The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008) - Table of Contents

“Surrealism and Ethnography: Introduction” by Amy H. Winter, p. i-vi. 

“Totemic Landscapes and Vanishing Cultures Through the Eyes of Wolfgang Paalen and Kurt Seligmann” by Marie Mauzé, p. 1-24.

“Surrealist Visions of Pre-Columbian Mesoamerica and the Legacy of Colonialism: the Good, the (Revalued) Bad, and the Ugly” by Keith Jordan, p. 25-63.

“Surrealism and Inuit Art: The Fascination of the Far North” by Florence Duchemin-Pelletier, p. 64-94.

“Bound Objects and Blurry Boundaries: Surrealist Display and (Anti)Nationalism” by Susan Power, p. 95-113.

“Man Ray’s Lost and Found Photographs: Arts of the Americas in Context” by Wendy Grossman, p. 114-139.

“T.J. Demos, The Exiles of Marcel Duchamp” by Bradley Bailey, p. 140-144. 

“The Dalí Renaissance: New Perspectives on His Life and Art after 1940 and Danser Gala: L’Art Bouffe de Salvador Dalí” by Mary Ann Caws, p. 145-146.

“Review of ‘The Art of Lee Miller’: Victoria and Albert Museum, 2007” by Peter Barberie, p. 147-151.

“Frida Kahlo in Philadelphia: Life and Death” by Samantha Kavky, p. 152-156.

“Thinking the ‘Post-Indian’: Remix: New Modernities in a Post-Indian World” by Claudia Mesch, p. 157-161.

The Journal of Surrealism and the Americas: Vol. 10 No. 1 (2019) - Table of Contents

“Introduction to the Special Issue on Max Ernst” by Samantha Kavky, p. 1-6. 

“Napoleon in the Wilderness: The Transmogrification of a Picture by Max Ernst” by Martin Schieder, p. 7-23.

“Seeing Through an (American) Temperament: Max Ernst’s Microbes, 1946-1953” by Danielle M. Johnson, p. 24-45. 

“Max Ernst and the Aesthetic of Commercial Tourism: Max Among Some of His Favorite Dolls” by Carolyn Butler Palmer, p, 46-68.

“Arizona Dream: Maxime Rossi Meets Max Ernst” by Julia Drost, p. 69-83.

“Glowing Like Phosphorus: Dorothea Tanning and the Sedona Western” by Catriona McAra, p. 84-105.

“Conference Review: ‘SURREALISMS: the Inaugural Conference of the International Society for the Study of Surrealism’” by Kristen Strange, p. 106-110. 

“Exhibition Review of ‘A Home for Surrealism: Fantastic Painting in Midcentury Chicago’” by Jennifer R. Cohen, p. 111-114.

“Exhibition Review: ‘Native American Art at Documenta 14 and the Issue of Democracy’” by Claudia Mesch, p. 115-120.   

The Journal of Surrealism and the Americas: Vol. 7 No. 1 (2013) - Table of Contents

“Introduction to the Issue and Special Section on Native American Surrealisms” by Claudia Mesch, p. i-iv. 

“George Morrison’s Surrealism” by W. Jackson Rushing III, p. 1-18. 

“César Moro’s Transnational Surrealism” by Michele Greet, p. 19-51. 

“A Modernist Moment: Native Art and Surrealism at the University of Oklahoma” by Mark A. White, p. 52-70.

“The Opposite of Snake: Surrealism and the Art of Jimmie Durham” by Mary Modeen, p. 71-95. 

“‘My World is Surreal,’ or ‘The Northwest Coast’ is Surreal” by Charlotte Townsend-Gault, p. 96-107. 

“Complexity and Contradiction in Native American Surrealism” by Robert Silberman, p. 108-130. 

“Review of ‘Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy’ & Kay Sage, ‘The Biographical Chronology and Four Surrealist One Act Plays’” by Larry List, p. 131-134.

The Journal of Surrealism and the Americas: Vol. 6 No. 1 (2012) - Table of Contents

“Notes for a Historiography of Surrealism in America, or the Reinterpretation of the Repressed” by Samantha Kavky, p. i-ix.

“What Makes a Collection Surrealist?: Twentieth-Century Cabinets of Curiosities in Paris and Houston” by Katharine Conley, p. 1-23.

“Dalí, Magritte, and Surrealism’s Legacy, New York c. 1965” by Sandra Zalman, p. 24-38.

“‘What Makes Indians Laugh’: Surrealism, Ritual, and Return in Steven Yazzie and Joseph Beuys” by Claudia Mesch, p. 39-60. 

“Cracking up an Alligator: Ethnography, Juan Downey’s Videos, and Irony” by Hjorleifur Jonsson, p. 61-86.

“Review of Effie Rentzou, ‘Littérature Malgré Elle: Le Surréalisme et la Transformation du Littéraire’” by Pierre Taminiaux, p. 87-90.

“In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States” by Susan L. Aberth, p. 91-94.

Phoebus 5: A Journal of Art History - Table of Contents

“Editor’s Note” by Anthony Gully, p. 5-6.

“Preface” by Lucinda H. Gedeon, p. 9-12.

“Hiram Power’s Bust of George Washington: The President as an Icon” by Vivien Green Fryd, p. 14-28.

“A Sky After El Greco, An Early Homage by Demuth” by Marie Timberlake, p. 29-44.

“Ben Shahn’s ‘Mine Building: A Symbol of Disaster’” by Carolyn Robbins, p. 45-60.

