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Submissions from 2023

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Introduction to Totality: Abstraction and Meaning in the Art of Barnett Newman, Michael Schreyach

Submissions from 2022

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Visual Documentation for Barnett Newman’s Curatorial Projects, 1944-1946 PART II: Commentary and Assessment, Michael Schreyach

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Visual Documentation for Barnett Newman’s Curatorial Projects, 1944-1946 PART I: Image Records for Pre-Columbian Stone Sculpture (1944) & Northwest Coast Indian Painting (1946), Michael Schreyach

Submissions from 2020

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'An Unrivaled Brass Lectorium': The Cloisters Lectern and the Gothic Revival in England, Douglas Brine

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'Beautiful Authorities': Augustus W.N. Pugin and Early Netherlandish Painting, Douglas Brine

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Musicians and Their Monuments in the Burgundian Netherlands: Some Art Historical Perspectives, Douglas Brine

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Houston Is Almost All Right: Postmodernism on the Texas Gulf Coast, Kathryn E. O'Rourke

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Untouchable, Michael Schreyach

Submissions from 2019

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Shifting [A Response to Richard Shiff], Michael Schreyach

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What Painting Can Do, Michael Schreyach

Submissions from 2018

Les Reliefs Votifs, Un Ensemble Exceptionnel, Douglas Brine

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Pugin's 'Dürers', Douglas Brine

Reflection and Remembrance in Jan van Eyck's Van der Paele Virgin, Douglas Brine

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[Review of the book Pollock's modernism, by M. Schreyach], Eileen Costello

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Beholding Barnett Newman's Adam, Part 1: Scale and Standing, Michael Schreyach

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Beholding Barnett Newman's Adam, Part 2: Immanent Iconography, Michael Schreyach

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Beholding Barnett Newman's Adam, Part 3: Exposing Creation, Michael Schreyach

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Meeting Spaces, Michael Schreyach

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Moving Vision: Anne Truitt, Paintings 1972-1991, Michael Schreyach

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Never Mind the Pollocks, Michael Schreyach

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Spacing Expression, Michael Schreyach

Submissions from 2017

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Introduction to Pollock's Modernism, Michael Schreyach

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Kandinsky: Tactical, Operational, Strategic, Michael Schreyach

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The Crisis of Jackson Pollock’s Mural as a Painting, Michael Schreyach

Submissions from 2015

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Re-created Flatness: Hans Hofmann’s Concept of the Picture Plane as a Medium of Expression, Michael Schreyach

Submissions from 2014

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A Conversation with Michael Fried, Michael Schreyach

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Barnett Newman, Michael Schreyach

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John Dewey and Art, Michael Schreyach

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Representing “Actuality”, Michael Schreyach

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The Crisis of Mural as a Painting, Michael Schreyach

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The Meaning of Feeling, Michael Schreyach

Submissions from 2013

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Barnett Newman's “Sense of Space”: A Noncontextualist Account of Its Perception and Meaning, Michael Schreyach

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Fixed Ecstasy: Joan Miró in the 1920s, Michael Schreyach

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Pre-objective Depth in Merleau-Ponty and Jackson Pollock, Michael Schreyach

Submissions from 2012

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Intention and Interpretation in Hans Namuth's Film, Jackson Pollock, Michael Schreyach

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Pollock's Formalist Spaces, Michael Schreyach

Submissions from 2009

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Unity and Continuity in Jon Lee’s Abstract Woodblock Prints, Michael Schreyach

Submissions from 2008

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Rogier van der Weyden and Early Netherlandish Wall Memorials, Douglas Brine

Submissions from 2007

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David Smith's Equivalence, Michael Schreyach

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Helen Frankenthaler’s Gravity, Michael Schreyach

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‘I am Nature’: Science and Jackson Pollock, Michael Schreyach

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Seeing Noland’s Feeling, Michael Schreyach