Books
Co-editor (with Noa Turel), , Brill's Studies on Art, Art History, and Intellectual History 321/50 (Leiden: Brill, 2021)
Co-editor (with Jessica Brantley and Elizabeth C. Teviotdale), , Studies in Iconography: Themes and Variations, 2 (Kalamazoo: Medieval Institute Publications/DeGruyter, 2021)
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(Brunswick: ÁñÁ«ÊÓƵ Museum of Art, 2017. Distributed by New Haven and London: Yale University Press)
(Chicago: University of
Chicago Press, 2009) [REVIEWS: Harper’s320:1918 (March, 2010): 69-70; H-France Review 10: 212 (December, 2010), 910-914; CAA Reviews (December, 2010)] [AWARD: The 2009 Morris D. Forkosch Prize for Best Book in Intellectual History, awarded by the Journal of the History of Ideas].
Selected Articles and Essays
“Death Commodified: Macabre Imagery on Luxury Objects, c. 1500,” in Perkinson and Turel (eds.), Picturing Death, 1200-1600, Brill’s Studies on Art, Art History, and Intellectual History 321/50 (Leiden: Brill, 2021), 278-307.
“The Making of ‘Mynding Signes’: Copying, Convention, and Creativity in Late Medieval English Alabasters,” in Perkinson and Brantley, Alabaster Sculpture in Medieval England: A Reassessment, Studies in Iconography: Themes and Variations, 2 (Kalamazoo: Medieval Institute Publications/DeGruyter, 2020).
“Anatomical Impulses in Sixteenth-Century Memento Mori Ivories,” in , ed. Catherine Yvard (London: Courtauld Books Online, 2017), 76-92.
“Portraits and their Patrons: Reconsidering Agency in Late Medieval Likenesses,” in Medieval Patronage: Patronage, Power and Agency in Medieval Art, ed. Colum Hourihane (College Station: Penn State University Press, 2013), 237-254.
“Likeness,” Studies in Iconology: Special Issue: Medieval Art History Today – Critical Terms 33 (2012): 14-28.
Invited contributor, Census of Gothic Sculpture in America, volume III, ed. Joan Holladay and Susan Ward (anticipated date of publication: 2012).
“‘As they learn it by sight of images’: Alabasters and Religious Devotion in Late Medieval England,” in Object of Devotion: Medieval English Alabaster Sculpture from the Victoria and Albert Museum, ed. Paul Williamson and Fergus Cannan (London: Victoria and Albert Museum, October 2010) [Exhibition on view at the ÁñÁ«ÊÓƵ Museum of Art February 26 - June 26 2011.]
"Likeness and Loyalty: Portraiture in the Calendar Scenes of the Très Riches Heures," in 38 (2008): 142-174.
“Rethinking the Origins of Portraiture,” Gesta 46:2 (2007): 135-158.
"Sculpting Identity," in , ed. Charles T. Little (New York: The Metropolitan Museum of Art, 2006), 120-123. (Exhibition catalogue published in conjunction with the exhibition "Set in Stone: The Face in Medieval Art," on view at the Metropolitan Museum of Art in New York City, 26 September 2006 through 18 February 2007.)
“Courtly Splendor, Urban Markets: Some Recent Exhibition Catalogues” [Review of Art from the Court of Burgundy, 1364-1419 (Dijon: Musée des Beaux-Arts; Cleveland, Ohio: Cleveland Museum of Art; Paris: Réunion des Musées Nationaux, 2004), Paris 1400: Les arts sous Charles VI (Paris: Fayard, 2004), Les princes des fleurs de lis: La France et les arts en 1400(Paris: Réunion des Musées Nationaux, 2004), and Les Très Riches Heures du duc de Berry et l’enluminure en France au Début du XVe siècle(Chantilly: Musée Condé, 2004)],” Speculum 81:3 (2006), 1150-1157.
“Ivory Devotional Diptych: The Virgin in Glory and The Crucifixion, Paris, ca. 1320,” in The ÁñÁ«ÊÓƵ Museum of Art Newsletter (Winter/Spring 2005): 8-9.
"From 'Curious' to Canonical: Jehan Roy de France and the Origins of the French School," 87:3 (2005): 50