Association Annual Conference, Chicago, February 13, 2014 Postcolonial Discourse Analysis and Cross-Cultural Art Histories of the Renaissance, Plenary Talk, Latin American Views of the Italian Renaissance, University of the Andes, Bogota, Colombia, October 21 - 24, 2013 Imagine Art History Otherwise: Art History after Bourdieu, Art Historians of Southern California, 2013 Annual Symposium, Fowler Museum, UCLA, Los Angeles, October 19, 2013 Leonardo da Vincis Paragone: the Backstory, Keynote Address, Paragone Society Second Annual Conference, University of Michigan, Flint, MI, September 20 21, 2013 The Face of the Other: the Particular versus the Individual, UNICAMP (University of Campinas), Sao Paulo, Brazil, November 5 8, 2012 World Art Studies Workshop, University of York, UK, June 2012 Art Is Not What You Think It Is, Leeds University, UK, June 2012 Is Leonardos Treatise on Painting a Catholic Reformation Text?, Bogazici University, Istanbul, May 4 8, 2012 Research Seminar, Bogazici University, Istanbul, May 23, 2012 Leonardos Treatise on Painting and his Workshop Practices, c. 1490-92, University of Virginia, Charlottesville, IATH conference, April 12-14, 2012 Desiderata for Early Modern Mediterranean Studies: The Case of Sacred Art, Mediterranean Studies Conference, University of Colorado at Boulder, April 5 7, 2012 What Comes After Art History Matters, Discussant to Keynote Speaker Griselda Pollock, After the New Art History, University of Birmingham, UK, March 26 27, 2012 Towards an Archaeology of the Index, Los Angeles, CAA Conference, February 25, 2012 Leonardo da Vincis Trattato and Workshop Practices, London, National Gallery Research Seminar, December 12, 2011 Leonardo da Vincis Treatise on Painting: Why Was It Abridged?, University of York, UK., October 31, 2011 World Art Memory Archive: Taking a Creative Commons Approach, World Art Studies Program, University of East Anglia, Norwich, U.K., October 24 and graduate seminar, November 7, 2011 Memory and Place from the Red Center of Australia to the Periphery of Paris, Keynote Address, Imagined Places/Spaces Conference, and graduate seminar, University of Helsinki, Finland, August 24-26, 2011 Leonardo da Vincis Treatise on Painting: Is it a Catholic Reformation Text?, Aarhus University, Aarhus, Denmark, May 12, 2011 and graduate seminar, May 13, 2011 Casta Paintings and Self-Fashioning Artists in New Spain, with James Cordova, Art at the Crossroads: The Arts of Spanish America and Early Modern Global Trade, 1492-1850, Mayer Center Symposium, Denver Art Museum, November 12-13, 2010 Art, God, and Money, with Donald Preziosi, Bosphoros University, Istanbul, Turkey, October 26, 2010 The Artless Art of Leonardos Treatise on Painting, c. 1570, Approaches to Art and Science after Bernard Berenson, Oxford University and Ashmolean Museum, Oxford, UK, October 21-22, 2010 When is a Living Image Properly Alive?, Art Agency, and Living Presence in Early Modern Italy, Leiden University, Leiden, The Netherlands, June 24-26, 2010 Chair and Respondent, Italian Influence in Spanish Colonial Art and Architecture, Renaissance Society of America Conference, Venice, April 8, 2010 Thinking on Your Feet: Artisanal Knowledge and Artful Making, and Leonardos Color Theory at the Intersection of Art, Science, and Technology, Centro de Filosofia das Cincias da Universidade de Lisboa, Lisbon, Portugal, October 25-27, 2009 Panelist, Museums of the Future and Social Responsibility, New Museum, NYC, February 12, 2009. Faces of the Future: Art History and Intellectual Responsibility, co-authored with Donald Preziosi, Art Association of Australia and New Zealand, Queensland College of Art, Griffith University, Brisbane, Australia, December 4-6, 2008 Museums of the Twenty-First Century: Inclusions and Exclusions, Humanities Research Centre, Australia National University, Canberra, roundtable convened by Prof. Caroline Turner, November 5, 2008 Arts Relation to the Commodity Form as a Central Problem of Contemporary Philosophy, co-authored with Donald Preziosi, Monash University, Melbourne, Australia, October 22, 2008 The Sacred, the Secret, and the Ethics of Historical Interpretation: What I Learned from the Santos of New Mexico, MacGeorge seminar, University of Melbourne, Australia, October 20, 2008 The Promise of Art/The Place of Art: Can the Other of Art History Speak?, (different version), MacGeorge Lecture, University of Melbourne, Melbourne, Australia, October 16, 2008 Theory Workshop Seminar: The Idea of Art, co-authored with Donald Preziosi, Monash University, Melbourne, Australia, October 8, 2008 The Promise of Art/The Place of Art: Can the Other of Art History Speak?, Victoria University, Wellington, New Zealand, September 26, 2008 University of Canterbury, Christchurch, New Zealand, September 24, 2008, funded by the Fulbright Foundation The Coming Community: Museums after the Era of Nationalism, Forum on Collecting: Alternative Visions of the Past, American University of Beirut, Lebanon, May 24-25, 2008 The Promise of Art/The Place of Art: Can the Other of Art History Speak?, Trinity University, Department of Art and Art