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“Alan B. Stone, Nostalgia, and the Senses of Place,” Alan B. Stone (1928-1992) and the Senses of Place, San Francisco Camerawork. (June 2008). read online
“The Missing: Pierre Dorion and the Art of Emptiness,” in Canadian Art (September 2007). read online
“Vitruvian Woman: Louise Fishman,” in Louise Fishman (New York, Cheim & Read, 2006), n.p. read online
“Round About VFF0302,” in Vincent Fecteau (New York, Feature, 2005), n.p.
“How Do We Want to be Governed,” Artforum (April 2005), pp. 182, 215.
“Against Interpretation,” in Carte grise à Geneviève Cadieux (Montreal, Dazibao 2005), n.p.
“Spiritual America,” Artforum (October 2004), pp. 89-90, 278, 281.
“The Last Picture Show,” Artforum (February 2003), pp. 144.
“Mything Person: MoMA Fails to Unlock Beckmann’s Symbol-laded Art” Time Out New York (July 31-August 7, 2003), p. 52.
“Arnold Odermatt,” Time Out New York (May 29-June 5, 2003), p. 67.
“Get Real: Two Contemporary Israeli Artists Subvert the Documentary Tradition, “Time Out New York (April 10-17, 2003), p. 54.
“Tim Rollins Talks to David Deitcher,” Artforum (April 2003), pp. 78-79, 237-238.
“What Are We Selling Here?” Artforum (March 2003), p. 48.
“Stacked,” Time Out New York (March 13-20, 2003), p. 73.
“Polarity Rules: Reviewing the Whitney Annual/Biennial,” in Julie Ault, ed.,Alternate Art New York, 1965-1985 (Minneapolis, University of Minnesota Press, 2002), pp. 201-246.
“On the Occasion of the Gerhard Richter Exhibition at the Museum of Modern Art,” Documents (Fall 2002), pp. 14-26.
Charles Henri Ford, Time Out New York (Jan. 23-30, 2003), p. 48.
David Hammons, Time Out New York (Jan. 16-23, 2003), p. 54.
John O’Reilly, Time Out New York (October 31-Nov. 7, 2002), p. 53.
Dear Friends: American Photographs of Men together, 1840-1918 (New York, Harry N. Abrams, 2001).
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Selected reviews:
Vince Aletti, “Between Friends,” Village Voice (April 24, 2001), p. 71.
Clifford Chase, “We Two Boys Together Clinging,” Newsday, July 8, 2001, pp. B13-14.
Holland Cotter, “When Men Could Touch Without Embarrassment,” New York Tzyimes (May 6, 2001), Arts and Leisure, p. 42.
Jeff Weinstein, “Touching Portraits,” Philadelphia Inquirer (June 10, 2001).
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“A Lovesome Thing: The Film Art of Isaac Julien” (catalogue essay), The Film Art of Isaac Julien (Anandale-on-Hudson, NY, The Center for Curatorial Studies, Bard College, 2000), pp. 11-23.
“Mary Lum,” in Drawing Papers, II (catalogue essay), (New York, NY: The Drawing Center, Summer 2000), p. 8.
“What Does Silence Equal Now?” Brian Wallis et al. eds. Art Matters: How the Culture Wars Changed America (New York, New York University Press, 1999), pp. 92-125.
Robert Bordo at Alexander and Bonin, Texte zur Kunst, Spring, 1999.
“Nayland Blake: ‘Feeder 2 and Corollary’,” Texte zur Kunst, (March 1999), pp. 167-171.
“Lost and Found,” Wolfgang Tillmans Burg (Cologne, Benedikt Taschen Verlag, 1998), n.p.
“Looking at a Photograph, Looking for a History,” in Deborah Bright, ed., The Passionate Camera: Photography and Bodies of Desire (New York, London, Routledge, 1998), pp. 22-36.
“American Interregnum: Notes on Art, Life and Politics Late in the Age of AIDS” (catalogue essay), AIDS Worlds: Between Resignation and Hope, ed. Frank Wagner (Geneva, Switzerland, Centre d’Art Contemporain, 1998), pp. 35-42.
