Dolls that Appall: An Analysis of “Black Canadiana Memorabilia” through “Mammy” and “Topsy” Stereotypes in Twentieth Century Canadian Dolls
For Everyone an Isolated Garden
Intersecting Identities in the Images of Claude Cahun
Crafting Identity: Rembrandt’s Early Self-Portraiture and His Approach to the Market
The Warning Within Zach Blas’s Facial Weaponization Suite
Performing Excess, Performing Affect: An Affective Investigation of Cindy Sherman’s Untitled Film Still #27
Furnishing History: Curating Authenticity at Versailles
Propaganda, Prosperity, and the Sea: Distortion in Jacopo de'Barbari's View of Venice
The Enchantment of Metapicture: Velázquez’s Las Hilanderas
L’œuvre Hiroshima d’Yves Klein : le vide pictural comme métaphore apocalyptique
An Ambiguous Instant: Oiran, or Takahashi Yuichi’s Portrayal of a Plural Japan
Eroticism in Repulsion: An Affective Reading of Carole Schneeman’s “Meat Joy”
Seeing, Saying, Doing: John Berger’s “Ways of Seeing” and Sir Kenneth Clark’s “Civilisation”
Perception and the Body in Vito Acconci’s “Blinks”
Transcending Common Understandings of Conceptual Art: An Analysis of Adrian Piper’s "What Will Become of Me" (1985, ongoing)
"PRONKSTILLEVEN": PRIORITIZING VISUAL EXERCISE IN A WORLD OF VANITAS
