Adrian W. B. Randolph

Department of Art History
6033 Dartmouth College
Hanover, N.H. 03755-3570 USA
tel: (603) 646-2987
fax: (603) 646-3428
awbr[at]dartmouth.edu

Home Address:
18 Shaw Street
Lebanon, NH 03755 USA
tel: (603) 448 0187

Professional Appointments
Associate Professor, Department of Art History, Dartmouth College, 2001–
Acting Director of the Leslie Center for the Humanities, Fall 2003
Director of First-Year Seminars, 2003–
Acting Chair, Department of Art History, Summer 2002
Assistant Professor, Department of Art History, Dartmouth College, 1995–2001
Teaching Fellow, Harvard University, 1991–94

Education
Harvard University (USA), Ph.D. Fine Arts, 1989–95
Trier University (Germany), Philosophy and Art History, 1991–92
The Courtauld Institute of Art, London University (UK), M.A. History of Art, 1988–89
Princeton University (USA), A.B. summa cum laude Art and Archaeology, 1983–87
Temple University Program in Rome (Italy), Fall 1986

Books
Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence. New Haven and London: Yale University Press, 2002.
Antiquity in Rome from the Renaissance to the Age of Enlightenment. Hanover, N.H.: The Hood Museum of Art and UPNE, 2001 (with T. Barton Thurber).
Art, Gender, and Experience in Fifteenth-Century Italy (in preparation)

Edited Volume
Likeness in an Age of Mechanical Reproduction: Printed and Medallic Portraits in Renaissance and Baroque Europe. Ed. with T. Barton Thurber. Special double issue of Word & Image 19, nos. 1 & 2 (2003).

Essays & Articles
“Gendering the Period Eye: Some Thoughts on Renaissance Visual Culture.” Forthcoming in Art History (Spring 2004).

“Renaissance Genderscapes.” In preparation for Attending to Early Modern Women.

“Telling Hands: The Poetics of Embodiment in Fifteenth-Century Portraits of Women.” In preparation.

“Der homosoziale Blick in der Renaissance: Kunst, Geschlecht, Macht.” In Repräsentation von Männlichkeit in der Kunst und in den visuellen Medien. Ed. Mechtild Fend and Marianne Koos. Frankfurt am Main, forthcoming 2003.

“The Authority of Likeness.” In Likeness in an Age of Mechanical Reproduction: Printed and Medallic Portraits in Renaissance and Baroque Europe. Ed. with T. Barton Thurber. Special double issue of Word & Image 19, nos. 1 & 2 (2003), 1-5.

“Il Marzocco: Lionizing the Florentine State,” in Coming About. . . A Festschrift for John Shearman. Ed. Lars Jones and Louisa C. Matthew, 11–18. Cambridge, Mass.: Harvard University Art Museums, 2002.

“Renaissance Household Goddesses: Fertility, Politics, and the Gendering of Spectatorship.” In The Material Culture of Sex, Procreation, and Marriage in Pre-Modern Europe. Ed. Karen R. Encarnacion and Anne L. McClanan, 163–190. New York: Palgrave, 2002.

“Donatello’s Bronze David: Politics and Erotics.” In Italian Cultural Studies. Ed. Graziella Parati and Ben Lawton, 91–110. Lafayette: Bordighera Press, 2001.

“Hide and Seek: Aziz + Cucher’s Poetics of Skin.” Frauen Kunst Wissenschaft 30 (2000), 47–54.

“Rönesans Floransasinda Mücevherin Anlami [The Significance of Jewellery in Renaissance Florence].” P Magazine 17 (2000), 42–53.

“Regarding Women in Sacred Space.” In Picturing Women in Renaissance and Baroque Italy. Ed. Geraldine Johnson and Sara Matthews Grieco, 17–41; 250–256. Cambridge: Cambridge University Press, 1998.

“Performing the Bridal Body in Fifteenth-Century Florence.” Art History 21 (1998), no. 2, 182–200.

“Art for Heart’s Sake: Configurations of Masculinity in Fifteenth-Century Florence.” In Mittelalter: Facetten der Genderforschung. Ed. Susan Marti and Daniela Mondini. Special issue of Frauen Kunst Wissenschaft 24 (1997), 67–72.

“Black Male Suspect? Auseinandersetzungen mit Stereotypen afro-amerikanischer Männlichkeit in der zeitgenössischen US-Kunst.” Kritische Berichte 23, no. 3 (1995), 75–81 (with Angela Rosenthal).

“The Bastides of Southwest France.” The Art Bulletin 77, no. 2 (1995), 290–307.

