"Lacan and Gestalt Theory, with Some Suggestions for Cultural Studies," in Ian Verstegen, ed., Arnheim and Expansive Formalism (Vienna: Krammer, 2015).
“Conjugal Piety: Creusa in Barocci’s Flight of Aeneas from Troy,” in Marice Rose and Alison Poe, eds., Receptions of Antiquity, Receptions of Gender (Brill, 2015), 393-417.
“New Materialism and Visual Studies: A Critical Realist Critique,” in Roger Rothman and Ian Verstegen (eds.), The Art of the Real: Visual Studies and the New Materialism (Newcastle upon Tyne: Cambridge Scholars Publishing, 2015), 172-188.
“Arnheim on Artistic Symbolization (with some Help from Argenton),” Ragionamenti percettivi: Saggi in onore di Alberto Argenton (Sesto San Giovanni: Mimesis Edizioni, 2014).
"What can Arnheim Learn from Flusser (and Vice Versa)?" Flusser Studies 18 (2014): 1-11.
"An Ontological Turn in the Philosophy of Photography" (with Carlo Maria Fossaluzza), Proceedings of the European Society of Aesthetics 6 (2014): 1-13.
"The Tactility of Early Cubism," Konsthistorisk tidskrift (2014): 1-13.
"Reforming Visual Semiotics: The Dynamic Approach," Semiotica (2014): 31-48.
"Dispositional Realism and the Specificity of Digital Media," Leonardo 47 (2014): 167-171.
"Leonardo, Raphael and Painterly Influences on the Development of Ichnography," in Ian Verstegen and Allan Ceen, eds., Giambattista Nolli and Rome: Mapping the City before and after the Pianta Grande (Rome: Studium Urbis, 2014).
"Padua Blue between Katz and Kristeva: A Naturalistic Third Way for Visual Studies," re·bus 6 (2013): 1-22.
"A Newly Reattributed Painting by Francesco Vanni in Malta" (with John Marciari), Melita Historica 16 (2012) (published 2013).
"Is William Epstein a Gestalt Psychologist?" Gestalt Theory 34 (2012): 179-190.
"The ‘Second’ Vienna School as Social Science," Journal of Art Historiography 7 (2012): 1-17.
"When Are We Speculating on History? A Mandelbaumian Theory," Journal of the Philosophy of History 6 (2012): 60-83.
“Burckhardt, Narrative, and Objectivity,” in Sabine Frommel and Maurizio Ghelardi, eds., L’idea di stile nella storiografia artistica (Paris and Geneva: Droz, 2012).
“Teoria della gestalt, enattivismo, e la rettorica di ‘realismo,’” in Fiorenza Toccafondi, ed. Fenomenologia e scienza. Punti d'incontro passati e presenti (Firenze, Le Lettere, 2012), 244-278.
"Materializing Strukturforschung," in Dan Adler and Mitchell Frank (eds.) German Art History and Scientific Thought (Aldershot: Ashgate, 2012), pp. 141-160.
"Vasari's Progressive (but Non-Historicist) Renaissance," Journal of Art Historiography 5 (2011), 5-IV/1, 19 pages.*
"Eminem and the Tragedy of the White Rapper," Journal of Popular Culture 44 (2011): 872-889.*
"Due varieta' in se: Practices of Engagement in Bronzino's Portraits," Source 30 (2011): 26-32.*
"Arnheim and Ingarden on the Ontology of Art," Gestalt Theory 32 (2011): 307-322.*
"Come dire oggettivamente che la prospettiva e' relativa," in Tiziana Andina and Carmelo Cali, eds., Arte, Psicologia e Realismo: Saggi in Onore di Lucia Pizzo Russo [special issue Rivista di Estetica], 48 (2011): 217-235.
"La 'second' ecole de Vienne et les sciences sociale," in Celine Trautmann-Waller, ed., L'ecole viennoice d'histoire de l'art [special issue, Austriaca: Cahiers universitaires sur l'Autriche] 26 (2011): 159-187.
"Francesco Paciotti, Military Architecture, and the European Geopolitics," Renaissance Studies 24 (2010): 1-22.
