Ann Millett-Gallant received her PhD in art history in 2005 and serves as Senior Lecturer for the Bachelor of Arts in Liberal Studies program at the University of North Carolina at Greensboro, USA. She designs and teaches interdisciplinary online art history, visual culture, and women’s and disability studies courses. Her research bridges the disciplines of art history and disability studies. She is coeditor, with Elizabeth Howie, of Disability and Art History (Routledge, 2016). She has also published essays and reviews of art and film, and she enjoys painting and composing mixed-media collages.Elizabeth Howie is Professor of art history at Coastal Carolina University in Conway, South Carolina, USA. She specializes in modern and contemporary art with an emphasis on history and theory of photography. She received her PhD from the University of North Carolina at Chapel Hill in 2007. Publications include "The Dandy Victorian: Yinka Shonibare’s Allegory of Disability and Passing," in Disability and Art History (Routledge, 2016) coedited with Ann Millett-Gallant.

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• Part 1: Ancient History through the Seventeenth Century: Gods, Dwarfs, and Warriors1. Hephaestus Represented: a Mêtis-based Inquiry2. The Role of Dwarfs in Tang Postmortem Elite Life3. Disability and Poverty at the Brancacci Chapel4. Disability at the Edge of War: Gendered Violence in the Graphic Practice of Urs GrafPart 2: Seventeenth-Century Spain to the American Civil War: Misfits, Wounded Bodies, and Medical Specimens5. Destierro and Desengaño: The Disabled Body in Golden Age Spanish Portraiture6. An Inartistic Interest: Civil War Medicine, Disability, and the Art of Thomas Eakins7. Empty Sleeves and Bloody Shirts: Disabled American Civil War Veterans and Presidential Campaigns, 1864–1880Part 3: Modernism, Metaphor, and Corporeality8. Deaf Gain: Toulouse-Lautrec’s Early Training with René Princeteau9. Manet’s Syphilis: Masculinity, Debility, and Adaptation in the 1880s10. Facially Disfigured Veterans of World War I in Present-day Art: An Art Historical Analysis Against the Background of Medical History11. Disability Metaphor and American Individualism: Beyond the Glass Menagerie12. "Building the World of Tomorrow": Disability, Eugenics, and Sculpture at the 1939 New York World’s Fair13. Aesthetics of Disability and the Hybrid Body in Louise Bourgeois’s Femme MaisonPart 4: Contemporary Art: Crips, Care, and Portraiture14. Listening to the Queer-crip Body of Derek Jarman’s Blue15. Collaborative Portraiture: A Feminist Disability Studies Approach to the Work of Riva Lehrer and Tanya Raabe-Webber16. On Carolyn Lazard’s Support System (for Tina, Park, and Bob): An Account

Ann Millett-Gallant received her PhD in art history in 2005 and serves as Senior Lecturer for the Bachelor of Arts in Liberal Studies program at the University of North Carolina at Greensboro, USA. She designs and teaches interdisciplinary online art history, visual culture, and women’s and disability studies courses. Her research bridges the disciplines of art history and disability studies. She is coeditor, with Elizabeth Howie, of Disability and Art History (Routledge, 2016). She has also published essays and reviews of art and film, and she enjoys painting and composing mixed-media collages.Elizabeth Howie is Professor of art history at Coastal Carolina University in Conway, South Carolina, USA. She specializes in modern and contemporary art with an emphasis on history and theory of photography. She received her PhD from the University of North Carolina at Chapel Hill in 2007. Publications include "The Dandy Victorian: Yinka Shonibare’s Allegory of Disability and Passing," in Disability and Art History (Routledge, 2016) coedited with Ann Millett-Gallant.