“The Visual Rhetoric of Anti-Narrative: Some Thoughts on the Paintings of Janet Echelman.” In Two Essays on the Painting of Janet Echelman, 5–8. Cambridge, Mass.: Harvard University, 1995.

“Die Inszenierung einer Pathologie der Männlichkeit: Mary Kellys Gloria Patri (und früherer Intallationen der Künstlerin).” Frauen Kunst Wissenschaft 16 1993), 30–43 (with Angela Rosenthal).

Reviews
Review of Christiane L. Joost-Gaugier, Raphael's Stanza della Segnatura: Meaning and Invention (Cambridge: Cambridge University Press, 2002), Italian Cultural Studies (forthcoming).

Review of Jeryldene M. Wood, ed., The Cambridge Companion to Piero della Francesca (Cambridge: Cambridge University Press, 2002), Italian Cultural Studies (forthcoming).

Review of Megan Holmes, Fra Filippo Lippi: The Carmelite Painter (New Haven and London: Yale University Press, 1999), Jacqueline Marie Musacchio, The Art and Ritual of Childbirth in Renaissance Italy (New Haven and London: Yale University Press, 1999) and Diana Norman, Siena and the Virgin: Art and Politics in a Late Medieval City State (New Haven and London: Yale University Press, 1999), Art Bulletin 84, no. 3 (2002).

Review, “Michelangelo: Life Without Theory,” of George Bull, Michelangelo: A Biography (New York: St. Martin’s Press, 1997) Boston Book Review 4, no. 2 (1997), 34.

Public Presentations
“Gendering the Period Eye,” Lecture at Skidmore College (October 2003)

“Flipped! Inversion and the Gendering of Spectatorship,” annual conference of the Association of Art Historians, London (10 April 2003)

“Wealth Personified: Gender and Politics in Florentine Material Culture, c. 1500,” Things in General: Objects, Facts, and Materiality in Medieval Culture, The New England Medieval Conference, Dartmouth College (13 October 2001)

“Telling Hands,” Beauty Adorns Virtue: Renaissance Portraits of Women, National Gallery of Art, Washington D.C. (5 October 2001)

“Donatello’s Bronze David: Gender, Politics, Art,” The Institute of Fine Arts, New York University (27 October 2000)

“The Homosocial Gaze in the Italian Renaissance: Art, Gender, Power,” Repräsentation von Männlichkeit in der Kunst und in den visuellen Medien, organized by Klaus Herding, Mechtild Fend, and Marianne Koos, J. W. Goethe-Universität in Frankfurt am Main (27 April 2000)

“The digitus medicinalis, the Virgin Mary, and Wedding Bands in Fifteenth-Century Italy,” Clothing / Enclosing / Disclosing the Body c. 1250–1500, panel chaired by Louise Bordua and Anne Dunlop at the annual conference of the Association of Art Historians, Edinburgh University (6 April 2000)

“The Homosocial Gaze in the Italian Renaissance,” Italian Cultural Studies, conference, Dartmouth College (29 October 1999)

“Lustre and Lucre: The Significance of Italian Renaissance Jewellery,” Crafting the Medici: Patrons and Artisans in Florence, 1537–1737, symposium organized by Evelyn Lincoln and Catherine Zerner, David Winton Bell Gallery, Brown University (25 September 1999)

“The Wedding Ring as Cultural Symbol in Late Medieval and Early Renaissance Italy,” Personal Objects, Social Subjects: The Material Culture of Procreation and Marriage in Pre-Modern Europe, panel chaired by Anne McLannan, Berkshire Conference on the History of Women, University of Rochester (6 June 1999)

“Enactments: Performativity in Contemporary Art,” Understanding Contemporary Art, lecture series, The Lawrenceville School, Lawrenceville, N.J. (15 April 1999)

“Portraiture, Defacement, and Identity in Renaissance Italy,” Erasure in Pre-Modern Art, panel chaired by Dale Kinney and Annabel Wharton at the annual conference of the College Art Association, Los Angeles (February 1999)

“Donatello’s Judith and Holofernes, Gender, and the Politics of Misprision,” Women in Early Modern Europe, Center for Literary and Cultural Studies, Harvard University (October 1996)

“Cupido cruciatur and the Medici,” Le mariage à la Renaissance: représentations et célébrations, 38th international conference at the Centre d’Études Supérieures de la Renaissance, Université François Rabelais, Tours, France (July 1995)

“The Decorous Body in Fifteenth-Century Florence,” The Decorated Body, panel chaired by Michelle Marcus at the annual conference of the College Art Association, New York (February 1994)

“Gazing at the Other: Gendered Spaces and Visuality in Early Modern Italy,” Fremd- und Eigenwahrnehmung der Geschlechter, interdisciplinary lecture series at Trier University, Germany (November 1993)