"A Classification of Perceptual Corrections of Perspective Distortions in Renaissance Painting," Perception 39 (2010): 677-694.*
"John White's and John Shearman's Viennese Art Historical Method," Journal of Art Historiography 1 (2010), 1-IV/1.
"Mandelbaum's 'Noble Dream:' Historical Objectivism through a Century of Debate," in Maurice Mandelbaum (as above), 65-84.
"Tizian, Prägnanz, Zeichen: Singularität in den bildenden Künsten," in Martina Pluemacher and Wolfgang Wildgen (eds.), Prägnanter Inhalt - Prägnante Form (Zeitschrift für Semiotik) (2009). Available here in English.
"Between Presence and Perspective: The Portrait-in-a-Picture in Early Modern Painting," Zeitschrift für Kunstgeschichte 71 (2008): 513-526.
"Grande quanto l'opera: Scale and Function in Barocci's Drawings," Master Drawings 46 (2008): 289-321 (with John Marciari).*
"Death Dates, Birth Dates, and the Beginnings of Art History," Storiografia: Rivista annuale di storia 10 (2006): 1-19 (published 2007).
"Rudolf Arnheim's Contribution to Gestalt Psychology," Psychology of Aesthetics, Creativity, and the Arts 1 (2007): 8-15.
"Arnheim's Lesson: Cubism, Collage, and Gestalt Psychology," Journal of Aesthetics and Art Criticism 65 (2007): 287-297 (with Roger Rothman).
"Federico Barocci invented Light and Color," Source 26 (2007): 18-23.
"Barocci, Cartoons, and the Workshop: A Mechanical Means for Satisfying Demand," Notizie da Palazzo Albani 34/35 (2005/2006): 101-124 (published 2007).
"Duke Francesco Maria dell Rovere and the Duchy of Urbino between Rome and Venice," in Patronage and Dynasty (as above).
"Cardinal Giulio Feltrio della Rovere: Reform and Renewed Ambition," in Patronage and Dynasty (as above).
"A Critical Realist Perspective on Aesthetic Value," Journal of Critical Realism 5 (2006): 323-343.
“A Plea for a Cognitive Iconology within Visual Studies,” Contemporary Aesthetics 4 (2006).
“Mona Lisa's Smile: The Place of Experimental Phenomenology within Gestalt Theory.” Gestalt Theory 27:2 (2005): 91-106.
"Campo, Forze, Singularità: Prospetti per la spiegazione arnheimiana del ordine percettuale," in Lucia Pizzo Russo, ed., Rudolf Arnheim: Arte e Percezione Visiva (Palermo: Aesthetica Preprint, 2005).
"Tacit Skills in the Perspective Treatise of the Late Renaissance," in Karl Enenkel and Wolfgang Neubehr, eds., Cognition and the Book (Leiden: Brill, 2005).
“Gestalt, Art History, and Nazism” [Special Arnheim Issue], Gestalt Theory 24:2 (2004): 134-150.
“Arnheim and Gombrich in Social Scientific Perspective,” Journal of the Theory of Social Behaviour 34 (2004): 91-102.
"The Embodied Perspective Viewer and its Implications for Semiotics," in Winfried Nöth, ed., Körper, Verkörperung, Entkörperung (Kassel: Universität Kassel, 2004).
"Three Cartoon Fragments for Barocci's Madonna di San Simone," Master Drawings 41 (2003): 378-383.
"The Apostasy of Michelangelo in a Painting by Federico Barocci," Source 22 (2003): 27-34.
"Federico Barocci, Federico Borromeo and the Oratorian Orbit," Renaissance Quarterly 56 (2003); 56-87.*
"Bernard Berenson and the Science of Anti-Modernism," Art Criticism 15 (2001): 9-22.
"Gestalt Psychologists on the Gestalt-Switch," Il Cannocchiale: Rivista di studi filosofici 2 (2001): 3-9.
"Maurice Mandelbaum as a Gestalt Philosopher," Gestalt Theory 20 (2000): 46-58.
