Exhibition Review Spring 2025 (11.1) For Dear Life: Art, Medicine, and Disability Reviewed by Suzanne Hudson
Exhibition Review Spring 2025 (11.1) Poke in the Eye: Art of the West Coast Counterculture Reviewed by Jacqueline Witkowski
Book Review Spring 2025 (11.1) Re-Envisioning the Everyday: American Genre Scenes, 1905–1945 Reviewed by Justin Wolff
Book Review Spring 2025 (11.1) The Harlem Renaissance and Transatlantic Modernism Reviewed by Maya Harakawa
Research Note Spring 2025 (11.1) “Made To Be Given”: Generosity as Methodology in Arthur Amiotte’s Collaborations Julia Hamer-Light
Research Note Spring 2025 (11.1) Paperwork: Bureaucracy and Legibility in a WPA Portrait Robin Owen Joyce
In the Round Spring 2025 (11.1) Can’t Get Enough: The Logics of Evidence, Anti-Blackness, and American Art History Alexis L. Boylan
In the Round Spring 2025 (11.1) The Real and Imagined Black-Built Environment of the Ashcan School Jessica Larson
In the Round Spring 2025 (11.1) Cakewalking the Color Line: George Luks, Racial Doublings, and Performance at the Turn of the Twentieth Century Meaghan M. Walsh
In the Round Spring 2025 (11.1) Blackness, the Ashcan School, and Modern American Art Jordana Moore Saggese, Gwendolyn DuBois Shaw
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