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Paul Rodgers, “The Modern Aesthetic”
Molly Warnock, “Simon Hantaï and the Reserves of Painting”
Paul Rodgers, “Pablo Picasso | Simon Hantaï: Drama Shared, Cubism and the Fold”, April 13, 2021

“The Art of a Fired Cartoonist,” Hyperallergic Sunday, July 22, 2018

“DEBORAH NAJAR with Joachim Pissarro and David Carrier,” Brooklyn Rail July-August 2018.

“E. H. Gombrich and Leonardo: The Role of Scientific Psychology in Art History,” Leonardo, 51, 3 (2018): 222.

“SYLVAIN BELLENGER with David Carrier and Joachim Pissarro,” Brooklyn Rail Wednesday, April 4, 2018

“SEAN SCULLY with David Carrier,” Brooklyn Rail March 2018.

“OKWUI ENWEZOR with David Carrier & Joachim Pissarro,” Brooklyn Rail Friday, September 8, 2017.

“The Story of Leonardo. One Author’s Perspective,” Leonardo, 50, 3 (2017): 253-4.

“THELMA GOLDEN with Joachim Pissarro and David Carrier,” Brooklyn Rail May 1, 2017.

“Erik Schmidt,” King Kong 2 (2016): 178.

“Allen Jones’s ‘Chair,’” King Kong 1( 2016): 85.

“A Very Short History of Poussin Interpretation,” Source 35, 1-2 (Winter 2016): 69-80.

“Mark Tansey: Spinner,” Gagosian (February-April 2016): 148-53.

“The Blind Spots of Art History: How Wild Art Came to Be -and Be Ignored,” Friday, October 9, 2015. Link: PDF

“Untitled,” Sean Scully: Bricklayer of the Soul, ed. Kelly Grovier (Ostfildern: Hatje Cantz Verlag, 2015): 20-21.

“Untitled,” The Order of Things (Philadelphia: The Barnes Foundation, 2015): 28.

“Bill and I”: A Sentimental Memoir for Bill Berkson,” For Bill, ANYTHING: Images and Text for Bill Berkson, eds. Jarrett Earnest and Isabelle Sorrell (Brooklyn: Pressed Wafer, 2015): 35-9.

“GLENN LOWRY with Joachim Pissarro, Gaby Collins-Fernandez, and David Carrier,” Brooklyn Rail Wednesday, May 6, 15

“Teaching contemporary art history in China,” Journal of Contemporary Chinese Art 1, 2&3 (2015): 297-307.

“ALANNA HEISS with David Carrier and Joachim Pissarro, with the assistance of Gaby Collins-Fernandez,” Brooklyn Rail

“SIR NORMAN ROSENTHAL with David Carrier and Joachim Pissarro,” Brooklyn Rail, July 2014

“Philippe de Montebello with David Carrier and Joachim Pissarro,” Brooklyn Rail, May 2014.

“Small Museum for Brave Art,” ed. Jeffrey Grove Michaél Borremans: As Sweet as it gets (Ostfildern: Hatje Cantz Verlag, 2014), 258.

“Art Theory/Art Writing,” Brooklyn Rail,6 February 2014

“MASSIMILIANO GIONI with David Carrier and Joachim Pissarro,” Brooklyn Rail, 31 December 2013

Warhol Museum Blog: October 2013

‘Indiscernibles and the Essence of Art: The Hegelian Turn in Arthur Danto’s Aesthetic Theory,” The Library of Living Philosophers. Volume XXXIII. The Philosophy of Arthur C. Danto (Chicago: Open Court, 2013): 215-28.

“Jeffrey Deitch,”, Thursday, October 3, 13.

“The World Art History Museum,” sztuka I filozofia 42/2013: 79-85.

“Art Criticism That Made A Difference,” Brooklyn Rail, May 2013.

“The Early Developmental Stage: A Dialogue on the Contemporary Chinese Art World with Author Karen Smith,” artcritical/April 13, 2013

“Looking/Reading/Writing,” Brooklyn Rail, March 2013.

“Fearless and Philosophical, Subtle and Inquisitive: Thomas McEvilley, 1939-2013,” art critical/Sunday, March 3, 2013

“Frank Stella’s Styles,” arte al limite November-December, 2012: 52-7, reprinted in ALLIMITE: 10 anos de arte contemporáneo (Santiago: 2013): 366-71.

“The New Barnes Museum,”, November 6, 2012.

“Touring Yuzi Paradise Art Park, Guilin, China,” Curator: The Art Museum Journal 55, 4 (October 2012): 409-12.

With Joachim Pissarro, “How Modernism revolutionized taste. But left the art world prone to the judgments of the few,” The Art Newspaper 239 (October 2012): 21.

“Surface Truths and Surface Tensions,” ArtUS 2012: 25-35.

