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twentieth-century art

Exhibition Review Spring 2026 (12.1)

Singing in Unison, Part 13: Homage to Meyer Schapiro

Reviewed by Melissa Rachleff

Exhibition Review Spring 2026 (12.1)

Ben Shahn, On Nonconformity

Reviewed by Susan H. Edwards

Book Review Spring 2026 (12.1)

Forms of Persuasion: Art and Corporate Image in the 1960s

Reviewed by Danielle O’Steen

Research Note Spring 2026 (12.1)

Queer Localities: Space, Class, and Desire in Thomas Painter’s Visual Archive

Alex Del Dago

Research Note Spring 2026 (12.1)

Drive By or Fly Over: Alexander Calder in the Age of Aerial Art

Shannon Bewley

Feature Article Spring 2026 (12.1)

Repetition, Resistance, and Remembering in the Prints of Elizabeth Catlett

Mary Lee Corlett

Book Review Spring 2026 (12.1)

Criticism without Authority: Gene Swenson’s and Jill Johnston’s Queer Practices

Reviewed by Stephen Moonie

In the Round Spring 2026 (12.1)

Bay Area Abstract Expressionist Display at the de Young Museum

Emma Acker

In the Round Spring 2026 (12.1)

Baltimore Museum of Art: War and Its Impact in the American Modernism Galleries

Virginia M. G. Anderson

Colloquium Fall 2025 (11.2)

Federal Funding, Local Practice, and Teaching Art History Through CETA in San Francisco

Elizabeth Fair

A 1934 watercolor painting by John Marin features an expressive, semi-abstract figure with brown skin and bright blue eyes, set against a blue and grey background.

Research Note Fall 2025 (11.2)

The Whitewashing of John Marin

James Denison

A gallery view of the Elizabeth Catlett exhibition, "A Black Revolutionary Artist," featuring several of her sculptures.

Exhibition Review Fall 2025 (11.2)

Elizabeth Catlett: A Black Revolutionary Artist

Reviewed by Ebonie Pollock

An exhibition installation showcases 1940s art and design, featuring mid-century modern furniture, women's fashion, abstract art, and patterned textiles in a gallery setting.

Exhibition Review Fall 2025 (11.2)

Boom: Art and Design in the 1940s

Reviewed by Maggie North

An art exhibition space features a wall with the title "Southern Modern: American Art 1915-1955" and several framed paintings on display.

Exhibition Review Fall 2025 (11.2)

Southern/Modern

Reviewed by Claire Ittner

A bright gallery displays an exhibition of colorful African American quilts, with several large textile pieces hanging on white walls and smaller items on a table.

Exhibition Review Fall 2025 (11.2)

Routed West: Twentieth-Century African American Quilts in California

Reviewed by Berit Potter

A black and white diptych featuring a PaJaMa photograph of a woman and nude man on a beach, juxtaposed with a George Platt Lynes photograph of two nude men.

Book Review Fall 2025 (11.2)

Body Language: The Queer Staged Photographs of George Platt Lynes and PaJaMa

Reviewed by Miriam Kienle

Interior of the modernist Hagberg House, featuring a woman and child at a dining table and a living area with large windows overlooking a garden.

Book Review Fall 2025 (11.2)

Women Architects at Work: Making American Modernism

Reviewed by Eva Hagberg

The Le Conte School building features two large, vibrant murals on its facade, depicting a tree of life and a diverse community scene.

Colloquium Fall 2025 (11.2)

Investing in Artists: Ripples of Return

Deborah Cullinan

A large, colorful community mural depicting figures and abstract designs covers a building wall, with smaller art panels below, overlooking an artificial turf field with a stage.

Colloquium Fall 2025 (11.2)

Growing Up in a CETA City

Makeda Best

Children joyfully watch a shadow puppet show in a classroom, an activity from a CETA arts program.

Colloquium Fall 2025 (11.2)

ART/WORK: Civic Imagination and the Legacy of the CETA Arts Programs

Molly Garfinkel, Jodi Waynberg

A mural by Robert Bowles titled "The Story of Food" depicts several figures preparing food in a kitchen, with a real clock integrated into the artwork.

