Recent Publications

Nicola Camerlenghi

St. Paul’s Outside the Walls: A Roman Basilica, from Antiquity to the Modern Era, Cambridge University Press, 2018.
reviewed:
Olof Brandt, Rivista di Archeologia Cristiana 95 (2019), 475-481.
Michele Luigi Vescovi, Journal of the British Archaeological Association 172 (2019) - Issue 1.
Kordula Wolf, Kunstforum 20 (2019), No. 9.
Julian Gardner, Burlington Magazine, vol. 161, num. 1399 (2019), 877-878.
Hugo Brandenburg, Römischische Quartlaschrift, vol. 114, n. 3/4 (2020), 248-274.
William Tronzo, Speculum, vol. 95, n. 3 (2020), 810-811.
Joseph Connors, Renaissance Quarterly, vol. 73, n. 1 (2020), 219-220.
Dale Kinney, Journal of the Society of Architectural Historians, vol. 80, n.4 (2021), 478-480.
Virtual Nolli 2.0 (Funded in part by the Neukom Institute, Dartmouth College)
"The Millennial Gap in Dome Construction in Rome," in Gesta 58, no. 2 (2019): 103-35.
“Just How Long are the Lives of Medieval Buildings? Framing Spatio-temporalities in the Study of the Built World” in The Long Lives of Medieval Art and Architecture, ed. Jennifer Feltman and Sarah Thompson (New York: Routledge Press, 2019), 17-30.
reviewed:
Elizabeth Carson Pastan, The Medieval Review, 21.09.12
“Learning from Rome: Making Sense of Complex Builtscapes in the Digital Age,” Journal of the Society of Architectural Historians 77 (2018): 256-66. Co-authored with Georg Schelbert.
“Liturgical Revolution at the Basilica of S. Paolo Fuori le Mura (1560-1610),” in Monuments & Memory, Christian Cult Buildings and Constructions of the Past, Mariëtte Verhoeven et al. eds. (Turnhout: Brepols, 2016), 329-336
"Terroir and Architecture," in At Table: Dialogues on Food and Architecture, ed. by Samantha Martin-McAuliffe (London: Berg, 2016), 23-41.
"Splitting the Core: The Twelfth-Century Transverse Wall at the Basilica of San Paolo in Rome." Memoirs of the American Academy in Rome, vol. 58 (2013).
"The Longue Durée and the Life of Buildings," in New Approaches to Medieval Architecture, ed. by Robert Bork et al. (Burlington: Ashgate, 2011).
reviewed:
Caroline Bruzelius, The Medieval Review, 12.03.25
Jane L. Carroll

"Subversive Obedience. Images of Spiritual Reform by and for Fifteenth-century Nuns," in Reassessing Women's Roles as "Makers" of Medieval Art and Architecture, ed. Therese Martin (Leiden: Brill, 2012).
"Woven Devotions: Reform and Piety in the Tapestries Done by Dominican Nuns," in Saints, Sinners and Sisters, ed. with Alison Stewart Ashgate, (2003).
"Portraiture as Identity/Identity as Portraiture," in Proceedings of the Groningen University Medieval Symposium (2002).
Mary K. Coffey

