Research Note Spring 2023 (9.1) Archival Assembly: The Black Artists of Oklahoma Project and Art-Historical Infrastructure Olivia von Gries, Robert Bailey
Exhibition Review Spring 2023 (9.1) Souls Grown Deep Like the Rivers: Black Artists from the American South Reviewed by Matthew Holman
In the Round Fall 2022 (8.2) Interview with the Artist Fabiola Jean-Louis Fabiola Jean-Louis, Hélène Valance, Tatsiana Zhurauliova
Colloquium Fall 2022 (8.2) Beyond the Line: Bessie Harvey’s Visual Commentary on the Persistence of the Black Maternity Crisis in the United States Frederica Simmons
In the Round Fall 2022 (8.2) Waiting for Mlle Bourgeoise Noire and the Power of Interruption José B. Segebre Salazar
Exhibition Review Spring 2022 (8.1) Joseph E. Yoakum: What I Saw Reviewed by Elizabeth Driscoll Smith
Exhibition Review Fall 2021 (7.2) Sonya Clark: Tatter, Bristle, and Mend Reviewed by Jordana Moore Saggese
In the Round Fall 2021 (7.2) The Art of Flocking: Sapphire and Crystals, Education, Community Building and Collaboration Joanna Gardner-Huggett
In the Round Fall 2021 (7.2) “The Art of Living”: Selma Burke’s Progressive Art Pedagogies from the New Deal to the Black Arts Movement Rebecca Giordano
In the Round Fall 2021 (7.2) An Interview with Art Educator Professor Johnnie Mae Maberry, Tougaloo College Lynnette Gilbert
Exhibition Review Spring 2021 (7.1) Writing the Future: Basquiat and the Hip-Hop Generation Reviewed by Peter R. Kalb
Research Note Spring 2021 (7.1) New Discovery: Robert S. Duncanson’s Ruins of Carthage (1845) Theresa Leininger-Miller
Book Review To Describe A Life: Notes from the Intersection of Art and Race Terror Reviewed by Richard Hylton
Book Review Fall 2020 (6.2) Stick to the Skin: African American and Black British Art, 1965–2015 Reviewed by Ellen Tani
Exhibition Review Fall 2020 (6.2) Riffs and Relations: African American Artists and the European Modernist Tradition Reviewed by Anna O. Marley
Book Review Fall 2020 (6.2) Race Experts: Sculpture, Anthropology, and the American Public in Malvina Hoffman’s Races of Mankind Reviewed by Renée Ater
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
Book Review Fall 2020 (6.2) Art for People’s Sake: Artists and Community in Black Chicago, 1965–1975 Reviewed by Abbe Schriber
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) Unenslaved through Art: Rice Culture Paintings by Jonathan Green Rachel C. Kirby
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) “Little of Artistic Merit?”: The Art of the American South Naomi Slipp
Book Review Spring 2020 (6.1) Between Worlds: The Art of Bill Traylor Reviewed by Aleesa Pitchamarn Alexander
In the Round Spring 2019 (5.1) The Love in Labor: Reconsidering Amateurism in Sister Gertrude Morgan’s Performances and Paintings Elaine Y. Yau
Exhibition Review Fall 2018 (4.2) Howardena Pindell: What Remains To Be Seen Reviewed by Andrea Douglas
Exhibition Review Fall 2018 (4.2) Faith Ringgold: Paintings and Story Quilts, 1964–2017 Reviewed by Debra Hanson
Book Review Fall 2018 (4.2) Republic of Taste: Art, Politics, and Everyday Life in Early America Reviewed by Julia A. Sienkewicz
Research Note Fall 2018 (4.2) Playing the Race Card: Thomas Le Clear’s High, Jack, Game Tanya Sheehan
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
Book Review Spring 2018 (4.1) What Can and Can’t Be Said: Race, Uplift, and Monument Building in the Contemporary South Reviewed by Lauren Kroiz
Book Review Spring 2018 (4.1) Southern Accent: Seeking the American South in Contemporary Art Reviewed by Jennifer Jankauskas
