CURRICULUM VITÆ: CORINE SCHLEIF

(revised 2015)

School of Art
Herberger Institute for Design and the Arts
Arizona State University
Tempe, AZ 85287-1505
Office Phone: (480) 965-3223
email: Corine.Schleif@asu.edu

 

CURRENT POSITION

Arizona State University, professor, art history    

EDUCATION IN ART HISTORY

Universität Bamberg, 1982-86, Dr.phil. (medieval history and religious studies minors); Ludwig-Maximilians-Universität, Munich, 1981-82 (renewal of Fulbright); Freie Universität, Berlin, 1980-81 (Fulbright scholar), Washington University, St. Louis, 1977-80, M.A.; Philipps-Universität, Marburg, 1974-76

SELECTED GRANTS, AWARDS, AND PROJECT SUBSIDIES

Berlin Prize, American Academy in Berlin; Fellowship at the Herzog August Bibliothek, Wolfenbüttel; National Endowment for the Humanities Collaborative Research Grant; Great Masters in Context, planning and realization grants from the Samuel H. Kress Foundation; eight grants from institutional and corporate sources in Europe, for Geese Book project (with V. Schier); numerous cost-sharing arrangements and gifts-in-kind for Geese Book project; J. Paul Getty Collaborative Research Grant (with V. Schier); J. Paul Getty Postdoctoral Fellowship; Samuel H. Kress dissertation research grant; Fulbright-Hayes Fellowship for study in Berlin and Munich

Publication subventions: Millard Meiss, for Katerina’s Windows; 2 gifts from private individuals for Katerina’s Windows; Herberger College of Fine Arts, ASU, for Katerina’s Windows; Getty Grant Program for Donatio et memoria; eleven subventions from institutional and corporate sponsors in Germany, for Donatio et memoria; Samuel H. Kress Foundation subsidy for photographs, Donatio et memoria

University grants and awards: ASU, Institute for Humanities Research, faculty fellow, general theme “There is No Place like Home,” topic women's monasteries, 2013-3014; ASU, Institute for Humanities Research, seed grant for “The Senses” (with R. Newhauser), 2007; ASU, Vice President for Research and College of Liberal Arts and Sciences, support for Geese Book Project, 2006; Institute of Humanities Research, seed grant, for Geese Book project (with W. Gentrup), 2005; Herberger College Award for Outstanding Faculty Research, 2004; ASU, Herberger College of Fine Arts, collaborative research grant, 2003; ASU, Women’s Studies mini grants, 1998, 1997, 1995; Herberger College of Fine Arts, innovative teaching award,1995; ASU, College of Fine Arts, research grants, 1989, 1990, 1993, 1994, 1995; University of Minnesota, MacMillan Travel Grant, 1987; Washington University, Steinberg Fellowship,1980; Washington University, University Fellowship, 1979; Washington University, Tuition Remission, 1977-1980

PUBLICATIONS

see also https://asu.academia.edu/CorineSchleif

Monographic Studies

STORIES CARVED IN STONE: Who Was Adam Kraft? Who Owned Adam Kraft? Currently in preparation, this study of the reception of the German Late-Gothic sculptor Adam Kraft draws attention to the plurality of history and subjectivity of historiography. Chapters focus on the image of the artist in the eyes of his patrons, on the artist's self-consciousness (as evidenced in his self-portraits), on various readings of his works by initial audiences, on his transformation through the pens of the humanists and reformers, on his character as portrayed in historical fiction, on the assessment of his oeuvre by various practitioners of the "science" of art-historical connoisseurship, on the effects of attitudes and philosophies of generations of conservators, on the diverse roles Kraft played in various systematic and teleological schemes for the history of art, on his conscription into National Socialist ideologies (and the iconoclastic consequences), on the appropriation of the art and artist in advertising, and on the continuing but subtle involvement of these works in various contemporary issues.

Letters from and to Katerina Lemmel (1516-1522), co-authored with Volker Schier and Anne Simon. First complete edition of the letters Katerina Lemmel with an English translation. Expected publication date 2015.

KATERINA'S WINDOWS: Donation and Devotion, Art and Music, as Heard and Seen through the Writings of a Birgittine Nun, co-authored with Volker Schier, University Park: Penn State Press, 2009. The study centers on the 1998 (re-)discovery of fifty-eight letters written by Katerina Lemmel, a Nuremberg widow who entered the abbey of Maria Mai in 1516 and rebuilt it using her own resources and the donations of her friends and relatives. Katerina's letters provide glimpses into the material culture of monastic life, views of a woman's struggles on behalf of other women, and a close-up look at the interconnected workings of art, music, liturgy, and literature. As particular history, the letters provide an insider's insights into the spiritual economies and donation practices that were later scorned by Protestant reformers. The writings also offer an eye-witness account of the social challenges that erupted into violent clashes during the Revolution of 1525. This volume of translated texts amid extensive introductions, analyses, and narrative commentary (xxxviii + 582 pp.), includes 231 illustrations (56 in color), 4 maps, and 4 genealogical charts, most of which were commissioned for the project. An edited volume of essays by specialists from many fields is also planned. Reviews by Roger Rosewell in Vidimus 36 (January 2010);
Jeffrey Chipps Smith in Renaissance Quarterly 63 (2010), 612-13; Hans van Miegroet in Choice (April 2010); Stanley Weed in The Medieval Review (October 2010); Megan Cassidy-Welch in Burlington Magazine 152 (November 2010), 746; Judith Oliver in Speculum 86 (2011), 546-48; Pia F. Cuneo in Mediaevistik: Internationale Zeitschrift für interdisziplinäre Mittelalterforschung 24 (2011), 586-89.

cover500 Jahre Sakramentshaus: Erklärung - Verklärung, Deutung - Umdeutung” <The 500-Year History of the Eucharistic Tabernacle: Mystification Clarification, Old Meanings New Meanings>, ST. LORENZ 96, Verein zur Erhaltung der Lorenzkirche, ns 41, 1996. The essay provides the main text for the festschrift commemorating the 500th anniversary of this monument.

coverDONATIO ET MEMORIA. Stifter, Stiftungen und Motivationen an Beispielen aus der Lorenzkirche in Nürnberg <Donatio et memoria. Donors, Donations, and Motivations -- Examples from the Church of St. Lorenz in Nuremberg> Munich: Deutscher Kunstverlag, 1990. Selected groups of donors are compared and contrasted with respect to their religious, social, and political motivations; the institutionalized system governing private donations for churches is explored and a model is proposed for the analysis of private patronage within the sacred context during the Middle Ages and Renaissance (cloth, 288 pp., 4 color plates, 184 b/w illus., appendix of 13 transcribed documents). Reviewed in Renaissance Quarterly, Sixteenth Century Journal, Speculum, Kunstchronik and elsewhere

Edited Volumes

Manuscripts Changing Hands / Bücher wechseln von Hand zu Hand (with V. Schier), with contributions by ten authors, Wolfenbüttel, in press
It is no accident that the issues discussed come at a time when electronic tablets that temporarily carry information are coming to replace physical books that are handed from one hand to another. The premise of the symposium was the notion that books, particularly medieval manuscripts, were conceived to move from one set of hands to the next. Holding a book promised possibilities, and possessing a book implied power. Handling was a special privilege: During the early centuries of Christianity, codices revealed and represented Christ himself. As such they connoted the shift to Christianity, they demanded special reverence, and exuded the aura of the holy, sometimes inviting but likewise also forbidding direct touch. Therefore books also functioned as sacred connectors, binding producers with consumers, gift givers with gift recipients, writers with readers, writers with writers, and readers with readers. Books linked many generations and were intended to endure. Hands attached messages, which today may be (re)discovered by contemporary scholars. Contributions by Madeline Caviness, Hiram Kümper, Nancy van Deusen, Matthias Eifler, Barbara Haggh-Huglo, Judith Oliver, Volker Schier, Corine Schleif, Gabriela Signori, and Alison Stones engage with these notions.

