Selection of Publications by Several Scholars After Their Research Center Scholarship Period
Bill Anthes
(2003-2004)
Anthes, Bill.“Light and Shadow.” In Reframing Photography: Theory and Practice editedby Rebekah Modrak. London: Routledge, 2010.
_____. Native Moderns: American Indian Painting, 1940-1960. Edited by Nicholas Thomas. Durham and London: Duke University Press, 2006.
_____. “Series and Sequence.” In Reframing Photography: Theory and Practice, edited by Rebekah Modrak. London: Routledge, 2010.
Elissa Auther (2009-2010)
Auther, Elissa. “Andy Warhol, Wallpaper, and Contemporary Installation Art.” InExtra/ordinary: Craft Culture and Contemporary Art, edited by Maria Elena Buzek. Durham: Duke University Press, 2011.
_____. The Counterculture Experiment: Consciousness and Encounters at the Edge of Art. Edited by Elissa Auther and Adam Lerner. Minneapolis: University of Minnesota Press, 2011.
_____. String, Felt, Thread: The Hierarchy of Art and Craft in American Art. Minneapolis: University of Minnesota Press, 2010.
Elizabeth Bischof (2007-2008)
Bischof, Elizabeth. Maine Moderns: Art in Seguinland, 1900-1940. New Haven: Yale University Press, 2011.
_____. “Testudo: A Forgotten New England Artists‘ Retreat.“ Nineteenth Century (The Journal of the Victorian Society in America) 30, 2 (December 2010): 20-29.
Jobyl Boone (2009-2010)
Boone, Jobyl A.“Hill to Bay, Land and Water: Christo and Jeanne-Claude and American Environmentalism.” Athanor XXVII (September 2009).
Julia Bryan-Wilson (2005-2006)
Bryan-Wilson, Julia. Art Workers: Radical Practice in the Vietnam War Era. Berkeley:
University of California Press, 2009.
_____. “Lisa Anne Auerbach’s Canny Domesticity.” In Lisa Anne Auerbach, edited by Jacob Proctor. Ann Arbor, Mich.: University of Michigan Museum of Art, 2010.
_____. “Our Bodies, Our Houses, Our Ruptures, Ourselves.” In Ida Applebroog: Monalisa. New York: Hauser and Wirth, 2010.
Jim Cocola (2008-2009)
Cocola, Jim. "Olson as Educator." The Worcester Review 31, 1-2 (2010): 58-69.
_____. "Putting Pablo Neruda's Alturas de Macchu Picchu in Its Places." In Envisioning Landscapes, Making Worlds: Geography and the Humanities, edited by Stephen Daniels, Dydia DeLyser, J. Nicholas Entirikin, and Douglas Richardson. New York: Routledge, 2011.
_____. "'Upsettin da Setuppa': Vincent Ferrini's Vernacular Poetics." In Essays on Italian American Literature and Culture: A Decade and Beyond of Insights and Challenges, edited by Dennis Barone and Peter Covino. New York: P/Calandra Institute/CUNY P, 2011.
Christina Cogdell (2002-2003)
Cogdell, Christina. Eugenic Design: Streamlining America in the 1930s. Philadelphia: University of Pennsylvania Press, 2010, 2004.
_____ and Simon Sadler. “Fast Forward and Rewind.” Counterculture issue of Volume 24, 3 (September 2010): 50-52.
_____. “Tearing Down the Grid.” Design and Culture 3, 1 (March 2011): 75-84.
Huey Copeland (2008-2009
Copeland, Huey. “After the Voyage.” In Fred Wilson: A Critical Reader, edited by Doro Globus. London: Ridinghouse, 2011.
_____. “Glenn Ligon and Other Runaway Subjects.” Representations 113 (Winter 2011): 73-110.
_____. “Out of the Well.” In Fred Wilson: A Critical Reader, edited by Doro Globus. London: Ridinghouse, 2011.
Erika Doss (2011-2012)
Doss, Erika. "Shame of the Nation: The Duluth Lynching Memorial and Issues of Civic Morality." In Art and Shame, edited by Martha Hollander. New York: Ashgate, 2011.