"Gestalt Psychology in Italy," Journal of the History of the Behavioral Sciences 42 (2000): 31-42.*
"'I'm Still Number One!' B-D-P's Ambivalent Leadership of Political Rap," Schuylkill 3 (2000): 70-80.
"The Thought, Life, and Influence of Rudolf Arnheim," Genetic, Social and General Psychological Monographs 122 (1996): 197-213; reprinted in Arnheim, Gestalt and Art.
Notes and Varia“A Semiotic Profile: Donald Preziosi,” SemiotiX: A Global Information Bulletin 8 (2012): http://semioticon.com/semiotix/2012/08/a-semiotic-profile-donald-preziosi/
“Gestalt Psychology,” in Irving Weiner, ed., Corsini Encyclopedia of Psychology (Hoboken: John Wiley and Sons, 2009).
“Rudolf Arnheim,” and “Maurice Mandelbaum,” Dictionary of American Philosophy (Bristol: Thoemmess Press, 2005).
“A Counterexample/Un controesempio,” in Ugo Savardi and Ivana Bianchi, eds., Manfredo Massironi: Ricerca visiva e arte; Arte e ricerca visiva, exh. cat. (Cremona: Monotipia Cremonese, 2007), 26-27.
“Arnheim and Discourses of Art History” [Special Arnheim Issue], Gestalt Theory 26:2 (2004): 169-173.
“Gombrich Making Historical What he Said he Could Theoretically,” Gombrich Archive (2003).
“Bhaskar and American Critical Realism,” Website for Critical Realism (2000).
“Rudolf Arnheim,” in Michael Kelly, ed., The Encyclopedia of Aesthetics (New York: Oxford University Press, 1998), vol. I, 109-111.
Reviews“Persistence of Vision – Blind Spots after Ten Years,” review of Frederic Schwartz, Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany (New Haven: Yale University Press, 2005), Journal of Art Historiography 11 (2014): 1-11.
“Art is Not What You Think It Is (But We Can Approach it Through the Art Matrix),” review of Donald Preziosi and Claire Farago, Art is Not What You Think It Is, Journal of Art Historiography 9 (2013): 1-5.
Wolfgang Prinz, Miriam Beisert and Arvid Herwig, eds., Action Science: Foundations of an Emerging Discipline (MIT Press, 2013), Leonardo (2013).
Peter Gillgren, Siting Federico Barocci and the Renaissance Aesthetic (Ashgate, 2011), British Journal of Aesthetics 52 (2012): 425-427.
“Arnheim for Film and Media Studies,” Leonardo Reviews Quarterly 5 (2011): 12-19. http://www.leonardo.info/reviews/LRQ/LRQ%201.04.pdf
Scott Higgins, ed., Arnheim for Film and Media Studies (London: Routledge, 2011), Leonardo Digital Reviews (2011).
Guido Beltramini, ed., Palladio and the Architecture of Battle: with an Unpublished Edition of Polybius' Histories (Venice: Marsilio Editori s.p.a 2010) and Martha Pollak, Cities at War in Early Modern Europe (Cambridge: Cambridge University Press, 2010), Renaissance Quarterly 64 (2011): 192-194.
Christel Vesters, ed., Now Is the Time Art & Theory in the 21st Century (Rotterdam: NAi Publishers, 2010), Leonardo Electronic Reviews (2010); http://leonardo.info/ldr.php and Leonardo 44 (2011): 185-186.
Alberto Argenton, Arte e espressione. Studi e ricerche di psicologia dell'arte (Padua: Il Poligrafo, 2009), Journal of Aesthetics and Art Criticism 68 (2010): 196-197.
Bernhard Radloff, Heidegger and the Question of National Socialism: Disclosure and Gestalt (Ontario, Canada: University of Toronto Press, 2007), Gestalt Theory 31 (2009): 86-88.
James Heffernan, Cultivating Picturacy: Visual Art and Verbal Interventions (Waco: Baylor University Press, 2006), Journal of Aesthetics and Art Criticism 66 (2008), 311-312.
Anne Friedberg, The Virtual Window: From Alberti to Microsoft (MIT Press, 2006); Leonardo Digital Reviews (2007).
