Laura D. Gelfand
Associate Dean, Honors College
Professor of Art History
The University of Akron
Akron, OH 44325-1803
(330) 972-8679
E-mail: [email protected]
Case Western Reserve University, PhD 1994.
Dissertation: "Fifteenth-century Netherlandish Devotional Portrait Diptychs:
Origins and Function." Dissertation Advisor: Walter S. Gibson
Williams College, MA 1989
State University of New York at Stony Brook, BA, cum laude 1987
PROFESSIONAL EXPERIENCE:
University of Akron:
Associate Dean of the Honors College, August 2009-present
Professor, May 2008-present
Associate Professor, August 2002-2008
Assistant Professor, August 1997-July, 2002
Courses Taught: One-year survey of art history course as well as upper division
courses in Medieval, Northern Renaissance, Italian Renaissance, and European
art of the 17th and 18th centuries. Special topics courses including the Creation of
Sacred Space, Art of Pilgrimage, Artists in Film, Painting of the Venetian
Renaissance, Women in Art, History of Craft, Problems in Michelangelo, and Jan
van Eyck.
Institute for Shipboard Education: Professor of Art History, Summer Voyage,
June-August, 2004. Ports visited: Iceland, Norway, Russia, Poland, Belgium,
France, Ireland and Spain.
University of the Pacific: Assistant Professor, September 1995-June 1997.
University of Utah: Assistant Lecturer, Spring Quarter 1995.
Mankato State University: Assistant Professor, September 1994-March 1995.
Case Western Reserve University: Lecturer, June-August 1991.
John Carroll University: Lecturer, August 1990-May 1991.
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FORTHCOMING PUBLICATIONS AND WORK IN PROGRESS:
Co-editor with Sarah Blick of two books entitled Push Me, Pull You: Imagination
and Devotional Practices in Late Medieval and Renaissance Art and Push Me, Pull You:
Physicality and Devotional Practices in Late Medieval and Renaissance Art.
Forthcoming, (Leiden and Boston: Brill, 2011). Co-author of the introductions and
author of the essay, “Illusionism and Interactivity: Medieval installation art,
architecture and devotional response.”
Jan van Eyck, Architect. (prospectus and sample chapter submitted for editorial
review) Monograph examining the significance of architecture in the paintings of
Jan van Eyck.
“Sense and Simulacra: Manipulation of the senses in medieval ‘copies’ of
Jerusalem,” in, “The Intimate Senses: Taste, Touch and Smell,” a special issue of
Postmedieval: A Journal of Medieval Cultural Studies, Lara Farina and Holly
Duggan, eds., forthcoming 2012.
“Class, Gender, and the Influence of Penitential Literature in Bosch's Depictions
of Sin.” Proceedings of the Second International Jheironimus Bosch Conference, ‘sHertogenbosch: forthcoming 2011.
PUBLICATIONS:
“Holy Sepulchre Architectural Copies,” “Pilgrimage at the Chartreuse de
Champmol,” and “The Jerusalem Chapel in Bruges,” entries in the Encyclopedia of
Medieval Pilgrimage, ed. Larissa Taylor, (Leiden and Boston: Brill: 2010).
”Piety, Nobility and Posterity: Wealth and the Ruin of Nicolas Rolin’s
Reputation,“ Journal of the Historians of Netherlandish Art, 1 (2009).
http://jhna.org/index.php/volume-1-issue-1/69-volume-1-issue-1/90--pietynobility-and-posterity-wealth-and-the-ruin-of-nicolas-rolins-reputation
“Virtues or Sibyls?: The identity of the sculpted female figures on the tomb of
Philibert le Beau in Brou.” Iconographica: Journal of Medieval and Modern
Iconography, 7 (2008): 79-89.
”A Tale of Two Dukes: Philip the Bold, Giangaleazzo Visconti and their
Carthusian Foundations,” Studies in Carthusian Monasticism in the Late Middle
Ages, ed., Julian Luxford (Turnhout, Belgium: Brepols, 2008): pp. 201-223.
“Bruges as Jerusalem, Jerusalem as Bruges: Actual and Imagined Pilgrimage in
Fifteenth-century Manuscript Illuminations and Paintings,” Annales d'Histoire de
l'Art et d'Archéologie de l’Université libre de Bruxelles 29 (2008): pp. 7-24.