_____. “Shared Memory.” In Memory, edited by Amy Chaloupka and Leslie Umberger. Sheboygan: John Michael Kohler Art Center, 2011.
_____. "Westward Perspectives: An Interview with TL Solien." In T.L. Solien: Toward the Setting Sun, edited by Colleen Sheehy. Fargo: Plains Art Museum, 2011.
Audrey Goodman (2002-2003)
Goodman, Audrey. Lost Homelands: Ruin and Reconstruction in the Twentieth-Century Southwest. Tuscon: University of Arizona Press, 2010.
_____. “The Nuclear Southwest.” In A Companion to the Literature and Culture of the American West, edited by Nicolas Witchi. New York: Blackwell Publishers, 2011.
_____. “Representing the Black Place: Towards an Iconography of the Atomic Age.” Southwestern American Literature 33: 3 (2008): 69-81.
Pat Hills (2005-2006)
Hills, Patricia.“Cultural Legacies and the Transformation of the Cubist Collage Aesthetic by Romare Bearden, Jacob Lawrence, and Other African American Artists.” In Romare Bearden, American Modernist, edited by Ruth Fine and Jacqueline Francis. Washington, D.C.: National Gallery of Art, 2011.
_____. Painting Harlem Modern: The Art of Jacob Lawrence. Berkeley: University of California Press, 2010.
_____. “’Truth, Freedom, Perfection’: Alfred Barr’s What Is Modern Painting? As Cold War Rhetoric.” In Pressing the Fight: Print, Propaganda and the Cold War, edited by Greg Barnhisel and Catherine Turner. Amherst: University of Massachusetts Press, 2010.
Theresa Leininger-Miller (2003-2004)
Leininger-Miller. “The Harlem Renaissance.” In Grove Encyclopedia of American Art, edited by Joan Marter. New York: Oxford University Press, 2011.
_____. “Sculpting the New Negro: Augusta Savage’s Portraits of African Americans.” In Common Hopes, Common Sorrows: Women of the Harlem Renaissance, edited by Amy Kirschke. Jackson, Miss.: University Press of Mississippi, 2011.
_____. “The Transatlantic Connection: New Negro Artists in Paris, 1922-1934. ” In Harlem Renaissance. Oklahoma City, Okla.: Oklahoma City Museum of Art, 2009.
Carol Merrill (2002-2003)
Merrill, Carol. Weekends with O’Keeffe. Albuquerque, N.M.: University of New Mexico Press, 2010.
Emily Neff (2004-2005)
Neff, Emily, contributor. American Art and Philanthropy: Twenty Years of Collecting at the Museum of Fine Arts, Houston. New Haven: Yale University Press, 2010.
_____.“Open Road: Lee Friedlander in New Mexico.” In Lee Friedlander/New Mexico. New Mexico: Radius Books, October 2008.
_____.“Who Are Carson’s Men?” In The Masterworks of Charles M. Russell: Retrospective of Paintings and Sculpture. Norman: University of Oklahoma Press, in cooperation with the Denver Art Museum, 2009.
Chris Reed (2007-2008)
Reed, Christopher. Art and Homosexuality: A History of Ideas. New York: Oxford University Press, 2011.
______, translation and critical introduction. The Chrysanthème Papers: The Pink Notebook of Madame Chrysanthème and Other Documents of French Japonisme. By Félix Régamey. Honolulu: University of Hawai’i Press, 2010.
______. “Enduring Evansecence and Anticipated History: The Paradoxical Edwardian Interior.” In The Edwardian Sense, edited by Michael Hatt and Morna O’Neil. New Haven: Yale University Press, 2010.
Susan Richmond (2008-2009)
Richmond, Susan. “‘From Stone to Cloud:’ Mary Kelly’s Love Songs and Feminist Intergenerationality.” Feminist Theory 11, 1 (2010): 57-78.
_____. “Louise Bourgeois: The Spider, the Mistress and the Tangerine, Who Does She Think She Is?, and Lover/Other: The Story of Claude Cahun and Marcel Moore” [film review]. Films for the Feminist Classroom 2, 1 (Spring 2010).
