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CURRICULUM VITAE: Charles Barber CURRICULUM VITAE: Charles Barber Name: Charles Edward BARBER Title: Professor of Art and Archaeology Work Address: Department of Art and Archaeology Princeton University 105 McCormick Hall Princeton, NJ 08544 USA Telephone: Work (609) 258 0352 Fax (609) 258 0103 E-mail: [email protected] Higher Education: PhD: Courtauld Institute of Art, University of London (1986-89) Thesis subject: Image and Cult: Studies in the Representation of the Virgin Mary in Early Medieval Art (Supervisor: Professor Robin Cormack). B.A. (hons.): Courtauld Institute of Art, University of London (1983-1986). Faculty Positions Held: 2013- Professor of Art and Archaeology, Princeton University. 2008-12 Chairperson, Department of Art, Art History & Design, University of Notre Dame. 2008-13 Professor of Art History, University of Notre Dame. 2001-08 Associate Professor of Art History, University of Notre Dame. 2000-13 Faculty, Early Christian Studies Program, University of Notre Dame. 1996-2001 Assistant Professor of Art History, University of Notre Dame. 1996-2013 Fellow, Medieval Institute, University of Notre Dame. 1993-96 Visiting Assistant Professor of Art History, University of Illinois at Urbana-Champaign. 1 Scholarships and Fellowships: 2014-15 Fellowship, Institute for Advanced Study, Princeton (declined) 1997 Fellowship in Byzantine Studies at Dumbarton Oaks, Washington, D.C.. 1990-93 British Academy Postdoctoral Fellowship held at the Warburg Institute, London. 1989-90 Leverhulme Trust Studentship held at the British School at Rome. 1987-89 University of London Postgraduate Studentship. Distinctions, Honors, Awards: 2013 OCBR Visiting Professor in Byzantine Art, Oxford University 2011-16 President, the United States National Committee for Byzantine Studies. This committee represents all US Byzantinists at the Association Internationale des Études Byzantines (the world-wide body for all Byzantinists). 2004-05 Served as President of the Byzantine Studies Conference (now Byzantine Studies Association of North America). This is the national interdisciplinary organization for all Byzantinists in the United States. 1999-2002 Michael P. Grace II Assistant Professor of Art History, University of Notre Dame. Professional Memberships: I am a member of the College Art Association, the International Center of Medieval Art, the Society for the Promotion of Byzantine Studies, the Byzantine Studies Association of North America (formerly the Byzantine Studies Conference), and the US National Committee for Byzantine Studies. Books and Monographs: Books: Contesting the Logic of Painting: Art and Understanding in Eleventh-Century Byzantium. Leiden: Brill, 2007. 2 Figure and Likeness: On the Limits of Representation in Byzantine Iconoclasm. Princeton: Princeton University Press, 2002. The Theodore Psalter (British Library Add. 19352): A CD-ROM Facsimile. Urbana: University of Illinois Press, 2000. in progress: Before and Beyond Modernism: An Introduction to Byzantine Art and Aesthetics Seeing God, Silencing Painting: Art in Palaiologan Thought. The Icon in the Era of Art: Poetics and Painting in Renaissance Crete Edited Books: Michael Psellos on Literature and Art: A Byzantine Perspective on Aesthetics. Co-edited with Stratis Papaioannou. Notre Dame: University of Notre Dame Press, 2017. Medieval Greek Commentaries on the Nicomachean Ethics. Co-edited with David Jenkins. Leiden: Brill, 2009. Reading Michael Psellos. Co-edited with David Jenkins. Leiden: Brill, 2006. in progress: The Icon: A History, from Late Antiquity to the Present. Co-edited with Maria Vassilaki. Cambridge: Cambridge University Press, 2021. Series Editor: Byzantine Texts on Art and Aesthetics. 4 volumes. Cambridge: Cambridge University Press, forthcoming. vol. 1: The Iconoclastic Era, ca. 680-867 vol. 2: The Macedonian Era, ca. 867-1081 vol. 3: The Later Byzantine Period, ca. 1081-1330, ed. Foteini Spingou (forthcoming in 2018) vol. 4: After Byzantium, ca. 1330-1669 Refereed Publications: Journals: C. Barber, “Out of Sight: Painting and Perception in Fourteenth-Century Byzantium,” 3 Studies in Iconography 35 (2014): 107-20. C. Barber, “Defacement,” The Yearbook of Comparative Literature 56 (2010, pub. 2012): 104-115. C. Barber, “Mimesis and Memory in the Narthex Mosaics of the Nea Moni on Chios,” Art History 24 (2001): 323-337. C. Barber, “The Truth in Painting: Iconoclasm and Identity in Early-Medieval Art,” Approaches to Early-Medieval Art, ed. Lawrence Nees, a special issue of Speculum 72 (1997): 1019-1036, reprinted as “The Truth in Painting: Iconoclasm and Identity in Early-Medieval Art,” Approaches to Early- Medieval Art, ed. Lawrence Nees. Cambridge, Mass.: Medieval Academy of America, 1998: 61-78. C. Barber, “From image into art: art after Byzantine