“Women in Sacred Space,” Picturing Women in the Renaissance and Baroque, conference organized by Geraldine Johnson and Sara Matthews Grieco, Syracuse University, Florence, Italy (April 1993)

“The Politics of Beauty in Quattrocento Florence,” The Genealogy of Beauty, panel chaired by Stephen Bann at the annual conference of the Association of Art Historians, Tate Gallery, London (February 1993)

Editorial Boards
University Press of New England (UPNE)/Dartmouth College, 2001–2004
Coming About. . . A Festschrift for John Shearman, ed. Lars Jones and Louisa C. Matthew (Cambridge, Mass.: Harvard University Art Museums, 2002)

Curatorial Experience
Co-Curator (with Angela Rosenthal) of for sale, a multimedia project by the artists relax, Dartmouth College: comprising a video- and photo-installation in the galleries of the Hood Museum of Art, a light installation on the Dartmouth College Green, a CD-ROM, and a webpage (October 1999–January 2000)

Co-Curator of teaching exhibitions at the Hood Museum of Art: The Artist as Object/Subject (with Jim Jordan, 2000); Aspects of Human Experience (with Angela Rosenthal, 1999), Figures and Structures (with Jim Jordan, 1997)

Organization of Academic Events
Co-organized (with Arne R. Flaten), Devices and Desires: The Visual Rhetoric of Power and Propaganda in Renaissance and Baroque Italy, session at the annual conference of the College Art Association, New York (February 2003)
Co-organized (with T. Barton Thurber, Curator of European Art at the Hood Museum of Art), Printed Portraits in Early Modern Europe, conference, Dartmouth College (18 November 2000)
Co-organized (with Angela Rosenthal) Art and Communication, conference, Dartmouth College (6 November 1999)

Awards and Fellowships
Robert S. Cheheyl ‘38 and R. Stephen Cheheyl, Jr. ‘67 Fellowship, Dartmouth College, 2002–2003
Karen E. Wetterhahn Memorial Award for Distinguished Creative or Scholarly Achievement, Dartmouth College, 2000–2001
Gordon W. Russell 1955 Fellow, Dartmouth College, 2001
Dartmouth College Faculty Fellowship, 1998–99
Mellon Foundation Grant: Museum Residency, Hood Museum of Art, 1996
Walter and Constance Burke Research Award, Dartmouth College, 1995–98
Travel grant from the Centre d’Études Supérieures de la Renaissance, Université François Rabelais, Tours (France), 1995
Mellon Foundation Grant, 1994–95
Frederick Sheldon Fellowship, Harvard University, 1992–93
Mellon Foundation Grant, 1992
Derek Bok Center for Teaching, Certificate of Distinction for outstanding teaching, 1991
Mellon Foundation Grant, 1990
Samuel H. Kress Foundation travel grant, 1989
Grant from the Centro Internazionale di Studi Architettura “Andrea Palladio”, Vicenza (Italy), 1990
Bernard Berenson Fellowship, Harvard University, 1989–90
Edward Maverick Fellowship, The Courtauld Institute of Art (UK), 1988–89
Stella and Rennselaer W. Lee undergraduate thesis prize for theory, Princeton University, 1987
Princeton University Grant for thesis research, 1986

Academic Societies and Affiliations
College Art Association (USA)
Ulmer Verein für Kunstgeschichte (Germany)
Association of Art Historians (UK)
Renaissance Society of America (USA)
Society for Renaissance Studies (UK)
Associate: The Center for Medieval and Renaissance Studies, UCLA, 2000–2001
Reader: The Huntington Library, 2000–2001
Reader: The Getty Research Library, 2000–2001

Disciplinary Service
Reader for the Standard Research Grants Program of the Social Sciences and Humanities Research Council of Canada, 2000–2001
Reader for Yale University Press, 2002
Reader for UPNE, 2002–2003
Reader for The Art Bulletin, 2003

Service at Dartmouth College
Committee on Instruction (COI), 2003–
Committee on Writing, 2003–
Committee on the Faculty (COF), 2002–
Council on Benefits, 2002–
Committee on Organization and Policy (COP), 2001–2002
Leslie Humanities Center Advisory Committee, 2002–
Hood Museum of Art, Acquisitions Committee, 1995–2001
Editorial Board of University Press of New England (UPNE)/Dartmouth College, 2002–
Search Committee for Korean Studies, 2002–2003
Planning and implementation of a Certificate in Medieval & Renaissance Studies, 2002–2003
Presentations to the Board of Trustees, the Hop/Hood Overseers, Humanities Forum, Medieval Seminar, and various alumni groups.