Colloquium Fall 2025 (11.2)

Sargent Johnson’s Athletics: A Modernist Experiment in Public Art

John Bowles

A painting by Beauford Delaney from 1949 depicting a snowy landscape with bare trees and several stylized streetlights.

Research Note Fall 2025 (11.2)

On White Surfaces: Beauford Delaney and Georgia O’Keeffe at An American Place

Tara Kohn

A typewritten letter from Franklin D. Roosevelt, dated July 31, 1933, expresses discouragement about mural paintings to "Dear George."

Research Note Fall 2025 (11.2)

“I can’t have a lot of young enthusiasts painting Lenin’s head on the Justice Building”: Words FDR Never Said

Robert W. Cherny

Artwork by Francis Okin depicting two students intently studying scientific and mathematical concepts, including an atom diagram, against a chalkboard filled with formulas.

Colloquium Fall 2025 (11.2)

Why Federally Funded Art?

Jacqueline Francis, Mary Okin

A black and white photograph shows a right hand with fingers splayed and bent, depicting a physical disability.

Exhibition Review Spring 2025 (11.1)

For Dear Life: Art, Medicine, and Disability

Reviewed by Suzanne Hudson

The entrance to the Charles and Lisa Simonyi Special Exhibition Galleries, featuring the colorful "Poke in the Eye: Art of the West Coast Counterculture" sign above the doorway.

Exhibition Review Spring 2025 (11.1)

Poke in the Eye: Art of the West Coast Counterculture

Reviewed by Jacqueline Witkowski

Meyer Wolff's painting "The Kitchen" depicts an African American family in a vibrant domestic scene, with figures cooking, serving, and eating food around a table, and a woman holding a baby.

Book Review Spring 2025 (11.1)

Re-Envisioning the Everyday: American Genre Scenes, 1905–1945

Reviewed by Justin Wolff

Archibald Motley Jr.'s 1925 painting, *The Octoroon*, depicts a woman looking directly at the viewer.

Book Review Spring 2025 (11.1)

The Harlem Renaissance and Transatlantic Modernism

Reviewed by Maya Harakawa

Abstract design in stripes of bright blue, red, yellow and deep black. Hanging over the stripes are three intricately beaded strips with tassels; the center one has a large red plume placed over the wide blue stripe.

Research Note Spring 2025 (11.1)

“Made To Be Given”: Generosity as Methodology in Arthur Amiotte’s Collaborations

Julia Hamer-Light

Pencil portrait of Teru Osato by Dorothy Jeakins, created in 1936 for the WPA Federal Art Project.

Research Note Spring 2025 (11.1)

Paperwork: Bureaucracy and Legibility in a WPA Portrait

Robin Owen Joyce

George Bellows' painting depicts laborers working at an urban industrial site under a dark elevated structure, with distant city buildings under a pale sky.

In the Round Spring 2025 (11.1)

Can’t Get Enough: The Logics of Evidence, Anti-Blackness, and American Art History

Alexis L. Boylan

John Sloan's charcoal drawing depicts four men in hats, three seated and one standing, engaged in a conversation about finding work, with dialogue handwritten on the right.

In the Round Spring 2025 (11.1)

John Sloan’s Slow Awakening

John Fagg

Murky, monochromatic drawing in browns and grays of young mean on a city street facing off and throwing objects at one another.

In the Round Spring 2025 (11.1)

The Real and Imagined Black-Built Environment of the Ashcan School

Jessica Larson

An expressive etching by J.C. Walsh titled "The Cakewalk," depicting two stylized figures in dynamic motion, performing a dance.

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

George Bellows' painting "Both Members of This Club" depicts a boxing match between a Black and a white boxer, surrounded by an expressive crowd.