Pleasure and Danger in Perception: The Senses in the Middle Ages and the Renaissance (with R. Newhauser), published as special issue of The Senses and Society 5 (2010)

TRIANGUALTING OUR VISION: Madeline Caviness's Approach to Medieval Art published as special inaugural issue of Different Visions: A Journal of New Perspectives on Medieval Art, 2008 (12 articles by 10 contributors, 260 pages with 201 illustrations) http://differentvisions.org/one.html

Interdisciplinary Electronic Projects

Co-director with Volker Schier of the international multimedia project “Extraordinary Sensecapes: (Re)Constructing the Sensorial Experience of the Past Using Digital Multimedia Technology. The Late Medieval Birgittine Church
The project aims to provide virtual reconstructions of the Birgittine monastic complex as designed by Saint Birgitta and her immediate followers in the late Middle Ages. Multisensory worlds of the past can be (re)constructed, experienced and analyzed using multimedia technologies of today. A 3D architectural model of a prototypical church will be created based on the remnants of Birgittine churches in Scandinavia, Estonia, and Germany and through information gleaned from archeological excavations and historical research. In addition, the soundscape of these structures will be studied and a virtual acoustic rendition will be implemented. Full immersion in the virtual space of a Birgittine church will be facilitated.
In the 14th century Saint Birgitta of Sweden instituted her reform order, known officially as the Order of the Holy Savior and unofficially as the Birgittines. She sought to curb abuses and correct the shortcomings of all previous orders. A late medieval Birgittine church seems the ideal object to study the multisensory production of the past. Not only where these structures conceived specifically to be filled by chants of the Birgittine liturgy, they provided various stages for rituals that were intended for the communities of nuns and clerics, but also for visitors to the church. In addition, the Birgittine normative writings, archival sources, and writings by Birgittine nuns permit us important insights into the planning and intended perception of the specific sensescape.

Co-director with Volker Schier of the international multimedia project “Opening the Geese Book.” A multisensory work of the past is explored through multimedia technologies of the present. A team of experts opens the Geese Book to scholars and provides a window for broader audiences. Completed in 1510 for the parish of St. Lorenz in Nuremberg, this large-format gradual preserves the mass liturgy that was sung by choir boys until the Reformation was introduced in 1525. Provocative and satirical illuminations include the one from which the book takes its name. Many medieval manuscripts are too valuable and vulnerable to be handled. Digitally, however, these 2 volumes can now be touched by everyone. This pilot project is a collaboration of the Arizona Center for Medieval and Renaissance Studies, the School of Art of the Herberger Institute of Design and the Arts of Arizona State University, the Pierpont Morgan Library, Bavarian Radio Corporation, the Hungarian Academy of Sciences, the Staatsarchiv Nuremberg, Stadtarchiv Nuremberg, and Landeskirchliches Archiv Nuremberg.

Articles in Journals and Anthologies

Haptic Communities: Hands Joined in and on Manuscripts,” in: Manuscripts Changing Hands / Bücher wechseln von Hand zu Hand, edited by Corine Schleif and Volker Schier, Wolfenbüttel, in press

The Crucifixion with Virtues in Stained Glass: Wounds, Violent Sexualities, and Aesthetics of Engagement in the Wienhausen Cloister, Journal of Glass Studies 56 (2014), 317-43

“Who are the Animals in the Geese Book?” in: Animals and Early Modern Identity, edited by Pia Cuneo, Farnham 2014, 209-42

Participant in the forum: “The Senses,” German History 32 (2014), 256-73

“In search of Patronage: Patrons and Matrons in Art, Language and Historiography,” in: Patronage: Power and Agency in Medieval Art, edited by Colum Hourihane, Princeton 2013, 206-32

“The Art of Walking and Viewing: Christ, the Virgin, Saint Birgitta, and the Birgittines Processing through the Cloister,” in: The Birgittine Experience: Papers from the Birgitta Conference in Stockholm, 2011, edited by Claes Gejrot, Mia Åkestam and Roger Andersson, Stockholm 2013, 241-67

“Nonnen und Rebellen: Auf der Flucht im Bauernkrieg,” with Volker Schier, in: Rieser Kulturtage, Dokumentation 2010, Nördlingen 2012, 53-66

Kneeling at the Threshold: Donors in Realms Betwixt and Between, in: Thresholds of Medieval Visual Culture: Liminal Spaces. Studies in Honor of Pamela Sheingorn, edited by Elina Gertsman and Jill Stevenson, Woodbridge 1012, 195-216

Christ Bared: Problems of Viewing and Powers of Exposing, in: The Meanings of Nudity in Medieval Art, edited by Sherry Lindquist, Farnham 2012, 251-278

“Mapping the Social Topography of Memorials: Barbara and Kunz Horn Seek the Prayers of the Poor and the Respect of the Rich,” in: Living memoria. Studies in Medieval and Early Modern Memorial Culture in Honour of Truus van Bueren, edited by Rolf Weijert et al., Hilversum 2011, 97-110

Medieval Memorials: Sights and Sounds Embodied; Feelings, Fragrances and Flavors Re-Membered,The Senses and Society 5 (2010), 71-90

Afterword: Making Sense of the Middle Ages and Renaissance - During and After, The Senses and Society 5 (2010), 158-62

Does Religion Matter? Adam Kraft's Eucharistic Tabernacle and Eobanus Hessus, in: Art, Piety and Destruction in the Christian West, 1500-1700, edited by Virginia Chieffo Raguin, Farnham 2010, 45-63

Gifts and Givers that Keep on Giving: Pictured Presentations in Early Medieval Manuscripts, in: Romance and Rhetoric: Essays in Honor of Dhira B. Mahoney, edited by Georgiana Donavin and Anita Obermeier, Turnhout 2010, 51-71

Albrecht Dürer between Agnes Frey and Willibald Pirckheimer, in: The Essential Dürer, edited by Larry Silver and Jeffrey Chipps Smith, Philadelphia 2010, 185-205

Learning from the Voice of Sister Katerina Lemmel or: Looking, Listening, Tasting, Sniffing, and Feeling our Way through the Archives, together with Volker Schier, originally invited, prepared, accepted and edited for inclusion in Teaching the Other Voice, edited by Margaret King and Albert Rabil, Chicago 2006, uploaded 2009 on ancillary Web site http://katerinaswindows.asu.edu to accompany Katerina's Windows

Funding for Medieval Feminists: Strategies, Challenges, Dilemmas,” Medieval Feminist Forum 44 (2009), 42-48

“The Holy Lance in the Late Twentieth Century,” together with Volker Schier, in: Cultural Icons, edited by Keyan Tomaselli and David Scott, Højbjerg and Walnut Creek 2009, 103-34

Puzzles On and Under the Surface: Changed Subjectivity in the Imhoff Epitaph,” in: Invention. Northern Renaissance Studies in Honor of Molly Faries, edited by Julien Chapuis, Turnhout 2008, together with Volker Schier, 152-161

