This essay is a discussion of artist Sarah Maple.

This article is an overview of Joan Jonas’s exhibition “They Come to Us without a Word,” curated and organized by Paul Ha, director of the Massachusetts Institute of Technology (MIT) List Visual Arts Center, and Ute Meta Bauer, founding director of the NTU Centre for Contemporary Art Singapore, Nanyang Technological University, and previously an…[Read more]

This article considers several women artists who have used archives or archiving techniques to examine sexual identity or political content or personal and collective memories in their art. These artists include Elise Engler, Zoe Leonard, Renee Green, and Sharon Hayes.

Ph.D. dissertation abstract

This article examined the development of The Feminist Art Project from 2005 to 2007.

This article appeared in a special volume on “Feminist Forum.”

This article examines selected sculptures and drawings by American artist Nancy Grossman.

This article is a discussion of commodification of 9/11 and abstraction in memorializing it in New York City.

This article examines German-American artist Eva Hesse’s sculpture “Accession II.”

Artists and writers who journeyed to the coast of Western Brittany were fascinated by the
spectacle of local festive displays such as the yearly religious pardons at St. Anne de Palud. But
instead of understanding ritual festivities on the Brittany coast as simply the encounter of an
outsider and his or her rural other, we can read these events…[Read more]

An abandoned rock quarry is a ruined, emptied landscape. Although bearing witness to strenuous work, as a subject of representation it cannot summon the sort of national pride invested in fertile agricultural landscapes, industrious windmills and aqueducts; quarried land is an intervention better off forgotten. When depleted, it is typically…[Read more]

How can material culture studies offer new perspectives on the study of late-19th-century art in France? How can the work of contemporary artists animate a collection of historical and locally specific objects? This paper takes up these questions by a close reading of an installation in Saint-Brieuc, along with the collections of two ecomuseums in…[Read more]

This is an essay about the interplay of objects, art and visual culture in several
community museums and historical sites dedicated to local social history in
coastal Brittany. There, in the late nineteenth and early twentieth centuries,
Breton maritime culture invented a range of compensatory ritual objects, sites
and practices to account for…[Read more]

Both remarkable and everyday, women’s ritual maintenance of the memory of the dead was often the subject of paintings, sculpture, photography and popular illustration produced in late 19th and early 20th century Brittany. Breton popular beliefs put the dead and living in close proximity and this was expressed in a range of visual culture that c…[Read more]

Traditional explanations of Symbolist art’s history dwell upon revivalist attempts to plumb myth and folklore in search of animal-human hybrids: predatory sirens, alluring naiads and exotic mermaids, for example. Yet Symbolist painters were resolutely modern—among them French artists Alexandre Séon and Odilon Redon, or Americans Arthur Math…[Read more]