History, San Antonio, Texas, April 18, 2008 The Sacred, the Secret, and the Ethics of Historical Interpretation: What I Learned from the Santos of New Mexico, From Buddhas Belly to St. Bridgets Head: Medieval and Early Modern Studies Annual Conference, University of Colorado, Boulder, February 14-15, 2008 Reframing the Renaissance Problem Today, International Congress of the History of Art (CIHA), Melbourne, Australia, January 2008 Seeing Otherwise: Leonardo da Vinci and the Ethics of Style, University of Helsinki, Finland, November 19, 2007 Seeing Otherwise: Leonardo da Vinci and the Ethics of Style, Power Art Institute, University of Sydney, Sydney, Australia, August 15, 2007 Whose Renaissance and Where? The Peripatetic Life of Objects in the Era of Globalization, Queensland Institute of Technology, Brisbane, Australia, August 13, 2007 Fear of Art: Working in the Ruined University, Monash University, Melbourne, Australia, August 1, 2007 Whose Renaissance and Where? The Peripatetic Life of Objects in the Era of Globalization, University of Melbourne, Melbourne, Australia, August 8, 2007 Seeing through Art History, seminar with Donald Preziosi, University of Melbourne, Melbourne, Australia, August 6, 2007 Who Abridged Leonardo da Vincis Treatise on Painting? A Real Unsolved Mystery, University of Melbourne, Melbourna, Australia, July 31, 2007 Whose Renaissance? The Peripatetic Life of Objects in the Era of Globalization, Department of Art History and Architecture, University of California at Santa Barbara, April 16, 2007 Wind and Weather in Leonardo da Vincis Abridged Treatise on Painting, Wind und Wetter: Die Ikonologie derAtmosphre, organized by Alessandro Nova, Co-Director, Kunsthistorisches Institut,. Florence, June 21-24, 2007 Whose Cult (of) Images? Art and Idolatry in the Sixteenth Century and Now, College Art Association Annual Conference, New York, February 2007 The Coming Community: Museums after the Era of Nationalism, University of Oslo, Norway, November 16, 2006 Reframing the Renaissance Problem, Reframing the Danish Renaissance: Problems and Prospects, Institut for Kunst og Kulturvidenskab, University of Copenhagen and National Museet, September 28 October 1, 2006 Wiley Lecture, Seeing Otherwise: Leonardo da Vinci and the Ethics of Style, Department of Art, University of North Carolina at Chapel Hill, September 6, 2006 Keynote speaker, Thinking beyond the Baroque, Rethinking the Baroque, International conference organized by Helen Hills, Department of Art History and Centre for Early Modern Studies, University of York, U.K., July 5-7, 2006 Roundtable participant, Art Historys Aftermaths, Art History: Contents, Discontents, Malcontents, British Association of Art Historians Annual Conference, University of Leeds, U.K., April 5-7, 2006 Roundtable participant, Renaissance Theory: The Art Seminar, organized by James Elkins and Robert Williams, University College Cork, Ireland, April 2 3, 2006 Who Abridged Leonardo da Vincis Treatise on Painting? Conference on the Treatise on painting Manuscripts, organized by Prof. Francesca Fiorani, University of Virginia, October 10-11, 2005 Leonardo da Vincis Treatise on Painting in its Cultural Context, Annual Plenary Lecture, Leonardo da Vinci Society, London, Courtauld Institute, May 20, 2005 Romancing the Renaissance Idol, Department of Art History, University of North Carolina at Chapel Hill, April 25, 2005 Teaching in the Universitys Ruins, session entitled The Seminar in the Expanded Field, Jennifer Way, Chair, CAA Annual Conference, February 18, 2005 College Art Association Annual Conference, Atlanta, Georgia. Reason and Resistance: Strategies for Activist Scholarship, Department of Art History and Centre for Visual Studies, University of Oxford, U.K., July 12, 2004 Museums and Cultural Property in the Age of Globalization, Artwork through the Market, convened by Jan Bakos, by the European Science Foundation and the Soros Foundation, Bratislava, Slovakia, December 11-13, 2003 The Idea of the Museum Finnish Summer School, Jyvskyl and The Ateneum National Museum, Helsinki, Finland, August 10 and 15, 2003 Mnemic Traces: Warburg and the Cult of Art History, Framing Art History: Reflections on the Discipline, convened by Matthew Rampley, funded by the European Science Foundation, Exploratory Workshop, Edinburgh College of Art, Edinburgh, Scotland, March 13-15, 2003 Getting Beyond Museology, with Donald Preziosi, Budapest, Hungary, Museum of Contemporary Art, Budavar, September 16,2002 Leonardo's Prospettiva Composta in the History of Pictorial Composition, Enciclopedia italiana Conference, Milan, Italy, October 22, 2002 Mythomorphing Leonardo, Lecture Series on Leonardo: Artist, Engineer, Scientist, Mary Washington College, Fredericksburg, VA, April 7, 2002 Between Worlds: Art, Identity and the Ethics of Scholarship in New Mexico, University of Florida, Tampa, March 4, 2002 Leonardo da Vinci, Cultural Hero: Is His Scientific Legacy Fact or Fiction? Keynote Address, University of Pittsburgh at Greensburg, January 31, 2002 Beyond Museology, co-authored with Donald Preziosi, for session entitled Beyond Museology, co-chaired