Justin Greenlee, PhD
Lehigh University, Center for Innovation in Teaching and Learning, Director of Writing Across the Curriculum
I graduated from Kenyon College in 2009, earned a master’s degree from the University of Alabama (2014), and a Ph.D. in art history from the University of Virginia (2020). I have over six years of experience as a digital humanist in multiple modes, including work as a digital humanities project developer (2016–22), a digital pedagogy specialist (2020–21), a lecturer and professor of art history (2013–14; 2016; 2017, 2020–23; including eight online classes), and a Digital Scholarship/ Humanities Specialist (2023–).
I have also been a college tennis coach (Kenyon College, Division III, 2020–21; Lafayette College, Division I, 2022–23) and taught art history at Muhlenberg College, the University of Wisconsin-Green Bay, the University of Wisconsin-Milwaukee, Carroll University, the University of Virginia, the University of Alabama, and J. Sargeant Reynolds Community College. Past courses include Survey of Art I and II, The Early Renaissance in Italy, The High Renaissance in Italy, Modern Art, and Contemporary Art.
At the University of Virginia I was a member of the Praxis digital humanities program in the Scholars’ Lab, the Public Humanities Lab, the Institute for Public History, and served as a co-coordinator of the Interdisciplinary Medieval Colloquium. I was one of the first candidates to receive UVA’s Graduate Certificate in the Digital Humanities (2020) and spent one year working with a Learning Design & Technology team at UVA at the height of the Covid-19 pandemic.
You can find a portfolio of digital humanities projects I've undertaken with collaborators at justingreenlee.net
Skills:
teaching; research; writing
use of digital scholarship tools
leadership of teacher trainings; mentorship; team building
athletics coaching
grant writing
project management; event planning
collaboration and community engagement
public speaking; presentation of information
content knowledge of the arts, history, and the humanities
I have also been a college tennis coach (Kenyon College, Division III, 2020–21; Lafayette College, Division I, 2022–23) and taught art history at Muhlenberg College, the University of Wisconsin-Green Bay, the University of Wisconsin-Milwaukee, Carroll University, the University of Virginia, the University of Alabama, and J. Sargeant Reynolds Community College. Past courses include Survey of Art I and II, The Early Renaissance in Italy, The High Renaissance in Italy, Modern Art, and Contemporary Art.
At the University of Virginia I was a member of the Praxis digital humanities program in the Scholars’ Lab, the Public Humanities Lab, the Institute for Public History, and served as a co-coordinator of the Interdisciplinary Medieval Colloquium. I was one of the first candidates to receive UVA’s Graduate Certificate in the Digital Humanities (2020) and spent one year working with a Learning Design & Technology team at UVA at the height of the Covid-19 pandemic.
You can find a portfolio of digital humanities projects I've undertaken with collaborators at justingreenlee.net
Skills:
teaching; research; writing
use of digital scholarship tools
leadership of teacher trainings; mentorship; team building
athletics coaching
grant writing
project management; event planning
collaboration and community engagement
public speaking; presentation of information
content knowledge of the arts, history, and the humanities
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Ph.D. Dissertation by Justin Greenlee, PhD
Bessarion was an avid collector of works of art, including relics and reliquaries, and an important patron of his cardinal titular church, the basilica of Santi Apostoli in Rome. However, Bessarion’s activities as a collector of artifacts has not received as much scholarly attention as his library, nor has it been placed into the context of the cardinal’s advocacy for Crusade. Few studies have considered that Bessarion’s collection was first and foremost a sign of his multifaceted identity as a scholar who converted from Orthodoxy to Catholicism and as a humanist who was a man of the church with a defined political agenda surrounding Crusade. In response, my dissertation is a study of the cardinal’s engagement with works of art in the fifteenth-century culture of Crusade in Europe and his desire to defeat the sultan, Mehmed II (r. 1444–46, 1451–81), in the Byzantine world.
