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Titian Remade: Repetition and the Transformation of Early Modern Italian Art (Los Angeles: Getty Research Institute, 2007).
Forthcoming ‘Plotting the Triumphal Story Arch in Titian’s Tomb’, The Object as Event (III): Triumphal Arches and the Paragone between the Arts, ed. Alina Payne (Florence: Leo S. Olschki)
--- ‘Harmony and the Sweet Regard of History in the Seventeenth-Century Venetian Collection’, Venezia mercato dell’arte, ed. Barbara Marx (Venice: Marsilio).
2013 ‘Notes from the Field: Tradition', Art Bulletin, Vol. 95
--- ‘Custodia degli occhi: Discipline and Desire in Post-Tridentine Italian Art’ in The Sensuous and the Church, eds. Marcia Hall and Tracy Cooper (Cambridge: Cambridge University Press).
--- ‘“I Am Not Who You Think I Am”: Attributing the Humanist Portrait, Identifying the Art-Historical Subject’, Fictions of Art History, eds. Michael Hatt and Mark Ledbury (Williamstown: Clark Art Institute)
2012 ‘Veronese’s Story of the Eye’, Veronese, ed. Virginia Brilliant (exhibition catalogue: John and Mable Ringling Museum of Art, Sarasota)
--- ‘Afterward/Afterword/Afterwork’, Sherrie Levine: Mayhem, eds. Joanna Burton (New Haven: Yale University Press/Whitney Museum of Art), pp. 183-8.
2011 ‘An Introduction to Early Modern Horror’, Oxford Art Journal, Vol. 34, no. 3: pp. 321-33 (Special Issue: Editor).
--- ‘Outscreaming the Laocoon: Sensation, Special Affects, and the Moving Image’, Oxford Art Journal, Vol. 34, no. 3: pp. 393-414.
--- ‘The Death of the Medium and Technologies of the New in Early Modern Italy’, Novità—das ‘Neue’ in der Kunst um 1600. Theorien, Mythen, Pratiken, ed. Ulrich Pfisterer and Gabriele Wimböck (Munich: Diaphanes), pp. 239-61.
2009 ‘Renaissance Faciality’, Oxford Art Journal, Vol. 32, no. 3: pp. 341-63 (Special Issue: Mal’occhio. Looking Awry at the Renaissance, co-editor with Patricia Rubin).
--- ‘Huomini della nostra età: Tintoretto’s Preposterous Modernity,’ in Tintoretto. Actas de Congreso, ed. Miguel Falomir (Madrid: Museo del Prado): pp. 188-95.
2008 ‘Death, History, and the Marvelous Lives of Tintoretto’, Art History Vol. 31, no. 5: pp. 665-90.
--- ‘Eternal Affairs: Remakes and Double Takes in Hong Kong and Hollywood,’ Journal of Shanghai University Vol. 15, no. 2: pp. 58-63.
2007 'Still Life: An Interview with Laura Mulvey', The Art Book 14.1.
--- 'History Painting', entry in The Classical Tradition: A Guide, eds. A. Grafton, G. Most, and S. Settis, (Cambridge: Harvard University Press).
2006 'Originals, Reproductions, and a ‘Particular Taste’ for Pastiche in the Seventeenth-Century Republic of Painting', Mapping Markets for Paintings, Europe and the New World, 1450-1750 eds., N. de Marchi and H. van Miegroet (Turnhout: Brepols), 243-266.
2004 'New and Improved: Repetition as Originality in Italian Baroque Theory and Practice', Art Bulletin 86.3 (September): 477-504.
REVIEWS AND SHORT TEXTS
2006 'Made in Hong Kong: Review. Hong Kong: Front Door/Back Door (M. Wolf, K. Baker, D. Young) and Wong Kar-wai (S. Teo)', The Art Book 13.2: 2-5.
2001 'Brighid Lowe. Unedited Confessions of an Inveterate Marxist Retail Junkie/Confessions intégrales', Brighid Lowe. Galerie VOX, Montréal, April.
1999 L. Andrews. Story and Space in Renaissance Art: The Rebirth of Continuous Narrative (Cambridge, New York and Melbourne: Cambridge University Press, 1995) in Albertiana 2: 307-11.