Co-editor of National Women’s Studies Association Journal, “New Orleans: A
special issue on gender, the meaning of place, and the politics of displacement.”
With TJ Boisseau, Kathryn Feltey, Karen C. Flynn, and Mary E. Triece, 20/3
(2008).
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“Regional Styles and Political Ambitions: Margaret of Austria’s monastic
foundation at Brou,” Cultural Exchange between the Netherlands and Italy, 14001530, ed., Ingrid Alexander-Skipnes. (Turnhout, Belgium: Brepols, 2007): pp. 193202.
“Social Status and Sin: Reading Bosch's Prado Seven Deadly Sins and Four Last
Things,” The Seven Deadly Sins: From Communities to Individuals, ed., Richard
Newhauser (Leiden and Boston: Brill, 2007): pp. 229-256.
“The Origins of the Devotional Portrait Diptych in Manuscripts,” Portraits and
Prayers: Unfolding the Netherlandish Diptych, Ron Spronk and John Hand eds.,
Harvard University Art Museums (Cambridge, MA) and Yale University Press
(New Haven, CT, 2006): pp. 46-59.
“’Y Me Tarde’: The Valois, Pilgrimage, and the Chartreuse de Champmol.” The
Art and Architecture of Late Medieval Pilgrimage in Northern Europe, Sarah Blick and
Rita Tekippe, eds., (Leiden and Boston: Brill, 2005): pp. 563-582.
“Regency, Power and Dynastic Visual Memory: Margaret of Austria as Patron
and Propagandist,” The Texture of Society: Women in Medieval Flanders, Ellen
Kittell and Mary Suydam, eds., (New York: Palgrave Macmillan, 2003): pp. 203225.
“Margaret of Austria and the Encoding of Power in Patronage: The Funerary
Foundation at Brou.” Widowhood and Visual Culture in Early Modern Europe,
Allison Levy, ed., (Aldershot: Ashgate Press, 2003): pp. 145-159. Winner of the
Society for the Study of Early Modern Women’s Award for a Collaborative
Project, 2003.
Laura D. Gelfand and Walter S. Gibson, “Surrogate Selves: The Rolin Madonna
and the Late-medieval Devotional Portrait,” Simiolus (2003) vol.29, no. 3/4: pp.
119-138.
“A New Reading of the Tympanum of the Ste.-Anne Portal of Notre-Dame in
Paris,” Gazette des Beaux-Arts 140 (Nov., 2002): pp. 249-260.
“Devotion, Imitation and Social Aspirations: Fifteenth-century Bruges and the
CMA Memling School Madonna and Child,” Cleveland Studies in the History of Art 5
(2000): pp. 9-19.
“Reading the Architecture in Jan van Eyck’s Rolin Madonna,” in: In Detail: New
Studies in Northern Renaissance Art (Turnhout, Belgium: Brepols, 1998): pp. 15-25.
"Gian Girolamo Savoldo in the Cleveland Museum of Art: A question of
mistaken identities," Apollo 141, no. 397 (March, 1995): pp.14-19.
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REVIEWS:
Marti, Susan, Till-Holger Borchert and Gabriele Keck, eds., Splendour of the
Burgundian Court: Charles the Bold (1433-1477). (Mercatorfonds, Cornel University
Press, 2009). Forthcoming, Speculum, 2011.
Sherry C.M. Lindquist, Agency, Visuality and Society at the Chartreuse de Champmol
(Aldershot, Eng., and Burlington, VT: Ashgate, 2008). Speculum, July 2009: pp.
747-9.
Plesch, Veronique. Painter and Priest: Giovanni Canavesio's Visual Rhetoric and the
Passion Cycle at La Brigue. (Notre Dame: University of Notre Dame Press, 2007).
CAA.Reviews
Laura Weigart, Weaving Sacred Stories, in The Medieval Review. On-line at www.
TMR.04.11.04. October, 2004.
The Cambridge Companion to Vermeer, Wayne Frantis, ed., in The Sixteenth Century
Journal, (Winter, 2002) vol. 33, no. 4: pp. 1113-1114.
