Research Note Spring 2023 (9.1) Archival Assembly: The Black Artists of Oklahoma Project and Art-Historical Infrastructure Olivia von Gries, Robert Bailey
Research Note Spring 2023 (9.1) Interpretation as Introspection: Transforming Narratives of American Art at the Allen Memorial Art Museum Hannah Wirta Kinney, Alexandra Letvin
Research Note Spring 2023 (9.1) Re-reading Wampum: The Penn Treaty Belt and Indeterminate Iconographies Kerr Houston
Research Note Fall 2022 (8.2) Turning a Corner: Reexamining Joe Jones’s Anthony, Kansas, Mural through Pandemic Eyes Michaela Rife
Research Note Spring 2022 (8.1) Naming Naquayouma: A Collaborative Approach to American Murals and Indigeneity at the 1937 International Exposition Davida Fernández-Barkan, Phillippa Pitts
Research Note Spring 2022 (8.1) Iconoclasm on Paper: Resistance in the Pages of Narrative of the Life and Adventures of Henry Bibb, an American Slave, 1849 Ellery E. Foutch
Research Note Fall 2021 (7.2) Problem Portraits: Francisco Oller in the Age of US Imperialism Natalia Ángeles Vieyra
Research Note Fall 2021 (7.2) Views of Chicago: Picturing the Ruins of the Great Fire Christina Michelon
Research Note Spring 2021 (7.1) “The Most Perfect Manner”: Paul Weber and the Transnationalism of US Landscapes Thomas Busciglio-Ritter
Research Note Spring 2021 (7.1) New Discovery: Robert S. Duncanson’s Ruins of Carthage (1845) Theresa Leininger-Miller
Research Note Spring 2021 (7.1) A Research Portal for American Watercolors, Prints, and Drawings 1850–1925: A Source for Obscure Catalogues, Artists’ Societies, and Women Artists Kathleen A. Foster
Research Note Spring 2021 (7.1) “Anglo-Saxon”: Nationalism and Race in the Promotion of Edward Hopper Gail Levin
Research Note Spring 2021 (7.1) Nature: A Nineteenth-Century Engraving Linking Charles Willson Peale, James Akin, and Peale’s Mastodon Allison M. Stagg
Research Note Fall 2020 (6.2) The Story of Edward Hill and the African Groom at Shirley Plantation Janine Yorimoto Boldt
Research Note Fall 2020 (6.2) “The Time Has Now Gone by When Things of This Nature Are to Be Hidden from the Public”: Mediating Bodily and Archival Violence Anne Strachan Cross
Research Note Fall 2020 (6.2) Traversing Two Cultures: A Portrait of William McIntosh, Southern Slave Owner and Lower Creek Chief Naomi Slipp
Research Note Spring 2020 (6.1) “The Bulk of the Best Visible Things”: Judd’s Review of Twentieth Century Engineering at the Museum of Modern Art Susanneh Bieber
Research Note Spring 2020 (6.1) A Portrait on the Move: Photography, Literature, and Transatlantic Exchanges in the Nineteenth Century Katherine Mintie
Research Note Fall 2018 (4.2) The Paintings Left Behind: Two New Paintings by Mary Cassatt from Seville M. Elizabeth Boone
Research Note Fall 2018 (4.2) Looking for Love: Identifying Robert Rauschenberg’s Collage Elements in a Lost, Early Work Greg Allen
Research Note Fall 2018 (4.2) Playing the Race Card: Thomas Le Clear’s High, Jack, Game Tanya Sheehan
Research Note Spring 2018 (4.1) “If You Can Read This . . .”: Winslow Homer’s The Gulf Stream and the Viewing of His Pictures Marc Simpson
Research Note Spring 2018 (4.1) From the Slipper of a Sylphide: A Box by Joseph Cornell Elizabeth Welch
Research Note Fall 2017 (3.2) “Kicked About”: Native Culture at Thomas Jefferson’s Monticello Kristine K. Ronan
Research Note Summer 2017 (3.1) Looking through the Skiascope: Benjamin Ives Gilman and the Invention of the Modern Museum Gallery Steven Lubar
Research Note Summer 2017 (3.1) “It’s in My Mind”: William Merritt Chase and the Imagination James Glisson
Research Note Summer 2017 (3.1) A Portrait of Samuel Finley Attributed to John Hesselius Megan Holloway Fort
Research Note Summer 2016 (2.1) Fata Morgana: Jean-André Castaigne, the American Indian, and American Artistic Aspirations in France Emily C. Burns