“Seeing Blindness NICOLAS POUSSIN, Blind Orion Searching for the Rising Sun”

“What is a Comic? A Brief Sketch of a New Answer to that Old Question,” (Christian Bachmann Verlag: Essen, 2012).

“Art and National Identity: Some Museums in Prague,” Curator 55/2 (April 2012): 227-32.

“A Pure and Remote View”: James Cahill on Scholarship and the Web,” posted Saturday, March 31, 2012

“Proust’s In Search of Lost Time: The Comics Version,” The Art of Comics: A Philosophical Approach, eds. A. Meskin and R. Cook (Malden, MA: Blackwell, 2012 ): 188-202.

“Trampling Images: Buddhist Art in a World Art History” ArtUs 31 (2011): 72-5.

“The Art Museum Today,” Curator Volume 54 Number 2 April 2011: 181-89.

"How to misunderstand Chinese art: Seven Examples.” Subversive Strategies in Contemporary Chinese Art, eds. M. B. Wiseman and L. Yeudi (Leiden: Brill, 2011), 369-76.

Obituary for Leo Steinberg: March 2011

“Arthur Danto: Artist,” 1 January 2011,

“A diary of Beijing life for Maria Morganti. Friday, March 6, 2009,” Maria Morganti, Un diario tira l’atro. Condivisione: One diary leads to another (Mantova: Publi Paolini, 2010): 53-4.

“Public Art and Its Discontents. Julie Mehretu at Goldman Sachs,” November 7, 2010

“Diebenkorn Country The Ocean Park Series,” ArtUS 2010 (2): 84-91.

“Ernst Gombrich’s Account of Chinese Painting,” NCU Journal of Art Studies 6 2010.05: 1-30.

“Baroque Rhetoric: The Methodology,” Performativity and Performance in Baroque Rome, eds. Peter Gillgren and Marten Snickare (Ashgate: 2011): 188-201.

“Margaretha Rossholm Lagerlöf’s Poussin,“ Det askadliga och det bottenlosa: Tankar om konst och humaniora tillagnade Margaretha Rossholm Lagerlof (Stockholm: Stockholms universitet, 2010), 71-76. A Festschrift.

“The Coming Sinification of Western Art History,” What is Chinese Contemporary Art: The Collection of Essays of 2009 Beijing International Conference on Art Theory & Criticism (Beijing: 2009), 73-77.

“Nicolas Poussin’s Landscape with a Man Killed by a Snake,” Source XXVIII, 2 (Winter 2009): 33-38.

“Some Museums in China, Macau, and Taiwan,” Curator: The Museum Journal 52, 4 (October 2009): 375-84.

“Warhol, Danto and the End of Art History,” ArtUS 26 (2009): 92-97.

“The Poetics of the Art Museum,” Curator: The Museum Journal 52, 3 (July 2009): 221-28

“Anthony Blunt’s Poussin,” Word & Image, 25, 4 (December 2009): 416-26

“The Mapping Impulse and the Art of Nicolas Poussin,” Source XXVIII, 4 (Summer 2009): 47-51

"Poussin, a classical artist in a society of the Spectacle,” Source XXVIII, 4 (Summer 2009): 40-46

“Chinese Art, European Art, Art,” Stones from Other Mountains: Chinese Painting Studies in Postwar America, ed. Janon Kuo (Washington, DC: New Academia, 2009), 287-302

“Peter Saul and the History of Pop Art,” ArtUS, 24/24 (Fall-Winter, 2008): 51-59

“Jean Louis Schefer: the Uses of Difficulty in Art History Writing,” Word & Image 25, 1(March 2009): 11-21

“Nicolas Poussin’s Theater of the World,” Kunsthistorisk Tidskrift, 77, 3 (September 2008): 162-71

“The Beautiful and the Sublime: Keith Christiansen’s Poussin,” on line, University of Tampa Journal of Art History, August 2009

“Andy Warhol’s Self-Portraits,” Andy Warhol by Andy Warhol (Skrs: Milan, 2008), 43-47

“Towards a Structuralist Analysis of Baroque Art,” Source, XXVII, 4 (Summer 2008) 32-36

“A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s Saint Mark Preaching in Alexandria (1504-7),” Source, XXVIII, 1 (Fall 2008): 16-9

“Indiscernibles and the Essence of Art: The Hegelian Turn in Arthur Danto’s Aesthetic Theory,” forthcoming in the Library of Living Philosopher volume devoted to Danto

“On the Carpet with Oleg Grabar,” ArtUS 21 (2008): 44-7

“Bob Jones University Gallery,” Curator 51, 1 (January 2008): 81-85

“Leonardo and Leonardo da Vinci,” Leonardo 41, 1 (2008): 36-8, introduction to special section I edited, with four essays

“The Art Historian as Art Critic: In Praise of Adrian Stokes,” The Coral Mind: Adrian Stokes’s Engagement with Architecture, Art History, Criticism, and Psychoanalysis, edited by Stephen Bann (Penn State Press 2007): 151-9