“Art, Activism, and Everyday Life,” Documents (Winter 1998), pp. 30-38.
“Eviction Notice,” (review of Rosalyn Deutsche, Evictions: Art and Spatial Politics), Documents (Winter 1998), pp. 46-54.
“Robert Flynt,” Contact Sheet, 94, 1998.
“Contradictions and Containment,” in Dietmar Elger, ed., Felix Gonzalez-Torres: Catalogue Raisonné (Ostfildern-Ruit, Cantz Verlag, 1997), Vol. I, pp.95-110.
“ACT UP: 1987:1997: A Conversation Between Gregg Bordowitz and David Deitcher,” Springerin, Fall, 1997.
“Death and the Marketplace,” Frieze, 29 (July/August 1996), pp. 40-45.
“No Exit: Richard Artschwager, Cady Noland, Hiroshi Sugimoto,” Parkett, 47 (May 1996), pp. 18-24.
“Lari Pitman,” Out (August 1996), p. 58.
“A Frank Depiction,” (Frank Moore),Out (November, 1995), p. 60.
The Question of Equality: Lesbian and Gay Politics in America Since Stonewall (New York, Scribner, 1995).
“Sense and Sentimentality,” Parkett, No. 44 (1995), pp. 212-216.
“Trust in Doubt,” in Robert Flynt and Chris Packard, Blind Trust (New York, 1994) n.p.
“The Gay Agenda,” Art in America, Vol. 82, No. 4 (April 1994), pp. 27-35.
“Of Two Minds,” Purple Prose 4 (Autumn 1993), pp. 84-87. Reprinted in Suspension of the Law: Rene Santos: A Retrospective (New York, Grey Art Gallery, 1994), pp.11-16.
“Queens in the Reading Room,” Artforum, vol. 31, no. 9 (May 1993), pp. 14-15.
“Sites of Criticism: A Symposium,” Acme Journal, vol. 1, no. 2 (1992), pp. 6-36.
“Unsentimental Education: The Professionalization of the American Artist,” in Russell Ferguson, ed. Hand-Painted Pop: American Art in Transition 1955-62 (New York, Rizzoli International Publications, 1992), pp. 95-118.
“The Library in Your Good Hands: Raymond Pettibon,” Artforum vol. 31, no. 2 (October 1992), pp. 74-79.
“The Everyday Art of Felix Gonzalez-Torres” (catalogue essay), Felix Gonzalez-Torres (Stockholm, Magasin 3 Konsthall, 1992), np.
“The Story that Won’t Go Away,” (review of Oliver Stone’s JFK), Artforum, vol. 30, no. 8 (April 1992), p. 17.
“Art on the Installation Plan,” Artforum, vol. 30, no. 5 (January 1992), pp. 78-84.
“Out of the Past: The Photography of James Welling” (catalogue essay), James Welling (Oslo, Norway, Kunstnernes Hus, 1992), pp. 26-28.
“The Birth of the Viewer” (catalogue essay), Oeuvres Originales (Clisson, France, FRAC Garenne Lemot, 1991).
“Sherrie Levine: Rules of the Game” (catalogue essay), Sherrie Levine (Kunsthalle Zurich et al., 1991).
“A Newer Frontier: The Smithsonian Revises the Old West,” Village Voice, June 25, 1991, pp. 39-40.
“Sherrie Levine,” Art + Text, 39 (May 1991), p. 44.
“Artifacts of the Abyss: Degenerate Art Comes to America,” Village Voice, March 26, 1991, pp. 47,79.
“Barbara Kruger: Resisting Arrest,” Artforum, vol. 29, no. 6, (February 1991), pp. 84-91.
Felix Gonzalez-Torres: Blue Jeans and Death by Gun” (catalogue essay), Cady Noland/Felix Gonzalez-Torres (Berlin, Neue Gesellschaft für Bildende Kunst, 1990), n.p.