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• Part 1: Ancient History through the Seventeenth Century: Gods, Dwarfs, and Warriors1. Hephaestus Represented: a Mêtis-based Inquiry2. The Role of Dwarfs in Tang Postmortem Elite Life3. Disability and Poverty at the Brancacci Chapel4. Disability at the Edge of War: Gendered Violence in the Graphic Practice of Urs GrafPart 2: Seventeenth-Century Spain to the American Civil War: Misfits, Wounded Bodies, and Medical Specimens5. Destierro and Desengaño: The Disabled Body in Golden Age Spanish Portraiture6. An Inartistic Interest: Civil War Medicine, Disability, and the Art of Thomas Eakins7. Empty Sleeves and Bloody Shirts: Disabled American Civil War Veterans and Presidential Campaigns, 1864–1880Part 3: Modernism, Metaphor, and Corporeality8. Deaf Gain: Toulouse-Lautrec’s Early Training with René Princeteau9. Manet’s Syphilis: Masculinity, Debility, and Adaptation in the 1880s10. Facially Disfigured Veterans of World War I in Present-day Art: An Art Historical Analysis Against the Background of Medical History11. Disability Metaphor and American Individualism: Beyond the Glass Menagerie12. "Building the World of Tomorrow": Disability, Eugenics, and Sculpture at the 1939 New York World’s Fair13. Aesthetics of Disability and the Hybrid Body in Louise Bourgeois’s Femme MaisonPart 4: Contemporary Art: Crips, Care, and Portraiture14. Listening to the Queer-crip Body of Derek Jarman’s Blue15. Collaborative Portraiture: A Feminist Disability Studies Approach to the Work of Riva Lehrer and Tanya Raabe-Webber16. On Carolyn Lazard’s Support System (for Tina, Park, and Bob): An Account

Ann Millett-Gallant received her PhD in art history in 2005 and serves as Senior Lecturer for the Bachelor of Arts in Liberal Studies program at the University of North Carolina at Greensboro, USA. She designs and teaches interdisciplinary online art history, visual culture, and women’s and disability studies courses. Her research bridges the disciplines of art history and disability studies. She is coeditor, with Elizabeth Howie, of Disability and Art History (Routledge, 2016). She has also published essays and reviews of art and film, and she enjoys painting and composing mixed-media collages.Elizabeth Howie is Professor of art history at Coastal Carolina University in Conway, South Carolina, USA. She specializes in modern and contemporary art with an emphasis on history and theory of photography. She received her PhD from the University of North Carolina at Chapel Hill in 2007. Publications include "The Dandy Victorian: Yinka Shonibare’s Allegory of Disability and Passing," in Disability and Art History (Routledge, 2016) coedited with Ann Millett-Gallant.

Select Guide Rating

• Part 1: Ancient History through the Seventeenth Century: Gods, Dwarfs, and Warriors1. Hephaestus Represented: a Mêtis-based Inquiry2. The Role of Dwarfs in Tang Postmortem Elite Life3. Disability and Poverty at the Brancacci Chapel4. Disability at the Edge of War: Gendered Violence in the Graphic Practice of Urs GrafPart 2: Seventeenth-Century Spain to the American Civil War: Misfits, Wounded Bodies, and Medical Specimens5. Destierro and Desengaño: The Disabled Body in Golden Age Spanish Portraiture6. An Inartistic Interest: Civil War Medicine, Disability, and the Art of Thomas Eakins7. Empty Sleeves and Bloody Shirts: Disabled American Civil War Veterans and Presidential Campaigns, 1864–1880Part 3: Modernism, Metaphor, and Corporeality8. Deaf Gain: Toulouse-Lautrec’s Early Training with René Princeteau9. Manet’s Syphilis: Masculinity, Debility, and Adaptation in the 1880s10. Facially Disfigured Veterans of World War I in Present-day Art: An Art Historical Analysis Against the Background of Medical History11. Disability Metaphor and American Individualism: Beyond the Glass Menagerie12. "Building the World of Tomorrow": Disability, Eugenics, and Sculpture at the 1939 New York World’s Fair13. Aesthetics of Disability and the Hybrid Body in Louise Bourgeois’s Femme MaisonPart 4: Contemporary Art: Crips, Care, and Portraiture14. Listening to the Queer-crip Body of Derek Jarman’s Blue15. Collaborative Portraiture: A Feminist Disability Studies Approach to the Work of Riva Lehrer and Tanya Raabe-Webber16. On Carolyn Lazard’s Support System (for Tina, Park, and Bob): An Account