In the Round Fall 2020 (6.2) Undocumented Migration and Political Community in Susan Meiselas’s Crossings Photographs Sarah Bassnett
In the Round Fall 2020 (6.2) Siŋté Máza (Iron Tail)’s Photographic Opportunities: The Transit of Lakȟóta Performance and Arts Emily C. Burns
In the Round Fall 2020 (6.2) Frank Speck in N’Daki Menan: Anthropological Photography in an Extractive Zone Siobhan Angus
In the Round Fall 2020 (6.2) José María Mora and the Migrant Surround in American Portrait Photography Erin Pauwels
In the Round Fall 2020 (6.2) A “Russianesque Camera Artist”: Margaret Bourke-White’s American-Soviet Photography Josie Johnson
In the Round Spring 2020 (6.1) The 1961 Mississippi Freedom Riders’ Mugshots: A Visual Intervention Johnna Margot Henry
In the Round Spring 2020 (6.1) The Architects of Reconstruction: Alcès Family Portraits as Emblems of Afro-Creole Leadership Wendy Castenell
In the Round Spring 2020 (6.1) “Whatever is un-Virginian is Wrong!”: The Loyal Slave Trope in Civil War Richmond and the Origins of the Lost Cause Rachel Stephens
In the Round Spring 2020 (6.1) Woman’s Work: A Confluence of Education, Design, and Craft Elyse D. Gerstenecker
In the Round Spring 2020 (6.1) Unenslaved through Art: Rice Culture Paintings by Jonathan Green Rachel C. Kirby
In the Round Spring 2020 (6.1) The Modernist Appalachian Aesthetic: The Art of Patty Willis Alison Printz
In the Round Spring 2020 (6.1) Roaming in the South: Devin Lunsford’s Photographs from the Roadside Peter Han-Chih Wang
In the Round Spring 2020 (6.1) Magic City Modern: A Short History of the Birmingham-Bessemer School Aleesa Pitchamarn Alexander
In the Round Spring 2020 (6.1) Confederate Monuments: Southern Heritage or Southern Art? Sarah Beetham
In the Round Spring 2020 (6.1) “Little of Artistic Merit?”: The Art of the American South Naomi Slipp
In the Round Fall 2019 (5.2) Bridging the Distance: Teaching and Curating with Mail Art from the Archives of American Art Miriam Kienle
In the Round Fall 2019 (5.2) Heritage and Hate: Teaching Confederate Monuments with Archives Akela Reason
In the Round Fall 2019 (5.2) Looking for What’s Not There in the Marcel Breuer Papers Andrew Wasserman
In the Round Fall 2019 (5.2) Artistic Journeys: Assignments Engaging Primary Source Materials Janice Simon
In the Round Spring 2019 (5.1) Walk with Me: William Anastasi’s Stenography of the Street Katie Anania
In the Round Spring 2019 (5.1) “It’s Making a Little Noise”: Video Art, A Radical Mess Miguel de Baca
In the Round Spring 2019 (5.1) The Love in Labor: Reconsidering Amateurism in Sister Gertrude Morgan’s Performances and Paintings Elaine Y. Yau
In the Round Fall 2018 (4.2) An Interview with the Curators of Thomas Cole’s Journey: Atlantic Crossings William L. Coleman, Elizabeth Mankin Kornhauser, Tim Barringer
In the Round Spring 2018 (4.1) Riff: African American Artists and the European Canon Adrienne L. Childs, Jacqueline Francis
In the Round Spring 2018 (4.1) Introduction: Riff: African American Artists and the European Canon Adrienne L. Childs
In the Round Spring 2018 (4.1) The Wandering Gaze of Carrie Mae Weems’s The Louisiana Project Gwendolyn DuBois Shaw
In the Round Spring 2018 (4.1) Romare Bearden’s “Mauritius” (1969): Wars, Nations, and Everything Else Jacqueline Francis
In the Round Spring 2018 (4.1) Vibrations in the Soul: Moe Brooker’s Sacred Paintings Nikki A. Greene
In the Round Spring 2018 (4.1) “Expressive Camouflage”: Classicism, Race, and Homoerotic Desire in the Male Nudes of Richmond Barthé James Smalls
In the Round Spring 2018 (4.1) African American Artists as Agents of Modernism: A Challenge for American Art John P. Bowles
In the Round Fall 2017 (3.2) “A Harmony in Eggs and Milk”: Gustatory Synesthesia in the Reception of Whistler’s Art Aileen Tsui
In the Round Fall 2017 (3.2) Feeding the Conscience: Philanthropic Food Distribution and Difference in the Popular Press Lauren Freese
In the Round Summer 2017 (3.1) Cemeteries and Sculpture: “Ideal” Material Culture Pedagogy Elise Madeleine Ciregna
In the Round Fall 2016 (2.2) Claiming the Unknown, the Forgotten, the Fallen, the Lost, and the Dispossessed Robert Cozzolino
In the Round Fall 2016 (2.2) Integrating Disruption: Acquiring the Philip J. and Suzanne Schiller Collection of American Social Commentary Art, 1930–1970 M. Melissa Wolfe
