chaney - gombrich-kitaj

EDWARD CHANEY | R.B. Kitaj (1932-2007): Warburgian Artist

This essay examines the influence of Aby Warburg and the Warburg Institute, as mediated by Edgar Wind, on R.B. Kitaj from the late 1950s until his death in 2007. It is based on research in the National Portrait Gallery, the

chaney - gombrich-kitaj

EDWARD CHANEY | R.B. Kitaj (1932-2007): Warburgian Artist

This essay examines the influence of Aby Warburg and the Warburg Institute, as mediated by Edgar Wind, on R.B. Kitaj from the late 1950s until his death in 2007. It is based on research in the National Portrait Gallery, the

Coates Kaldor

REBECCA COATES | The Origins of Kaldor Public Art Projects

Christo and Jeanne-Claude’s Wrapped Coast – One Million Square Feet, Little Bay, Sydney, Australia (1968-69) remains one of Kaldor Public Art Projects’ (KPAP) most significant projects, both artistically and in its impact on the local and international art scene. A private not-for-profit

Coates Kaldor

REBECCA COATES | The Origins of Kaldor Public Art Projects

Christo and Jeanne-Claude’s Wrapped Coast – One Million Square Feet, Little Bay, Sydney, Australia (1968-69) remains one of Kaldor Public Art Projects’ (KPAP) most significant projects, both artistically and in its impact on the local and international art scene. A private not-for-profit

Pasek Sargent

ANNE PASEK | Disorientations: John Singer Sargent and Queer Phenomenology

Art history has long struggled to find a method to account for the diverse expressions of queer desire across the heterogeneous landscape of history. While there has been a surge of research on the lives, artworks, and audiences of artists

Pasek Sargent

ANNE PASEK | Disorientations: John Singer Sargent and Queer Phenomenology

Art history has long struggled to find a method to account for the diverse expressions of queer desire across the heterogeneous landscape of history. While there has been a surge of research on the lives, artworks, and audiences of artists

Jones2

GEORGIA JONES | The Man with Two Faces: Quoting the Collaborative Hand of Howard Arkley and Juan Davila

This paper examines the historical narrative of Howard Arkley and Juan Davila’s collaborative art practice from 1984 to 1999. It is structured chronologically, to highlight a transformation in the duo’s combined processes — the transition from decidedly tense forms of

Jones2

GEORGIA JONES | The Man with Two Faces: Quoting the Collaborative Hand of Howard Arkley and Juan Davila

This paper examines the historical narrative of Howard Arkley and Juan Davila’s collaborative art practice from 1984 to 1999. It is structured chronologically, to highlight a transformation in the duo’s combined processes — the transition from decidedly tense forms of