“Politically Incorrect Art,” ArtUS 20 (Winter 2007): 22-25

“Two Representations of Masaniello’s 1647 Revolt in Contemporary Neapolitan Paintings,” Source, XXVII, 1 (Fall 2007): 32-38

“L’estetica di Danto è davvero così generale come pretende di essere?,” Rivista di Estetica, 35 (2/2007): 45-66

“Deep Innovation and Mere Eccentricity in Islamic Art History,” Making Art History: A Changing Discipline and its Institutions, ed. Elizabeth Mansfield (New York: Routledge, 2007): 173-86

“Reply to my commentators,” the J. of Aesthetic Education 41, 2 (Summer 2007); 22-24. I reply to a Symposium: The Future of the Art Museum: Curatorial and Educational Perspectives

“Why Art Schools Matter,” in (Cleveland Institute of Art, October 2007)

“Why Art Critics Don’t Matter Anymore,” ArtUS 18 (May-June 2007); 30-32

“Why Curators Matter,” Cautionary Tales: Critical Curating, Eds. Seven Rand and Heather Kouris (New York: Apexart, 2007), 79-90

“Arthur Danto,” Art: Key Contemporary Thinkers, eds. D. Costello and J.P.Vickery (Oxford: Berg, 2007): 114-17

“War Rugs: Political Art from the Islamic World,” ArtUS, 16 (January-February 2007): 54-7

“What Happens When Art History Travels,” Is Art History Global? Ed J. Elkins (Routledge, 2007): 286-89

“Fashion Desire. Giorgio Armani’s Art Gallery,” ArtUS 14 (July-September 2006): 25-35

“Marcel’s Studio Visit with Elstir,” ArtUS, 9 (July- September 2005): 29-39

“Islamic Carpets in Christian Paintings: An Alternative Theory of the Origin of the Public Art Museum,” Source XXV, 1 (Fall 2005): 1-5

“The Art of Making Spectacles: A Short History of the Development of Painting from Matisse and Pollock to Manet,” Seeing and Beyond: Essays on Eighteenth- to Twenty-First-Century Art in Honor of Kermit S. Champa, Eds. Deborah J. Johnson and David Ogawa (New York: Peter Lang, 2005), 7-19

“Artforum, Andy Warhol and the Art of Living: What Art Educators can Learn from the recent history of American Art Writing,” J. of Aesthetic Education, 39, 1 (Spring 2005): 1-12
Republished J. of Aesthetic Education 39, 3 (Fall 2005): 114-20

“Seeing Cultural Conflicts,” ArtUS 4 (September-October 2004): 12-13

“The Beauty of Henri Matisse,” J. of Aesthetic Education 38, 2 (Summer 2004): 80-87
Contribution to a Survey: Which artists from the past decades still assert a great influence on the art of today?,” Tema Celeste 100 (November/December 2003) 58/64 (English/Italian)

“The Political Art of Jacques-Louis David and his Modern Day American Successors,” Art History 26, 5 (November 2003): 730-51
Reprinted with revisions as “Was David a Revolutionary before the Revolution? Recent Political Readings of The Oath of the Horatii and The Lictors Returning to Brutus the Bodies of his Sons,” Jacques-Louis David: New Perspectives, ed. Dorothy Johnson (Newark: University of Delaware Press, 2006): 108-118

“New York Art, Pittsburgh Art, Art,” J. of Aesthetic Education, 37, 3 (Fall 2003): 97-104

“The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City,” Leonardo 36, 1 (2003): 35-39

“Remembering the Past: Art Museums as Memory Theaters,” Journal of Aesthetics and Art Criticism, 61, 1 (Winter 2003): 61-5

“How We Make Art Now,” Tema Celeste 96 (March-April 2003): 40-45

“In Praise of Connoisseurship,” J. of Aesthetics and Art Criticism, 61:2 (Spring 2003): 159-69

“Introduction to The Quattro Cento,” Introduction to a republication of Adrian Stokes, Quattro Cento (University Park: Penn State Press, 2002): 1-12

“Why were there no public art museums in Renaissance Italy?,” Source, XXII, 1 (Fall 2002): 44-50

“Current Issues in Art History, Aesthetics, Visual Studies,” Art History, Aesthetics, Visual Studies, ed. M. A. Holly and K. Moxey (Williamstown, MA: Clark Art Institute, 2002): 251-59

“Deep Innovation and Mere Eccentricity: Six Case Studies of Innovation in Art History,” Art History and Its Institutions, ed Elizabeth Mansfield (Routledge, 2002)

“On art galleries,” Tema Celeste, 90 April 2002, 72

“Meditations on a scroll, or the Roots of Chinese Artistic Form,” Word & Image 18:1 (January-March 2002): 45-52