Saint Hedwig's Personal Ivory Madonna: Women's Agency and the Powers of Possessing Portable Figures,” in: Four Modes of Seeing: Approaches to Medieval Images in Honor of Madeline Caviness, edited by Evelyn Lane, Elizabeth Pastan and Ellen Shortell, Basingstoke 2009, 449-74

Views and Voices From Within: Sister Katerina Lemmel On the Glazing of the Cloister at Maria Mai, together with Volker Schier, in: Glasmalerei im Kontext -- Bildprogramme und Raumfunktionen, Akten des XXII. internationalen Colloquiums des Corpus Vitrearum, Nürnberg, 29. August - 1. September 2004 (Anzeiger des Germanischen Nationalmuseums, wissenschaftlicher Beiband 25), edited by Rüdiger Becksmann, Nürnberg 2005, 211-28

Die Heilige und unheilige Lanze. Von Richard Wagner bis zum World Wide Web” <The Holy and Unholy Lance: From Richard Wagner to the World Wide Web> together with Volker Schier, in: Franz Kirchweger, ed., Die Heilige Lanze in Wien. Insignie — Reliquie “Schicksalsspeer”, Schriften des Kunsthistorischen Museums 9, Vienna 2005, 110-43

Men on the Right – Women on the Left: (A)symmetrical Spaces and Gendered Places,” Women’s Space: Patronage, Place and Gender in the Medieval Church, edited by Virginia Chiefo Raguin and Sarah Stanbury, Albany 2005, 207-249

Forgotten Roles of Women as Donors: Sister Katerina Lemmel’s Negotiated Exchanges in the Care for the Here and the Hereafter,” Care for the Here and the Hereafter: Memoria, Art and Ritual in the Middle Ages, edited by Truus van Bueren, Turnhout 2005, 137-154

Seeing and Singing, Touching and Tasting the Holy Lance: The Power and Politics of Embodied Religious Experiences in Nuremberg 1424-1524,” together with Volker Schier, Signs of Change - Transformations of Christian Traditions and their Representation in the Arts 1000-2000, edited by Claus Cluver, Nicolas Bell and Nils Holger Petersen, Amsterdam 2004, 401-426

The Making and Taking of Self-Portraits: Interfaces Carved between Riemenschneider and His Audiences,” Tilman Riemenschneider, c. 1460-1531, edited by Julien Chapuis, Studies in the History of Art, Vol. XV, published by the Center for Advanced Studies in the Visual Arts, National Gallery, Washington D.C. 2004, 214-233

“The Many Wives of Adam Kraft: Renaissance Artists' Wives in Legal Documents, Art-historical Scholarship, and Historical Fiction,” revised version reprinted in the anthology: Saints, Sinners and Sisters. Women and the Pictorial Arts in Northern European Art, edited by Jane Carroll and Alison Stewart, Basingstoke 2003, 202-22

“Katerina Lemmels Briefe als Spiegel Nürnberger Privatfrömmigkeit” <Katerina Lemmels Letters as Mirror of Private Devotion in Nuremberg >, Im Zeichen des Christkinds: Privates Bild und Frömmigkeit im Spätmittelalter. Ergebnise der Ausstellung Spiegel der Seligkeit, edited by Frank Matthias Kammel, Nuremberg 2003, 109-112

Das Gänsebuch: Stimmen vom Rand und aus der Mitte” <The Geese Book, Voices from the Margin and the Middle>, together with Volker Schier, in St. Lorenz: Der Hallenchor und das Gänsebuch (Verein zur Erhaltung der St. Lorenzkirche in Nürnberg) ns 48 (2002), 64-75

Rituale in Stein: Erzählungen für eine breite und diverse Öffentlichkeit” <Rituals in Stone: Narratives for a Widely Diverse Public>, Adam Kraft Colloquium Volume, edited by Frank Matthias Kammel, Nuremberg 2002, 253-70

Wem Gehört Adam Kraft? Zum Umgang mit Kraft und Seinen Werken in Wort und Tat” <To Whom Did Adam Kraft Belong? Words and Deeds Engaging Adam Kraft and his Work>, Adam Kraft Colloquium Volume, edited by Frank Matthias Kammel, Nuremberg 2002, 31-44

“Agnes Frey Dürer, verpackt in Bildern und vereinnahmt in Geschichten,” <Agnes Frey Dürer, Packaged in Pictures and Appropriated in Stories>, Am Anfang war Sigena. Ein Nürnberger Frauengeschichtsbuch, edited by Gaby Franger and Nadja Bennewitz, Cadolzburg 1999, 2000, 67-77

Das pos weyb Agnes Frey Dürer: Geschichte ihrer Verleumdung und Versuche der Ehrenrettung,” <The Bad Wife Agnes Frey Dürer: History of her Defamation and Attempts at her Rehabilitation>, in Mitteilungen des Vereins für Geschichte der Stadt Nürnberg 86 (1999), 47-79

The Roles of Women in Challenging the Canon of Great Master Art History,” Attending to Early Modern Women, edited by Adele Seeff and Susan Amussen, Newark 1999, 74-92

“The Many Wives of Adam Kraft: Early Modern Artists' Wives in Legal Documents, Art-historical Scholarship, and Historical Fiction,” in Georges-Bloch-Jahrbuch 4 (1998), 61-74

Nicodemus and Sculptors: Self-Reflexivity in Works by Adam Kraft and Tilman Riemenschneider,” in Art Bulletin 75 (1993), 599-626

Hands that Appoint, Anoint, and Ally: Late-Medieval Donor Strategies for Appropriating Approbation through Painting,” in Art History 16 (1993), 1-33

The Proper Attitude Toward Death: Windowpanes Designed for the House of Canon Sixtus Tucher,” in Art Bulletin 69 (1987), 587-603

“Die Figur des Erzengels Michael in der Nürnberger Lorenzkirche” <The Figure of the Archangel Michael in the Church of St. Lorenz in Nuremberg>, in Mitteilungen des Vereins für Geschichte der Stadt Nürnberg 72 (1985), 333-335

Die Schreinmadonna im Diözesanmuseum zu Limburg, Ein verfemtes Bildwerk des Mittelalters” <The Opening Madonna in the Diözesanmuseum in Limburg, A Proscribed Image of the Middle Ages>, in Nassauische Annalen 95 (1984), 39-54

Bild- und Schriftquellen zur Verehrung des Heiligen Deocarus in Nürnberg” <Pictorial and Written Sources on the Veneration of Saint Deocarus in Nuremberg>, in Berichte des Historischen Vereins Bamberg 119 (1983), 9-24

“Contradictions Discovered through Microscopic Vision: Feminist Abstractions by Martha Macks,” in Artery 4 (1981), 5-7


Reviews, Entries, and Abstracts

Review: June L. Mecham, Sacred Communities, Shared Devotions: Gender, Material Culture, and Monasticism in Late Medieval Germany (Turnhout2014), in: The Catholic Historic Review, in press

Review: Rosenkränze und Seelengärten: Bildung und Frömmigkeit in niedersächsischen Frauenklöstern, exhb. cat. Herzog-August-Bibliothek, Wolfenbüttel, 2013, ed. Britta-Juliane Kruse in: Studies in Iconography 2014, 345-48

Review: Beth Williamson, The Madonna of Humility (Woodbridge 2008), in: CAA Reviews online, 2011

Review: Krone und Schleier: Kunst aus mittelalterlichen Frauenklöstern, exhb. cat. Ruhrlandmuseum, Essen, and Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 2005, in: Speculum 82 (2007), 456-58

Review: Jeffrey Chipps Smith, The Northern Renaissance (London 2004), in: Renaissance Quarterly 2005