Orozco’s American Epic: Myth, History, and the Melancholy of Race (Durham: Duke University Press, 2020)
How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (Duke University Press, 2012). Winner of College Art Association’s Charles Rufus Morey Award for a Distinguished Book in Art History in 2012.
Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms, ed. Elaine O'Brien, Everlyn Nicodemus, Melissa Chiu, Benjamin Genocchio, Mary K. Coffey, and Roberto Tejada (Wiley-Blackwell, 2013).
“José Clemente Orozco’s Dancing Indians: Performing Mexicanness for the Trans-
American Art Market,” Art Bulletin 102, no. 4 (2020): 90-120.
https://doi.org/10.1080/00043079.2020.1765637
“Corporate Patronage at the Crossroads: Situating Diego Rivera’s ‘Rockefeller Mural’ Then and Now,” Corporate Patronage of Art and Architecture in the United States, Late 19th Century to the Present, eds. Melissa Renn and Monica Jovanovich-Kelley (London: Bloomsbury Press, 2019), 15-38.
“Myth, Melancholy, and History: Figural Dialectics and José Clemente Orozco’s Epic of American Civilization,” What Was History Painting and What Is It Now?, eds. Mark Salber Phillips and Jordan Bear (Ontario: McGill-Queen’s University Press, 2019), 160-181.
"'All Mexico on a Wall': Diego Rivera's Murals at the Ministry of Public Education," in Mexican Muralism, A Critical History, ed. Alejandro Anreus, Leonard Folgarait, Robin Adele Greeley (Berkeley: University of California Press, 2012).
"An 'AMERICAN Idea': Myth, Indigeneity, and Violence in the Work of Orozco and Pollock," in Men of Fire: José Clemente Orozco and Jackson Pollock (Hanover, N.H.: Hood Museum of Art, Dartmouth College; Habover, NH: University Press of New England, 2012), 21-36.
"The 'Hovey Mural' and the 'Greening' of Orozco's Epic of American Civilization" in Walter Beach Humphrey's 'Hovey Mural' at Dartmouth College: A Cultural History, ed. Brian P. Kennedy and Katherine Hart (Hanover, N.H.: Hood Museum of Art, Dartmouth College; Hanover, NH: University Press of New England, 2011), 79-106.
“’I’m Not the Fourth Great One’: Rufino Tamayo and Mexican Muralism,” in Tamayo: A Modern Icon Reinterpreted, D. du Pont (ed.), (2007) 247-267.
“Angels and Prostitutes: José Clemente Orozco's Catharsis and the Politics of Female Allegory in 1930s Mexico,” CR: The New Centennial Review 4, no. 2 (2004): 1-33. http://muse.jhu.edu/journals/new_centennial_review/v004/4.2coffey.html
“Gifting the Cultural-Capitalist State: Consuming Popular Art/ Performing Citizenship in Mexico’s Museums,” Studies in Latin American Popular Culture, 35 (2017): 1-24.
“Great Masters of Mexican Folk Art in Los Angeles: Transnational Exhibition, Diasporic Emplacement, and the Expedient Politics of Display,” Cultural Studies 32, no. 2 (2017): 194-222.
"Banking on Folk Art: Banamex-Citigroup and Transnational Cultural Citizenship," Bulletin of Latin American Research 29, no. 3 (July 2010): 296-312.
“The American Adonis: A Natural History of the Average American Man, 1921-1932,” in Popular Eugenics: American Mass Culture in the 1930s, ed. Sue Currell and Christina Cogdell (Athens: Ohio University Press, 2006).
“Of Bodies and Embodiment: Fred Wilson’s So Much Trouble in the World, Believe it or Not!,” in So Much Trouble in the World-Believe it or Not!, B Thompson (ed.), (2006) 44-57.
Co-authored with Jeremy Packer, “Hogging the Road: Cultural Governance and the Citizen Cyclist,” Cultural Studies 18, no. 5 (July 2004): 641-674. http://www.informaworld.com/smpp/content~content=a738563333~db=all~order=page
“Toward an Industrial Golden Age? Orozco’s The Epic of American Civilization,” in Orozco at Dartmouth: The Epic of American Civilization (2007), 12-15.
Podcast on the Orozco mural http://hoodmuseum.dartmouth.edu/collections/overview/americas/mesoamerica/murals/tour.html
Orozco Eye-Notes App: a phone-based Augmented Reality App that provides quick, brief, information on works of art. The App was designed by Mikhail Gronas. https://www.youtube.com/watch?v=HoqEfw8Vdvs
"Coffey: Droning on About the Facts," The Dartmouth, Op-Ed, Thursday, October 3, 2013.
"A Mural Imperative," The Dartmouth, Op-Ed, Thursday, November 11, 2010.
“‘We Other Romantics’: Wenda Gu, Dartmouth, and the Investment in Art’s Transcendence,” Dartmouth Free Press, 8.4 (2007).
Ada Cohen