by Saloni Mathur and Ruth Iskin, College Art Association of America, annual conference, Philadelphia, February 25, 2002 Managing Art, Identity, and the Ethics of Scholarship Between Worlds, Denver Art Museum, October 22, 2001 Theorizing Style in the Exchange of Ideas: Leonardo da Vinci's Debts to Byzantine Aesthetics and its Contemporary Implications," British Association of Art Historians, Oxford Brookes University, Oxford, U.K., March 29, 2001 Experimental Art Is, University of Maastricht, The Netherlands, An International Workshop on Experimenting in the Arts and Sciences, organized by Ruth Benschop, Geert Somsen and Robert Zwijnenberg, January 24-26, 2001 The Epistemology of Ornament: Notes on Cultural Interaction, International Conference on Culture and Space, International Association of Visual Semiotics, Quebec, Canada, October 19-20, 2001 Early Collecting, Performance, and Ludic Play, Department of Art History, University of Oxford, U.K., January 30, 2001 Exiting Art History: Locating Art in the Modern History of the Subject, keynote address, Nordik Conference on Art Historiography, University of Uppsala, Sweden, June 17, 2000 "The Pleasure of Images," Keynote Speaker and discussant at annual regional graduate student symposium, Department of Art History, University of Pennsylvania and the Philadelphia Museum of Art, Philadelphia, March 31, 2000 "The Phallacy of Painting," Department of Art History, Northwestern University, Evanston, IL, March 16, 2000; "Leonardo da Vinci: on the Power of Images," University Art Gallery, Loyola University, Chicago, IL, March 15, 2000 "The Uffizi Galleries: from Princely Collection to Public Museum," Denver Art Museum, March 12, 2000 Visiting scholar in residence, University of California at Los Angeles, Department of Art History, giving various seminars and lectures, March 6-11, May 29-June 2, 2000 "Prints and the Pauper," international symposium in conjunction with international traveling exhibition, El Favor de los Santos: The Retablo Collection of New Mexico State University, Lac Cruces, New Mexico, December 13-14, 1999 "Transforming Images: New Mexican Santos Between Theory and History," The Visual Culture of American Religions, Winterthur Museum, Delaware, October 22-23, 1999 "The Pleasure of the Image," symposium honoring the investiture of Catherine B. Soussloff, Rebele Professor of Art History and Visual Culture, University of California at Santa Cruz, June 2, 1999 Workshop seminar for "Shakespeare in an Age of Visual Culture," Folger Institute, Folger Shakespeare Library, Washington, D. C., April 16-17, 1999 "Aesthetics, Culture, and the Fabrication of Modernity: Leonardo da Vinci and the Institutionalization of Art," Symposium on the history and philosophy of aesthetics, University of Groningen, Groningen, The Netherlands, October 21-23,1998 "Transforming Images," for "The Visual Culture of American Religions," ed. Sally Promey and David Morgan, Valparaiso University, Chicago, Illinois, August 6-8, 1998 "New Mexican Santos in Theory and in History: Managing the Interstices with a Measure of Creativity," Department of Art History Symposium, University of New Mexico, Albuquerque, May 2, 1998 "Leonardo da Vinci's Treatise on Painting in the Field of Cultural Production," Department of Art History, Pennsylvania State University, University Park, Pennsylvania, March 31, 1998 "Popular Devotional Art in the Mediterranean: Evidence from Sicily and South Italy," Dante Society, Denver, Colorado, March 13, 1998 "Transforming Images: A Crosscultural Look at Santos and Saintmakers," University Museum, University of Colorado, Boulder, March 6, 1998 "On the Relationship between Mexican and New Mexican Devotional Art," Arte Sagrada/Sacred Art Symposium, New Mexico State University, Las Cruces, New Mexico, January 27, 1998; and Juarez Cultural Center, Juarez, Mexico, January 28, 1998 "Reconstructing the Earliest Known Plan for Publishing Leonardo da Vinci's Perspective Writings," Symposium on The History of the Publication and Non-Publication of Perspective Treatises, National Gallery of Art, Center for Advanced Studies in the Visual Arts, National Gallery of Art, Washington, D.C., November 7-8, 1997 "Mestizo Perspectives on New Mexican Santos," Department of Art History, Pomona College, Claremont, California, November 27, 1995 "Reframing the Renaissance: Warburg, Panofsky, and the Critique of Cultural Evolutionism," Department of Art History, Cornell University, Ithaca, New York, November 13, 1995 Keynote Speaker and Discussant, "Art History and World Culture," Graduate Student Symposium in Honor of David Summers, University of Virginia, Charlottesville, April 21-22, 1995 "Writing in the Margins/Unframing the Grotesque," Keynote Address, "The Margins of the Human," Graduate Student Symposium, University of California at Santa Barbara, April 14-15, 1995 "The Persuasive Power of Leonardo's Scientific Style: Presence and Devotion," Leonardo da Vinci und die Renaissance: Kunst, Wissenschaft und Technik in der Renaissance, Symposium, Kulturwissenschaftliches Institute, Wissenschaftszentrum Nordrhein-Westfalen, Essen, Germany, March 