Review: Madeline Harrison Caviness, Visioning Women in the Middle Ages: Sight, Spectacle, and Scopic Economy (Philadelphia 2001) and Reframing Medieval Art: Difference, Margins, Boundaries (electronic Internet publication at http://dca.lib.tufts.edu/Caviness/), in: Speculum, 79 (2004), 149-52

“Kunstchronik,” in: Winberta Yao, ed., International Art Periodicals, Greenwood Press, in press

“Kraft, Adam (sculptor),” in: John M. Jeep, ed., Medieval Germany: An Encyclopedia, New York and London 2001

“Iconography -- Schreinmadonna,” in: John M. Jeep, ed., Medieval Germany: An Encyclopedia, New York and London 2001

“Late Gothic Art,” in: John M. Jeep, ed., Medieval Germany: An Encyclopedia, New York and London 2001

“Women and Art,” in: John M. Jeep, ed., Medieval Germany: An Encyclopedia, New York and London 2001

Co-authored with Dhira Mahoney, Debora Schwartz, and Juliann Vitullo, Review: M. Bal and I. Boer, eds., the Point of Theory (New York 1994), in: Studies in Iconography 17 (1996), 405-408

“Adam Kraft,” Dictionary of Art, London 1996

“Henning von der Heide,” Dictionary of Art, London 1996

Review: Jeffrey Chipps Smith, German Sculpture of the Later Renaissance (Princeton 1994), in: Historians of Netherlandish Art Newsletter 12/2 (1995), 18-22

Review: Ann Tukey Harrison, ed., The Danse Macabre of Women: Ms. fr. 995 of the Bibliothèque Nationale (Kent/Ohio, and London/England 1994), in: Sixteenth Century Journal 1995

“How Art History Grew Apart after World War II,” Abstracts, College Art Association 81st Annual Conference, 1993, 151

Review: Jeffrey Hamburger, The Rothschild Canticles: Art and Mysticism in Flanders and the Rhineland circa 1300 (New Haven 1990), in: Medieval Feminist Newsletter 15 (1993), 30-31

Review: Materielle Kultur und religiöse Stiftung im Spätmittelalter <papers from an international symposium at Krems an der Donau>, published by the Institut für Mittelalterliche Realienkunde Österreichs (Vienna 1990), in: Zeitschrift für Kunstgeschichte 1992 (published 1993), 590-94

“Die mehrfache Zweckbezogenheit spätmittelalterlicher Kunststiftungen in der Lorenzkirche in Nürnberg” <Manifold Purposes of Late-Medieval Art Donations in the Church of St. Lorenz in Nuremberg>, in: Das Münster (1990), 57-58

“The Hierarchy of Places and the Hierarchy of Donation in the Church of St. Lorenz in Nuremberg,” Abstracts and Program Statements, 77th Annual Meeting of the College Art Association, 1989, 216-17

Conference Abstract “Artists and Craftsmen as Donors: On the Function and Meaning of the Illustration in Bamberg, Staatsbibliothek, Hs. patr.5,”Manuscripta 32 (1988), 16-17

“Saint Hedwig's Personal Devotional Image,” Abstracts and Program Statements for Art History Sessions, 75th Annual Meeting College Art Association of America, 1987, 48

 

CONFERENCE PAPERS,
SESSION, SYMPOSIUM, AND CONFERENCE ORGANIZATION

COLLEGE ART ASSOCIATION, Washington D.C.: session organized, “There’s No Such Thing as Visual Culture,” sponsored by Historians of German and Central European Art and Architecture, 2016

INTERNATIONAL MEDIEVAL STUDIES CONGRESS, Kalamazoo: “Digital Recreation of Processional Experience at Vadstena, Sweden, Motherhouse of the Birgittine Order,” in the session: Actual and Virtual Reconstruction of the Past, 2015

RENAISSANCE SOCIETY OF AMERICA, Berlin: roundtable discussion organized, Bringing Early Modern Art History to Broad Audiences, 2015

INTERNATIONAL MEDIEVAL STUDIES CONGRESS, Kalamazoo: session organized with M. Easton, Other Animals and Humans in Medieval Art, sponsored by the International Center for Medieval Art, 2014

INSTITUTE FOR HUMANITIES RESEARCH, ARIZONA STATE UNIVERSITY: Symposium “There’s No Place Like Home...,” Paper: Extraordinary Sensescapes: The Sensual World of Medieval Nuns,” 2014

RENAISSANCE SOCIETY OF AMERICA, San Diego: session organized with P. Cuneo, Animals and Identity in the Early Modern Period, 2013

PRINCETON UNIVERSITY, INDEX OF CHRISTIAN ART: invited participant to conference Patronage in the Medieval Arts, INDEX OF CHRISTIAN ART, PRINCETON UNIVERSITY, “In Search of Patronage: Patrons and Matrons in Language, Art and Historiography,” 2012

HERZOG AUGUST BIBLIOTHEK, Wolfenbüttel, co-organization of the workshop “Manuscripts Changing Hands - Handschriften wechseln von Hand zu Hand,” together with Volker Schier, 2012

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo: participant in Round Table Discussion in honor of Sherry Reames sponsored by the Hagiography Society, 2012

COLLEGE ART ASSOCIATION, Los Angeles: “From Early Modern to Postmodern – From Female to Feminisms to Feminizing: Where Do We Find Our Subjects and Ourselves after 100 Years in the College Art Association?” 2012

INTERNATIONAL CONFERENCE ON SAINT BIRGITTA OF SWEDEN AND THE BIRGITTINES, Riksarkivet Stockholm: “The Art of Walking and Viewing: Christ, the Virgin, Saint Birgitta, and the Birgittines Processing through the Cloister,” 2011

NORDIC MEDIEVAL GENDER NETWORK, Helsinki: “Katerina Lemmel: Taking Care of Body and Soul,” with V. Schier, at a meeting with the theme Body and Soul, 2011

INTERNATIONAL MEDIEVAL STUDIES CONGRESS, Kalamazoo: “Sexuality in a Cold Cloister: The Wienhausen Crucifixion Panel” in a session sponsored by the International Center for Medieval Art, 2011

MEDIEVAL ACADEMY OF AMERICA, planning committee for 2011 meeting in Scottsdale, AZ

MEDIEVAL ACADEMY OF AMERICA, Scottsdale, AZ, round table organization: “Scholarship, Membership, Ownership: National and Ethnic Identities in the Discipline of Art History,” 2011

MEDIEVAL ACADEMY OF AMERICA, Scottsdale, AZ: “Art Historians as Migrants, Émigrés, and Immigrants: Conflicted Identities and Politics in Mid-20th Century Germany and America,” in roundtable “Scholarship, Membership, Ownership: National and Ethnic Identities in the Discipline of Art History,” 2011

MEDIEVAL ACADEMY OF AMERICA, Scottsdale, AZ, session organization and chair: “New Proposals for Inclusive Approaches, Reversed Perspectives and Non-ethnic Terms in the Study of Medieval Art,” 2011

ARIZONA STATE UNIVERSITY, Tempe, organization and participation in round table discussion: “Virtual (Re)Constructions of the Past,” participants: Geeske Bakker (University of Applied Sciences, Utrecht), Markus Cruse (School of International Languages and Cultures, ASU), Douglas Gann (Center for Desert Archaeology Tucson), James Garrison (State Historic Preservation Officer for Arizona), Thomas Morton (School of Architechture and Landscape Architecture, ASU), Jan de Rode (DeRode3D, Utrecht), Jessica Roode (grad student intern, Opening the Geese Book), Volker Schier (Geese Book Co-Director, ACMRS), 2010