“Georgia O’Keeffe’s ‘Horse’s Skull on Blue’: A Dedicatory Essay” by Barbara Spies, p. 61-65.

“Eastman Johnson's Cranberry Pickers” by Joseph Lamb, p. 66-74. 

“Dull Knife’s Defiance” by Maria Leone, p. 75-79. 

“A Designer of Dreams: Arthur B. Davies’ ‘Dawn, Mother of Night’” by Anne Gully, p. 80-87.

“Death and Mystical Liberation in John B. Flannagan’s ‘Beginning’” by Timothy Norris, p. 88-92.

“Architecture that Speaks: Edward Hopper's Cottage, Cape Cod” by William Laubach, p. 93-95.

“Behind the Mask: Walt Kuhn’s ‘Young Clown’” by Richard Raymond, p. 96-101.

“George Elbert Burr: A Sometimes Master” by Thomas van der Meulen, p. 102-109.

“‘Parade’ in Review, an Interview with Philip C. Curtis” by Dawne Walczak, p. 110-124.

“Notes” p. 125-143.

Phoebus 3: A Journal of Art History - Table of Contents

“Preface” by Jack Breckenridge, p. 5.

“A Possible Interpretation of the Bird-man Figure Found on Objects Associated with the Southern Cult of the Southeastern United States, A.D. 1200 to 1350” by Lee Anne Wilson, p. 6-18.

“John Milton’s ‘Unholy Trinity’: (Satan, Sin, and Death)” by Anthony Gully, p. 19-36.

“Arizona Portfolio” p. 38-84.

          “Voyage of the Sesostris: Elihi Vedder in Egypt” by Hugh Broadley, p. 39-51.

          “Theodore Roszak’s ‘Emergence: Transition I’ at Arizona State University” by Joan
          Seeman Robinson, p. 52-53.

          “‘La peur donnant des ailes au courage by Jean Cocteau: a Drawing in the Phoenix Art
          Museum” by Anne Gully and Susan Benforado Gunther, p. 54-63.

          “John Mix Stanley, a ‘Hudson River’ Painter in Arizona” by James K. Ballinger, p. 64-72.

          “‘Corn Husking’ by Winslow Homer” by Gerald Eager, p. 73-79.

          “A Plate from the Meissen Swan Service in the Phoenix Art Museum” by Barbara
          Nachtigall, p. 80-84.

“Death in the Darkroom: Poisonings of Nineteenth Century Photographers” by Bill Jay, p. 85-98.

“Oral History in Art: A New Tool” by Winberta Yao, p. 99-108.

“A Note from a Reader” p. 109. 

“Contributors” p. 110-112

Phoebus 2: A Journal of Art History - Table of Contents

“Preface” by Jack Breckenridge, p. 3.

“Contributors” p. 4-5.

“Table of Contents” p. 6-7.

“The Problem of Antisolimenismo in Neapolitan Baroque Painting” by Donald Rabiner, p. 8-16.

“Mid-Fourteenth Century Painting in Suchou: Some Lesser Masters” by Claudia Brown, p. 17-30.

“A Re-Examination of the Cult of Demeter and the Meaning of the Eleusinian Mysteries” by Sherly Farness, p. 31-38. 

“Arizona Portfolio” p. 39-53. 

          “Wooden Cross” by Mildred Monteverde, p. 40-43.

          “Le Petit Tablier” by Rosalind Robinson, p. 44-47.

          “La Réunion des plus Célèbres Monuments Antiques de la France” by Vicki C. Wright, p.
          48-53. 

“An Unpublished Rowlandson Sketchbook” by Anthony Gully, p. 54-74.

“Are We Ready for Shih-T'ao?” by Ju-hsi Chou, p. 75-87. 

“A Conversation Between Adolph Gottlieb and Jack Breckenridge” transcribed by Jack Breckenridge, p. 88-96. 

“Three Recent Art Reference Books” by Winberta Yao, p. 97-102

Phoebus 1: A Journal of Art History - Table of Contents 

“Preface” by Ju-hsi Chou, p. 4-6. 

“Dedication” by Harry Wood, p. 7-8.

“Style and Symbolism in the Awatobi Kiva Mural Paintings” by Marvin Cohodas, p. 9-21.

“Mr. B and the Cherubim: A Critical Examination of William Blake's 'A Descriptive Catalogue' of 1809” by Anthony Gully, p. 23-46. 

“Arizona Portfolio” p. 47-64.

          “La Muse de Guillaume Apollinaire (The Muse of Guillaume Apollinaire)” by Anthony
          Gully, p. 48-51.

          “Wild Geese, Flowering Plants, and Tall Reeds” by Ju-hsi Chou, p. 52-55.

          “Ting” by Ju-hsi Chou, p. 56-59.

          “Homage to Watteau” by Robin Dowden, p. 60-64.

“A Note on a Letter from Roger Hilton to Terry Frost” by Jack Breckenridge, p. 65-74.

“Ming Idealism and Landscape Painting” by Ju-hsi Chou, p. 75-92.

“Classic Maya Elements in the Iconography of Rulership at El Tajin, Veracruz, Mexico” by Michael Kampen, p. 93-104. 

“Anne de Coursey Clapp, Wen Cheng-ming, ‘The Ming Artist and Antiquity’” by Anne de Coursey Clapp and Wen Cheng-ming, p. 105-108.

“‘7+5 Sculptors in the 1950s’: An Exhibition in the Phoenix Art Museum” 108-113.

“List of Contributors” by 114-116.