SELECTED PROFESSIONAL PAPERS PRESENTED:
Places of Imagination-Spaces of Affect conference, Göttingen, Germany, April,
2011. Invited to present: “Sense and Simulacra: Manipulation of the senses in
medieval ‘copies’ of Jerusalem.”
Historians of Netherlandish Art, Amsterdam, May 2010. Invited presenter for
“Reigl and Portraiture,” a workshop held at the Amsterdam Historical Museum.
56th Annual Meeting of the Renaissance Society of America, Venice, Italy, April
2010. “Seeing and Believing: Illusionistic Representations of Christ at Champmol,
Bruges and Varallo.”
The Splendour of Burgundy (1419-1482). A Multidisciplinary Approach. Bruges,
May 2009. “Interactivity and Veracity: The meaning of naturalism and
illusionism in art made for the Valois court.”
55th Annual Meeting of the Renaissance Society of America, Los Angeles, March
2009. “Ambiguity and the Female Figures on the Tomb of Philibert le Beau in
Brou.”
43rd International Congress on Medieval Studies, Kalamazoo MI, May, 2008.
“Bruges as Jerusalem, Jerusalem as Bruges: Actual and Imagined Pilgrimage in
the Fifteenth Century.”
82nd Medieval Academy Association of America Meeting, Vancouver BC, April,
2008. “Simultaneous Reading and Revelation: Text and image-narratives in the
Hours of Isabella Stuart.
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Beholding Violence: A Conference on Medieval and Early Modern
Representation and Culture, Bowling Green State University, February, 2008.
“The Next Best Thing to Being There: Imaginative devotions and virtual
presence.”
Second International Jheironimus Bosch Conference, ‘s-Hertogenbosch, The
Netherlands, May, 2007. “Class, Gender, and the Influence of Penitential
Literature in Bosch's Depictions of Sin.”
Faith and Fortune, Beauty and Madness, Congress, Groeningemuseum, Bruges,
January, 2007. “Jerusalem and the Holy Sepulchre as actual and imagined places
of pilgrimage in Bruges paintings.”
Southeastern College Art Association, Nashville, November, 2006. “Shopping for
Salvation in the Middle Ages: Nicolas Rolin and the price of public piety.”
International Conference on the Arts and Society, Edinburgh, Scotland, August,
2006. “The Pleasure of Discovery: Interpictoriality in the Hours of Isabella
Stuart.”
41st International Congress on Medieval Studies, Kalamazoo, MI, May, 2006. “Jan
van Eyck’s Virgin in a Church: Locus and Focus of Devotional Memory Practices,”
in the session, “Devotional Geographies: Space, Time and the Body in Medieval
Art.”
College Art Association Meeting, Boston, February, 2006, “When Text and Image
Don’t Correlate: The Hours of Isabella Stuart and the Pilgrimage of the Life of Man,”
in the session, “Tensions between Text and Image in Medieval Art.”
Athens Institute for Education and Research, Athens Greece, Dec. 29-31, 2004.
“Architecture and Meaning in the Paintings of Jan van Eyck.”
Sixteenth Century Studies Conference, Toronto, October, 2004. “Virtues or
Sibyls? The identities of the sculptured female figures on the Tomb of Philibert le
Beau in Brou.”
Diptych Research Project Roundtable, Washington D.C, November, 2004. “State
of research on the Origins of the Diptych Format.”
International Medieval Congress, Leeds, England, July 2004. “Valois SelfFashioning at the Chartreuse de Champmol,” in one of four sessions on
Carthusians organized by Joan Greatrex and Julian Luxford.
College Art Association Meeting, February, 2004, Seattle, WA. “Styles and
Political Ambitions: Margaret of Austria’s monastic foundation at Brou,” in the
session “Cultural Exchange between the Netherlands and Italy, 1400-1530.”
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Diptych Research Project Roundtable, Antwerp, November, 2003. “The Origins
of the Diptych Format.”
International Medieval Congress, Leeds, England, July 2003. “Performance art in
the Middle Ages,” Presented: “Performativity at the Chartreuse de Champmol.”
37th International Congress on Medieval Studies, Kalamazoo, MI, May 2002. “Y
Me Tarde;” The Valois, Pilgrimage and the Chartreuse de Champmol.” in
“Pilgrimage in Late Medieval Europe.”