Bessarion lived in Rome for over thirty years following his immigration from Constantinople, during which time the cardinal amassed an impressive collection of illuminated manuscripts, relics, reliquaries, Byzantine icons, scientific instruments, and liturgical objects. I present the thesis that Bessarion’s patronage of the arts and sciences was fueled by two closely related endeavors: first, the cardinal’s lifelong travels through the Byzantine world and Europe; and second, his fervent desire to launch a Crusade to reclaim territories controlled by Mehmed’s army. I argue that Bessarion acquired works of art for his collection in Rome to use them as instigations to Crusade and a moral mandate for Christian princes to take up the Cross and participate in a holy war against the Ottomans.
Papers by Justin Greenlee, PhD
Conference Presentations by Justin Greenlee, PhD
Our talk begins with a historical introduction to the work of art with a focus on the reliquary as a layered object that was created in the fifteenth century in the city Constantinople. It was here that the core components of a gold cross and a surrounding wooden tablet were produced with subsequent interventions taking place in Italy, where the object was outfitted with ornamentations around a secondary frame and attached to an elaborate silver processional handle. The logic that guided successive renovations to the reliquary is one of accumulation and the massing of sacred material and we chose to tell the complex history of the object by rendering it as a 3D print in five parts. These components can be disassembled and reassembled by a potential handler and in five minutes we will discuss how these revisions and other acts of interpretation make our model an exemplum—or an object about the reliquary—more than a replica.
Keywords: 3D modeling, 3D printing, Rhinoceros
Talks by Justin Greenlee, PhD
CFP by Justin Greenlee, PhD
Digital and Public Humanities by Justin Greenlee, PhD
https://bit.ly/greenlee_dh_portfolio; and
https://dh.virginia.edu/certificate
http://bit.ly/justingreenlee_medium_nextupcharlottesville
https://muse.jhu.edu/issue/39105
http://dashamerikan.scholarslab.org
http://dashamerikan.scholarslab.org/
M.A. Thesis by Justin Greenlee, PhD
Bessarion was an avid collector of works of art, including relics and reliquaries, and an important patron of his cardinal titular church, the basilica of Santi Apostoli in Rome. However, Bessarion’s activities as a collector of artifacts has not received as much scholarly attention as his library, nor has it been placed into the context of the cardinal’s advocacy for Crusade. Few studies have considered that Bessarion’s collection was first and foremost a sign of his multifaceted identity as a scholar who converted from Orthodoxy to Catholicism and as a humanist who was a man of the church with a defined political agenda surrounding Crusade. In response, my dissertation is a study of the cardinal’s engagement with works of art in the fifteenth-century culture of Crusade in Europe and his desire to defeat the sultan, Mehmed II (r. 1444–46, 1451–81), in the Byzantine world.
Bessarion lived in Rome for over thirty years following his immigration from Constantinople, during which time the cardinal amassed an impressive collection of illuminated manuscripts, relics, reliquaries, Byzantine icons, scientific instruments, and liturgical objects. I present the thesis that Bessarion’s patronage of the arts and sciences was fueled by two closely related endeavors: first, the cardinal’s lifelong travels through the Byzantine world and Europe; and second, his fervent desire to launch a Crusade to reclaim territories controlled by Mehmed’s army. I argue that Bessarion acquired works of art for his collection in Rome to use them as instigations to Crusade and a moral mandate for Christian princes to take up the Cross and participate in a holy war against the Ottomans.
Our talk begins with a historical introduction to the work of art with a focus on the reliquary as a layered object that was created in the fifteenth century in the city Constantinople. It was here that the core components of a gold cross and a surrounding wooden tablet were produced with subsequent interventions taking place in Italy, where the object was outfitted with ornamentations around a secondary frame and attached to an elaborate silver processional handle. The logic that guided successive renovations to the reliquary is one of accumulation and the massing of sacred material and we chose to tell the complex history of the object by rendering it as a 3D print in five parts. These components can be disassembled and reassembled by a potential handler and in five minutes we will discuss how these revisions and other acts of interpretation make our model an exemplum—or an object about the reliquary—more than a replica.
Keywords: 3D modeling, 3D printing, Rhinoceros
https://bit.ly/greenlee_dh_portfolio; and
https://dh.virginia.edu/certificate
http://bit.ly/justingreenlee_medium_nextupcharlottesville
https://muse.jhu.edu/issue/39105
http://dashamerikan.scholarslab.org
http://dashamerikan.scholarslab.org/