In the Round Spring 2025 (11.1)

Blackness, the Ashcan School, and Modern American Art

Jordana Moore Saggese, Gwendolyn DuBois Shaw

Book cover with an abstract geometric design in fuchsia and shades of gray surrounding a black-and-white photographs of diners in a restaurant. Above are the letters HURBBGR; below are the words "A Generated / Family of Man"

Digital Dialogues Fall 2024 (10.2)

Zombie Humanism, Generative AI Images, and Photography

Helen Lewandowski

Janet Sobel's abstract painting, featuring an all-over composition of colorful, intricate lines and patterns.

Research Note Fall 2024 (10.2)

Janet Sobel’s All Over, Everywhere

Natalie Dupêcher

A 1925 painting by Ellen Emmet Rand depicts the artist from behind, looking into a mirror that reveals her reflection.

Research Note Fall 2024 (10.2)

In the Aggregate: Women Artists, Museum Work, and the Paths We Tread

Annelise K. Madsen

Robert Rauschenberg's combine painting "Canyon," featuring a taxidermied eagle with outstretched wings emerging from a mixed-media canvas.

Colloquium Fall 2024 (10.2)

Canyon: Robert Rauschenberg’s Declaration of Independence

Jonathan Frederick Walz

Norman Parish's 1969 painting "Historical Gyrations" depicts a dynamic collage of figures and symbols representing American history and civil rights, including scenes of Black struggle, the Statue of Liberty, and an American flag.

Colloquium Fall 2024 (10.2)

Norman Parish’s Historical Gyrations

Michael Lobel

Pacita Abad's vibrant textile artwork, a colorful reinterpretation of the Statue of Liberty holding a torch against a radiating rainbow background.

Exhibition Review Fall 2024 (10.2)

Pacita Abad

Reviewed by Marissa Vigneault

An abstract painting by Janet Sobel featuring a vibrant, layered composition of dripped and splattered paint in various colors and organic patterns.

Exhibition Review Fall 2024 (10.2)

Janet Sobel: All Over

Reviewed by Sandra Zalman

Five stylized sculptures of human heads and busts by Sargent Claude Johnson, in various colors, are displayed on dark pedestals.

Exhibition Review Fall 2024 (10.2)

Sargent Claude Johnson

Reviewed by Christine Garnier

The entrance to the "Georgia O'Keeffe: My New Yorks" exhibition, with the title displayed in large text on opposing pink and orange walls as visitors walk through.

Exhibition Review Fall 2024 (10.2)

Georgia O’Keeffe: “My New Yorks”

Reviewed by Lee Ann Custer

An artwork by Eduardo C. Fernandez depicts a child in a barbed-wire-wrapped box, surrounded by maps of the US and Central America, and symbolic figures, addressing migration from the Northern Triangle.

Book Review Fall 2024 (10.2)

Reclaiming the Americas: Latinx Art and the Politics of Territory

Reviewed by Mary K. Coffey

A textile art piece resembling the American flag, featuring muted red, tan, green, brown, and blue stripes and a green canton.

Colloquium Fall 2024 (10.2)

American Artists x American Symbols

Katherine Jentleson

Ben Shahn's painting depicts a crowd of diverse immigrants, including Albert Einstein, moving past coffins and a German sign of persecution towards an American flag and the Statue of Liberty.

Colloquium Fall 2024 (10.2)

How Free is Free? Ben Shahn, the Statue of Liberty, and the History of American Art

Frances K. Pohl

Text reading "ONE YEAR PERFORMANCE by TEHCHING HSIEH" is displayed above a large black rectangle.

In the Round Spring 2024 (10.1)

“No Art” Protests: Restricting and Withdrawing Artistic Labor Downtown

Tom Day

A brightly lit hallway in the Segerstrom and David Galleries showcases colorful framed artworks from the 'Self Help Graphics & Art at 50' exhibition.

Exhibition Review Spring 2024 (10.1)

Marking an Era: Celebrating Self Help Graphics & Art at 50

Reviewed by Margot Yale

Aline Louchheim Saarinen holds a framed image of an architectural design in a modern building with a staircase and large windows in the background.

Book Review Spring 2024 (10.1)

When Eero Met His Match: Aline Louchheim Saarinen and the Making of an Architect

Reviewed by Annmarie Adams

ISSN 2471-6839

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