Historians of Netherlandish Art. Antwerp, Belgium, March 2002. Chair,
organizer and presenter in a workshop on pairing and duality in Northern art.
36th International Congress on Medieval Studies, Kalamazoo, MI, May 2001. CoOrganizer of one of two sessions on “Art at the Court of Burgundy.” Presented,
“Devotion and Dynasty: Portrait Diptychs and the Valois.”
College Art Association Annual Meeting, Chicago, February, 2001. “Death and
Dying in Devotional Imagery: Fifteenth-century Portrait Diptychs and the
Doctrine of Purgatory,” in “In the Realm of Death: Images of Death and Dying in
Renaissance and Baroque Art.”
35th International Congress on Medieval Studies, Kalamazoo, MI, May 2000.
“Widowhood and Regency: Margaret of Austria and the Power of Iconography,”
in “From Consort to Queen to Dowager: Royal Women in Transition.”
Women Art Patrons and Collectors: Past and Present, New York Public Library,
New York City, March, 1999. “The Public Concerns of Private Imagery:
Margaret of Austria and Devotional Diptychs.”
College Art Association Annual Meeting, Los Angeles, California, February 1999.
“Intercession and Prayer in the Rolin Madonna: Strategies for the Afterlife,” in
the session entitled, “Between Time and Place: Liminality, Gender and Social
Status in representations of Donors, Venerators, and Devotional Figures”
International Medieval Congress, Leeds, England, July, 1998, Organized two
sessions entitled “The Royal Rub: Style under the French Monarchy, 1150-1550.”
and presented, “Power and Property: Economics and the Portail Ste.-Anne.”
32nd Annual International Congress of Medieval Studies, Kalamazoo, MI, May
1997, “The Bishop and the King on the Portal of Notre-Dame de Paris and
disputes over the Right Bank.”
In Detail: New Studies in Northern Renaissance Art, Cleveland, Ohio, October,
1996. “Reading the Architecture in Jan van Eyck’s Rolin Madonna.”
International Medieval Congress, Leeds, England, July, 1996, “Stones that Speak:
Architecture in the Paintings of Jan van Eyck.”
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Seventh Interdisciplinary Conference on Netherlandic Studies, Bloomington,
Indiana, June, 1994, Session co-organizer, “Aspects of the Otherworld: Dreams,
Visions, and Last Things in Northern Images.” Presented, “Purgatory: Time and
Torment.”
Renaissance Society of America Meeting, Dallas, Texas, April, 1994, Session
Chair and Organizer, “The Fifth Last Thing: The cult of Purgatory in the Late
Middle Ages,” presented, “The Holy Face and the vera icon: Piety and
Indulgence.”
28th Annual International Congress of Medieval Studies, Kalamazoo, MI, May
1993, “Devotion and Salvation: Early Books of Hours and their owners.”
Sixteenth Century Studies Conference, Atlanta, Georgia, October, 1992,
“Netherlandish Devotional Diptychs: An open and closed case of private prayer
and public display functions,” and Chair and Commentator, Session on
“Purgatory and Art.”
Midwest Art History Society Conference, Columbus, OH, April, 1992. “Philip
the Good: Pious Policies and Patronage.”
26th Annual International Congress on Medieval Studies, Kalamazoo, MI, May
1991, “Origin, Form and Function of Fifteenth-century Netherlandish Diptychs.”
Midwest Art History Society Conference, Cincinnati, OH, March, 1990,“Donor
Portraits in Northern Renaissance Art.”
SESSIONS AND WORKSHOPS ORGANIZED:
46th International Medieval Congress, Kalamazoo, MI, May 2011. Co-organizer of
the sessions, “In, Out, Up, Down, and Through: Innovative and Participatory
Physical Architecture in the High and Late Middle Ages (1200-1600),” and
“Innovative and Participatory Fictive Architecture in the High and Late Middle
Ages (1200-1600).”
College Art Association Meeting, New York, NY, February 2011. Co-chair
Midwest Art History Society Special Session, “Teaching to the Text.”
44th International Medieval Congress, Kalamazoo, MI, May 2009. Co-organizer of
three sessions, “Push Me, Pull You: Art and Interactivity in the Middle Ages.”