Lois Rudnick (2005-2006)
Rudnick, Lois, editor. Cady Wells and Southwest Modernism. Albuquerque: Museum of New Mexico Press, 2009.
Sue Taylor (2005-2006)
Taylor, Sue. "Adam Sorensen’s Lofty Visions.” In Adam Sorensen: New Westerns. Portland, Ore.: PDX Contemporary Art, 2010.
_____. “Ethereal Sculpture.” Fiberarts 36:5 (April/May 2010): 48-49.
_____.“Mark Newport’s Meta-Heroic.” In Mark Newport: Superheroes in Action. Bloomfield Hills, Mich.: Cranbrook Art Museum, 2009.
Robin Veder (2009-2010)
Veder, Robin. “The Expressive Efficiencies of American Delsarte and Mensendieck Body Cultures.” Modernism/Modernity 17: 4 (Nov. 2010): 819 – 838.
Isabelle Wallace (2004-2005)
Wallace, Isabelle and Jennie Hirsh, eds. Contemporary Art and Classical Myth. Farnham, Surrey, England, and Burlington, Vt.: Ashgate, 2011.
_____ and Nora Wendl, eds. Contemporary Art at the Dodd: Paul Pfeiffer. Athens: Lamar Dodd School of Art Gallery, 2008.
_____. “Technology and the Landscape: Turner, Pfeiffer, and Eliasson after the Deluge.” Visual Culture in Britain 12: 1 (March 2011): 57-75.
Jonathan Walz (2007-2008)
Walz, Jonathan. “Heyd Fontenot: Queer/ing Portraiture.” In The Very Queer Portraits of Heyd Fontenot. College Park: The Art Gallery, University of Maryland, 2010.
_____, ed. Piety and Magnificence: Themes in Italian Art, circa 1300–1750. Introduction by Danielle Guimarães and Kimberly Dennis. Winter Park, Flor.: Cornell Fine Arts Museum, 2011.
_____. “Portraiture, Disappearance, and the First American Avant-Garde.” In Narcissus in the Studio: Artist’s Portraits and Self-Portraits, edited by Robert Cozzolino. Philadelphia: Pennsylvania Academy of Fine Arts, 2010.
Francine Weiss (2008-2009)
Francine Weiss. “F.W.” In Harvard Art Museum Handbook, edited by Stephan Woolihojian. Cambridge, MA: Harvard University Press, 2008.
Terri Weissman (2001-2002)
Weissman, Terri, Sharon Corwin, and Jessica May, eds. American Modern: Documentary Photographs by Abbott, Evans, Bourke-White. Berkeley: University of California Press, 2010.
_____. The Realisms of Berenice Abbott: Documentary Photography and Political Action. Berkeley: University of California Press, 2010.
_____. “The Spectacle of Trauma: 9/11 in the Museum.” Visual Resources 21, 2 (June 2005): 1-20.
Mark Andrew White (2003-2004)
Mark Andrew White. “‘I Heap Savvy You’: Charles M. Russell, Joe De Yong, and the Pictorial Value of Hand-Talk.” In Charlie Russell and Friends, by Peter H. Hassrick, Thomas Brent Smith, Brian W. Dippie, and Mark Andrew White. Denver: The Petrie Institute of Western American Art and Denver Art Museum, 2010.
_____. Mediterranea: American Art from the Graham D. Williford Collection. Norman: Fred Jones Jr. Museum of Art, 2011.
_____. “‘Steadily to the Ideal’: The Paintings of Bruce Goff.” In Bruce Goff: A Creative Mind. Norman: Fred Jones Jr. Museum of Art, 2010.
Daniel Worden (2005-2006)
Worden, Daniel. “Birth in the Briar Patch: Charles W. Chesnutt and the Problem of Racial Identity.” The Southern Literary Journal 41, 2 (Spring 2009): 1-20.
_____. "Literary Cultures of the American Southwest." In A Companion to the Literature and Culture of the American West, edited by Nicolas Witschi. New York: Blackwell, 2011.
_____. “On Modernism’s Ruins: The Architecture of ‘Building Stories’ and Lost Buildings.” In The Comics of Chris Ware: Drawing is a Way of Thinking, edited by Martha Kuhlman and David M. Ball. Jackson, Miss.: University Press of Mississippi, 2010.
