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Including Works in Progress


Parallel Public: Experimental Art in Late East Germany (MIT Press 2022). Winner of the Waterloo Centre for German Studies Book Prize, 2022. For more information on this text, please visit the Book Project page linked here.


"Being the Woman They Wanted Her to Be: Cornelia Schleime Performs Her Stasi File," Third Text 169, vol. 35, no. 2 (March 2021): 227-247. Awarded the Historians of German, Scandinavian and Central European Art's 2021 Emerging Scholars Publication Prize.


"Bringing the War Home to the United States and East Germany: In the Year of the Pig and Pilots in Pajamas," Cinema Journal, vol. 56, no. 4, (Summer 2017), 26-50.

"La femme de leurs rêves: Cornelia Schleime et les archives de la Stasi" (Being the Woman They Wanted Her to Be: Cornelia Schleime Performs Her Stasi File), Gradhiva, no. 24 (December 2016): 21-49. Published in French translation. (Link to article)


“BITTERFELD IS EVERYWHERE. An Archive of Waste in the Socialist and Post-Socialist Industrial Landscape,” chapter to appear in From Utopian Modeling to Necropolitical Agonism: Contemporary European Art at a Time of Democratic Crisis, Lindsay Caplan and Kerry Greaves, eds. University of Manchester (expected publication date, 2024). Submitted for external review.


Parties, Portfolios, and the Occasional Egg: EIGEN+ART and Creative Dissent in the Late East Germany,” Creative Dissent: Alternative Cultures during Socialism and Beyond, 1945 – 1991, edited by Katalin Cseh-Varga, Martin Klimke, Rolf Werenskjold, and Marko Zubak Revised and submitted for publication December 2022.

"Excess, Distortion, and Archival Value: Exhibiting the East German Everyday at the Wende Museum." Imperfect Recall: Re-collecting the GDR. Ed. Cecilia Novero. Otago German Studies. Vol 30. (Dunedin: University of Otago, 2020), 199-240. (Link to article)

“The Subject Who Knows: Photographers and The Photographed in the Late East Germany,” The Oxford Handbook of Communist Visual Cultures, eds. Aga Skrodzka, Xiaoning Lu, Katarzyna Marciniak (Oxford: Oxford University Press, 2020), 500-518. (Link to online access)

"Authenticity's Visual Turn," Afterword to Politics of Authentic Subjectivity: Countercultures and Radical Movements Across the Iron Curtain (1968 - 1989) (New York and Oxford: Berghahn Books, 2018), 278-286. (Link to book page)


Alone with Company: Gundula Schulze Eldowy’s New York City Photographs,” essay for the catalogue to accompany Akademie der Künste exhibition of Gundula Schulze Eldowy, 2024.


“Roman Corset by Gabriele Stötzer,” essay for the catalogue to accompany the exhibition Made in Germany? Art and Identity in a Global Nation, curated by Lynette Roth at the Busch-Reisinger Museum, Harvard University (expected publication date, 2024).

“Realism and Vulnerability in the Films of Helke Misselwitz.” Essay for the DVD collection “Everyday Poetry: The Early Films of Helke Misselwitz” (DEFA Film Library).


“Aufstand des Materials. Körperbilder im Prenzlauer Berg der 1980er Jahre” (A Material Revolt: Body Portraits in the Prenzlauer Berg of the 1980s) in Gegenstimmen. Kunst in der DDR 1976 – 1989 (Voices of Dissent: Art in the GDR 1976-1989), ed. Christoph Tannert (Berlin: Deutsche Gesellschaft & Künstlerhaus Bethanien, 2016), 394 – 401. Published in both original English and in German translation.


Review essay of Brianne Cohen's Don't Look Away. Art, Nonviolence, and Preventive Publics in Contemporary Europe. 21. Inquiries into Art, History, and the Visual, vol. 5, no. 1 (2024): 261-268. (Link to article)


Review of Anja Tack's Riss im Bild. Kunst und Künstler aus der DDR und die deutsche Vereinigung, Journal of Contemporary History, vol. 58, no. 3 (June 20, 2023): 585-586. (Link to article)  

Review of Nicholas Mirzoeff’s How to See the World: An Introduction to Images, from Self-Portraits to Selfies, Maps to Movies, and More, Journal of Visual Culture, vol. 16, no. 3 (December 2017): 386–389. (Link to article)

Review of Sarah E. James’ Common Ground. German Photographic Cultures Across the Iron Curtain (New Haven: Yale University Press, 2013), Sehepunkte. (May 2015).​ (Link to article)


Review of Nicholas Mirzoeff’s The Right to Look (Durham: Duke University Press, 2011), Invisible Culture, 17 (January 2013). (Link to article)


“Revolutionary Romances. Transcultural Art Histories in the GDR (Albertinum, Dresden).” Exhibition Review essay. Art Monthly, Nr. 459 (September 2022).


“Cold War Domestics—Home Archives: Paulo Bruscky & Robert Rehfeldt’s Mail Art Exchanges from East Berlin to South America and Signs Fiction: Ruth Wolf-Rehfeldt at Chert gallery, Berlin, January 10 – March 28, 2015,” ARTMargins Online. (March 2015). (Link to article)


"Parallel Public – Experimental Art in Late East Germany by Sara Blaylock," Interview with Matt Lamont for Design Reviewed (March 2022). (Link to interview)

“Hierarchies of Hardship.” In Pause. Fervour. Reflections on a Pandemiceds. Manca Bajec, Tom Holert and Marquard Smith, (Harun Farocki Institut and the Journal of Visual Culture, 2021), 73 – 74. (Link to PDF of bookOriginally published online in Rosa Mercedes, vol 2, no. 15 (May 9, 2020). (Link to article)

"Post-truth and the critical media consumer: Afterthoughts on In the Year of the Pig and Pilots in Pajamas," Cinema Journal's Afterthoughts and Postscripts, vol. 56, no. 4 (Summer 2017). (Link to article)

"Performing the Subject, Claiming Space: Performance Art in 1980s East Germany," Post. Notes on Modern and Contemporary Art Around the Globe (Museum of Modern Art), August 2017. (Link to article)

“5 Questions with Sara Blaylock,” post. Notes on Modern & Contemporary Art Around the Globe, Museum of Modern Art. July 2017. (Link to video)  


Lag and Impact in Visual Studies,” Refract: An Open Access Visual Studies Journal vol. 1, no. 2 (2019): 223 – 231. (Link to article)

2011 - 2012, Art reviews for Whitehot magazine of contemporary art (Link to all articles)

2009 - 2011, Art, film, and culture reviews for Barcelona Metropolitan magazine (Link to all web-based articles

Publications: Experience
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