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71    <br/>
72      <h1>RESEARCH</h1>
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74      <div class="entry-content regular-type">
75<h4>Written Work &amp; Presentations</h4>
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77	<p><a href="https://press.princeton.edu/books/hardcover/9780691973944/allan-rohan-crite?srsltid=AfmBOoocbbshT7rzm_kgH1PWuNoFAnLU3fJuiI56Q158yyBG8FUDjAc5"><i>Allan Rohan Crite: Neighborhood Liturgy</i></a><i> </i>(Princeton University Press, 2025), co-edited with Christina Michelon</p>
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80	<p><a href="https://press.princeton.edu/books/hardcover/9780691260662/manet?srsltid=AfmBOoqGtQCNx9-643M5FhPmay6izB8WYr4Jvt-la232Qt6ZZWeG6NBb"><i>Manet: A Model Family</i></a><i> </i>(Princeton University Press, 2025)</p>
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83	<p><a href="https://github.com/dsg2123/Copley-Data-Bibliography-" target="_blank" rel="noopener noreferrer">Data and Bibliography for "Enslaved Labor and Cultural Capital: A Quantitative and Qualitative Analysis of Copley’s Colonial Patrons and Their Circum-Atlantic World" (with N. Elder)</a></p>
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86	<p>Princeton University Press page for <a href="https://press.princeton.edu/books/hardcover/9780691192451/painting-by-numbers" title=""><i>Painting by Numbers: Data-Driven Histories of Nineteenth-Century</i></a></p>
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89	<p><a href="http://www.caareviews.org/reviews/3703" title="">Review of Asma Naeem’s <i>Out of Earshot </i>for caa.reviews</a></p>
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92	<p><a href="https://vimeo.com/392207458" title="">The 2020 Anne Hill Blanchard Uncommon Artists Lecture, American Folk Art Museum, January 2020</a></p>
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95	<p><a href="https://www.journals.uchicago.edu/doi/abs/10.1086/703661" title="">“Used Cars and Canvases: Information Economics, Art History, and the Art Market” in (</a><i><a href="https://www.journals.uchicago.edu/doi/abs/10.1086/707468" title="">American Art, Fall 2019)</a></i></p>
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98	<p><a href="https://www.journals.uchicago.edu/doi/abs/10.1086/703661" title="">“When Data Meet the Archive: Earl Shinn and Sample Bias” in (</a><i><a href="https://www.journals.uchicago.edu/doi/abs/10.1086/703661" title="">Archives of American Art Journal, Spring 2019)</a></i><i></i></p>
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101	<p><a href="https://www.nga.gov/audio-video/video/greenwald-james-castle.html" title="">“Pop without Pretense: Mass Media and the Art of James Castle,”</a> Works In Progress Lecture, December 3rd, 2018, National Gallery of Art, Washington D.C. </p>
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104	<p><a href="https://link.springer.com/referenceworkentry/10.1007/978-3-642-40458-0_31-1" title="">“Arts and Culture”</a> (with Karol Jan Borowiecki) in the <a href="https://link.springer.com/referencework/10.1007/978-3-642-40458-0" title=""><i>Handbook of Cliometrics</i></a>, Second Edition, edited by Claude Diebolt and Michael Haupert, Springer Reference (2018)</p>
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107	<p><a href="https://onlinelibrary.wiley.com/doi/10.1111/ehr.12695">Modernization and rural imagery at the Paris Salon: an interdisciplinary approach to the economic history of art (</a><a href="https://onlinelibrary.wiley.com/journal/14680289"><i>The Economic History Review,Early View)</i></a> [There is a working version of the article available for free<a href="http://www.dianagreenwald.com/uploads/EHR-Self-Archive-Working-Paper.pdf"> here</a><a href="https://onlinelibrary.wiley.com/doi/10.1111/ehr.12695">]</a></p>
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110	<p><a href="http://www.19thc-artworldwide.org/spring18/greenwald-on-artists-collecting-networks-in-nineteenth-century-new-york" title="">Colleague Collectors: A Statistical Analysis of Artists’ Collecting Networks in Nineteenth-Century New York (</a><i><a href="http://www.19thc-artworldwide.org/" title="">Nineteenth-Century Art Worldwide, Spring 2018)</a></i></p>
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113	<p>The Big Picture: Thomas Moran’s <i>The Grand Cañon of the Yellowstone </i>and the Development of the American West (<a href="http://www.journals.uchicago.edu/toc/wp/current"><i>Winterthur Portfolio,</i></a><i> </i>Winter 2015)</p>
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119        	<span style="font-size:1rem;font-family:sans-serif;">&mdash;ASSOCIATED DOWNLOAD: <a href="https://dianagreenwald.com/uploads/D_Greenwald-The-Big-Picture.pdf">The Big Picture</a> (5.6<abbr title="Megabytes">MB</abbr>)</span>
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125	<p>“The Demand for Peasants: A Statistical Analysis of Rural Imagery at the Paris Salons, 1831-1881” in The Paris Fine Art Salon/Le Salon, 1791–1881, Ed. James Kearns &amp; Alister Mill (Peter Lang, 2015)</p>
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131        	<span style="font-size:1rem;font-family:sans-serif;">&mdash;ASSOCIATED DOWNLOAD: <a href="https://dianagreenwald.com/uploads/D_Greenwald-Salon-Chapter-Writing-Sample.pdf">D_Greenwald-Salon-Chapter-Writing-Sample.pdf</a> (1.9<abbr title="Megabytes">MB</abbr>)</span>
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140<h4>Conferences Organized or Other Projects</h4>
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161	<p><a href="https://www.youtube.com/watch?v=PGSNieRw_go&amp;t=2s" title=""> Coding our Collection: The National Gallery of Art Datathon, October 2019 </a>(press release about the event <a href="https://www.nga.gov/press/2019/datathon.html" title="">here</a>)</p>
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188	<p><a href="https://www.youtube.com/watch?v=wUHm0nc8pIs">Women at Wadham: Past, Present &amp; Future, A Documentary Film, debuted June 2015</a></p>
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197	<p><a href="https://artsandecon.com/blog/about-the-conference" target="_blank" rel="noopener noreferrer">“Genius for Sale! Artistic Production and Economic Context in the Long Nineteenth Century,” a conference at Wolfson College, Oxford on May 8th 2014</a></p>
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203	<p><a href="http://www.artsandecon.com/" title="">Arts &amp; Econ, a website dedicated to research at the intersection of art and economics, started May 2014</a></p>
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209	<p><a href="http://www.metmuseum.org/connections/taste" title="">Connections at the Metropolitan Museum of Art (recorded with Curator of Drawings and Prints George Goldner), Summer 2010</a></p>
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