ARIZONA CENTER FOR MEDIEVAL AND RENAISSANCE STUDIES, annual conference, theme: THE FIVE SENSES IN THE MIDDLE AGES AND RENAISSANCE, planning committee together with David Hawkes, Richard Newhauser, and Catherine Saucier, Tempe 2009

THE FIVE SENSES IN THE MIDDLE AGES AND THE RENAISSANCE, PLEASURE AND DANGER IN PERCEPTION, symposium organized together with Richard Newhauser, sponsored by the Institute for Humanities Research of Arizona State University, Tempe 2009

THE FIVE SENSES IN THE MIDDLE AGES AND THE RENAISSANCE, PLEASURE AND DANGER IN PERCEPTION, Arizona State University, Tempe, 2009: “Medieval Memorials as Multisensory Experiences”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 2007: “'I Saw My Most Chaste and Mighty Son Stand Naked...'; Saint Birgitta's Vision of the Virgin Viewing Christ,” in the session "The Meanings of Nudity in the Middle Ages" sponsored by the International Center for Medieval Art

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 2007: presented a position statement, “Can we get beyond feminism? Can we ‘post’ it?” and participated as panelist in the medieval feminist round table discussion on the future of medieval feminist art history, sponsored by the Medieval Feminist Art History Project

RENAISSANCE SOCIETY OF AMERICA, Miami, 2007: presented position statement “The New Art History: A Post Mortem, Rallying Once Again, or Learning to Live Without It?” and participated as panelist in round table discussion on "The Present and Future of the 'New Art History' in Renaissance Studies"

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 2006: together with Alyce Jordan organized five sessions commemorating the fiftieth anniversary of the International Center for Medieval Art, “Madeline Caviness's 'Triangulatory' Approach to Medieval Art: Using Historical Context and Critical Theory to Open the Work for Audiences of Today”

FRAUENKLOSTER/DAMENSTIFT WERKSTATT GESPRÄCHE, Heiligkreuztal, 2003: “Thesen zu Memorialökonomien in Frauenklöstern: Theorie und Praxis in den Lemmelbriefen aus Maria Mai”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 2000: joint paper with Volker Schier “Charles IV and the Holy Lance: Mixed Metaphors of Eternal Salvation, Manly Valor, Imperial Power, and Sexual Violence” in the session sponsored by the “Medieval Feminist Art History Project”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1999: joint paper with Volker Schier “Geese and a Wolf, Liturgy and Autonomy: Diocesan Politics in a Nuremberg Gradual (Morgan M. 905)” in the session “The Medieval Liturgy as Interdisciplinary Enterprise”

COLLEGE ART ASSOCIATION, Los Angeles, 1999: co-organizer with Lars Jones, double session, medieval and early modern: “Between Time and Place: Liminality, Gender, and Social Status in Representations of Donors, Venerators, and Devotional Figures”

FRÜHE NEUZEIT INTERDISZIPLINÄR, Durham, NC, 1998: co-organizer of art history sessions together with Pia Cuneo: “The Medium and the Message: Visual Strategies -- Confessional Audiences” and "Was Seeing Believing? Realism and Persuasion in Religious and Secular Art," conference theme: "Strategies of Communication"

HISTORIANS OF NETHERLANDISH ART, Baltimore, 1998: organizer of session: “Uses of Art as Place Markers in Public Spaces,” conference theme: “Art and Place”

COMPARATIVE COLONIALISMS: PREINDUSTRIAL COLONIAL INTERSECTIONS IN GLOBAL PERSPECTIVE at the Center for Medieval and Renaissance Studies, Binghamton, 1997: “Ritual and Transference: Grieving Widows and Tormenting Jews in the Nuremberg Stations of the Cross,” in the session “Visual Constructions of National Identity / Ethnicity and Gender: PreModern Europe Constructs the Other” sponsored by the Medieval Feminist Art History Project

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1997: “The Masculine Middle Ages Constructed through the Visual Arts,” in the session: "Visual Constructions of Masculinities," sponsored by the Medieval Feminist Art History Project

INTERNATIONAL MEDIEVAL CONGRESS, Leeds, 1995: “Carving National Identity in Stone: The Case of Adam Kraft and German Art Historiography,” in the double session: “National Identities and the Historiography of Medieval Art”

FRÜHE NEUZEIT INTERDISZIPLINÄR, Durham, NC, 1995: chaired session: "Images of Unity; Images of Diversity"

REINVENTING THE MIDDLE AGES AND THE RENAISSANCE: CONSTRUCTIONS OF THE MEDIEVAL AND EARLY MODERN PERIODS, Tempe, AZ 1995: co-organizer of session together with Pia Cuneo: “The Politics of Art Historiography”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1994: organized session together with Franz Machilek: “The Company They Kept: Motivations and Strategies for the (Re)grouping of Saints in Art and Literature,” sponsored by the Hagiography Society

AMERICAN HISTORICAL ASSOCIATION, San Francisco, 1994: “Forms not Figures: Ignoring Images in Reformation Nuremberg,” in the session, “Images, Local Religion, and Reform in the Sixteenth Century,” sponsored by the Society for Reformation Research

HISTORIANS OF NETHERLANDISH ART, Boston, 1993: “The Nuremberg Altar Dedicated to Saint Deocarus and the Twelve Apostles: The Powers of Painting in Multiple and Movable Contexts”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1993: “Altering the Altar: Portable Art and Liturgical Modulations” in the session “Movable Art for Moving Rituals: Visual and Textual Evidence for Images as Foci in the Liturgy”

COLLEGE ART ASSOCIATION, Seattle, 1993: “How Art History Grew Apart After World War II,” in the session: “Conflicted Conduct: Motivations, Personal or Otherwise, and the Practice of Art History”

BARNARD CONFERENCE, Barnard College, 1992: “Mapping Social Status, Gender, and Family in Nuremberg ca. 1500: Donations for Public Places,” conference theme: “Public Structures: Shaping the World in the Middle Ages and the Renaissance”

SIXTEENTH CENTURY STUDIES CONFERENCE, Atlanta, 1992: organizer of session: “'Against, dust, flies, bats ... and such': Functions and Meanings of Art Coverings,” paper: “Coverings and Containers in St. Lorenz in Nuremberg ca. 1500: Protection, Access, and Control”

CENTER FOR MEDIEVAL AND EARLY RENAISSANCE STUDIES, State University of New York at Binghamton, 1992: “The Wives of Adam Kraft, A Case Study of the Role of the Late-Medieval Artist's Wife in History and Historiography,“ conference theme: “The Roles of Women in the Middle Ages: A Reassessment”

PENNSYLVANIA SYMPOSIUM ON MEDIEVAL AND RENAISSANCE STUDIES, University of Pittsburgh, 1991: “Patrician Pride and Communal Control: Art Patronage in Nuremberg ca. 1500,” conference theme: “Patronage of Writers, Artists, and Scientists in the Middle Ages and the Renaissance”

CENTER FOR MEDIEVAL AND EARLY RENAISSANCE STUDIES, State University of New York at Binghamton, 1991: “The Man on the Right and the Woman on the Left: Place and Displacement in Sacred Iconography and Donor Imagery” in the session “Hierarchy of Places” for the conference on “Place and Displacement in the Renaissance”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1991: co-organizer and respondent in the session “Images, Contexts and Meanings of Patrons, Matrons and Donors in Medieval Art”