Anthes, Bill.“Light and Shadow.” In Reframing Photography: Theory and Practice editedby Rebekah Modrak. London: Routledge, 2010.
_____. Native Moderns: American Indian Painting, 1940-1960. Edited by Nicholas Thomas. Durham and London: Duke University Press, 2006.
_____. “Series and Sequence.” In Reframing Photography: Theory and Practice, edited by Rebekah Modrak. London: Routledge, 2010.
Elissa Auther (2009-2010)
Auther, Elissa. “Andy Warhol, Wallpaper, and Contemporary Installation Art.” InExtra/ordinary: Craft Culture and Contemporary Art, edited by Maria Elena Buzek. Durham: Duke University Press, 2011.
_____. The Counterculture Experiment: Consciousness and Encounters at the Edge of Art. Edited by Elissa Auther and Adam Lerner. Minneapolis: University of Minnesota Press, 2011.
_____. String, Felt, Thread: The Hierarchy of Art and Craft in American Art. Minneapolis: University of Minnesota Press, 2010.
Elizabeth Bischof (2007-2008)
Bischof, Elizabeth. Maine Moderns: Art in Seguinland, 1900-1940. New Haven: Yale University Press, 2011.
_____. “Testudo: A Forgotten New England Artists‘ Retreat.“ Nineteenth Century (The Journal of the Victorian Society in America) 30, 2 (December 2010): 20-29.
Jobyl Boone (2009-2010)
Boone, Jobyl A.“Hill to Bay, Land and Water: Christo and Jeanne-Claude and American Environmentalism.” Athanor XXVII (September 2009).
Julia Bryan-Wilson (2005-2006)
Bryan-Wilson, Julia. Art Workers: Radical Practice in the Vietnam War Era. Berkeley:
University of California Press, 2009.
_____. “Lisa Anne Auerbach’s Canny Domesticity.” In Lisa Anne Auerbach, edited by Jacob Proctor. Ann Arbor, Mich.: University of Michigan Museum of Art, 2010.
_____. “Our Bodies, Our Houses, Our Ruptures, Ourselves.” In Ida Applebroog: Monalisa. New York: Hauser and Wirth, 2010.
Jim Cocola (2008-2009)
Cocola, Jim. "Olson as Educator." The Worcester Review 31, 1-2 (2010): 58-69.
_____. "Putting Pablo Neruda's Alturas de Macchu Picchu in Its Places." In Envisioning Landscapes, Making Worlds: Geography and the Humanities, edited by Stephen Daniels, Dydia DeLyser, J. Nicholas Entirikin, and Douglas Richardson. New York: Routledge, 2011.
_____. "'Upsettin da Setuppa': Vincent Ferrini's Vernacular Poetics." In Essays on Italian American Literature and Culture: A Decade and Beyond of Insights and Challenges, edited by Dennis Barone and Peter Covino. New York: P/Calandra Institute/CUNY P, 2011.
Christina Cogdell (2002-2003)
Cogdell, Christina. Eugenic Design: Streamlining America in the 1930s. Philadelphia: University of Pennsylvania Press, 2010, 2004.
_____ and Simon Sadler. “Fast Forward and Rewind.” Counterculture issue of Volume 24, 3 (September 2010): 50-52.
_____. “Tearing Down the Grid.” Design and Culture 3, 1 (March 2011): 75-84.
Huey Copeland (2008-2009
Copeland, Huey. “After the Voyage.” In Fred Wilson: A Critical Reader, edited by Doro Globus. London: Ridinghouse, 2011.
_____. “Glenn Ligon and Other Runaway Subjects.” Representations 113 (Winter 2011): 73-110.
_____. “Out of the Well.” In Fred Wilson: A Critical Reader, edited by Doro Globus. London: Ridinghouse, 2011.
Erika Doss (2011-2012)
Doss, Erika. "Shame of the Nation: The Duluth Lynching Memorial and Issues of Civic Morality." In Art and Shame, edited by Martha Hollander. New York: Ashgate, 2011.
_____. “Shared Memory.” In Memory, edited by Amy Chaloupka and Leslie Umberger. Sheboygan: John Michael Kohler Art Center, 2011.