3-4, 1995 CONFERENCES/CONFERENCE SESSIONS ORGANIZED Art/Religion/Materialities, Visiting Scholars Lecture Series, University of Colorado, Boulder, Colorado, spring 2014 Co-Organizer with Brian Catlos, Can We Talk Mediterranean?, Workshop and Panel, April 14 15, 2012, University of Colorado, Boulder, Colorado Creative Intersections of Art, Science, and Technology, 1500-1800, Visiting Scholars Lecture Series, University of Colorado, Boulder, Colorado, fall 2009 Member of Research group 2005- Leonardo da Vinci and his Treatise on Painting. University of Virginia, Department of the History of Art and Institute for Advanced Technology in the Humanities, Charlottesville, Virginia. Participants: J. Barone, C. Farago, C. Favretto, F. Fiorani, B. Frischer, W. Martin, P. McGuire, D. Pitti, V. Steele, A. Sconza, C. Vecce. This group of international scholars has been formed in order to discuss and prepare an electronic database of the principal manuscript copies of Leonardos Trattato della Pittura Principal Co-organizer with Francesca Fiorani, Writing about Art and Architecture: Authorship, Circulation, and Publication, Renaissance Society of America, annual conference, San Francisco, March 23-25, 2006 Principal Organizer, Lecture series, Across Borders: Scholars in Collaboration, Visiting Scholar Program, University of Colorado at Boulder, Spring 2005 Principal Co-organizer with Thomas Frangenberg, "Leonardo da Vinci's Treatise on Painting: Its Reception in National Context, 1651-1817," Warburg Institute for Advanced Studies at the University of London, London, September 2001, 3-day international conference with published proceedings planned Principal Co-organizer with Donald Preziosi, "Art as Institution: 'Race,' Nation Aesthetics, and the Fabrication of Modernity," University of California at Los Angeles, April 30-May 2, 1999 Principal Co-organizer with Cecelia Klein, "Cultural Hybridity: A Roundtable," University of California at Los Angeles, May 21, 1998 Principal Organizer, Lecture series and lunchtime discussion panel series, "Global Perspectives on Local Visual Culture," Visiting Scholar Program, University of Colorado at Boulder, Fall 1997 Principal co-organizer with Donna Pierce "Between Worlds: New Mexican Santos," working conference for participants in the book project, Museum of New Mexico, Governor's Palace, Santa Fe, June 13-14, 1997 Session Chair, "Leonardo da Vinci's Treatise on Painting: Papers for a New Critical Edition," Society on Textual Scholarship, CUNY Graduate Center, April 10-12, 1997 Session Co-chair with Georgianna Ziegler and Kim Hall, "The Other Woman: Depicting Non Western Women in Renaissance Iconography," Attending to Early Modern Women, Center for Renaissance & Baroque Studies, University of Maryland, College Park, April 21-23, 1994 Session Co-Chair with Gail Geiger,"Reevaluating the Eurocentrism of Italian Renaissance Art History," College Art Association Annual Conference, Chicago, February 12-15, 1992 Session Co-chair with Gail Geiger, "Revising the Eurocentrism of Renaissance Art," Sixteenth Century Studies Conference, St. Louis, Missouri, October 26-28, 1990 EXHIBITIONS ORGANIZED/CURATED Consultant, Universal Leonardo Bureau and The Innovation Centre, Central Saint Martins College of Art & Design, London, 2004 -. Developed initial project proposals for exhibitions involving the Codex Leicester, Palazzo Ducale, Mantua, Italy; Leonardo and Shessu: Visions of the World, Tokyo Museum of Modern Art .scraps as it were: Binding Memories, CU Art Museum, University of Colorado, May 21-June 4, 2004. Selection of historical scrapbooks, ephemerea, films, sculptures, from the Colorado Collection, Chief curator and faculty advisor to eight graduate students. Eyes Wide Open, CU Fine Arts Gallery, University of Colorado, January 20-March 22, 2000. Selection of drawings, prints, and paintings from the Colorado Collection. Exhibition catalogue. Chief curator and faculty advisor to fourteen graduate students. Traveled to A. R. Mitchell Memorial Museum and Gallery, Trinidad, Colorado July - Sept 2002; Lakewood Cultural Center, Lakewood, Colorado November 2001 - February 2002; Conejos Parks Education and Heritage Foundation, Antonito, Colorado May - July 2001 Transforming Images: A Crosscultural Look at Santos and Saintmakers, University Museum, University of Colorado, July 27, 1997- May 18, 1998. Loan exhibition of paintings, sculptures, photographs, textiles, ceramics from the University of Colorado collections, the Denver Art Museum, and the Taylor Museum, Colorado Springs. Exhibition brochure. WINNER of Best curated exhibition of the year, Boulder Daily Camera. De diversis artibus: Eight Roads to Art History, exhibition catalogue, University of Colorado Fine Arts Gallery, University of Colorado, Boulder. Faculty advisor to eight graduate students; May 4 -12, 1990 Coordinator, Virginia Artists Exhibition Program, Virginia Museum of Fine Arts, Richmond, 1980-1983. Director of biennial cycle of five juried exhibitions. The Next Juried Show, Virginia Museum of Fine Arts, Richmond, exhibition catalogue. Coordinator of six concurrent exhibitions