43rd International Medieval Congress, Kalamazoo, MI, May, 2008. Organizer of
two sessions in memory of Jacqueline Frank: “Medieval Approaches to Old and
New Testament imagery,” and “Iconography of Medieval Paris and Saint Denis.”
42nd International Medieval Congress, Kalamazoo, MI, May, 2007. Organized and
chaired the session, “New Directions in Early Netherlandish Art,” sponsored by
the Historians of Netherlandish Art.
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Midwest Art History Society Meeting, Indianapolis, April, 2007. Session
organizer and chair, “Renaissance Art in Northern Europe.”
International Conference on the Arts and Society, Edinburgh, Scotland, August,
2006. Organized and chaired the workshop, “Reading, Acting, and Imaging:
Performativity in the Middle Ages and Now.”
Midwest Art History Society Meeting, Dallas, TX, March, 2006. Session organizer
and chair, “Renaissance and Baroque Art in Northern Europe.”
International Medieval Congress, Leeds, England, July, 2005. Co-Chair and CoOrganizer with Vibeke Olson of two sessions entitled “Visualizing the Invisible.”
Sessions sponsored by the International Center for Medieval Art.
40th International Conference on Medieval Studies, Kalamazoo, MI, May 2005.
Co-Chair and Co-Organizer with Vibeke Olson of two sessions entitled
“Visualizing the Invisible.”
Midwest Art History Society Meeting, Pittsburgh, PA, March, 2003. Session
organizer “Renaissance Art of the North and South.”
SELECTED PUBLIC LECTURES:
The Metropolitan Museum of Art: The Cloisters, November, 2010. “The Art of
Pilgrimage: On the Road to Santiago de Compostela,” presented as part of the
Saturday Lecture Series.
ACE Ohio Women’s Network 12th Annual Conference, Akron, OH, November,
2010. Co-Presenter, “Leadership Opportunities for Ohio Women in Higher
Education.”
Kenyon College, December 2009: “Bringing the Holy Land Home: Bruges as
Jerusalem.”
The Metropolitan Museum of Art: The Cloisters, October, 2009. “Objects for
Pilgrimage: Imagined and Actual,” presented as part of the Saturday Lecture
Series.
The Akron Art Museum, July 2009. “Canine Appreciation 101: A brief history of
the dog in art.” Featured in “Downtown at Dusk” series.
West Virginia University, January 2009. “Illusionism and the Spiritual Gaze:
Medieval Pilgrimage Sites and the Love of Looking,” Part of the Art Department
Residency Program and the Medieval-Renaissance Forum Series.
The Akron Art Museum, October 2008, November 2008, December 2008, January
2009. Four invited lectures “Art History 101.” Presented “History of Still Life,”
“History of Landscape,” “History of Portraiture,” and the “History of Genre
Painting.”
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The Metropolitan Museum of Art: The Cloisters, October, 2008. “Late Medieval
Devotional Objects in The Cloisters,” presented as part of the Saturday Lecture
Series.
Chautauqua Institution, July 2008. “Imaginative, Performative and Actual
Pilgrimage in the Late Middle Ages.”
The Metropolitan Museum of Art: The Cloisters, April 2007. “Art of Actual and
Imagined Pilgrimage at the Cloisters,” presented as part of the Saturday Lecture
Series.
University of North Carolina, Wilmington, March, 2007. “Jan van Eyck’s Rolin
Madonna: Reception and Meaning.”
University of Akron, Theater Department, March 2007. “Dreaming in Color,” in
conjunction with a production of Strindberg’s Dream Play.
Kenyon College, February, 2007. “Jan van Eyck’s Rolin Madonna: Reception and
Meaning,” presented as part of the Barker Newhall Lecture Series.
Chautauqua Institution, July, 2006. “Landscape and Architecture in the Paintings
of Jan van Eyck,” presented as part of the Hultquist Visual Arts Lecture Series,
2006 season.
West Virginia University, March, 2006. “The Art of Hieronymus Bosch.”
Rowfant Club, Cleveland, March, 2006. “Devotional Portrait Diptychs and their
relationship to Books of Hours.”
The Metropolitan Museum of Art: The Cloisters, November, 2005. “Court Style in
the Art at the Cloisters,” presented as part of the Saturday Lecture Series.