_____. "Westward Perspectives: An Interview with TL Solien." In T.L. Solien: Toward the Setting Sun, edited by Colleen Sheehy. Fargo: Plains Art Museum, 2011.
Audrey Goodman (2002-2003)
Goodman, Audrey. Lost Homelands: Ruin and Reconstruction in the Twentieth-Century Southwest. Tuscon: University of Arizona Press, 2010.
_____. “The Nuclear Southwest.” In A Companion to the Literature and Culture of the American West, edited by Nicolas Witchi. New York: Blackwell Publishers, 2011.
_____. “Representing the Black Place: Towards an Iconography of the Atomic Age.” Southwestern American Literature 33: 3 (2008): 69-81.
Pat Hills (2005-2006)
Hills, Patricia.“Cultural Legacies and the Transformation of the Cubist Collage Aesthetic by Romare Bearden, Jacob Lawrence, and Other African American Artists.” In Romare Bearden, American Modernist, edited by Ruth Fine and Jacqueline Francis. Washington, D.C.: National Gallery of Art, 2011.
_____. Painting Harlem Modern: The Art of Jacob Lawrence. Berkeley: University of California Press, 2010.
_____. “’Truth, Freedom, Perfection’: Alfred Barr’s What Is Modern Painting? As Cold War Rhetoric.” In Pressing the Fight: Print, Propaganda and the Cold War, edited by Greg Barnhisel and Catherine Turner. Amherst: University of Massachusetts Press, 2010.
Theresa Leininger-Miller (2003-2004)
Leininger-Miller. “The Harlem Renaissance.” In Grove Encyclopedia of American Art, edited by Joan Marter. New York: Oxford University Press, 2011.
_____. “Sculpting the New Negro: Augusta Savage’s Portraits of African Americans.” In Common Hopes, Common Sorrows: Women of the Harlem Renaissance, edited by Amy Kirschke. Jackson, Miss.: University Press of Mississippi, 2011.
_____. “The Transatlantic Connection: New Negro Artists in Paris, 1922-1934. ” In Harlem Renaissance. Oklahoma City, Okla.: Oklahoma City Museum of Art, 2009.
Carol Merrill (2002-2003)
Merrill, Carol. Weekends with O’Keeffe. Albuquerque, N.M.: University of New Mexico Press, 2010.
Emily Neff (2004-2005)
Neff, Emily, contributor. American Art and Philanthropy: Twenty Years of Collecting at the Museum of Fine Arts, Houston. New Haven: Yale University Press, 2010.
_____.“Open Road: Lee Friedlander in New Mexico.” In Lee Friedlander/New Mexico. New Mexico: Radius Books, October 2008.
_____.“Who Are Carson’s Men?” In The Masterworks of Charles M. Russell: Retrospective of Paintings and Sculpture. Norman: University of Oklahoma Press, in cooperation with the Denver Art Museum, 2009.
Chris Reed (2007-2008)
Reed, Christopher. Art and Homosexuality: A History of Ideas. New York: Oxford University Press, 2011.
______, translation and critical introduction. The Chrysanthème Papers: The Pink Notebook of Madame Chrysanthème and Other Documents of French Japonisme. By Félix Régamey. Honolulu: University of Hawai’i Press, 2010.
______. “Enduring Evansecence and Anticipated History: The Paradoxical Edwardian Interior.” In The Edwardian Sense, edited by Michael Hatt and Morna O’Neil. New Haven: Yale University Press, 2010.
Susan Richmond (2008-2009)
Richmond, Susan. “‘From Stone to Cloud:’ Mary Kelly’s Love Songs and Feminist Intergenerationality.” Feminist Theory 11, 1 (2010): 57-78.
_____. “Louise Bourgeois: The Spider, the Mistress and the Tangerine, Who Does She Think She Is?, and Lover/Other: The Story of Claude Cahun and Marcel Moore” [film review]. Films for the Feminist Classroom 2, 1 (Spring 2010).
Lois Rudnick (2005-2006)
Rudnick, Lois, editor. Cady Wells and Southwest Modernism. Albuquerque: Museum of New Mexico Press, 2009.
