Selected Essays
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| "Form is a Verb: Pousette-Dart and Vorticism." In Pousette-Dart Drawing: Form is a Verb. New York: Knoedler & Company, 2008. |
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| "Hernan Bas' 'Fag Limbo' and the Tactics of Reframing Societal Texts." In Mark Coetzee. Hernan Bas: Works from the Rubell Family Collection. Miami: Rubell Family Collection, 2007. |
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| "Conversing About Contemporary Sculpture." In Glenn Harper and Twylene Moyer, eds. Conversations on Sculpture. Hamilton, NJ: International Sculpture Center, 2007. |
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| "Lee Krasner's Skepticism and Her Emergent Postmodernism." Woman's Art Journal 28, No. 2 (Fall/Winter 2007). |
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| "Tom McGrath: Landscape Redux." InTom McGrath: Paintings 2002-2007. New York: Zach Feuer Gallery, 2007. |
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| “Kelley Walker’s Continuum: Consuming and Recycling as Aesthetic Tactics” in Suzanne Cotter, ed., Seth Price/Kelley Walker: Continuous Project. Oxford, UK: Modern Art Oxford, 2007. |
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| “Robert Beck’s Dust” in Bill Horrigan, Helen Molesworth, and Robert Hobbs, Robert Beck: Dust. Columbus: Wexner Center for the Arts, 2007. |
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| “Richard Jackson: Expanding Painting’s Limits” in Richard Jackson: New Works 2006-2007. New York: Yvon Lambert, 2007. |
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| “Robert Motherwell: Philosophical and Methodological Consideration: Aesthetic Structuralism and D.W. Prall” in David L. Craven, ed., Festschrift for Donald Kuspit. Cambridge: Cambridge University Press, 2007. |
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| “Tavares Strachan’s Infinite Games” in Tavares Strachan: he Distinace Between What We Have and What We Want. New York: Ronald Feldman and Pierogi, 2006. |
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| “George Rickey and Kenneth Snelson at the Palais Royale” in Deux Américains à Paris: Sculptures de George Rickey et Kenneth Snelson. Paris: Louvre Palais Royale, 2006. |
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“Dan Fischer: Xerox Realism” in Dan Fischer. New York: Derek Eller Gallery, 2006.
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“Robert Motherwell’s Elegies to the Spanish Republic,” 1976 (revised 2004) in Ellen G. Landau, ed., Reading Abstract Expressionism: Context and Critique. New Haven and London: Yale University Press, 2005. This essay is one of six articles chosen to represent scholarly and critical writings on Abstract Expressionism in the 1970s. |
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“Neo Rauch’s Purposive Ambiguities” in Neo Rauch. Málaga, Spain: CAC Málaga, 2005. |
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“Surrealism and Abstract Expressionism: From Psychic to Plastic Automatism” in Isabelle Dervaux, Surrealism USA. New York: National Academy Museum in conjunction with Hatje Cantz Publishers, 2005. |
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“Malcolm Morley: The Art of Painting” in Malcolm Morley. New York: Sperone, Westwater, 2005. |
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| “The Term ‘Color Field” in The Shape of Colour. Toronto: Art Gallery of Ontario, 2005. This essay is the first to determine the origins of the term “color field,” which has mistakenly been attributed to Clement Greenberg. |
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“Affluence, Taste, and the Brokering of Knowledge: Notes on the Social context of Early Conceptual Art” in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice. Cambridge: Cambridge University Press, 2004. |
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| “Jonathan Lasker’s Dramatis Personae” in Jonathan Lasker: Paintings, Drawings, Studies. Madrid: Museo Nacional Centro de Arte Reina Sofía in co-production with K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2003. |
Essay (PDF) |
| "Reading Black Through White: Kara Walker and the Question of Racial Stereotyping: A Discussion between Michael Corris and Robert Hobbs," Art History 26, no. 3 (June 2003); rpt. in Gill Perry, ed., Differences and Excess in Contemporary Art: The Visibility of Women's Practices. Oxford: Blackwell, 2004. |
Essay (PDF) |
| “Pierre Huyghe’s Ellipses,” Parkett 66 (Fall, 2003). |
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| “Kara Walker’s White Shadows in Blackface” in For the Benefit of All the Races of Mankind (Mos' Specially the Master One, Boss), An Exhibition of Artifacts, Remnants and Effluvia EXCAVATED from the Black Heart of a Negress. Hannover, Germany: Hannover Kunstverein, 2002. |
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| More essays will be added soon. |
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| © Robert Hobbs, 2008 |
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