The University of Akron, October, 2005. “A Brief History of Women Artists in
America: How far have they come? How far do they still have to go?” Part of the
University of Akron Women’s Committee lecture series.
Cleveland Museum of Art, November, 2004. “Pilgrimage at the Chartreuse de
Champmol,” part of the public programming for the exhibition, “Dukes and
Angels: Art at the Court of Burgundy.”
The Metropolitan Museum of Art: The Cloisters, November, 2004. “SelfFashioning in Medieval Art: Portraits and Patrons,” presented as part of the
Saturday Lecture Series.
Hood College, November, 2004. “Social Status and Sin in Bosch’s so-called
Tabletop of the Seven Deadly Sins,” Honors Lecture in Art History.
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Kenyon College, April 2004. “Look Both Ways: Devotional Portrait Diptychs.”
West Virginia University, Morgantown, WV, October 24, 2003. “Look Both Ways:
Devotional Portrait Diptychs.”
The Metropolitan Museum of Art: The Cloisters, October, 2003. “Annunciations
and Intercessions,” presented as part of the Saturday Lecture Series.
The Metropolitan Museum of Art: The Cloisters, May, 2002. “Funerary Images at
the Cloisters,” presented as part of the Saturday Lecture Series.
The Metropolitan Museum of Art: The Cloisters, September, 2002. “Indulgenced
Images in the Cloisters,” presented as part of the Saturday Lecture Series.
The Metropolitan Museum of Art: The Cloisters, April, 2001. “Framing the
Campin Annunciation,” presented as part of the Saturday Lecture Series.
Case Western Reserve University Baker-Nord Center for the Humanities, Work
in Progress Colloquium, November 1998. “The Public Concerns of Private
Imagery: Margaret of Austria and Devotional Diptychs.”
ADDITIONAL PUBLIC WORK:
Videotaped a sample lecture for the Teaching Company, Washington DC,
October 2008.
Invited reviewer for Renaissance and Reformation journal, 2008.
Invited commentator, together with both exhibition curators, for the
Acoustiguide that accompanied the exhibition, Portraits and Prayers: Unfolding the
Netherlandish Diptych at the National Gallery of Art, November 2006February 2007. http://www.nga.gov/exhibitions/2006/diptych/diptych.shtm
Invited by the publisher, Prentice-Hall, to serve as a reviewer for revised editions
of Janson’s History of Art, 2006, 2007 and 2008.
Featured in Civic Forum of the Air TV program, “Why study art history?”
November, 2005.
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GRANTS RECEIVED:
Folk Grant for Faculty Development, The University of Akron, April 2009, $1,000
for travel to Bruges to present a paper at the “Splendour of Burgundy”
conference.
Myers Grant for Faculty Development, The University of Akron, $1,600 to
purchase a computer for editing Push Me, Pull You volumes, October, 2007.
Folk Grant for Faculty Development, The University of Akron, $1,600 for travel
to Scotland for the International Conference on the Arts and Society. May, 2006.
Faculty Research Summer Fellowship, The University of Akron, $8,000. Research
in Paris, Burgundy and The Hague, summer, 2006. December 2005.
Myers Grant for Faculty Development, The University of Akron, $1,200, for
research trip to Cambridge and London, January, 2006. November 2005.
National Endowment for the Humanities, $3,500 to attend the Summer Seminar,
“Cultural Construction of the Seven Deadly Sins in the Middle Ages.” Richard
Newhauser, Seminar Director, Cambridge, UK. July-Aug 2004.
Myers Grant for Faculty Development, The University of Akron, $3,000, for
travel to Leeds and research in London, July 2004. November, 2003.
Folk Grant for Faculty Development, The University of Akron, $1,800, for travel
to Leeds for International Medieval Conference, July 2003. April 2003.
Myers Grant for Faculty Development, The University of Akron, $3,000 for travel
to Antwerp for the Historians of Netherlandish Art Conference and research in
Paris. November 2001.
Folk Grant for Faculty Development, The University of Akron, $3,000, for course
release in order to organize a symposium, “(in)forming contemporary art.” April,
2001.
Myers Grant for Faculty Development, The University of Akron, $1,000, to offset
cost of photos for publications. November, 2000.