"Turning Heads: Alexander and the Animals," Illinois Classical Studies 43:1 (2018): 88-136
"The Artist as Art Historian: Some Modern Works on Alexander," in K.R. Moore, ed., Brill's Companion to the Reception of Alexander the Great (Leiden and Boston: Brill, 2018), 754-74
“What Is Art History?” in Daniel Rockmore, ed., What Are the Arts and Sciences? [A Guide for the Curious] (Hanover: University Press of New England, 2017), 27-45
Inside an Ancient Assyrian Palace: Looking at Austen Henry Layard's Reconstruction (University Press of New England and Hood Museum of Art, 2017) with Steven Kangas
“Picturing Greek Families,” in B. Rawson, ed., A Companion to Families in the Greek and Roman Worlds (Malden, Mass.: Wiley-Blackwell, 2011), 465-87
Art in the Era of Alexander the Great: Paradigms of Manhood and Their Cultural Traditions (Cambridge and New York: Cambridge University Press, 2010; Paperback 2014)
Assyrian Reliefs from the Palace of Ashurnasirpal II: A Cultural Biography (Hanover, NH: University Press of New England, 2010), ed. with S. E. Kangas
“‘Mistress’ Bronzes from the Classical World,” in A. Brauer, ed., Teaching with Objects: The Curatorial Legacy of David Gordon Mitten (Cambridge, MA: Harvard University Art Museums, 2010), 76-91
"The Self as Other: Performing Humor in Ancient Greek Art," in Cultural Identity in the Ancient Mediterranean, E. S. Gruen (ed.), (2011) 465-90.
"Mythic Landscapes of Greece," in R. Woodard, ed., Cambridge Companion to Greek Mythology (Cambridge: Cambridge University Press, 2008), 305-30
"Gendering the Age Gap: Boys, Girls, and Abduction in Ancient Greek Art,” in A. Cohen and J. B. Rutter eds., Constructions of Childhood in Ancient Greece and Italy (Hesperia Supplement 41, Princeton: American School of Classical Studies at Athens, 2007), 257-78
Constructions of Childhood in Ancient Greece and Italy (Hesperia Supplement 41, Princeton: American School of Classical Studies at Athens, 2007), ed. with J. B. Rutter
"Introduction: Childhood between Past and Present," in A. Cohen and J. B. Rutter eds., Constructions of Childhood in Ancient Greece and Italy (Hesperia Supplement 41, Princeton: American School of Classical Studies at Athens, 2007), 1-22
“Landscape and Figure in Ancient Greek Art" (in Greek) in P. Doukellis, ed., The Greek Landscape (Athens: HESTIA, 2005), 105-129
"Art, Myth, and Travel in the Hellenistic World," in S. E. Alcock, J. Cherry, and J. Elsner, eds., Pausanias: Travel and Memory in Roman Greece (Oxford and New York: Oxford University Press, 2001), 93-126
The Alexander Mosaic: Stories of Victory and Defeat (Cambridge and New York: Cambridge University Press, 1997; Paperback 2000)
Chad Elias

"Whose Digital Heritage? Contemporary Art, 3D Printing and the Limits of Cultural Property," Third Text 159. 33 (July 2019). Forthcoming.
"A Face in the Cloud: Visual Culture, Artificial Intelligence, and the Physiognomic Turn," in Wiley Balckwell Companion to Visual Culture, ed. Aubrey Anable and Catherine Zuromskis (Hoboken: Wiley Blackwell, forthcoming 2019). Commisioned critical essay.
Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon (Duke University Press, 2018).
“Preservation By Other Means: Contemporary and the Deconstruction of Heritage,” special issue edited with Mary Coffey, Future Anterior 15.1 (Summer 2018).
"The Artist as Collector: A Dialogue on the Possibilities and Limits of an Institution," in Against Photography: An Annotated History of the Arab Image Foundation (Barcelona: Museu d'Art Contemporani de Barcelona), 40-44.
“Landscape Photography’s ‘New Humanism’,” in Photography Reframed: New Visions in Contemporary Photographic Culture, ed. Ben Burridge and Annebella Pollen (London: I.B. Tauris, 2018).
Kader Attia: Reason’s Oxymorons (Hanover: The Hood Museum, 2018).
“Emergency Cinema and the Dignified Image: Cell Phone Activism and Filmmaking in Syria,” Film Quarterly 31, no. 1 (2017): 18-31.
“Citizen Photography in Fouad Elkoury’s Beyrouth Aller-Retour,” photographies 10, issue 3 (2017): 265-282.
“On War and Love: A Conversation with Akram Zaatari,’ in Queer (Documents in Contemporary Art), ed. David Getsy (Cambridge, Mass: MIT Press, 2016), 185-188.
“The Museum Past the Surpassing Disaster: Walid Raad’s Projective Futures,” in Archival Dissonance: Knowledge Production and Contemporary Visual Culture, ed. Anthony Downey (London: I. B. Tauris, 2015), 215-231.
“On Three Posters’ by Rabih Mroué.” In Focus (London: Tate Modern, 2014), n.p.
Marlene Elizabeth Heck