iconoclasm,” Gesta 34 (1995): 5- 10. C. Barber, “The body within the frame: a use of word and image in iconoclasm,” Word & Image 9 (1993): 140-153. C. Barber, “From Transformation to Desire: Art and Worship after Byzantine Iconoclasm,” Art Bulletin 75 (1993): 7-16. C. Barber, “Reading the garden in Byzantium: nature and sexuality,” Byzantine and Modern Greek Studies 16 (1992): 1-19. C. Barber, “The Koimesis Church, Nicaea: the limits of representation on the eve of Iconoclasm,” Jahrbuch der Österreichischen Byzantinistik 41 (1991): 43- 60. C. Barber, “The imperial panels at San Vitale: a reconsideration,” Byzantine and Modern Greek Studies 14 (1990): 19-42. Book Chapters: C. Barber, “On the Origin of the Work of Art: Tradition, Inspiration and Invention in the Post-Iconoclastic Era.” L’icône dans la pensée et dans l'art. Constitutions, contestations, reinventions de la notion d'image divine en context chrétien. Eds. Kristina Mitalaité and Anca Vasiliu. Turnhout: Brepols, 2017: 143-62. C. Barber, "Contemplating the Life of Christ in Icons of The Twelve Feasts of the Lord." The New Testament in Byzantium. Eds. Derek Krueger and Robert S. Nelson. Washington, D.C.: Dumbarton Oaks, 2016: 221-38. 4 C. Barber, “Beyond Representation/the Gift of Sight.” Byzantium/Modernism. Eds. Roland Betancourt and Maria Tarutina-Pitard. Leiden: Brill, 2015: 330-45. C. Barber, "Neophytus Prodromenus on Epigraphy." Theologisches Wissen und die Kunst: Festschrift für Martin Büchsel. Berlin: Mann Verlag, 2015: 211-25. C. Barber, “Thingliness,” Byzantine Things in the World. Ed. Glenn Peers. Houston: Menil Collection, 2013: 98-105. C. Barber, “Movement and Miracle in Michael Psellos’s Account of the Miracle at the Blachernae.” Envisioning Experience in Late Antiquity and the Middle Ages: Dynamic Patterns in Texts and Images. Ed. Giselle de Nie and Thomas F.X. Noble. Aldershot: Ashgate Publishing, 2012: 9-22. C. Barber, “Regarding Prayer: Some Thoughts on the John the Baptist icon.” Holy Image, Hallowed Ground: Icons from Sinai. Eds. Sharon Gerstel and Robert Nelson. Turnhout: Brepols, 2011: 305-17. C. Barber, "On Cult Images and the Origins of Medieval Art," Sinn und Un-Sinn des Kultbildes: Die Intellektualisierung und die Mystifizierung mittelalterlicher Kunst. Eds. Martin Büchsel and Rebecca Müller. Berlin: Mann Verlag, 2010: 27-40 C. Barber, “Eustratios of Nicaea on Art.” Medieval Greek Commentaries on the Nicomachean Ethics. Eds. Charles Barber and David Jenkins. Leiden: Brill, 2009: 131-43. C. Barber, “In the Presence of the Text: A Note on Writing, Speaking and Performing in the Theodore Psalter.” Art and Text in Byzantium. Ed. Liz James. Cambridge: Cambridge University Press, 2007: 83-99. C. Barber, “Icons, Prayer, and Vision in the Eleventh Century.” Byzantine Christianity: A People's History of Christianity. Ed. Derek Krueger. Minneapolis: Augsburg Fortress, 2006: 149-163. C. Barber, "Living Painting, or the Limits of Pointing?" Reading Michael Psellos. Eds. Charles Barber and David Jenkins. Leiden: Brill, 2006: 117-130. C. Barber, "Art History." Palgrave Advances in Byzantine History. Ed. Jonathan Harris. New York: Palgrave-Macmillan, 2005: 147-56. C. Barber, “Iconoclasm: Iconoclasm in the Byzantine Tradition.” Encyclopedia of Religion, 2nd ed.. Detroit: Macmillan, 2005. C. Barber, "Theotokos and Logos: The Interpretation and Reinterpretation of the 5 Sanctuary Program of the Koimesis Church Nicaea." Interpreting the Mother of God. Ed. Maria Vassilaki. Aldershot: Ashgate, 2004: 51-59. C. Barber, “A Sufficient Knowledge: Icon and Body in Ninth-Century Byzantium.” Interpreting Christian Art. Eds. Heidi Hornik and Mikael Parsons. Macon, GA: Mercer University Press, 2004: 65-80. C. Barber, “Icon and Portrait in the Trial of Symeon the New Theologian.” Icon and Word: the power of images in Byzantium. Studies presented to Robin Cormack. Eds. Antony Eastmond and Liz James. Aldershot: Ashgate, 2003: 25-34. C. Barber, “Early Representations of the Mother of God.” Mother of God. Milan: Skira, 2000: 253-261. C. Barber, “Writing on the Body.” Desire and Denial in Byzantium. Ed. Liz James. Aldershot: Ashgate, 1999: 111-120. C. Barber, “Homo Byzantinus?” Women, Men and Eunuchs: Gender in Byzantium. Ed. Liz James. London and New York: Routledge, 1997: 185-199. C. Barber, “Early Christian and Byzantine Art III,2: Monumental Painting and Mosaic, before c. 313.” The Dictionary of Art, vol. 9. London: MacMillan, 1996: 562-563. C. Barber, “The monastic typikon for art historians.” The Monastery of the Theotokos Evergetis and eleventh-century monasticism. Eds. Margaret Mullett and Anthony Kirby. BBTT 6,1. Belfast: Belfast Byzantine Enterprises, 1994: 198-214. forthcoming: C. Barber “Theories of Art.” Intellectual History of Byzantium. Eds. Anthony Kaldellis and Niketas
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