Silvia Kolbowski, That Monster: An Allegory, in The White Review, January 2020. By pairing clips from The Bride of Frankenstein (1935) with quotes from Shelley’s classic, Kolbowski’s video says something new about political animosity and shame.
The Exception: Restoring Lois Weber, in The Point, print & online, Winter 2019. About the once-powerful silent film director and the “masculinization” of Hollywood. Featured on Lit Hub and Arts & Letters Daily.
Beige Stage: How Technicolor Invented the Hollywood Palette, in Cabinet, Spring 2019. Natalie Kalmus’s bullish rules about color converted a reluctant Hollywood.
Lost and Found at Sea, in Radical Seafaring (Parrish Art Museum & Prestel, 2016). Reprinted in Alexis Rockman: Shipwrecks (Peabody Essex Museum & Guild Hall, 2021). About the relationship between the uncharted sea and creative practice, and about shipwrecks, chronometers, and artists made famous by their ocean disappearance.
Oily Camouflage, in Art Los Angeles Contemporary 2016. About the oil fields of urban Los Angeles.
The Bad Archivist: Carrie Hott’s The Key Room, in X-TRA Contemporary Art Quarterly, Fall 2016. Commissioned by Headlands Center for the Arts on the occasion of a new permanent installation.
Stacy Hardy’s 52 N*ggers and the Undoing of Julius Eastman, in Three Letter Words [R.I.P.], February 2016.
The Babypod: Intravaginal Hardware for the Pregnant Body, in Rhizome, May 2016. Consumer review of an intravaginal speaker.
The Difficult Bequest: A History of the Smithsonian, in Los Angeles Review of Books, Summer 2014. Radio interview followed, on the Irish program Moncrieff.
Giant Rock, in Cabinet, Summer 2014. Translated for the Slovenian political journal Mladina and featured on Longform and Smithsonian.com.
Women Cuddling Animals, in The New Inquiry, January 2014.
Indexes, in Praise of, in Cabinet, Winter 2014. Reprinted in Key Words, the newsletter of the American Society for Indexing, and The Indexer, published by the UK Society of Indexers. A Portuguese translation accompanied an exhibition by artist Helen Mirra at Culturgest, in Lisbon in 2014, and the essay was also adapted for an artist book by Daniel de Paula, produced in collaboration with Ikrek Press.
Making Up Hollywood: Max Factor and the Invention of Modern Cosmetics, in Cabinet, Fall 2013.
Womanhouse Revisited, in The Believer, November 2013. Revists Womanhouse through the lens of a then little-known documentary film by Lynne Littman, Womanhouse is Not a Home (1972). The essay spurred an event at UnionDocs featuring Littman in conversation with Feminist Art Program alum Mira Schor.
Book Reviews for The Rumpus (2012-2017): fiction & nonfiction by Michael Adams, Fleur Jaeggy, Mark Kingwell, Anne Helen Petersen, Tillie Olsen, Mary MacLane, and George Perec.
Book Review: Considering Forgiveness eds. Aleksandra Wagner & Carin Kuoni (Vera List Center, 2008), in Modern Painters, May 2009.
Double Vision: The Work of Ryan & Trevor Oakes, in Modern Painters, April 2009.
Co-editor of Presidential Doodles: Two Centuries of Scribbles, Scratches, Squiggles, and Scrawls from the Oval Office (Basic, 2006). Reviewed by NPR, CNN, CBS, and The New York Times, excerpted in The Atlantic, and translated into Chinese.
Care and the Psyche, an essay and interview with artist Mary Kelly. Published in At the Mercy of Others: The Politics of Care (Whitney Museum of American Art ISP, 2005).
more misc. writings for Cabinet... (2002-2020)