RENAISSANCE SOCIETY OF AMERICA, Duke University, 1991: organizer and chair of the session “The Myth of the Renaissance: Patterns, Paradigms, and Polarities for Art History”

SIXTEENTH CENTURY STUDIES CONFERENCE, St. Louis, 1990: “Nicodemus as Sculptor: Personal Propaganda for Michelangelo Buonarroti, Tilman Riemenschneider and Others” in the session “Art in the Service of Propaganda”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1990: “Hands that Appoint, Anoint, and Ally: Appropriating Ritual Gestures to Serve Political Ends within the Sacred Context” in the session: “The Interplay of Religious and Secular: Artistic Models in the Middle Ages (1200-1500)”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1989: “Acceptable in Word but not in Wood: The Virgin as the Vessel of the Trinity” in the session: “Visio: Relations Between the Visual Arts and Literature”

ROCKY MOUNTAIN MEDIEVAL AND RENAISSANCE ASSOCIATION, Grand Canyon, 1989: “The Reciprocity of Donation: The Patron's Relationship to Patron Saints and the Pious Public”

COLLEGE ART ASSOCIATION, San Francisco, 1989: “The Hierarchy of Places and the Hierarchy of Donation in the Church of St. Lorenz in Nuremberg” in the session: “The Middle Ages and Renaissance in Northern Europe: The Physical Context”

SIXTEENTH CENTURY STUDIES CONFERENCE, St. Louis, 1988: organizer of session: “Women and Art in the Sixteenth Century: Some Re-Evaluations,” paper: “Agnes Frey Dürer and the Role of the Artist's Wife in Sixteenth-Century Nuremberg”

INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1988: “Adam Kraft: The Self-Portrait, A Pious Prerogative” in the session “Artistic Self-Consciousness in the Middle Ages”

MIDWEST ART HISTORY SOCIETY, Minneapolis, 1988: chair, Northern Renaissance Session

CONFERENCE ON MANUSCRIPT STUDIES, St. Louis, 1987: “Artists and Craftsmen as Donors in the Twelfth Century: The Function and Meaning of the Illustration in Bamberg, Staatsbib. Patr.5”

CENTRAL RENAISSANCE CONFERENCE, St. Louis, 1987: “Saints Proclaiming Political Allegiances in the Church of St. Lorenz in Nuremberg”

COLLEGE ART ASSOCIATION, Boston, 1987: “Saint Hedwig's Personal Devotional Image” in the session: “Affective Aspects of Works of Art in the Middle Ages”

GRADUATE STUDENT SYMPOSIUM, CHICAGO ART INSTITUTE, 1979: “The Iconography of the Halberstadt Reliefs and the Function of the Enclosed Choir at the Turn of the Thirteenth Century”


INVITED LECTURES, COMMENTARY, AND COLLOQUIUM PARTICIPATION

CONFERENCE ON BIRGITTINE LITURGY, Introductory lecture, “Birgittine Nuns Usurp Liturgical Spaces and Objects,” Vadstena, Sweden, 2014

MEDIEVAL MEMORIA ONLINE, “Memoria Added and Subtracted, Accreted and Obliterated:
The St. Nicolas Altar in 14th-17th Century Nuremberg,” presented at launch of this online database project, University of Utrecht, 2013

“Opening the Geese Book,” moderator for launch of the multimedia digital project via international video conference: Budapest, Nuremberg, Utrecht, Santa Cruz, Tempe, 2012

INDEX OF CHRISTIAN ART, PRINCETON UNIVERSITY, “In Search of Patronage: Patrons and Matrons in Language, Art, and Historiography,” in the conference “Patronage in the Medieval Arts,” 2012

ADAM MICKIEWICZ UNIVERSITY, Poznań, Poland, “The Geese Book: Opening a Multimedia Work from the Sixteenth Century for Audiences of Today,” 2011

ADAM MICKIEWICZ UNIVERSITY, Poznań, Poland, “The Holy and the Unholy Lance,” together with V. Schier, 2011

AMERICAN HISTORICAL ASSOCIATION, Boston, discussant for the session “Fabulous Donations in Early Modern Europe,” 2011

HERZOG AUGUST BIBLIOTHEK, Wolfenbüttel, Kolloquium, “Die heilige und die unheilige Lanze,” with V. Schier, 2010

RIESER KULTURTAGE, Maihingen - Oettingen, “Nonnen und Rebellen: Auf der Flucht im Bauernkrieg,” walk and talk together with Volker Schier, 2010

EVANGELISCHE STADTAKADEMIE NÜRNBERG, “Katerina Lemmel: Eine Nürnbergerin neu entdeckt,” 2009

FRIENDS OF EUROPEAN ART, Scottsdale, AZ: “Katerina's Windows,” 2009

EVANGELISCHE STADTAKADEMIE NÜRNBERG, “Schmerzensmann unter Infrarot: Das Ehenheim-Epiptaph in der Lorenzkirche,” public lecture, together with Anja Maisel, Volker Schier, and Ingo Trüper, 2009

SOCIETAS BIRGITTA EUROPA, Altomünster, “Die Memoria der Katerina Lemmel, Fenster zwischen Maihingen und Nürnberg, Kloster und Welt,” keynote lecture, 2008

UNIVERSITY OF UTRECHT, Netherlands, lecture “Opening the Geese Book” and workshop “The Joys and Sorrows of Transdisciplinary Research in the Age of Post-Public-Funding and Post-Paper-Publishing,” together with Volker Schier, 2006

UNIVERSITY OF NORTH TEXAS, Denton, 2005, together with Volker Schier, keynote lecture and workshop for faculty and students on the project Opening the Geese Book

NORTHERN ARIZONA UNIVERSITY, Flagstaff, 2005, “Agnes Frey Dürer: Workshop Wives and Widows”

22nd INTERNATIONAL COLLOQUIUM OF THE CORPUS VITREARUM MEDII AEVI,” Nuremberg and Regensburg, 2004, joint paper with Volker Schier “Planung und Finanzierung, Ausführung und Rezeption: Die Glasfenster des Birgittenklosters Maria Mai und ihre Funktion im Spiegel der Briefe der Katerina Lemmel”

„LAUT + LEISE & ÖFFENTLICH + HEIMLICH“. SELBSTZEUGNISSE VON NONNEN DER REFORMATIONSZEIT IM DEUTSCHSPRACHIGEN RAUM, Freie Universität Berlin, 2003, joint paper with Volker Schier, “Katerina’s Windows: Die Schriften der Katerina Lemmel als Fenster zwischen Kloster und Welt”

Colloquium for faculty and students “Nuremberg, Art and Music ca. 1500,” TRINITY UNIVERSITY, San Antonio, 2003

PHOENIX ART MUSEUM, 2003, “Agnes Frey Dürer: Workshop Wives and Widows”

Keynote presentation together with Volker Schier for the festivities commemorating the rededication of the church of ST. LORENZ in NUREMBERG in 1952, Nuremberg, 2002, “Das Gänsebuch: Stimmen vom Rand und aus der Mitte”

Dürer Colloquium CLARK INSTITUTE, Williamstown, MA, 2001

Plenary talk in the symposium, Care for the Here and the Hereafter. The Function of Art in the Medieval Commemoration of the De “Forgotten Roles of Women as Donors: Sister Katerina Lemmel's Negotiated Exchanges in the Care for the Here and the Hereafter”, UNIVERSITY OF UTRECHT, 2001,

Incredible Women Lecture Series, WEST VALLEY ART MUSEUM, Surprise, AZ, 2000, “Agnes Dürer: The roles of Artists’ Widows in the Renaissance”

Cultural Icons, UNIVERSITY OF LUND, 2000, joint presentation with Volker Schier, “The Holy Lance as Late-Twentieth Century Subcultural Icon”

Signs of Change – Christian Traditions in the West: Meaning and Representation in the Arts 1000-2000, UNIVERSITY OF COPENHAGEN, 2000, joint presentation with Volker Schier “Seeing and Singing, Touching and Tasting the Holy Lance: The Power and Politics of Embodied Religious Experiences in Nuremberg 1424-1524”

Lecture Series “DÜRERS WELT,” commemorating the 950th anniversary of the city of Nuremberg, Nuremberg 2000, “Agnes Frey Dürer - ...der eren fromm und ganz gottsförchtig fraw...”