The Palladian House in Virginia: Domestic Buildings in a Social Landscape (work in progress).
"Mind the Gap: Rewriting Sir John Summerson's American Architectural History," in Summerson and Hitchcock: Centenary Essays on Architectural Historiography (New Haven: Yale University Press, 2006).
"Architecture: 1880-1930," in the Encyclopedia of New England (New Haven: Yale University Press, 2005).
"'Appearance and Effect is Everything': The James River Houses of Samuel, Joseph and George Cabell," in The American Home: Material Culture, Domestic Space and Family Life (Winterthur, Del.: Henry Francis du Pont Winterthur Museum; and Hanover, NH: University PressNE, 1998), 5–23.
"Building Status: Virginia's Winged Pavilion Dwellings," in Shaping Communities: Perspectives in Vernacular Architecture VI, ed. Carter L. Hudgins and Elizabeth Collins Cromley (Knoxville: University of Tennessee Press, 1997).
Allen Hockley

The Women of Shin Hanga: The Judith and Joseph Barker Collection of Japanese Prints, Hanover, NH: Hood Museum of Art, Dartmouth College, 2013
The Treaty of Portsmouth and Its Legacies, (co-edited with Steve Ericson) Lebanon, NH: University Press of New England, 2008
Public Spectacles and Personal Pleasures: Four Centuries of Japanese Prints From a Cincinnati Collection, Cincinnati: Cincinnati Museum of Art, 2006.
The Prints of Isoda Koryûsai: Floating World Culture and Its Consumers in Eighteenth- Century Japan, Seattle: University of Washington Press, 2003.
Inside the Floating World: Japanese Prints from the Lenoir C. Wright Collection, Greensboro, N.C.: Weatherspoon Art Gallery, 2002.
Katie Hornstein

BOOKS:
Picturing War in France, 1792-1856, Yale University Press, 2018.
Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture, eds. Daniel Harkett and Katie Hornstein (Hanover, N.H: University Press of New England, 2017).
JOURNAL ARTICLES:
“The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855,” Oxford Art Journal 45:1 (2022).
“The Lion of Belfort, Max Ernst’s Une semaine de bonté, and the Uses of the Past,” Nineteenth-Century French Studies 49 (3/4: Spring-Summer 2021): 282-304.
"From Museum to Menagerie: Théodore Géricault and the Leonine Subject," The Art Bulletin, 2019 101:1, 26-47.
“Suspended Collectivity: Horace Vernet’s The Crossing the Arcole Bridge (1826),” Art History 72:3 (June: 2014): 429-453. (Official Commendation, Malcolm Bowie Prize, French Historical Studies)
« Le Diagraphe et Pantographe de Charles Gavard et l’âge de la reproduction mécanique visuelle en France, » Revue histoire de l’art 71 (2012): 73-83.
“Just Violence? Jacques Callot’s Grandes Misères et Malheurs de la Guerre,” University of Michigan Museums of Art and Archaeology Bulletin, Volume XVI (2005-2006): 29-48.
BOOK CHAPTERS AND EDITED COLLECTIONS:
“Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France,” Time, Media, and Visuality in Post-Revolutionary France, edited by Richard Taws and Iris Moon (London: Bloomsbury, 2021), 103-124 (invited and peer-reviewed).
“Henri Durand-Brager and the Question of the Panoramic,” to appear in L’art de la bataille. Stratégies visuelles de la scène de bataille de la Renaissance à nos jours, ed. Pauline Lafille and Jerome Delaplanche, L’Académie de France à Rome – Villa Médicis, in press, expected 2022.
Editor of ANIMAL (issue 7: Spring 2018) Journal 18.
"The Territorial Imaginary of the Revolutionary and Napoleonic Wars," in Visual Culture of the Revolutionary and Napoleonic Wars, eds. Satish Padiyar, Philip Shaw, Philippa Simpson (London: Routlege, 2016), 13-24.
“Horace Vernet’s Capture of the Smahla (1845): Reportage and Actuality in the Early French Illustrated Press,” in Getting the Picture: The History and Visual Culture of the News, edited by Jason Hill and Vanessa Schwartz (London: Bloomsbury, 2015), 246-251.
“An Unhappy Rivalry: Art and Industry at the Exposition Universelle of 1855 in Paris,” in Meet Me at the Fair: A World’s Fair Reader, edited by Celia Pearce and Laura Hollengreen (Pittsburgh: Carnegie-Mellon ETC University Press, 2014), 169-174.
Book and exhibition reviews:
Les animaux du roi, Château de Versailles, Versailles, France, October 12, 2021 – February 13, 2022. Curated by Alexandre Maral and Nicolas Milovanovic. Scenography: Guicciardini & Magni Architetti. Lighting: Lionel Coutou. Exhibition review, Journal18. Spring 2022.
Julia Thoma, The Final Spectacle. Military Painting under the Second Empire, 1855-1867 (Berlin/Boston: Walter de Gruyter, 2019). Nineteenth-Century Art Worldwide 19:1 (Spring 2020).
Bette W. Oliver, Jean-Baptiste-Pierre Le Brun: In Pursuit of Art (1748-1813) (Landham, MI: Hamilton Books, 2018). H-France, 2019.
Rome, Travel and the Sculpture Capital, c.1770–1825, ed. Tomas Macsotay (London and New York: Routledge, 2017). Sculpture Journal, 2019.
Of Elephants & Roses: French Natural History, 1790-1830, Memoirs of the American Philosophical Society held at Philadelphia for Promoting Useful Knowledge, vol. 267, edited by Sue Anne Prince (Philadelphia: The American Philosophical Society, 2013). CAA Reviews, 2017.
Stephen Bann, Distinguished Images: Prints and the Visual Economy in Nineteenth-Century France. New Haven and London: Yale University Press, 2013. H-France, 2014.
Richard Taws, The Politics of the Provisional: Art and Ephemera in Revolutionary France. University Park: Pennsylvania State University Press, 2013. CAA Reviews, 2014.
Conflicting Visions: War and Visual Culture in Britain and France, c. 1700-1830. Edited by John Bonehill and Geoff Quilley. Ashgate: London, 2005. Montage, 2008: http://www.uiowa.edu/~montage/issues/2008/
Steven E. Kangas