Bronwyn Wilson, The World in Venice: Print, City & Early Modern Identity (Toronto: University of Toronto Press, 2005), Histoire sociale - Social History 39 (2006): 582-4.
Gauvin Alexander Bailey, Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 (Toronto: University of Toronto Press, 2003), Canadian Review of History 40 (2005): 90-92.
Lucia Pizzo Russo, Le arti e la psicologia (Milan: Il Castoro, 2004), Leonardo Digital Reviews (July 2005).
Hubert Damisch, A Theory of /Cloud/: Toward a History of Painting (Stanford: Stanford University Press, 2002), Leonardo 37 (2004): 415.
Alessandra Coppa, Francesco Paciotto, Architetto Militare (Milan: Unicopli, 2002) & Nadia Ragni, Francesco Paciotti, Architetto Urbinate (1521-1591) (Urbino: Accademia Raffaello, 2001), Renaissance Quarterly 57:1 (2004): 209-211.
Maryvelma Smith-O’Neil, Giovanni Baglione (New York: Cambridge University Press, 2002), Renaissance Quarterly 57:1 (2004): 195-196.
Robert Nelson (ed.), Visuality Before and Beyond the Renaissance: Seeing as Others Saw (Cambridge: Cambridge University Press, 2000), Journal of Aesthetics and Art Criticism 61:4 (2003).
Victor Stoichita, The Self-Aware Image: An Insight into Early Modern Meta-Painting (New York: Cambridge University Press, 1997) and Jodi Cranston, The Poetics of Portraiture in the Italian Renaissance (New York: Cambridge University Press, 2000), Journal of Aesthetics and Art Criticism 61:1 (2003).
Manfredo Massironi, The Psychology of Graphic Images: Seeing, Drawing, Communicating (Mahwah: Lawrence Erlbaum Associates, 2002), Leonardo 36 (2003): 162-3.
Nicholas Turner, Federico Barocci (Paris: Adam Biro, 2000), Renaissance Quarterly 55 (2002): 1074-1075.
Thomas Puttfarken, The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400-1800 (New Haven: Yale University, 2000), Sixteenth Century Journal 33 (2002): 316-317.
Antonio Natali (ed.), L'onesta di invenzione: Federico Barocci e i pittori riformati negli Uffizi, (Milano: Silvana, 2000), Sixteenth Century Journal 32 (2001): 135-136.
“A Formalist Reborn [Rudolf Arnheim],” Film-Philosophy: Electronic Salon 3 (1999).
Conference Papers"Medial Responsibility in Vilem Flusser and Rudolf Arnheim," Remediating Flusser, University of Connecticut, November 2013
“Federico Barocci e il compasso di riduzione” I Barocci a Urbino tra arte e scienza, Centro Internazionale di Studi Urbino e la prospettiva, October 2012.
“Comparison,” and “Trajectory,” Crossing Boundaries: Understanding World Art Lecture Series, The Barnes Foundation, Philadelphia, PA, September, October 2012.
“Site-Specifics: the Byzantine Post-Modern Aesthetic,” Byzantium/Modernism: Art, Cultural Heritage and the Avant-Gardes, Yale University, April 20-22, 2012.
“Sustaining Lessons Learned after the New Art History: Toward Meta-Theory,” Journal of Art Historiography 2012 Conference, University of Birmingham, England, March 2012.
“Marcia Hall’s Work as a Medial History of the Renaissance,” On the Work of Marcia Hall, Renaissance Society of America, Washington DC, March, 2012.
“Cognitive Glue: The Veneration and Destruction of Images,” Penn Humanities Forum, University of Pennsylvania, March 2012.
"Arte programmata, creativita' e la sfida del postmoderno," Tribute to Creativity: Arte programmata, Massironi, Bozzi, Verona, Italy, May 12.
"L'arte per Arnheim," Seminario Dottorato, Universita' di Palermo, Palermo, Italy, May 11 2011.
"Beatrizet's Guerra di Napoli Map of Rome (1557): The Secret Made Visible," Renaissance Society of America, Venice, April 2010.
"Materializing Sedlmayr," Viennese Art Historiography Colloquium, Glasgow, Scotland, October 2-3, 2009.