of contemporary art by artists of Virginia, 387 objects by 226 artists; and co-juror with Patterson Sims, Whitney Museum of American Art, of the category of painting and sculpture; in Richmond, July 16-August 24, 1983, and subsequently traveling statewide in three exhibitions La Bella Mano: Pre-Raphaelite Paintings and Decorative Arts, Virginia Museum of Fine Arts, Richmond, exhibition catalogue. Curator of the exhibition of 117 paintings, drawings, decorative art objects, and books, on loan from the Bancroft Collection, Delaware Art Museum and eight other lenders; September 14-October 24, 1982 Mary Cassatt and Japanese Prints, Virginia Museum of Fine Arts, Richmond, exhibition checklist with introductory essay. Curator of the exhibition of twenty-seven objects on loan from the Metropolitan Museum, Brooklyn Museum, Art Institute of Chicago and others, May 8-June 21, 1981 Edvard Munch and the Female Paradigm, Virginia Museum of Fine Arts, Richmond, exhibition brochure with checklist and essay. Curator of the exhibition of thirty-four prints from the collection of Lionel and Sally Epstein, with additional loans from the National Gallery of Art, Washington, and other private lenders, January 30-March 11, 1981 Paintings and Drawings by John Dos Passos, Virginia Museum of Fine Arts, Richmond, exhibition brochure with checklist and essay. Co-curator of the exhibition with Richard B. Woodward of fifty-four works on paper from the collection of Elizabeth Holdridge Dos Passos. Spring 1980 Drawings and Prints of the First Maniera, 1515-1535, Rhode Island School of Design, Museum of Art, and Brown University, Providence, RI, co-curator. with eight graduate students; Catherine Wilkinson Zerner, graduate advisor; responsible for twelve entries on Domenico Beccafumi and collaboration on introductory essay. Loan exhibition of 122 objects from eleven private lenders and thirty institutions including national and international loans, February 22-March 25, 1973 LANGUAGES: Italian nearly fluent, French reading knowledge, Spanish reading knowledge, German reading knowledge, Hungarian (fluent as a child) TEACHING Undergraduate courses Capstone seminar: The Idea of Art [senior level] Intellectual Roots of Italian Renaissance Art (also taught as a graduate seminar) [senior level] Gender Studies in Early Modern Visual Culture [senior level] Exchanges between Theory and Practice in Renaissance Art [senior level] Critical Thinking in Art History [junior level] Cities and Courts: Art Centers and Artistic Exchange in Early Modern Europe [junior level lecture] Renaissance Art out of the Canon: Art, Gender, and Cultural Diversity 1500-1600 [junior level lecture] Introductory Survey of the Middle Ages and Renaissance: History, Literature, and the Arts (team taught with Comparative Literature and History) [sophomore level lecture] The Sacred and the Secret: Medieval and Early Modern Devotional Practices (team taught with Medievalist art historian and Medievalist in British Literature) [sophomore level lecture] World Art Studies 1 and 2 (new course in fall 2012 and spring 2013) [freshman level lecture] Graduate seminars Frequently taught: Theories of Art History: Historiography and Methodology for MA students* 2014 Artists Ways of Knowing: Materiality and Artisanal Epistemologies 2014 Visiting Scholars Seminar: Art/Religion/Materialities 2013 Imagining the Renaissance in-between Worlds 2009 Visiting Scholars Seminar: Creative Intersections in Art, Science & Technology 1500-1800 2009 Special Topics: Memory and Place 2007 Introduction to Critical Theory in Visual Studies 2006 The Artist as Intellectual: Leonardo da Vinci and the Treatise on Painting 2005 Visiting Scholars Seminar: Scholars in Collaboration, graduate seminar, spring 2005 2004 Introduction to Critical Theory in Visual Studies 2003 The idea of the Museum as a Cultural Practice 2002 Art and the Ethics of Practice 2000 Art and the Modern Subject 1999 Agency, Art, and Contemporary Theory 1998 Art as Institution: Race/Nation, Aesthetics, and the Fabrication of Modernity co-taught with Donald Preziosi at UCLA 1998 Cultural Hybridity: Strategies of Empowerment and Problems of Interpretation co-taught with Cecelia Klein at UCLA 1997 Hypertext: Developing a Website Supplement to Feminist Approaches to the Renaissance 1997 Global Perspectives on Local Visual Culture," Visiting Scholars seminar 1996 Between Worlds: Multiplicity and Cultural Memory in New Mexican Santos 1995 The History of the Category Visual Art 1994 and 1992 Santos of the Southwest: Multicultural Perspectives 1991 Santos in Multicultural Perspective: The Ethics and Politics of Museum Display 1990 Leonardo da Vinci's Comparisons of the Arts and Problems of Methodology *1990 Theories of Art History (developed for the graduate program and taught annually on a revolving basis since that time) Programs developed PhD proposal for interdisciplinary Art of the Americas in Art History, approved by the Regents of the University of Colorado, 2016 MS in Museum Studies/Art History, Museum Studies Program, University of Colorado, AY 2014-15 BA/MA degree program in Art History, Department