Papers by Jennifer Kingsley
By every measure, the notion that the art-historical canon is socially embedded and historically ... more By every measure, the notion that the art-historical canon is socially embedded and historically negotiated should be considered a threshold concept for art history. It is both difficult and transformative to realize that masterpieces become 1 masterpieces due to complex negotiations between artists, patrons, donors, academics, critics, curators, and dealers. The results shape the parameters of our disciplinary inquiry. Even if not explicitly articulated as such to students, the 2 power and politics entrenched in the processes of canonization underlie art history's long-standing efforts to diversify its canons. The challenge remains that a more global and inclusive curriculum does not in and of itself enable students to recognize and assess canon formation as a process or to trace and analyze its legacies in disciplinary discourse. Despite a half-century of feminist scholarship, we continue to render those female artists that we have elevated to the canon with
The Bernward Gospels: Art, Memory, and the Episcopate in Medieval Germany, written by Kingsley, Jennifer P
Religion and the Arts, 2017
Journal of Museum Education, 2016
Museums and universities have natural connections. Yet with few exceptions, collaborations betwee... more Museums and universities have natural connections. Yet with few exceptions, collaborations between them segregate each partner to its traditional sphere of activity. This article presents a practicum course model that blurs and overlaps the distinctive roles of the museum and university in productive and mutually beneficial ways. In particular, working with undergraduates on an applied project with public relevance invites us to reconsider university and museum spaces as labs or studios. This offers strategies for bringing into the museum content that may be ambiguous, sensitive, polarizing, academic, or run contrary to accepted beliefs. This article shares lessons learned over five years of developing partnerships between the Johns Hopkins University and various sized independent and university museums and other heritage organizations such as the Baltimore Museum of Art, Jewish Museum of Maryland, Baltimore National Heritage Area and the Maryland Zoo. It illustrates these lessons with two case studies, one focused on a project at a national institution, the other on a partnership with a university historic house.
Bishop and Monk: John the Baptist in the Episcopal Image of Anglo-Saxon England and Ottonian Germany
Images and the Episcopacy in the Middle Ages, 2014
peregrinations.kenyon.edu
In the picture"s frame (fol. 16v): "This small book of the gospels, with a devoted mind the admir... more In the picture"s frame (fol. 16v): "This small book of the gospels, with a devoted mind the admirer of Virginity hands over to you, Holy Mary Bishop Bernward, only scarcely worthy of this name, and of the adornment of such great episcopal vestment." Hoc evangelicu(m) devota m(en)te libellum: Virginitatis amor pr(ae)stat tibi s(an)c(t)a Maria: praesul Bernward(us) vix solo nomine dignus: ornatus tanti vestitu pontificali.
Picturing the Treasury: The Power of Objects and the Art of Memory in the Bernward Gospels
Gesta, 2011
The Gospel book known to German scholars as the "precious" Gospels of St. Bernward of H... more The Gospel book known to German scholars as the "precious" Gospels of St. Bernward of Hildesheim was produced under the direction of the early eleventh-century bishop ofthat name, a patron perhaps better known for a pair of bronze doors that represent the most complex bronze casting project since Antiquity. Despite the manuscript's renown, many questions remain about the Bernward Gospels and the meaning of its miniatures both individually and as parts of a program. The dedicatory painting is the key to understanding the manuscript's pictures in that it anticipates, on the one hand, the bishop's liturgical commemoration and, on the other, the monks' intercessory prayers by engaging the praxis o/memoria, the multivalent medieval term for memory that refers equally to mnemotechnics and liturgical commemoration. The codex draws on the cognitive and ritual processes of both in order to decorate an object of particular symbolic power, the Gospels, venerated as the Word of God made flesh, namely, the Incarnate Christ. It does so most notably by translating a well-known medieval formula, the treasury list, into pictorial form and by emphasizing the symbolic power of its objects to make the saints present and accessible. The Gospel book's capacity to project the bishop's memory is predicated on that symbolic power.
The Bernward Gospels: Structuring memoria in eleventh-century Germany
UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collection of dissert... more UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest, The Bernward Gospels: Structuring memoria in eleventh-century Germany. by Kingsley ...
Jennifer P. Kingsley. Review of "A Feast for the Senses: Art and Experience in Medieval Europe" by Martina Bagnoli
Caa.reviews, 2017
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Papers by Jennifer Kingsley