"Art and Perception" (Kunst und Wahrnehmung), Alpbach Forum, 5 lectures, Alpbach, Austria, August 2008.
"Maurice Mandelbaum and the Real in History," The Place of the Real in the Human Sciences, International Association of Critical Realism, Philadelphia, 18 August 2007.
"Burckhardt, Narrative and Objectivity,” CORTONA II, Palazzone (Scuola Normale di Pisa), Cortona, Italy, May 2007.
"Art History and Anthropology: Aura and Action," Renaissance and Baroque Open Session, College Art Association, New York, New York, February 2007.
“Fenomenologia Sperimentale,” Seminario Dottorato, Università di Parma, March 9, 2006.
“Federico Barocci and the Science of Drawing in the Early Baroque,” California State University – Fullerton, February, 2006.
“Un appello per una iconologia cognitiva,” Neurocaffè (sponsored by the Università di Trieste), November 10, 2005.
“Barocci’s Immaculate Conception and the Religious Politics of Pius V,” Renaissance Society of America, Cambridge, England, April 2005.
“Experimental Phenomenology between Berlin and Graz,” Values, Meaning and Facts, Gestalt Theory Association, Graz, Austria, February 24–27, 2005.
“Campo, Forze, Singularità: Prospetti per la spiegazione arnheimiana del ordine percettuale,” Rudolf Arnheim: Arte e Percezione Visiva, Palermo, Italy, November 2004.
“Noblemen and Noble Mathematics in the Duchy of Urbino,” Noble and Ignoble Mathematics in the Italian Renaissance, Renaissance Society of America, New York, New York, April 2004.
“Silence and Rapture: The Devout Style in the Early Seventeenth Century,” McMaster University, Hamilton, Canada, March 9, 2004.
“Antique Relief in Renaissance Painting: More than just Antiquarianism,” From Constantine to Tolkien, NEH Symposium, Hood College, December 2003.
“Leonardo, Raphael and Painterly Influences on the Development of Ichnography,” Giambattista Nolli, Imago Urbis, and Rome, Rome, Italy, June 2003.
“Cardinal Giulio della Rovere: Forgotten Maecenas,” The Della Rovere: Patronage of a Renaissance Dynasty, Renaissance Society of America, Toronto, Canada, April 2003.
“Oratorian Quietude from Federico Barocci to Pietro da Cortona,” Muta Poesis, College Art Association, New York, New York, February 2003.
“Portable Space: The Perspective Treatise in the Late Renaissance,” Cognition and the Book, Berlin, Germany, September 2002.
“The Embodied Perspective Viewer and its Implications for Semiotics,” 10th International Congress, German Society for Semiotics, Kassel, Germany, July 2002.
“Distorzioni di prospettiva come ‘buona forma:’ esempi dal Rinascimento,” Congressino di Primavera hosted by the University of Trieste, Casteldobro, Slovenia, May 2002.
“Barocci: Color Even a Counter-Reformation Saint Could Love,” Technique and Workshop Practice, Renaissance Society of America, Scottsdale, Arizona, April 2002.
“When was a Renaissance Artist ‘Past his Prime?’ Revising Some Renaissance Categories, Sixteenth Century Studies Conference, Denver, Colorado, October 2001.
“Imitating the Inimitable: Federico Barocci’s ‘Incompetent’ Workshop,” Amateur or Professional: Experts, Dabblers, Hirelings & Hacks, Bryn Mawr College, Bryn Mawr, Pennsylvania, October 2001.
“Federico Barocci, Federico Borromeo and the Oratorian Orbit,” New Approaches to Federico Barocci, Renaissance Society of America, Chicago, Illinois, March 2001.
“The Invention of Light and Color as Abstract Categories in the Art of Barocci,” Philadelphia Symposium on the History of Art, Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 2001.
“Color: Between Rhetoric and Science,” Color and the Words Used to Describe It, College Art Association, Chicago, Illinois, February 2001.
“A Critical Realist Model of the Art Market,” Visual Anthropology, Art and Aesthetics: Critical Dialogues, American Anthropological Association, San Francisco, California, November 2000.