the latest
"Concrete Voices and Resonant Bodies" in Music, the Avant-Garde, and Culture, ed. Anabela Duarte (Springer, Dec. 2024), peer-reviewed, open access.
In 1955, the French artist Henri Chopin acquired a small portable tape recorder, newly commercially available. This impulsive purchase would prove decisive in the development of a new kind of experimental sound poetry, one in which the voice was rendered both “concrete” and heterogeneous. Chopin used the device to project, amplify, and multiply the sonic micro-particles and intensities of his own voice. Around the same time, William S. Burroughs deployed the metaphor of tape-recorded transmissions to explore how the voice might function like a virus, as in his cut-up novel The Ticket that Exploded. This essay considers the relationship between the tape recorder and the intimate voice made public in the work of Burroughs and Chopin, exploring how each artist addressed the material conditions of the tape recorder to elicit the uncomfortable intimacies of the body in different ways, in multiple media, and, more importantly, to different ends.
"Oona Doherty queers masculinity in Hope Hunt and the Ascension into Lazarus," in Women & Performance: a journal of feminist theory (July 2024).
Exhibition review of Wolf Vostell: Dé-coll/age Is Your Life at Harvard Art Museums, in Afterimage vol. 51, no. 2 (June 2024).
Book review of Sonic Signatures: Music, Migration, and the City at Night (Intellect/Chicago University Press, 2023), in Visual Studies (Nov. 2023).
Introduction to Fleur Jaeggy's Water Statues (English translation published by New Directions, 2021), in Caesura (Sept. 2021).
“'If my heart were a stone, it would drop down to meet you': Bedouin Oral Poetry and Translation as Reciprocity," in Asymptote (Fall 2021). Selected as an editor's highlight.
"'A Closed Body in the Circle of the Body': On Breath and Boundaries in Gil Wolman's Sound Poetry," in Venti Journal vol. 2, no. 1, "Inhale/Exhale" (Summer 2021).
"Feeling Real: On Transparent," in Los Angeles Review of Books (Feb. 13, 2016).
"Place as Provisional: Site Specific Art Commissions in Sharjah," in Jadaliyya (Sept. 4, 2015).
"On Clouds of Sils Maria," in Los Angeles Review of Books (May 3, 2015).
On Pablo Picasso's Casket, Cup and Apple (1909) for the Museum of Modern Art, New York's Museum Research Consortium Dossier 2: Picasso Sculpture (2015).
Review of Andrew Mitchell's Heidegger Among the Sculptors: Body, Space, and the Art of Dwelling in Continental Philosophy Review 46 (2013).
Essays on works by Ed Ruscha, Susan Turcot, Nancy Grossman, and Sylvia Plimack Mangold in Twice Drawn: Modernand Contemporary Drawings in Context, exhibition catalogue, Tang Teaching Museum and Art Gallery and DelMonico Books/Prestel, 2011.
Exhibition history in Guillermo Kuitca: EVERYTHING–Paintings and Works on Paper, 1980–2008, exhibition catalogue, ed. Douglas Dreishpoon, Buffalo AKG Art Museum, 2010.
Coauthor with Kristen Hileman of artist chronology in Anne Truitt: Perception and Reflection, exhibition catalogue, eds. James Meyer and K. Hileman, Hirshhorn Museum & Sculpture Garden, 2009.