Teaching Academy Grant for the Improvement of Teaching through Technology,
co-written with Neil Sapienza, coordinator of digital imaging, $2,700, Summer
2000. Funding the development and implementation of an on-line resource for
students enrolled in art history courses.
Myers Grant for Faculty Development, The University of Akron, $5,000.
Research conducted in Paris, May though June, 2000.
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Faculty Research Summer Fellowship, University of Akron, $8,000 for research
on the Portal of Ste.-Anne of Notre-Dame in Paris. Research conducted in Paris
from May 17-August 17, 1999.
Folk Grant for Faculty Development, University of Akron, $1,100 to attend the
International Medieval Congress in Leeds, England, July, 1998.
Faculty Research Summer Fellowship, University of Akron, $8,000 for research in
Paris, June 1-July 15, 1998.
Scholarly/Artistic Activity Grant, University of the Pacific, $1,500 for research in
Paris, 1996.
National Endowment for the Humanities, $4,000 to attend “Gothic in the Ile-deFrance,” a Summer Seminar for College Teachers directed by Stephen Murray
(Columbia University), 1995.
Butkin Doctoral Dissertation Fellowship, Department of Art History, Case
Western Reserve University, Academic Years 1991-2 and 1992-3. Departmental
award granted on the basis of merit.
Eva L. Pancoast Memorial Fellowship for Travel, Case Western Reserve
University, May, 1991. University fellowship awarded for outstanding research
proposal involving travel abroad.
Case Western Reserve University Alumni Fellowship, Department of Art
History, Case Western Reserve University, 1990-1991 and 1991-1992.
SEMINARS AND COLLOQUIA ATTENDED:
HERS Institute, Denver 2010. Funded by UA Provost’s office, the Honors College
and the College of Creative and Professional Arts.
The 12th Annual Conference ACE Ohio Women’s Network, November, 2010.
The University of Akron Academic Leadership Forum, 2009-2010.
The 11th Annual Conference ACE Ohio Women’s Network, November, 2009.
National Endowment for the Humanities Summer Seminar for College Teachers,
July 12-August 13, 2004, Cambridge, UK. “Cultural Construction of the Seven
Deadly Sins in the Middle Ages,” Directed by Richard Newhauser (Trinity
University, Texas).
National Endowment for the Humanities Summer Seminar for College Teachers,
June 12-August 4, 1995, Paris, France. “Gothic in the Ile-de-France,” Directed by
Stephen Murray (Columbia University).
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Folger Shakespeare Institute Seminar, 1994-5. “The Material Renaissance
1400-1700” Directed by Sheila ffolliott (George Mason University). Met monthly
at the Folger Shakespeare Institute, Washington DC.
AWARDS AND HONORS RECEIVED:
Outstanding Teacher of the Year, The University of Akron, 2004.
2004 Northeast Ohio Council on Higher Education Award for Excellence in
Teaching.
Ohio Magazine Excellence in Education Award, December 2004.
Stony Brook Foundation Award for Excellence in Art History, 1987.
SYMPOSIA AND COLLOQUIA ORGANIZED AND DIRECTED:
Undergraduate Symposium on the Art of Pilgrimage, February 2009. This
symposium included students from the University of Akron, Oberlin College
and Kent State University all presenting papers on art created in conjunction
with medieval pilgrimage.
Faculty Research Committee Colloquium, November 2008. This day long event
featured UA faculty members who had received funding from the FRC in 2006.
Faculty who had received funding from the FRC presented the results of the
research funded to the University community.
“(in)forming contemporary art,” November 7 and 8, 2003. This symposium
featured important contemporary artists discussing how the history of art
informs and affects the art they produce. This was held in conjunction with the
Cleveland Museum of Art and the Akron Art Museum. Artists included Bill
Viola, Julie Heffernan, Kathleen Gilje, Alison Saar, Kahn/Selesnik and Leopold
Foulem.
MEMBER:
American Council on Education
Women in Higher Education
ACE Ohio Women’s Network
Council on Undergraduate Research
College Art Association
Medieval Academy
Historians of Netherlandish Art
Midwest Art History Society
Society for the Study of Early Modern Women
Sixteenth Century Studies Society
Renaissance Society of America