Selected Publications

"Marcia Tucker's Domestic Politics: Art and Craft in the 1990s"The Journal of Modern Craft (2022), 295-311.

"Artistic Process and Domestic Labor in Liza Lou's Kitchen," American Art (Summer 2021).

"Thin Art: Karla Black's Pretenses," Karla Black: Twenty Years, ed. Alison Ferris. With essays by Jenni Sorkin and Elizabeth Smith, (Des Moines Art Center, 2020).

"The Storytellers," South Bend Museum of Art Conversations Series (2020).

"The Culture of Collecting," In Focus: Black Wall (1959) by Louise Nevelson, ed. Alex Taylor, Tate Research Publication, 2016.

"Sloppy Craft as Temporal Drag," with Elissa Auther. Sloppy Craft: Inderdisciplinarity and the Crafts. Bloomsbury Press, 2015.

"The transparent signifier: Hirst, invisibility, and critique.” Sculpture and the Vitrine, ed., John Welchman. Ashgate Press, 2013, 231-250.

"The terms of craft and other means of making: Lee Bontecou's hybrid trajectory," Art Journal 54 (Winter 2012), 54-71.

“Space, gender, sculpture: Bourgeois, Nevelson, and the changing conditions of sculpture in the 1950s,” Special Issue: “Women inventing the 1950s,” Women’s Studies: an interd.sciplinary journal 40.8 (2011), 1052-1091.

“Recasting sculptural function: use and misuse in the work of Bontecou, Bourgeois and Nevelson,” The Sculpture Journal Vol. 19.2 (Liverpool University Press on behalf of the Public Monuments and Sculpture Association, 2010).

“Obituary: Louise Bourgeois,” The Sculpture Journal Vol. 19.2 (Liverpool University Press on behalf of the Public Monuments and Sculpture Association, 2010), 244- 248.

“Experiencing Louise Nevelson’s Moon Garden” American Art 21:2 (2007), 96-108.

“Remembering Happenings.” A review of Childsplay. The art of Allan Kaprow by Jeff Kelley; foreword by David Antin, Berkeley, Los Angeles and London: University of California Press, 2004. Art History (February 2006).

Selected Professional Papers

College Art Association, Chicago, Session Chair. “Marking Time” (February 2020).

American Art and Visual Culture Seminar Series, Newberry Library, Chicago. “‘A Labor of Love’: the museum, the kitchen, and the politics of labor” (May 2019).

Materializing Resistance: Gender, Politics, and Craft, Conference, University of Kentucky. “The Politics of Process,” (April 2019).

Feminist Art History Conference, American University, Washington, D.C. “A Labor of Love and the Politics of Process” (September 2018). 

London Global Gateway, University of Notre Dame in England. “Contemporary art and the Politics of Process,” University of Notre Dame, London, conference co-chair with Bibiana Obler, (April 2018).

London Global Gateway, University of Notre Dame in England. “Everyday Labors and the Politics of Process,” University of Notre Dame, London (April 2018).

Narrating Home through an East/West Divide Conference, Stockholm, Sweden.  “Everyday Labors: the domestic politics of the bead,” (January 2018).     

Southeast College Art Conference, Columbus, OH, “Sensing Everyday Labors,” (October 2017)

College Art Association, Session Chair, Washington D.C. “Housework: Contemporary art and the domestic” (February 2016).

Dust to Dust. Southeastern College Art Conference. "Karla Black's Material Play," (Sarasota, October, 2014).

Studio Shots: Representations of Women as Artists. College Art Association conference. "Portraits of an artist: picturing Lee Bontecou and her studio," (Chicago, February, 2014).

At Play in the Space Between: Literature and Culture, 1914-1945. The Space Between Society conference. "Hobbies, art, and play: the subversion of productivity in modern American aesthetics." (Chicago, June 2013).

Topics in British Art. College Art Association conference, “Dissolution, disillusion, and deflation: Damien Hirst’s double act.” (New York, February, 2011).

Gender Place and Space. Conference, University of Notre Dame.  “Spatial contradiction and the gender of sculpture in the 1950s and 1960s.” (March, 2010).

Revisiting the Art and Craft Divide.  Conference, Sacramento State. “Craft, legibility, and the critical purchase of Lee Bontecou’s handmade machines.”  (March, 2010).