“A Fine Disregard: High and Low Keeps the Faith at the Modern,” Village Voice, October 16, 1990, pp. 99-100.
“Commentary,” Art Issues (Fall 1990), pp. 18-19.
“Craig Owens: 1950-90,” Village Voice, July 24, 1990, p. 99.
“Crossover Dreams: Sexuality, Politics and the Keith Haring Line,” Village Voice, May 15, 1990, pp. 107-111. (Also: “Letters,” May 23, 1990, p. 4.)
“Taking Control: Art and Activism” (catalogue essay), The Decade Show: Frameworks of Identity in the 1980s (New York, The New Museum of Contemporary Art et al., 1990), pp. 180-197.
“Social Aesthetics,” in Brian Wallis, ed., Democracy: A Project by Group Material (Seattle, Bay Press, 1990), pp. 13-46.
“Gran Fury,” in Russell Ferguson ed., Discourses: Conversations in Postmodern Art and Theory (Cambridge, MIT Press, 1990), pp. 196-208.
“Art History Against the Grain: A Conversation with Linda Nochlin,” Eau de Cologne, 3 (1990), p. 95.
“When Worlds Collide” (review of Image World: Art and Media Culture, Whitney Museum of American Art), Art in America , vol. 78, no. 2 (February 1990), pp. 120 127.
“The United Colors of Benetton,” Artforum, vol. 28, no. 5 (January 1990), pp. 19-21.
“A Day Without Art,” Village Voice, December 5, 1989, pp. 125-126.
“Ronald Jones: Metro Pictures,” Artforum, vol. 28, no. 4 (December 1989), p. 134.
“Artists on a Train” (Andres Serrano),Village Voice, October 31, 1989, p. 110.
“Cumulus From America,” Parkett, No. 21 (September 1989), pp. 140-142.
“1989 Biennial: Whitney Museum of American Art,” Artforum, vol. 28, no. 1 (September 1989), pp. 143-144.
“How Do Your Memorialize a Movement that Isn’t Dead?” (Felix Gonzalez-Torres’ Untitled, 1989),Village Voice, June 27, 1989, p. 93.
“Ideas and Emotions” (David Wojnarowicz), Artforum, vol. 27, no. 9 (May1989), pp. 122-127.
“William Olander, 1950-1989,” Village Voice , April 4, 1989, p. 77.
“The Handmade Readymade,” Paul Taylor, ed., Post-Pop Art (Cambridge, MIT Press, 1989), pp. 139-157.
“Angola to Vietnam: Unnatural Selection” (Christopher Williams),Visions, (Winter 1988), pp. 24-25.
“Wild History” (catalogue essay), Comic Iconoclasm (London, Institute of Contemporary Art, 1987), pp. 82-87.
“The Best of Both Worlds” (catalogue essay), in Elizabeth Shepherd, ed., Picture Taking: Weegee, Walker Evans, Sherrie Levine, Robert Mapplethorpe (Evanston, Ill., Block Gallery, 1985), n.p.
“Drawing from Memory” (catalogue essay), William Olander, ed., The Art of Memory/The Loss of History (New York, The New Museum of Contemporary Art, 1985), pp. 15-21.
“Comic Connoisseurs,” Art in America, vol. 72, no. 2 (February 1984), pp. 100-107.
“Questioning Authority: Sarah Charlesworth’s Photographs,” Afterimage, vol. 12, nos. 1&2, pp. 14-17.
“Public Works” (catalogue essay), Art and Social Change (Oberlin, Ohio, Allen Museum, 1983), pp. 77-81.
“Roy Lichtenstein’s Expressionist ‘Takes’,” Art in America, vol. 71, no. 1 (January 1983), pp. 84-89.
“Richard Prince at Metro Pictures,” Art in America, vol. 70, no. 6 (Summer 1982), p. 144.
“Jennifer Bartlett at Paula Cooper,” Art in America, vol. 69, no. 4 (April 1981), p.146.
“Fantin Latour’s Un Coin de Table,” Arts Magazine, vol. 52, no. 8 (April 1978), pp. 134-141.
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