Art History

This essay was first presented in Italian in a dialogue with the physicist Tullio Regge, former Professor in the School of Natural Sciences, as the fifth episode in a television series “Dietro lo Specchio,” broadcast...

Yve-Alain Bois, Professor in the School of Historical Studies, has co-authored Fred Sandback: Vertical Constructions (David Swirner...

Yve-Alain Bois, Professor in the School of Historical Studies, has coauthored Amy Sillman: The ALL-OVER (Dancing Foxes Press/Portikus, 2017), a comprehensive overview of artist Amy Sillman's most recent...

Yve-Alain Bois, Professor in the School of Historical Studies, and Ben Eastham have authored Ed Ruscha: Extremes and In-betweens...

In this public lecture, held at the Institute on May 5, 2017,  Yve-Alain Bois, Professor in the School of Historical Studies, focuses on Matisse's use of the bamboo stick in large-scale works and the bodily conception of scale it entails. In a...

The Museum of Modern Art has published Robert Rauschenberg, a catalogue of short essays by eminent scholars, including Professor Yve-Alain Bois, and emerging new writers focus on specific moments throughout...

Les Presses du Reel has published La Peinture comme Modèle, a new French edition of Painting as Model (MIT Press, 1990) by Yve-Alain Bois, Professor in the School of Historical Studies, a collection...

Matisse gave two separate accounts of the moment at which he began work on the first version of The Dance, each of them emphasizing the immensity of the surface he had to master, “to possess,” as he put it. In the first version, it is an...

Pablo Picasso did not speak often about abstraction, but when he did, it was either to dismiss it as complacent decoration or to declare its very notion an oxymoron. The root of this hostility is to be found in the impasse that the artist reached...

Thames & Hudson has published Matisse in the Barnes Foundation edited by Yve-Alain Bois, Professor in the School of Historical Studies. The Barnes Foundation's Matisse collection, comprised of fifty-nine works from...

Anyone leafing through the pages of this volume cannot but be struck not only by the pace at which the artist’s production evolved during this early period of his career but also by its diversity—with the exception perhaps...

“When Paul Cézanne wants to speak ... he says with his picture what words could only falsify.” In The Voices of Silence (1951), French author and statesman André Malraux expressed his view that the Post-Impressionist painter could only “...