1998 Pellegrino Tibaldi pittore e architetto dell’età borromaica. Special issue of Studia Borromaica. Saggi e documenti di storia religiosa e civile della prima età moderna 11 (1997) in Confraternitas 9.2: 47-8.
2013 "The Future Belongs to Ghosts. Renaissance Shadows in Ottocento Italy," I Tatti, Revision, Revival, and Return, 06 June
--- "Portraiture," IFA Seminar in the Redefinitions of the Renaissance, 22 April
--- "The Taste of Tears: Friendship, Death, and Friendship" UCBerkeley, 01 April
--- "A Ghost Is Born," University of Toronto, 07 March
--- "Still Lives: The Dead Man, the Blind Man, and the Ghost in the Portrait," Boston University, Keynote for the Graduate Symposium The In/Accessible, 01 March
--- "The Long Goodbye: Michelangelo, Bandinelli, and Bernini," Tufts, February
2012 'Veronese's Story of the Eye', NYU (IFA/Casa Italiana), Humanities Initiative, November
--- 'The Big Sleep', Moving Images Conference, UCL, October
--- 'Veronese's Story of the Eye', Medieval/Renaissance Forum, Yale University, October
--- 'Sting, Speck, Cut, Little Hole: The Pathos of Portraiture in Early Modern Italy', University of Manchester, Art History & Visual Studies Research Seminar, March
--- 'Punctum: Early Modern Artist Portraits and the Materiality of Loss', Universität Zürich, Kunsthistorisches Institut, March
2011 'Unguentum Sympaticum: The Sting of Portraiture', Dept of the History of Art and Architecture, Harvard University, November
--- 'Friendship, Survival, and the Pathos of Portraiture', NY Renaissance Consortium/Columbia University, November
--- 'Cross My Heart, Hope to Die, Stick a Needle in My Eye', UCL Centre for Early Modern Exchanges, October
--- 'Copy Right/Copy Wrong', AHRC Workshop on Copyright and the Visual Arts, Oxford, September
--- ‘Early Modern Horror, or a History of the Pineal Period Eye’, London Aesthetics Forum, University of London, February
2010 ‘“I Am Not Who You Think I Am”: Attributing the Humanist Portrait, Identifying the Art-Historical Subject, Fictions of Art History, The Sterling and Francine Clark Art Institute, Williamstown, October
--- ‘Story Arc: An Episode Guide to Titian’s Triumph’, The Object as Event (III): Triumphal Arches and the Paragone between the Arts, Hertziana/Max Planck Institut, Cortona, May
--- ‘Special Affects: The Early Modern Horror Picture Show’, University of Nottingham, March
2009 (workshop) The Object as Event (III): Triumphal Arches and the Paragone between the Arts, Hertziana/Max Planck, Rome, November
--- ‘Renaissance Faciality’, London Seminar for Early Modern Culture, Courtauld/UCL, London, October
--- ‘Renaissance Faciality’, University of Chicago, Graduate Lecture Series, May 2008 ‘Action Heroes: Projecting the Old Master in Early Modern Italian Art’, Post-graduate Seminar, University of Essex, November
--- ‘O che Zorzon ghe insegna quel tenor! Harmony in the 17th-Century Venetian Collection’, Venezia mercato dell’arte, Centro Tedesco di Studi veneziani, Venice, Italy, October
--- 'Fame and the Triumph of the Artist, c.1600', Warwick University, March
--- 'What's So New about Early Modern Modernity?', Novita in the Visual Arts c. 1600, University of Munich, February
--- 'Past Perfect. On the Construction of Old Master
Narratives', University of Oxford, History of Art Graduate Seminars,
2007 'Say Hello, Wave Goodbye: Repetition and the Aesthetics of the Same but Different', Looking Backwards, Moving Forwards: Imitation and Canon-Making in Italy and the Netherlands, 15th and 16th Centuries, Radboud University Nijmegen, The Netherlands, November
--- 'Fame: Constructing Artistic Afterlives', La Vita agrodolce di Taddeo Zuccaro: Visual Narrative and Artistic Biography, Getty Research Institute, Los Angeles, October
--- 'The Death of the Author and the Birth of Art History',
York University, May
--- 'The Lament of Painting: Tintoretto in the Seventeenth Century', Congreso Tintoretto, Museo del Prado, Madrid, March