of Art and Art History, University of Colorado, AY 2010-11. Revising graduate curriculum for Department of Fine Arts, University of Colorado, AY 1999-00 Undergraduate Certificate Program in Medieval and Early Modern Studies, College of Arts & Sciences, University of Colorado, 1999 Revised undergraduate art history curriculum for Department of Fine Arts, University of Colorado, 1999; 2010-11 "Virtual Gutenberg: Developing an MA Program in Art History with a specialization in electronic media," Fall 1996-98 pilot project led to Departmental plan for Visual Resources Collection, 1999+ Theses supervised (as primary advisor) Armstrong, Leila, Dome of the Rock, Hamar al-Sharf, and Urban Symbolism in Jerusalem, M.A. thesis, University of Colorado, 2008 Beal, Peter, "Art History and the Liberal Arts: Aesthetic and Moral Education at Bowdoin College from 1800 to 1960," MA thesis, University of Colorado at Boulder, 1998 Boersma, Max. Discourse, Metadiscourse, Exchange: Analyzing Relations between Art Historians and Living Artists, BA honors thesis, summa cum laude, University of Colorado at Boulder, 2010 Brooks, Karen. On making and breaking spectacles: The American West as museum display, MA thesis, University of Colorado at Boulder, 2010 Brozna, Sarah, Boxed Wonder, BA honors thesis, cum laude, University of Colorado at Boulder, 2005 Corey, Maureen. The Re-inscription of Female Identity : An Analysis of Self-imaging in Sixteenth-century Italy. MA thesis, University of Colorado at Boulder, 2000 Dandavati, Ajay. Art You Can Eat: Explorations in the Art and Aesthetics of Food, Cooking, and the Meal, BA honors thesis, summa cum laude, University of Colorado at Boulder, 2011 Dedecker, Josephine. "Creation/Recreation: The Intrinsic Narrative of the Lenten Liturgy in Michelangelo's Sistine Ceiling." MA thesis, University of Colorado at Boulder, 1990 Dial-Kay, Nicole, MA thesis, New Media by Three Contemporary Arctic Artists, studies in transnational identity and community action, 2013 Dollahite, Derek, Nancy Davenport and Walter Benjamin. Website MA art history project, 2003 Doran, Kerry. Performative identity in networked spaces: Resisting the logic of late capitalism in the digital age, BA honors thesis, General Honors, summa cum laude, University of Colorado at Boulder, 2012 Fedorova, Kseniya. New Media and Performance. Aesthetics and Ethics of the Technological Sublime, MA thesis, University of Colorado at Boulder, 2007 Fleming, Jonna. The Stigma of Syphilis in the Early Modern Period: From Gods Punishment to Demonization of Women in Text and Image, BA honors thesis, magna cum laude, University of Colorado at Boulder, 2010 Gesell, Glori. The Historical Reception of Baroness Elsa. MA thesis, University of Colorado at Boulder, 2000. Granitto, Andrew."Exhibiting for the Next Century: A Critical Review of Goals and Methods." MA thesis, University of Colorado at Boulder, 1994 Hander, Gina. Center versus Periphery, Interior versus Exterior: How Space Shapes Gender in Yin Yu Tang, a Traditional House from the Huizhou Region of China, M.A. thesis, University of Colorado at Boulder, 2006 Havill, Preston. Co-chair with Robert Nauman, neo-graffiti art, Honors thesis, summa cum laude, University of Colorado at Boulder, spring 2006 Hill, Audrey. "Vermeer's Cosmographer and Geographer: Artifice and Truth in Self-Fashioning." MA Thesis, University of Colorado at Boulder, 1996 Co-chair with John Hoag, Augusta Holland. "Felipe Guaman Poma de Ayala and the Biculturalism of his Drawings." MA thesis, University of Colorado at Boulder, 1994 Jacobs, Dan. The Anatomy Acts of Dr. Gunther van Hagens, MA thesis, University of Colorado at Boulder, 2004 Jensen, Joel, Architectural Ontology and the Problem of Authenticity, Ph.D. architecture, University of Colorado-Denver, 2007 (member of committee) Co-chair with Robin Branstator. Kuehl, Marcy. "Once Upon Reception: The Construction of Feminine Identity in Fairy Tale Illustration. A Case Study based on 'Beauty and the Beast.' " Honors thesis, summa cum laude. University of Colorado at Boulder, 1996 LaRose, Claire. "Persuasive Threads, Persistent Shadows: The Cannonesses of Le Vergini and their Illuminated Chronicle," MA thesis, University of Colorado at Boulder, 2013 Lisot, Elizabeth. "Federico Barocci's Art: Light, Color, and Mystical Vision." MA thesis, University of Colorado at Boulder, 1996 McHugh, Melanie. "Humor and Gender Play in Paolo Pino's Dialogue on Painting." MA thesis, University of Colorado at Boulder,1994 O'Toole, Erin, "Castiglione's Courtier and Renaissance Portraiture: an Intermedia Study of Self-Fashioning." MA thesis, University of Colorado at Boulder, 1998 Palombi, Melissa, Arcimboldo e lambiente Milanese, MA thesis, University of Colorado at Boulder, 2009 Parenteau, Carol Komandina, Traces of Religious Traditions: The Gap Between the Experience and the Discourse of Installation Art. Honors thesis, summa cum laude, University of Colorado at Boulder, 2000 Parenteau, Carol Komandina, The Codex Veytia, MA thesis, University of Colorado at Boulder, 2003 Pankonian, Ailie, Art, Affect, and Materiality in the Construction of Collected