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Rutgers Art Review

Rutgers Art Review

The Graduate Journal of Research in Art History

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      • “Visions in the Crowd: Gendering the Masses in Interwar German Art,” by Francesca Ferrari
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      • “Aby Warburg’s Mnemosyne Atlas: On Photography, Archives, and the Afterlife of Images,” by Molly Kalkstein
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Permalink to: Volume 35 Full PDF

Volume 35 Full PDF

Posted on October 31, 2018By Kathleen Pierce

                                Editors: Kaitlin Booher, Brigid Boyle, and Kathleen Pierce   For full volume, click at left

Permalink to: Call for Papers and Projects

Call for Papers and Projects

Posted on June 6, 2017By Kathleen Pierce

Rutgers Art Review, a journal of graduate research in art history, hereby invites all current graduate students, as well as professionals who have completed their doctoral degree within the past year, to submit papers and digital humanities projects for its 37th edition.   Papers may address all topics and historical periods within the history of Read More ...

Permalink to: Follow Us on Social Media

Follow Us on Social Media

Posted on September 29, 2017By Kathleen Pierce

For updates on our calls for papers and submissions, publications, and other news, follow us on social media:   On Instagram @rutgersartreview and on Twitter @RUartreview  

Current Volume

Volume 35

Permalink to: “Visions in the Crowd: Gendering the Masses in Interwar German Art,” by Francesca Ferrari

“Visions in the Crowd: Gendering the Masses in Interwar German Art,” by Francesca Ferrari

Permalink to: “‘A New Theatrical Zone’: Performing Time in Futurist Photographic Arts,” by Jessica Hough

“‘A New Theatrical Zone’: Performing Time in Futurist Photographic Arts,” by Jessica Hough

Permalink to: “Aby Warburg’s Mnemosyne Atlas: On Photography, Archives, and the Afterlife of Images,” by Molly Kalkstein

“Aby Warburg’s Mnemosyne Atlas: On Photography, Archives, and the Afterlife of Images,” by Molly Kalkstein

Permalink to: “Therefore, I am: Subjectivity, The Body, and Ideological Subversion from Beyond the Iron Curtain in Milan Knížák’s Lying Ceremony and Difficult Ceremony,” by Kat Lukes-Caribeaux

“Therefore, I am: Subjectivity, The Body, and Ideological Subversion from Beyond the Iron Curtain in Milan Knížák’s Lying Ceremony and Difficult Ceremony,” by Kat Lukes-Caribeaux

Permalink to: “Realism and Funerary Processions in Mahmoud Sabri’s Work,” by Suheyla Takesh

“Realism and Funerary Processions in Mahmoud Sabri’s Work,” by Suheyla Takesh

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  • About
    • Editors’ Welcome
    • Meet the Editors
      • Volume 36
      • Volume 35
      • Volume 34
      • Volume 33
      • Volume 32
    • History of RAR
    • Publication Information
  • Submissions
    • Call for Papers and Projects
    • Submission Guidelines
    • Style Guidelines
  • Volumes
    • Current Volume
      • “Visions in the Crowd: Gendering the Masses in Interwar German Art,” by Francesca Ferrari
      • “Therefore, I am: Subjectivity, The Body, and Ideological Subversion from Beyond the Iron Curtain in Milan Knížák’s Lying Ceremony and Difficult Ceremony,” by Kat Lukes-Caribeaux
      • “Aby Warburg’s Mnemosyne Atlas: On Photography, Archives, and the Afterlife of Images,” by Molly Kalkstein
      • “‘A New Theatrical Zone’: Performing Time in Futurist Photographic Arts,” by Jessica Hough
      • “Realism and Funerary Processions in Mahmoud Sabri’s Work,” by Suheyla Takesh
    • Past Volumes
  • Contact
    • Mailing List
    • Follow Us on Social Media
  • Donations