Sue Taylor (2005-2006)
Taylor, Sue. "Adam Sorensen’s Lofty Visions.” In Adam Sorensen: New Westerns. Portland, Ore.: PDX Contemporary Art, 2010.
_____. “Ethereal Sculpture.” Fiberarts 36:5 (April/May 2010): 48-49.
_____.“Mark Newport’s Meta-Heroic.” In Mark Newport: Superheroes in Action. Bloomfield Hills, Mich.: Cranbrook Art Museum, 2009.
Robin Veder (2009-2010)
Veder, Robin. “The Expressive Efficiencies of American Delsarte and Mensendieck Body Cultures.” Modernism/Modernity 17: 4 (Nov. 2010): 819 – 838.
Isabelle Wallace (2004-2005)
Wallace, Isabelle and Jennie Hirsh, eds. Contemporary Art and Classical Myth. Farnham, Surrey, England, and Burlington, Vt.: Ashgate, 2011.
_____ and Nora Wendl, eds. Contemporary Art at the Dodd: Paul Pfeiffer. Athens: Lamar Dodd School of Art Gallery, 2008.
_____. “Technology and the Landscape: Turner, Pfeiffer, and Eliasson after the Deluge.” Visual Culture in Britain 12: 1 (March 2011): 57-75.
Jonathan Walz (2007-2008)
Walz, Jonathan. “Heyd Fontenot: Queer/ing Portraiture.” In The Very Queer Portraits of Heyd Fontenot. College Park: The Art Gallery, University of Maryland, 2010.
_____, ed. Piety and Magnificence: Themes in Italian Art, circa 1300–1750. Introduction by Danielle Guimarães and Kimberly Dennis. Winter Park, Flor.: Cornell Fine Arts Museum, 2011.
_____. “Portraiture, Disappearance, and the First American Avant-Garde.” In Narcissus in the Studio: Artist’s Portraits and Self-Portraits, edited by Robert Cozzolino. Philadelphia: Pennsylvania Academy of Fine Arts, 2010.
Francine Weiss (2008-2009)
Francine Weiss. “F.W.” In Harvard Art Museum Handbook, edited by Stephan Woolihojian. Cambridge, MA: Harvard University Press, 2008.
Terri Weissman (2001-2002)
Weissman, Terri, Sharon Corwin, and Jessica May, eds. American Modern: Documentary Photographs by Abbott, Evans, Bourke-White. Berkeley: University of California Press, 2010.
_____. The Realisms of Berenice Abbott: Documentary Photography and Political Action. Berkeley: University of California Press, 2010.
_____. “The Spectacle of Trauma: 9/11 in the Museum.” Visual Resources 21, 2 (June 2005): 1-20.
Mark Andrew White (2003-2004)
Mark Andrew White. “‘I Heap Savvy You’: Charles M. Russell, Joe De Yong, and the Pictorial Value of Hand-Talk.” In Charlie Russell and Friends, by Peter H. Hassrick, Thomas Brent Smith, Brian W. Dippie, and Mark Andrew White. Denver: The Petrie Institute of Western American Art and Denver Art Museum, 2010.
_____. Mediterranea: American Art from the Graham D. Williford Collection. Norman: Fred Jones Jr. Museum of Art, 2011.
_____. “‘Steadily to the Ideal’: The Paintings of Bruce Goff.” In Bruce Goff: A Creative Mind. Norman: Fred Jones Jr. Museum of Art, 2010.
Daniel Worden (2005-2006)
Worden, Daniel. “Birth in the Briar Patch: Charles W. Chesnutt and the Problem of Racial Identity.” The Southern Literary Journal 41, 2 (Spring 2009): 1-20.
_____. "Literary Cultures of the American Southwest." In A Companion to the Literature and Culture of the American West, edited by Nicolas Witschi. New York: Blackwell, 2011.
_____. “On Modernism’s Ruins: The Architecture of ‘Building Stories’ and Lost Buildings.” In The Comics of Chris Ware: Drawing is a Way of Thinking, edited by Martha Kuhlman and David M. Ball. Jackson, Miss.: University Press of Mississippi, 2010.
