• About
  • Contact
  • Home
Menu

Meghan Gilbride

  • About
  • Contact
  • Home

All Publications Exhibitions Conferences Courses

CELESTIAL BUREAUCRACY
CELESTIAL BUREAUCRACY
CODE WORD SAFE
CODE WORD SAFE
DEATH AND MAGIC
DEATH AND MAGIC
WEAPON OF CHOICE
WEAPON OF CHOICE
(RE)INVENTING THE INDIANS
(RE)INVENTING THE INDIANS
ART OF THE WESTERN WORLD
ART OF THE WESTERN WORLD
INTRO TO MODERN AND CONTEMPORARY ART
INTRO TO MODERN AND CONTEMPORARY ART
IMAGES AND TEXTS REPRODUCED
IMAGES AND TEXTS REPRODUCED
PRESERVING TRANSCULTURAL HERITAGE
PRESERVING TRANSCULTURAL HERITAGE
CRITICAL ISSUES IN PHOTOGRAPHY
CRITICAL ISSUES IN PHOTOGRAPHY
NOT AT HOME
NOT AT HOME
MEMORY MIGRATIONS
MEMORY MIGRATIONS
THIS IS NOT A  HOUSE
THIS IS NOT A HOUSE
ART IN LONDON
ART IN LONDON
LONDON FILM AND MEDIA
LONDON FILM AND MEDIA
OBJECT
OBJECT
HIGH RENAISSANCE TO THE PRESENT
HIGH RENAISSANCE TO THE PRESENT
REPRESENTING OTHERS
REPRESENTING OTHERS
DEAD STAR LIGHT
DEAD STAR LIGHT
RESKIN
RESKIN
ANIMATED REALITIES
ANIMATED REALITIES
MEMORY & REPRESENTATION
MEMORY & REPRESENTATION
PERCEIVING PERSEPOLIS
PERCEIVING PERSEPOLIS
FABULOUS HARLEQUIN
FABULOUS HARLEQUIN
GRAPHIC ENGAGEMENT
GRAPHIC ENGAGEMENT
MESSAGING
MESSAGING
EARLY MODERN HORROR
EARLY MODERN HORROR
BETTER HALF, BETTER TWELFTH
BETTER HALF, BETTER TWELFTH
SHREW'D
SHREW'D
READING THE ART OF JUN KANEKO
READING THE ART OF JUN KANEKO
AGENTS OF CHANGE
AGENTS OF CHANGE
FORTY YEARS OF PAINTING
FORTY YEARS OF PAINTING
VISIONARY PHOTOGRAPHY
VISIONARY PHOTOGRAPHY
ALTERED LAND
ALTERED LAND
PLAY'S THE THING
PLAY'S THE THING
DIVINE ABSTRACTIONS
DIVINE ABSTRACTIONS
PANDEMIC
PANDEMIC
ONENESS IN WOOD
ONENESS IN WOOD
PICTURE(S)
PICTURE(S)
ZEN ARTS
ZEN ARTS
FACES OF AIDS
FACES OF AIDS
LOVE YOUR BODY DAY
LOVE YOUR BODY DAY
TRANSITION
TRANSITION
IMPERFECT BEAUTY
IMPERFECT BEAUTY
NEXUS
NEXUS
DAY WITHOUT ART
DAY WITHOUT ART
RETRACTION IMPULSE
RETRACTION IMPULSE

 

© 2020