| The inequalities of infamy
|
2016 |
Mainz, Valerie |
| Art history on the radio : Walter Benjamin and Wilhelm Pinder, 1930/1940
|
2016 |
Wilkinson, Tom |
| Disrupting capital
|
2016 |
Federici, Valeria |
| Since when has sculpture looked modern?
|
2016 |
Macsotay Bunt, Tomas |
| Hermès in Asia : haute couture, high art and the marketplace
|
2016 |
Wu, Chin-tao |
| Rules Methods of engagement : or, sublime ambivalence and Charlie's genealogy
|
2016 |
Smylitopoulos, Christina |
| Exposing German communist realities
|
2016 |
Van Dyke, James A. |
| Regrets on parting with my old dressing gown
|
2016 |
Diderot, Denis |
| Byzantine icons and things
|
2016 |
Stephenson, Paul |
| Helen Weston "in three positions"
|
2016 |
Scott, Katie |
| Robert Moris's minimal sculpture, the rise of the gallery network and the aesthetics of commodified art
|
2016 |
Hodge, David |
| The perils of patrimoine : art, history, and narrative in the Immigration History Museum, Paris
|
2016 |
Sherman, Daniel J. |
| "Heil the hero Klimt!" : Nazi aesthetics in Vienna and the 1943 Gustav Klimt retrospective
|
2016 |
Morowitz, Laura |
| Meditating conditions
|
2016 |
Robbins, Christa Noel |
| Conte's machines : drawing, atmosphere, erasure
|
2016 |
Taws, Richard |
| Unreliable witness : the flâneur as artist and spectator of art in nineteenth-century Paris
|
2016 |
Wrigley, Richard |
| "Un moyen puissant de vulgarisation artistique" : reproducing salon pictures in Parisian illustrated weekly magazines c. 1860-c. 1895 : from wood engraving to the half tone screen (and back)
|
2016 |
Gretton, Tom |
| Picturing the maternal body
|
2016 |
Batalion, Judith |
| The Spur group, "Détournement" and the politics of time in the Adenauer era
|
2016 |
Galimberti, Jacopo |
| "Like clocks" : keeping time and tracing space in Cy Twombly's Morocco paintings
|
2016 |
Dupêcher, Natalie |
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