Assyrian Reliefs at Dartmouth College: A Cultural Biography (Hanover, NH: Hood Museum of Art and University Press of New England, 2010), ed. with Ada Cohen.
Nigel Goring-Morris, Steven Kangas, et al., "The 1997 Season of Excavations at the Mortuary Site of Kfar Hahoresh, Galilee, Israel." Neo-Lithics 3 (1998).
Elizabeth A. Kassler-Taub

“Unlearning Palermo’s Architectural History,” in “Roundtable: Constructing Race and Architecture (1400-1800),” Journal of the Society of Architectural Historians 80, n. 3 (September 2021): 270-73.
“Inconvenient Globalism: Method Making at the Margins of Art History,” Modern Philology 119, n. 1 (August 2021), Multiplicities: Recasting the Early Modern Global, pp. 33-60.
“Building with Water: The Rise of the Island-City in the Early Modern Mediterranean,” Journal of the Society of Architectural Historians 78, n. 2 (2019), pp. 145-66.
“Writing the body: Andrea del Verrocchio’s Measured Drawing of a Horse,” Word & Image 37, n. 2 (2019), pp. 97-111.
Joy Kenseth

“Jan Davidsz. De Heem’s Still-life with Grapes,” Hood Museum Quarterly , (Spring 2006).
“The Virtue of Littleness: Small-Scale Sculpture of the Italian Renaissance,” in Lasting Magnificence: Looking at Italian Renaissance Sculpture , S. McHam (ed.), (1998).
“The Age of the Marvelous*, Editor and principal author, exhibition catalogue, (1991).
“Two Pendant Portraits by Jacopo Ligozzi,” The Burlington Magazine , 129, (1987), 12-16.
"Bernini's David," excerpts of studies published in Basic Design: Systems, Elements, Application, ed. Floyd Coleman (Englewood Cliffs: Prentice Hall, 1983)
“Bernini’s Borghese Sculptures: Another View,” Art Bulletin , 63: 2 (1981), 191-210.
Sunglim Kim

Kim Chŏng-hŭi (1786-1856) and Sehando : The Evolution of a Late Chosŏn Korean Masterpiece, Archives of Asian Art , Vol. 56, (2006), pp. 31-60.
Catalogue entries on calligraphy in The Art of Korea: Highlights from the Collection of San Franciscos Asian Art Museum (Hong Kong: Stacy Quinn of Quinn Essentials Books and Printing, Inc., 2006).
Catalogue entries on Buddhist Paintings and translations of essays on metal crafts and ceramics in Goryeo Dynasty: Koreas Age of Englightenment 918-1393 (San Francisco Asian Art MuseumChong-Moon Lee Center for Asian Art and Culture, in cooperation with the National Museum of Korea and the Nara National Museum, 2003).
Kristin O'Rourke

Entries on "Jean-Antoine Houdon," "Voltaire Seated by J.-A. Houdon," and "Johann Gottfried Schadow," for the Encyclopedia of Sculpture. New York: Fitzroy Dearborn, 2004.