Lecture series at the ASU DOWNTOWN CENTER, Out to Lunch - Into the Arts, Phoenix 2000, joint presentation with Volker Schier “Rituals of Display of the Holy Lance in Nuremberg, ca. 1500”

AMERICAN HISTORICAL ASSOCIATION, Chicago, 2000, Respondent for session “Visions of the Virgin: Interdisciplinary Perspectives on Marian Devotion in Early Modern Germany”

ALBRECHT-DÜRER-HAUS, Nuremberg, 1999, “Agnes Frey Dürer: Hausherrin oder Hausfrau, Ehefrau oder Geschäftsfrau?”

Symposium: “Tilman Riemenschneider: A Late Medieval Master Sculptor,” at the CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS, NATIONAL GALLERY OF ART, Washington D.C., 1999, “Sculpted Interfaces between Artist and Audiences: The Making and Taking of (Self-) Portraits”

Christian Traditions in the West: Meaning and Representation in the Arts 1000-2000, UNIVERSITY OF COPENHAGEN, 1999, joint presentation with Volker Schier “Rituals of the Nuremberg Heiltumsweisung, ca. 1500: The Power and Politics of Embodied Religious Experience”

Symposium of the WILLIBALD-PIRCKHEIMER-GESELLSCHAFT, “Wissen und Gesellschaft in Nürnberg um 1500,” Nuremberg 1998: “Kanäle der Wissensproduktion und -vermittlung: Willibald Pirckheimer und die vielgeschmähte Agnes Frey Dürer”

Colloquium on Adam Kraft, GERMANISCHES NATONALMUSEUM, Nuremberg, 1998, Introductory Talk, “Wem Gehört Adam Kraft? Vom Umgang mit seinen Werken in Wort und Tat”

Colloquium on Adam Kraft, GERMANISCHES NATONALMUSEUM, Nuremberg, 1998, “Rituale in Stein: Erzählungen für eine breite und diverse Öffentlichkeit”

AKADEMIE DER BILDENDEN KÜNSTE IN NÜRNBERG, 1997, “Die altdeutsche Kunst im Dienste nationaler, nationalistischer und national-sozialistischer Politik - am Beispiel von Adam Kraft” in a lecture series on art and National Socialism

LORENZER SOMMERABENDE, Nuremberg, 1996, “Das Sakramentshaus von Adam Kraft: liturgischer Gegenstand - ästhetisches Objekt - Monument der Kunstgeschichte - Mittel der Propaganda”

UNIVERSITY OF TEXAS at Austin, 1994, Ann Lacy Crane visiting lectureship, public talk on “Agnes Frey Dürer: The Roles of Artists' Wives in History and Historiography,” presentation to graduate students in northern Renaissance, on the early German art historiography of Adam Kraft

UNIVERSITY OF MARYLAND, 1993, plenary talk “Attending to Early Modern Women,” “The Roles of Women in Questioning the Canon of Great Master Art History”

Respondent at the INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES, Kalamazoo, 1993, for the double session “The Heroic and Anti-Heroic Body in Medieval Art,” sponsored by the International Center for Medieval Art

UNIVERSITÄT ERLANGEN, 1993, “Die Rollen der Ehefrauen in Nürnberger Künstlerwerkstätten des Spätmittelalters”  

Guest lectureship in Wolfgang Kemp's GRADUIERTENKOLLEG, “Kunst im Kontext,” PHILIPPS-UNIVERSITÄT MARBURG, in the colloquium “Patterns of Patronage,” Nuremberg, 1992, lectured on “Sakrale Stiftungen in Nürnberg, 1400-1525: Die Gesellschaft prägt die Kunst - die Kunst prägt die Gesellschaft” and led discussions in the Nuremberg churches.

PHOENIX ART MUSEUM, 1990, “Women and Art in the Middle Ages”

UNIVERSITY OF ARIZONA, Tucson, 1990, “Artistic Self-Consciousness: A Medieval Monk Making a Manuscript for Saint Michael”

BRYN MAWR COLLEGE, Bryn Mawr, PA, 1989, “The Self-Portraits of Adam Kraft: Professional Pride Grounded in Personal Piety”

WOMEN IMAGE NOW, ARIZONA STATE UNIVERSITY, Tempe, 1989, “Women as Patrons and Users of Art in the Middle Ages,” in the workshop “Women and Art in the Middle Ages”

YALE UNIVERSITY, New Haven, 1988, “Adam Kraft and the Pious Prerogative of the Self-Portrait”

BALL STATE UNIVERSITY, Muncie, IN, 1988, “Two Self-Portraits by the Nuremberg Renaissance Sculptor Adam Kraft”

ARIZONA STATE UNIVERSITY, Tempe, 1988, “Adam Kraft: The Self-Portrait, A Pious Prerogative”

UNIVERSITY OF NEBRASKA, Lincoln, 1988, “Craftsmen as Artists and as Donors in the Twelfth Century

UNIVERSITY OF NEBRASKA, Omaha, 1985, “The Proper Attitude Toward Death, Windows Designed by Albrecht Dürer for Canon Sixtus Tucher”

AMERICA HOUSE, Nuremberg, 1983, “The Geese Books and the Kress Family” in a symposium on the “City of Nuremberg, Rush Kress, and the Samuel H. Kress Foundation”

GRADUATE STUDENT SYMPOSIUM, CHICAGO ART INSTITUTE, 1979, “The Iconography of the Halberstadt Reliefs and the Function of the Enclosed Choir at the Turn of the Thirteenth Century”

 

PRODUCER OF AUDIO CD

Das Gänsebuch (The Geese Book). German Medieval Chant (Naxos 8.557412), co-producer together with Volker Schier and Susette Clausing (for Bavarian Radio). Collaboration of Arizona State University, Bavarian Radio, and HNH International (Naxos).

