Including Works in Progress
MANUSCRIPTS IN PROGRESS
Infiltration and Excess: Experimental Art as Public Life in a Late East Germany, single-authored book-length manuscript, Under contract with the MIT Press, anticipated Spring 2022. For more information on this text, please visit the Book Project page linked here.
REFEREED JOURNAL ARTICLES
"Being the Woman They Wanted Her to Be: Cornelia Schleime Performs Her Stasi File," (Accepted and in revision with Third Text, expected 2020).
"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)
"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. (Link to online access)
“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 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)
"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), ed. Christoph Tannert (Berlin: Deutsche Gesellschaft & Künstlerhaus Bethanien, 2016), 394-401.
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)
SELECTED EXHIBITION REVIEWS
“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)
MULTI-MEDIA AND ONLINE SCHOLARSHIP
"Hierarchies of Hardship," Rosa Mercedes vol. 2, no. 15 (Covid-19 collaboration between the Journal of Visual Culture and the Harun Farocki Institut), (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