Submissions from 2023
Introduction to The Taylor Mac Book: Ritual, Realness and Radical Performance, Sean F. Edgecomb
The Early Performances of Taylor Mac, Sean F. Edgecomb
"It’s going to go on a lot longer than you want it to": A Conversation about Taylor Mac, Covid and Collaboration, David Román and Sean F. Edgecomb
Submissions from 2022
Charles Busch, Sean F. Edgecomb
Christopher Street, Sean F. Edgecomb
Taylor Mac, Sean F. Edgecomb
The Palaces of Ludwig II, Sean F. Edgecomb
Queer Becomings: The Ridiculous Theatrical Company’s Camille and Split Britches/Bloolips’ Belle Reprieve, Sean F. Edgecomb and Benjamin Gillespie
Submissions from 2021
Body/Culture: Display and Reception of the Farnese Hercules, Marice Rose
Submissions from 2019
Queer Politics/Nostalgia: Performing the Upstairs Lounge Fire of 1973, Sean F. Edgecomb
Submissions from 2018
Self and Society, Katherine Schwab and Marice Rose
Submissions from 2017
Architecting Queer Space: Charles Ludlam’s Bluebeard in the West Village, Sean F. Edgecomb
Submissions from 2016
Queer Kinesis: Performance, Invocation, Transformation, Sean F. Edgecomb
Submissions from 2015
Drag, Sean F. Edgecomb
Submissions from 2014
Objects of Stone, Marice Rose
Submissions from 2011
Un-Natural History, Jill J. Deupi
Submissions from 2009
Integrating Big Questions with Real World Applications: Models from Art History and Philosophy, Marice Rose and Roben Torosyan
Submissions from 2008
“Not Just Any Woman”: Bradford Louryk, a Legacy of Charles Ludlam and the Ridiculous Theatre for the Twenty-First Century, Sean F. Edgecomb
Submissions from 2006
'It Was Simply Human…' Gender Subversion in Children's Performance, Sean F. Edgecomb
Submissions from 2002
Breaking the Code, Brian Q. Torff
Submissions from 2000
Hellenistic and Roman terracotta figurines and pottery, Marice Rose
Submissions from 1998
Mary Lou Williams: A Woman’s Life in Jazz, Brian Q. Torff