Counter-Narratives: Three Case Studies in Contemporary Art, MA thesis, 鶹Ƶ, 2018 Parks, Virginia. "Cutting to the Bone: Satire, Seizure, and Suspicion in the Historiated Initials of Vesalius's 1543 Anatomy Text, De Fabrica." Honors thesis, summa cum laude, University of Colorado, 1993 Paul, Elaine. "Gender and Ideology: The Women Artists of Bologna. Honors thesis, magna cum laude, 1997 Price, Kelly. "La Bellissima Penitenza: Navigating Titian's Sacred and Profane Magdalen," MA thesis, University of Colorado at Boulder, 1996 Price, Sarah, The Bluebird Club, MA thesis, Museum Studies Program, University of Colorado, 2005 Rapp, Margaret. A Tale of Two Davids: Michelangelo and Donatellos Sculptures in the Florentine Urban Settings, BA honors thesis, summa cum laude, University of Colorado, 2005 Rashleigh, Jennifer."The Science of Leonardo's Art: The Application of Scientific Methods in the Renaissance to Compositional Procedures in the Last Supper." MA thesis, University of Colorado, 1990 Saunders, Jaime. History of Art History Textbooks. MA thesis, University of Colorado, 2000 Shay, Mary. "Saint Catherine of Siena: The Symbol of a Nation." MA thesis, University of Colorado at Boulder, 1998 Sheffield, Clarence. "A Critical Study of Alois Riegl's Sptrmische Kunstindustrie." MA thesis, University of Colorado at Boulder, 1990 Sjogren, Mack, the Holt-Coverdake Cultural Heritage Museum:: Evaluation of Visitor Response to a Virtual Museum Showing Exhibits on Art and Peoples of china, Art of the Yoruba People, and Extended Diaspora in terms of Crtical discourse on Multiculturalism, Hybridity, and the Postcolonial, MS Thesis Project, Museum Studies, University of Colorado at Boulder, 2009. Sisun, Sara. Giovanni Morelli: Comparative Anatomy, the Science of Attribution, and Racialism, 鶹Ƶ, 2017. Stackhouse, Christina. 鶹Ƶing the Course of the Chicano Mural Movement, BA honors thesis, summa cum laude, University of Colorado at Boulder, 2010. Swain, Emily. "The Co-Construction of 'Race' and Gender during the Early Modern Period: Michelangelo's 'Judith and Holofernes' and 'The Crucifixion of Haman.' " Honors thesis, cum laude, University of Colorado at Boulder, 1995 Sydoriak, Cassiope, Visual Culture and the Kress Collection: The Legacy of Italian Renaissance Art Collections in the United States, Honors Thesis, general honors, summa cum laude, Univesity of Colorado at Boulder, 2009 Co-chair with R. L. Widmann, Elliot Trice. "Negotiating Male Homoerotics through Perfection and Portraiture in Castiglione's The Book of the Courtier." Honors thesis, magna cum laude, University of Colorado at Boulder, 1994 Tarp, Lisbet. Co-director with Maria Fabricius Hanesen. PhD disserrtation, University of Aarhus, Aarhus, Denmark, 2014. Turner, Paige. "(Dis)inhibiting Exhibitions: Towards a Responsive Museum Aesthetic." MA Thesis, University of Colorado at Boulder, 1996 Vierson, Lydia. "Hybrid Culture in Southwestern Santos." Honors thesis, cum laude. University of Colorado at Boulder, 1996 Waddell, Shanna. "Crossed Gender Identity in New Mexican Santos." MA thesis, University of Colorado at Boulder, 1996 Warren-Turnage, Elizabeth. "Towards a Theory of Ornament." MA thesis, University of Colorado at Boulder, 1993 Westergrd, Ira, Sacred Pregnancy: The Visitation in Florentine Art, Ph.D. art history with high honors, University of Helsinki, 2007/8 (outside advisor) Co-chair with James Cordova. Wilder, Aubrey, San Miguel del Milagro, MA thesis, University of Colorado at Boulder, 2010 D. J. Zupancic, Conditions for Reality, MA project, University of Colorado at Boulder, video documentary dealing with issues of gender, trauma, and mass media, 2006 PROFESSIONAL ACTIVITIES International Editorial Board Member, Paragone Society Journal, 2013 Editorial Board Member, Museum History Journal, 2009 Editorial Board Member, Symbola et Emblemata, Studies in Renaissance and Baroque Symbolism, general editor Bernhard Scholz, E. J. Brill Press, 1994-2000 Consultant, Universal Leonardo Bureau and The Innovation Centre, Central Saint Martins College of Art & Design, University of London, London, 2004 - Reader, Konsthistorisk Tidskrift, Sweden Reader, E. J. Brill Press Member, Leonardo da Vinci Society, London Fulbright-York Scholar, University of York, UK, 2011-12, and subsequently member of the Fulbright Association National Reader, Bloomsbury Press Reader, Explorations in Renaissance Culture Journal Reader, Palgrave/Macmillan Press Reader, Renaissance Quarterly Reader, Ashgate Publications Reader, University of Chicago Press Reader, Princeton University Press Reader, The Art Bulletin Reader, Pennsylvania State University Press Reader, Cambridge University Press Nominating Committee, Society for the Study of Early Modern Women, 1999-01; Chair, 2000 Executive Council, Society for the Study of Early Modern Women, 1996-99 Reviewer for National Endowment for the Humanities, 1997, 2000 Reviewer for Postdoctoral Fellowships, Pembroke Women's Center, Brown University, 1991-92 Reviewer for Postdoctoral Fellowships, American Association of University Women, 1992-94 Reader for Oxford University Press, 1996- Reader for The