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Table of Contents

  1. Foreword
  2. Brian O'Doherty
  3. pp. v-viii
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  1. Histories of Belonging and George Kubler's Prime Object
  2. Avinoam Shalem
  3. pp. 1-14
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  1. Process and Collaboration in a Seventeenth-Century Polychrome Sculpture: Luisa Roldán and Tomás de los Arcos
  2. Jane Bassett, Mari-Tere Alvarez
  3. pp. 15-32
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  1. Engraving Watteau in the Eighteenth Century: Order and Display in the Recueil Jullienne
  2. Isabelle Tillerot
  3. pp. 33-52
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  1. Fantin's Failed Toast to Truth
  2. Bridget Alsdorf
  3. pp. 53-70
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  1. From the Bottom of a Bag: Jean Cocteau's Cul-de-Sac Criticism and the "Indirect Essay"
  2. Ara H. Merjian
  3. pp. 71-86
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  1. Modernism Thwarted: Pierre Koenig's Work for the Chemehuevi Indians
  2. Wim de Wit
  3. pp. 87-98
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  1. "One can and should present an artistic vision... of the end of the world": Werner Tübke's Apocalyptic Panorama in Bad Frankenhausen and the End of the German Democratic Republic
  2. Eckhart Gillen
  3. pp. 99-116
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  1. Drawing as Reasoning: Stephan von Huene's Getty Talk
  2. Astrit Schmidt-Burkhardt
  3. pp. 117-132
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  1. Voices of Authority: Locating the "Modern" in "Islamic" Arts
  2. Sussan Babaie
  3. pp. 133-149
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  1. A Scripta of Bartolomeo Sanvito
  2. Maddalena Signorini
  3. pp. 151-162
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  1. Beyond Florence's Walls: A List of Evaluations of Buildings to Be Demolished during 1529 to 1530
  2. Guido Rebecchini
  3. pp. 163-168
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  1. The Entry of Clement VIII into Ferrara: Donato Rascicotti's Triumph
  2. Karen Meyer-Roux
  3. pp. 169-178
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  1. James Ward's Papers: An 1826 Diary in Context
  2. Edward J. Nygren
  3. pp. 179-188
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  1. Reading a Family Photo Album: "Tchèque(s)[?] voyagent au Maroc pour rendre visite à un légionnaire [de or en] Garnison"
  2. Colette Apelian
  3. pp. 189-200
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  1. A Transitional Place: Julius Shulman's A to Z Negatives
  2. Anne Blecksmith
  3. pp. 201-208
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  1. "Everywhere is front row center": Robert Alexander's Brochure for Instant Theatre
  2. Lucy Bradnock
  3. pp. 209-214
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  1. Anselm Kiefer's Die berühmten Orden der Nacht
  2. John Tain
  3. pp. 215-221
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Number 2, 2010

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Number 4, 2012