 

CONSULTANT FOR TELEVISION DOCUMENTARIES

The Spear of Jesus, Discovery Channel and The Spear of Christ, British Broadcasting Corporation, aired on Discovery Channel April 20, 2003, aired on BBC2 June 13, 2003, DVD to follow

Die Heilige Lanze -- Schicksalsspeer der Mächtigen (The Holy Lance), Zweites Deutsches Fernsehen, Mainz (Germany), aired April 9, 2004

 

CONSULTANT AND INITIATOR OF RADIO FEATURE

Ein Multimedium des Mittelalters: Das “Gänsebuch” von St. Lorenz <A Multi-medium of the Middle Ages: The “Geese Book” of St. Lorenz >, Bayerischer Rundfunk Studio Nürnberg /Germany, together with Klaus Meyer and Volker Schier. Aired on Bavarian Radio's classical music station Bayern 4 Klassik November 1st 2004


RECENT INTERVIEWS, POPULAR PRESS, RADIO

Nürnberger Nachrichten, Winter 2009, Katerina's Windows

Nürnberger Zeitung, Fall 2009, Katerina's Windows

Augsburger Allgemeine, Summer 2009, Katerina's Windows

Süddeutsche Zeitung, Summer 2008, Presentation on Katerina Lemmel in Altomünster

Süddeutsche Zeitung, Munich, Summer 2005, Release of the Geese Book Audio CD

Nürnberger Nachrichten, Nuremberg, Summer 2005, Release of the Geese Book Audio CD

Nürnberger Zeitung, Nuremberg, Summer 2005, Release of the Geese Book Audio CD

Agencia EFE, Madrid, Spring 2005, research on Holy Lance

Diari de Tarragona, Tarragona, Spring 2005, research on Holy Lance

Nürnberger Zeitung, Nuremberg, Fall 2004, Liturgical Manuscripts from St. Sebald Church

The Sunday Times Magazine, Cover Story, London, Spring 2003, Research on Holy Lance

Nürnberger Nachrichten, Nuremberg, Fall 2002, Geese Book DVD ROM

Nürnberger Zeitung, Nuremberg, Fall 2002, Geese Book DVD ROM

Abendzeitung, Nuremberg, Fall 2002, Geese Book DVD ROM

Bavarian Radio, Bayern 5: News, Munich and Nuremberg, Fall 2002, Geese Book DVD ROM

Nürnberger Gemeindeblatt, Nuremberg, Fall 2002, Geese Book DVD ROM

Tribune, Scottsdale and East Valley Cities, Spring 2000, research on Holy Lance

The Arizona Republic, Phoenix, Winter 2000, Sunday Profile, “I’m out to change art history”

The Arizona Republic, Phoenix, Winter 2000, “Prof stirs up debated role of artist’s wife”

Nürnberger Nachrichten, Nuremberg, Winter 2000, Geese Book DVD ROM

Nürnberger Zeitung, Nuremberg, Winter 2000, controversy over Agnes Frey Dürer and artist’s wives

COURSES TAUGHT

Seminars: Naked, Nude, and (Un)clothed in the Middle Ages and Renaissance; The Multisensory Middle Ages and Renaissance; The Medieval and Renaissance Faire; Animals and Art in the Middle Ages and the Renaissance; Gender and Postcolonial Theories; Opening the Geese Book (taught with Volker Schier); Nuns and (Visual) Culture in the Middle Ages and the Renaissance; Self-Representations of Women and Men in the Middle Ages and the Renaissance; Albrecht Dürer: Man, Myth, Milieu; Art and Audiences, 800-1800 (taught with Christine Göttler); Ideology, Iconology, and Semiotics (taught with Gray Sweeney); Peasants, Jews, Pagans, Heretics, and Art in the Middle Ages and the Renaissance; Gender, Sexuality, and Art in the Middle Ages and the Renaissance; Iconoclasm, Censorship, Controversies over Images, 300-1550; Patrons, Matrons, Sponsors, and Donors of Art, 300-1550; Women and Art in the Middle Ages and the Renaissance; Self-Portraits in the Middle Ages and the Renaissance; Methodologies and Art History (for grad. Students); Research Methods for Art History (for undergrad. majors)

Lectures regularly offered: Romanesque Art, Late Gothic Art in Central Europe, German Renaissance and Reformation Art

COMPLETED GRADUATE THESES CHAIRED

Mickey Abel-Turby, The Equestrians of Aquitaine: Cross Fertilization of Sacred and Secular Metaphors; Kevin Drew Petty, The Hyena, Gender, and MS Bodley 764; Kristen Lund Olson, Motivations in Hagiography: Three Miniatures in the Vita Radegundis (Portiers, Bibliotheque Municipale, MS 250); Vanessa Clair Mallory, Surveying the Survey: Teaching Introductory Art History in American Universities; Barbara Bales, Vasari’s Wives: Lucrezia Buti and Her Role as the Naughty Nun; Heidi Nicole Zimmermann Sinkovic, A Tangible Christ: The Role of the Christuskind in Religious and Lay Devotion; Rebekah Lynn Pratt, Visualizing the Medieval Abject: An Analysis of the Frescoes of Runkelstein Castle; Vanessa T. Davisson: Views of Renaissance Ferrara in Select Paintings by Benevenuto Titi, called Il Garofalo; Rebecca Lynn Dankert, Salvation in Nuremberg: An Iconographic Description of Selected Historiated Initials from the Geese Book; Stephanie Luksenburg, Scratches in the Scrovegni Chapel and Inscriptions in Issogne Castle: Conversations in Post-Medieval Graffiti; Jessica Roode, Marginalia of the Geese Book: Inside and Outside the Borders; Susan Poole Anderson, Mirrors and Fears: Humans in the Bestiary; Colleen Bache, Inverse Operations: Sinful Lust and Salvifie Virginity in the Central Italian Imagery of the Second Eve

ADMINISTRATION

Principal Investigator and Co-Director of the interdisciplinary international project “Extraordinary Sensescapes,” 2014-present; Principal Investigator and Co-Director of the interdisciplinary international project “Opening the Geese Book,” 2000-present; Co-ordinator for Art History Unit (11 faculty members, ca. 10 faculty associates), 2011-12; Co-ordinator for Art History Unit (12 faculty members), 2004-2005; Chair of Search Committee for Renaissance /Baroque position, 1994-95; Co-ordinator for Art History Unit (15 faculty members), 1992-93

UNIVERSITY AFFILIATIONS

Barrett Honors Faculty, 2013-present; Graduate Faculty, Religious Studies, 2010-present; Center for Religion and Conflict, Affiliated Faculty, 2003-present; Interdisciplinary Humanities Program, Affiliated Faculty, 1994-96; Advisory Board, Arizona Center for Medieval and Renaissance Studies, 1993-98, 2002-present; Women's Studies Affiliated Faculty, 1991-present; Arizona Center for Medieval and Renaissance Studies, Core Faculty, 1988-present   

NATIONAL AND INTERNATIONAL SERVICE

International Board of Experts Medieval Memorials Online (MeMO), Netherlands; International Editorial Board Medieval Memorials Online; Editorial Board Different Visions a newly inaugurated electronic journal, 2006-present; Advocacy Committee for the International Center for Medieval Art, 2006-present; Board of Directors of the International Center for Medieval Art (College Art Assoc. affiliate, ca. 12,000 members, 1997-2000; Advisory Board of the International Center for Medieval Art, 1994-97; Secretary-Treasurer of the Historians of Netherlandish Art (College Art Assoc. affiliate, ca. 600 members), 1993-95

Manuscript reviewer: Brill, Cambridge University Press, Cornell University Press, Art Bulletin, Gesta, Renaissance Quarterly, and Studies in Iconography
Grant referee and member of peer review panels: National Endowment for the Humanities, American Association of University Women

MEMBERSHIPS IN PROFESSIONAL ORGANIZATIONS, ETC.

College Art Association of America, Medieval Academy, Historians of Netherlandish Art, Renaissance Society of America, Sixteenth Century Studies, Frühe Neuzeit Interdisziplinär, International Center for Medieval Art, Hagiography Society, American committee of the Corpus Vitrearum Medii Aevi (by invitation), Society for Medieval Feminist Scholarship, Verein für Geschichte der Stadt Nürnberg, Verein zur Erhaltung der Lorenzkirche, American Friends of the Herzog August Bibliothek; Interdisciplinary Networks: Rewriting the History of Christianity and the Arts in the West at the University of Copenhagen (by invitation), Werkstattgespräche Frauenklöster im Mittelalter.