Fall 2019 (5.2) Archives

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Issue 5.2

Mikva Dreams: Judaism, Feminism, and Maintenance in the Art of Mierle Laderman Ukeles

Of Masks, Mockery, and Modernism: Alexander Z. Kruse’s Self-Portrait of an Art Critic

Teaching with Primary Sources

Heritage and Hate: Teaching Confederate Monuments with Archives

Looking for What’s Not There in the Marcel Breuer Papers

Bridging the Distance: Teaching and Curating with Mail Art from the Archives of American Art

Artistic Journeys: Assignments Engaging Primary Source Materials

Isn’t It Time for Art History to Go Public?

When Your Topic Goes Viral: Building a Public Scholarship Practice

Slavery, Monuments, and the Black Digital Humanities

Library and Gallery Exhibitions as Public Scholarship

Reaching Broader Audiences through Book Projects

Museums Are Not Neutral: We Are Stronger Together

A Revolution in Color: The World of John Singleton Copley

Selling Andrew Jackson: Ralph E. W. Earl and the Politics of Portraiture

Fanny Palmer: The Life and Works of a Currier & Ives Artist

The End of Landscape in Nineteenth-Century America

The Trans-Mississippi and International Expositions of 1898–1899: Art, Anthropology, and Popular Culture at the Fin de Siècle

Proud Raven, Panting Wolf: Carving Alaska’s New Deal Totem Parks

Cultivating Citizens: The Regionalist Work of Art in the New Deal Era

Georgia O’Keeffe: Living Modern

Models of Integrity: Art and Law in Post-Sixties America

Once Upon a Time in America: Three Centuries of US-American Art

Constructing the World: Art and Economy 1919–1939

Chiura Obata: An American Modern

In the Vanguard: Haystack Mountain School of Crafts, 1950–1969

Suzanne Lacy: We Are Here

Queer California: Untold Stories