Pennsylvania State University Press, 1994- Reader for Cambridge University Press, 1992- Reader for The Colorado Associated Press, 1991- Reviewer for American Fellowships, American Association of University Women Educational Foundation, 1990-93 University and community Internal Program Review Committee for the CU University Museum, 2013 14 Chair, Search for an Americanist Art Historian, 2013-14 Deans Tenure Review committee, College of Music, spring 2013 Co-Convener with Brian Catlos, and member of the steering committee, Mediterranean Studies Group, 2010 Member, Discussion Group organized by the Center for Humanities and the Arts, summer 2012, to discuss proposal to create a new college of Media studies Chair, Arts and Sciences Fund for Excellence Committee, grant review committee, since 2012; committee member since 2009 Member, Graduate Council on Art and the Humanities, grant review committeee, 2009 2013 Member, Executive Committee, Department of Art and Art History, 2012 Associate Chair/Area Coordinator for Art History, Department of Art and Art History, 2010-11 Member, Search Committee for Assistant Professor of Contemporary Art, fall-spring 2007/8 Chair, Promotion Review Committee for Assoc. Prof. Albert Chong, fall 2005 Member, Salary Merit Review Committee, Department of Art and Art History, 2005-06 Member, Graduate Committee, 2005-08 Member, Search Committee for Assistant Professor of Painting, Spring 2006 Member, Visual Arts Complex Building Committee, 2005 - Steering Committee, Medieval and Early Modern Studies Center, 2005-09 Co-Chair, Diversity Committee, Department of Art and Art History, University of Colorado, 2004-05 Associate Chair/Director of Graduate Studies, Department of Fine Arts, University of Colorado, 1999-00; Department of Art and Art History, 2003-04 Director, Medieval and Early Modern Studies Program, fall 1997-98 and Co-Director, fall 1999-2000; spring 2002-august 2005 Area Coordinator, Art History, Department of Art and Art History, 2010-11, 2003-04, 1989-1990 Chair, Graduate Committee, Department of Art and Art History, 2003-04 Member, ex-officio, Executive Committee, Department of Art and Art History, 2010-11, 2003-04 Member, Visiting Artists Committee, Department of Art and Art History, 2003-04 Member, Diversity Committee, Department of Art and Art History, 2003-04 Executive Advisory Council of the Graduate School, 1995-1999 Director, Lecture Series, "Global Perspectives on Local Visual Culture," University of Colorado, fall 1997 Committee for Uses of Technology in Education, ATLAS Project, University of Colorado at Boulder, fall 1997 Chair, Self Study Committee for Program Review, Department of Fine Arts, AY 1997-98 Member, Search Committee, Curator of Visual Resources, Department of Fine Arts, 1997-98 Center for the Humanities and Arts Steering Committee, 1996 - 1999 Center of the American West, Faculty Advisory Council, 1996 - 1998 Member, Promotion Review Committee for Assoc. Prof. Vernon Minor, Fine Arts, fall 1996 EAC subcommittee to review graduate fellowship programs, fall 1995 Steering Committee, Acquisitions in the Arts, Women of the American West Museum, Boulder, CO, fall 1995-1997 Member, Promotion Review Committee for Assoc. Prof. Erika Doss, Fine Arts, fall 1995 Member, Internal Program Review Panel for Department of History, University of Colorado, fall 1995 Chair, Search Committee for Gallery Director, Sibell-Wolle Fine Arts Gallery, 1995-96 Humanities Initiative Committee, The Graduate School, Fall 1994-95 Member, Faculty Advisory Council, Center of the American West, University of Colorado, 1994-97 (EPUS) Educational Policy of the University System, Fall 1994-1995 Visiting Artists' Committee, Department of Fine Arts, Fall 1994 Spring 1995 Steering Committee, Critical Studies of the Americas, 1991-95 Post-Program Review Committee, Italian Studies, Fall 1993 Program Committee, Rocky Mountain Medieval and Renaissance Association Annual Conference, Breckenridge, Colorado, April 19-21, 1991 Chair, Kayden Book Committee, College of Arts and Sciences, Fall 1989-1991 (committee member 1988-1989) Ethics Committee, College of Arts and Sciences, Fall 1989 Executive Committee, Department of Fine Arts, Fall 1989-1992, 2010-13 Graduate Committee, Department of Fine Arts, Spring 1988-1990 Search Committee for a Precolumbianist, Department of Fine Arts, 1990 Acquisitions Committee for the Colorado Collection, Department of Fine Arts, 1988-1993 Tenure Review Committee for Garrison Roots, Fine Arts, 1988 Master of Arts Curriculum Review Committee, Art History, 1989 Member, College Advisory Committee to Denver Art Museum, 1988-89 PROFESSIONAL ORGANIZATIONS (current memberships) College Art Association Renaissance Society of America Leonardo da Vinci Society     PAGE  PAGE 26 Claire Farago Curriculum Vitae PAGE  PAGE 26 3JRcd  ǷᥘvgUEEEEh~h#5CJOJQJaJ"h~h5>*CJOJQJaJh~hv&PCJOJQJaJ#h'\hv&P0J5CJOJQJaJh~hv&P5CJOJQJaJhv&P5CJOJQJaJ"jhv&P5CJOJQJUaJh~h) s5CJOJQJaJh) s5CJOJQJaJh5CJOJQJaJh~h5CJOJQJaJh~hCJOJQJaJ3Rd3 9 y z W L $v^va$gd# $v^va$gd a $v`va$gdu"8$v^va$ $v`va$gd#$v^va$gd - 2 3  ! 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