“Explicit!: The Banned Book List Database and Epistemic Supremacy in United States Prison Censorship” (now under review).
“Introduction: Routing.” In “Views from the Larger Somewhere: Race, Vision, and Surveillance,” edited by Kim Bobier and Marisa Williamson. Special issue, Women and Performance: A Journal of Feminist Theory 30 no. 3 (July 2021): 257-263.
“Disarming Surveillance—Crystal Z Campbell’s Model Citizen: Here I Stand.” American Art 38, no. 1 (forthcoming Spring 2024).
“Queer (Be)Longing: Glenn Ligon’s Million Man March Series and the Civil Rights Movement’s Legacy.” Art Journal 79, no. 3 (December 2020): 44-61.
“Reframing Resistance & Surveillance: Lorraine O’Grady’s Art Is…” In Social Practice Art in Turbulent Times: The Revolution Will Be Live, 47-59. Edited by Eric Schruers and Kristina Olson. New York: Routledge, 2019.
“Soundsuit Redux: Nick Cave as Emerging Artist and Forward-Thinking Racial Theorist.” International Review of African American Art 26, no. 2 (Fall 2016): 18-27.
Special Issues Edited
Book Project
Martha Rosler, Still from Vital Statistics of a Citizen Simply Obtained, video, 1977
Monitoring and Modeling Citizenship:
Racializing Surveillance in Contemporary Art
Spanning the 1960s onward, this book in progress explores white supremacist surveillance in the US body politic through body-centric art that models it. The book charts how, by converging three types of modeling (studio,- statistics-, and citizenship-based), featured artworks link surveillance technologies’ racially exclusionary modes of seeing to artistic and visual conventions for capturing the human figure.
“Views from the Larger Somewhere: Race, Vision, and Surveillance.”
Edited by Kim Bobier and Marisa Williamson, special issue. In Women and Performance: A Journal of Feminist Theory 30 no. 3 (July 2021)
Exhibition & Newspaper Essays
“Post-Black Art Is Not Post-Racial, or Is It?” ID Shop: Round Robin, November 2017, 16-21. (New York City’s Trilingual Community Newspaper sponsored by the Laundromat Project) LINK
REVIEWS
“Beatriz Albuquerque: Advertisement for the Waldorf – Astoria.” Beatriz Albuquerque: Advertisement for the Waldorf – Astoria. MCO Gallery: Porto, Portugal, 2016.
“We Wanted a Revolution: Black Radical Women, 1965-85,” Brooklyn, Museum, Brooklyn, New York. Panorama: Journal of the Association of Historians of American Art 3 no. 2 (Fall 2017).
“Blackness in Abstraction,” Pace Gallery, New York, New York. Afterimage 44 no. 4 (January/ February 2017): 26-28.
Book review: “Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland.” Nka: Journal of Contemporary African Art no. 34 (Summer 2014): 116-118.
Exhibition review: “Wangechi Mutu: A Fantastic Journey,” The Nasher Museum of Art, Duke University, Durham, North Carolina. African Arts Journal 47, no. 4 (Winter 2014): 90-93.
SCHOLARSHIP OF TEACHING AND LEARNING
Chitra Ganesh, Skype Dream in Real Time, mixed media work on canvas, 2009.
“Interventions in Eye/Centric Pedagogy: A Response to Zami’s Essay and Reflections from the Classroom.” iteratio /i.te’ra:.ti.o/: Inquiries in Teaching Art and Design, no. 3, ( Fall 2023), 55-75. LINK
“Online Problem-Based Learning. Where Does the Instructor Problem Solving End and the Students’ Begin?: An Art & Design History Class Case Study.” iteratio /i.te’ra:.ti.o/: Inquiries in Teaching Art and Design, no. 2 (Fall 2022), 1 - 13. LINK
“Owning the Assignment: Redesigning Reading Presentation Guidelines for Student-Centered Inquiry.” iteratio /i.te’ra:.ti.o/: Inquiries in Teaching Art and Design, no. 1 (Fall 2021), 60-100. LINK
DISSERTATION
Alfredo Jaar, The Fire Next Time, 1989, installation
Dissertation
“Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art” (2018) investigates 1980s and ’90’s US-based artists’ reclamation of the civil rights movement’s radical critique and visual signifiers when social conservatives co-opted the movement’s memory. I examine how, during this period, work by Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall appropriated the earlier movement’s conventional visual repertoire as a prism through which to reconfigure perceptions of social (economic, gender, racial, and sexual) inequality.