Research

“Sheida Soleimani Cyborg,” History of Photography, 43:2 (2019), 169-190

“Nick Cave,” Artforum (December 2015), 264-265.

“Corine Vermeulen,” Art in America (Summer 2015)

“How Can I Be Sure?: The Dialogue Between Painting and Photography in Modern and Contemporary Art,” Hallmark Art Collection Online, 2015

“James Welling,” Artforum (Summer 2013), 364‐365.

“Scott Hocking,” Artforum (March 2013), 280-281.

“From Analog to Digital Photography: Bernd and Hilla Becher and Andreas Gursky,” History of Photography 36 (3) (2012), 353-366.

“Hannah Höch’s New Woman: Photomontage, Distraction, and Visual Literacy in the Weimar Republic,” in Elizabeth Otto and Vanessa Rocco, eds., The New Woman International: Representations in Photography and Film, 1890s-1930s (Ann Arbor, MI: University of Michigan Press, 2011), 115-134.

“Robert Heinecken: Reality Effects,” Artforum (October 2011), 250-259, 340.

“Personal Best,” in Hard Targets: Artists Consider Masculinity in Sports (Wexner Center for the Arts, 2010).

“Michael Fried, Why Photography Matters as Art as Never Before,” caa.reviews (2009), Top Readers’ Pick for 2009, CAA Reviews Centennial Project.

“Raoul Hausmann’s Revolutionary Media: Dada Performance, Photomontage, and the Cyborg,” Art History 30 (1) (February 2007), 26-56.

“Representing Blackness,” Art Papers (March/April 2004), 34-39.

“Representation and Event: Anselm Kiefer, Joseph Beuys, and the Memory of the Holocaust,” The Yale Journal of Criticism 16 (1) (2003), 113-146.

Anselm Kiefer and the Philosophy of Martin Heidegger (New York and London: Cambridge University Press, 1998), Chapter 4, “Art and Technology,” 193-252.

“The New Man as Cyborg: Figures of Technology in Weimar Visual Culture,” New German Critique 62 (Spring/Summer 1994), 71-110.

“Art Criticism and Deconstruction: Rosalind Krauss and Jacques Derrida,” Art Criticism 6 (2) (1990), 33-47.