Digital Dialogues Fall 2024 (10.2) Zombie Humanism, Generative AI Images, and Photography Helen Lewandowski
Research Note Fall 2024 (10.2) In the Aggregate: Women Artists, Museum Work, and the Paths We Tread Annelise K. Madsen
Colloquium Fall 2024 (10.2) Canyon: Robert Rauschenberg’s Declaration of Independence Jonathan Frederick Walz
Book Review Fall 2024 (10.2) Reclaiming the Americas: Latinx Art and the Politics of Territory Reviewed by Mary K. Coffey
Colloquium Fall 2024 (10.2) How Free is Free? Ben Shahn, the Statue of Liberty, and the History of American Art Frances K. Pohl
In the Round Spring 2024 (10.1) “No Art” Protests: Restricting and Withdrawing Artistic Labor Downtown Tom Day
Exhibition Review Spring 2024 (10.1) Marking an Era: Celebrating Self Help Graphics & Art at 50 Reviewed by Margot Yale
Book Review Spring 2024 (10.1) When Eero Met His Match: Aline Louchheim Saarinen and the Making of an Architect Reviewed by Annmarie Adams
In the Round Spring 2024 (10.1) Lee Lozano’s Revolution, or Quitting Art at the End of the 1960s Chloë Julius
Research Note Spring 2024 (10.1) Louis Carlos Bernal’s Photographs of TV Screens and Domestic Interiors Jennifer Wingate
Digital Dialogues Spring 2024 (10.1) The Florence Arquin Slide Project: Art, Pan-Americanism, and the Digital Humanities Emily A. Fenichel, Camila Afanador-Llach
Feature Article Spring 2024 (10.1) Psychedelic Patriotism: Peter Max Sparks a Debate on Modern Representations of America David D. McKinney
Feature Article Spring 2024 (10.1) Peripheral Prints: Karamu House and the Rise of African American Art in the Midwest Erin Benay
Digital Dialogues Spring 2024 (10.1) Art, Bananas, Cash: Learning from Banana Craze Sonia de Laforcade
In the Round Fall 2023 (9.2) “It Happened”: Sophie Calle and Greg Shephard’s Road Trip Film Laura Elizabeth Shea
In the Round Fall 2023 (9.2) Roadside California: Tressa Prisbrey’s Bottle Village, Theme Parks, and Art Tourism in the Golden State Elizabeth Driscoll Smith
In the Round Fall 2023 (9.2) Holy Rollers: Religion and Modern Mobility in the Art of John Steuart Curry Jeffrey Richmond-Moll
Book Review Fall 2023 (9.2) MoMA Goes to Paris in 1938: Building and Politicizing American Art Reviewed by Antje Gamble
Research Note Fall 2023 (9.2) A Collaborative Creation of Home: Recognizing the Multifarious Roles and Representations of Jessie Tanner Laura M. Winn
Book Review Fall 2023 (9.2) Spiritual Moderns: Twentieth-Century American Artists and Religion Reviewed by Elizabeth L. Langhorne
Research Note Spring 2023 (9.1) Archival Assembly: The Black Artists of Oklahoma Project and Art-Historical Infrastructure Olivia von Gries, Robert Bailey
In the Round Spring 2023 (9.1) “Shutterbug?”: Black Women Photographers and the Politics of Self-Representation Emily Brady
In the Round Spring 2023 (9.1) Self-Portraits and Photocopies: Anita Steckel’s Feminist Collage Rachel Middleman
Colloquium Spring 2023 (9.1) Mining Raw Materials: Copyright, Contemporary Art, and False Dichotomies Katherine de Vos Devine
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 Spring 2023 (9.1) Producing and Consuming the Image of the Female Artist Ellery E. Foutch
Book Review Fall 2022 (8.2) The Art of the Anthropological Diorama: Franz Boas, Arthur C. Parker, and Constructing Authenticity Reviewed by Dore Bowen
Book Review Fall 2022 (8.2) Alloys: American Sculpture and Architecture at Midcentury Reviewed by Sydney Skelton Simon
Feature Article Fall 2022 (8.2) Naming, Blaming, and Claiming: The Columbus Monument and the Struggle for Diversity Rights in Syracuse, New York Kristina Borrman
Feature Article Fall 2022 (8.2) From Center to Periphery: The Lifespan of New York City’s Tenth Street Studio Building and the Canon of American Art Mary Okin with Celie Mitchard
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
In the Round Fall 2022 (8.2) Pendant Across Time: John Singleton Copley and John Singer Sargent Caroline Culp
Feature Article Fall 2022 (8.2) More Than a Museum: The Chinati Foundation, Home of the Brave Max Tolleson
Research Note Fall 2022 (8.2) Turning a Corner: Reexamining Joe Jones’s Anthony, Kansas, Mural through Pandemic Eyes Michaela Rife
