Refiguring Modernism – serie

Documenting Spain

Artists, Exhibition Culture, and the Modern Nation, 1929–1939

Beyond Pleasure

Freud, Lacan, Barthes

Space-Age Aesthetics

Lucio Fontana, Yves Klein, and the Postwar European Avant-Garde

Viennese Jewish Modernism

Freud, Hofmannsthal, Beer-Hofmann, and Schnitzler

Mediating Modernity

German Literature and the “New” Media, 1895–1930

Seurat Re-viewed

From Diversion to Subversion

Games, Play, and Twentieth-Century Art

Curatorial Avant-Garde

Surrealism and Exhibition Practice in France, 1925–1941

Modernism and Its Merchandise

The Spanish Avant-Garde and Material Culture, 1920-1930

Modernism and Its Merchandise

The Spanish Avant-Garde and Material Culture, 1920-1930

Ireland and the Problem of Information

Irish Writing, Radio, Late Modernist Communication

Nature’s Experiments and the Search for Symbolist Form

Nature’s Experiments and the Search for Symbolist Form

Color in the Age of Impressionism

Commerce, Technology, and Art

Soviet Salvage

Imperial Debris, Revolutionary Reuse, and Russian Constructivism

London Art Worlds

Mobile, Contingent, and Ephemeral Networks, 1960–1980

London Art Worlds

Mobile, Contingent, and Ephemeral Networks, 1960–1980

Literary Obscenities

U.S. Case Law and Naturalism after Modernism

Literary Obscenities

U.S. Case Law and Naturalism after Modernism

Surveying the Avant-Garde

Questions on Modernism, Art, and the Americas in Transatlantic Magazines

Surveying the Avant-Garde

Questions on Modernism, Art, and the Americas in Transatlantic Magazines

Shattered Objects

Djuna Barnes’s Modernism

Shattered Objects

Djuna Barnes’s Modernism

Art and Form

From Roger Fry to Global Modernism

Art and Form

From Roger Fry to Global Modernism

Drawing Degree Zero

The Line from Minimal to Conceptual Art

Decorative Arts of the Tunisian École

Fabrications of Modernism, Gender, and Power

Bells for America

The Cold War, Modernism, and the Netherlands Carillon in Arlington

Simon Hantaï and the Reserves of Painting