--- 'Luminosity and Visibility: The Marvellous Lives of Tintoretto', Renaissance Research Forum, Courtauld Institute of Art, London, February
--- 'Huomini della nostra età’: Tintoretto’s Preposterous Modernity', London Seminar for Early Modern Visual Culture, London, February
--- 'The Marvellous Lives of Jacopo Robusti detto Tintoretto', Italian Renaissance Seminar, Oxford, January
Affairs: Double Takes and Remakes in Hong Kong and Hollywood',
Retrospect and Prospect: The Cinematic Boulevard between China
and Hollywood, Shanghai, June
--- 'Power, Knowledge, and Pleasure: Visibility in the Republic of Painting', Department of History of Art, Cambridge, May
2005 'The Good
Father and His Son. A Seventeenth-Century Venetian Family Romance',
Guest Lecture Series, Harvard University, Cambridge, April
2004 'Keeping Up with the Della Roveres: The Social Implications
of Replication in Early Modern Italy', Art and Replication, Corpus Christi
College, Oxford, June
--- 'Censorship and Discipline: The Death of Eros in Post-Tridentine Italy?', St. Hilda’s College, Oxford, April
--- 'A Taste for Baroque ‘Pastries’ in Seventeenth-Century Europe', The Art of the Dealer, Getty Research Institute, Los Angeles, March
--- 'Eros Unbound: The Conversion of the Magdalene in Baroque Art', University College Graduate Seminar, London, February
--- 'Disciplining Desire in Post-Tridentine Italian Art', Ashmolean Museum, Oxford, January
--- 'The Old Master, His Young Follower, and the Follower’s Son. Imitation and Emulation in Seventeenth-Century Venetian Painting', Faculty of Modern History Italian Renaissance Seminar Series, Oxford, January
2003 'The Blinding of Eros in Post-Tridentine Italian
University College London/Courtauld Institute of Art Seminar in
Early Modern Art, London, November
--- 'Repe-Titian: Defining Master Copies and Workshop Originals', Workshop on Botticelli, Courtauld Institute of Art, London, March
--- 'Prestige Fetishes: Titian’s Reclining Nudes and the Consolidation of Group Identity', Art Pursuits, Buckingham, February
2001 'Production and Consumption in Seventeenth-Century Venice', Mapping Markets for Paintings, Europe and the New World, 1450-1750, Antwerp, March
1999 'Humanism and the Marvellous in Cinquecento Venetian Book Culture', Et in Arcadia Ego, Amherst College, April
2011 ‘The Artist’s Body of Work’, RSA, Montréal, March
--- ‘Time Is Out of Joint: Resetting the Laocoön’, CAA, New York, February 2010 ‘Representation and Early Modern Horror’, Early Modern Horror Conference, London, May
2009 ‘Titian and I’, RSA, Los Angeles, March
2008 ‘“The Effects of Fear”: Nicolas Poussin and the Early Modern Horror Picture’, RSA, Chicago, April
2007 ‘Spectre of the Artist: Canon Formation in Seventeenth-Century Venice’, RSA, Miami, March
2006 ‘Eternal Affairs: Double Takes and Remakes in Hong Kong and Hollywood’, Retrospect and Prospect: The Cinematic Boulevard between China and Hollywood, Shanghai, June
2005 ‘Ancients on the Shoulders of Moderns: A Seventeenth-Century Self-Portrait with an Old Master Bust’, RSA, Cambridge, April
2004 ‘The Erotics of Repetition: Homosociality and Titianesque Seriality’, CIHA, Montréal, August
2003 ‘The Immaculate Collection: Lascivious Renaissance Paintings and Nympholeptic Viewers in Seventeenth-Century Italy’, RSA, Toronto, March
2002 ‘Padovanino’s Triumph of the Will. Repetition as Becoming’, Double-Sight: Copies, Likenesses and Translations in Early Modern Visual Culture, Courtauld Institute of Art, London, December
--- ‘Reading between the Lines: Constructing a Republic of Painting in Seventeenth-Century Venice’, SHARP, London, July
--- ‘Oedipal and Saturnine Complexes in Seventeenth-Century Venetian Painting: Historicizing Influence in an Age before Anxiety’, The Presence of the Past, Las Vegas, May (paper nominated for Allen Beck Award)
2000 ‘Stimulation, Simulation, and Dissimulation: Titian and the Question of Originality in Neo-Tizianismo’, RSA, Florence, March