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Refereed and Journal Articles
“Nomadic Entities: Space, Race and the Levittown Complex,”
e-mesférica 7: 1
(forthcoming, 2010).
“The Sea and the Land: Biopower and Visuality from Slavery to Katrina,” Culture, Theory and Society, vol. 50, no. 2, 2009: 289-30.
“War is Culture: Global Counterinsurgency, Visuality, and the Petraeus Doctrine,” PMLA , special issue “War,” edited by Diana Taylor and Srinivas Avaramudan. vol. 124, no. 5, 2009: 1737-1746.
“Response to War Questionnaire,” October, issue 123 (Spring, 2008): 123-125.
“Invisible Empire: Abu Ghraib and Embodied Spectacle,” Visual Arts Research, vol. 32, no. 2 (Issue 63), 2006: 38-42.
“Disorientalism: Minority and Visuality in Imperial London,” TDR 51 (Summer 2006), 52-69.
“On Visuality,” The Journal of Visual Culture 2006, vol. 5 no 1, 53-79.
“Invisible Empire: Embodied Spectacle and Abu Ghraib,” Radical History Review 95 (Spring 2006), 21-44
“Invisible Again: Representations of the Genocide in Rwanda,” African Arts , vol. XXXVIII no. 5 (Autumn 2005), 36-39, 86-91, 96.
“Invisible Empire: The Spectacle at Abu Ghraib,” Takahe (New Zealand) 56: 33-39.
“Newspapers,” Art Journal (Summer 2003), 22-24.
“The Empire of Camps,” Afterimage (Sep/Oct 2002), 13-14. Translated into Polish 2004.
“Ghostwriting: Working Out Visual Culture,” The Journal of Visual Culture, vol. 1 no. 2, (2002): 239-54.
“Intervisuality,” Exploding Aesthetics, Lier en Boog, Series of Philosophy of Art and Art Theory, vol. 16 (Amsterdam, 2002): 124-133.
“Revolution, Representation, Equality: Gender, Genre and Emulation in the Académie Royale de Peinture et Sculpture, 1785-1793,” Eighteenth-Century Studies, Vol. 31 no. 2 (1997-98): 153-74.
“Photography at the Heart of Darkness: Herbert Lang's Photographs of the Congo (1909-1915),” in African Reflections, special number of the Elvehjem Museum Bulletin, ed. Henry J. Drewal (Spring 1996): 27-41.
Reprinted in Tim Barringer and Tom Flynn, Colonialism and the Object: Empire, Material Culture and the Museum (Routledge, 1998), pp. 167-87.
“Seducing Our Eyes: Gender, Jurisprudence and Visuality in Watteau,” Eighteenth Century Theory and Interpretation Vol. 35 no 2 (1994): 135-154.
“Body Talk: Deafness, Sign and Visual Language in the Ancien Régime,” Eighteenth Century Studies Vol. 25 no 4 (Summer 1992): 561-586.
“The Silent Mind: Learning from Deafness,” History Today, Vol. 42 (July 1992): 19-25.
Chapters in Books of Essays
“Striking: The Right to Strike/The Striking Image/Striking the Right,” in Jonathan Harris (ed.), Identity Theft: The Cultural Colonization of Contemporary Art (Liverpool: Liverpool University Press+Tate Liverpool, 2008), 197-220.
“Empire der Lager,” in Linda Hentschel (ed.), Bilderpolitik in Zeiten von Krieg und Terror: Medien, Macht und Geschlechterverhältnisse (Berlin: Verlag, 2008), 303-23.
“Von Bildern und Helden: Sichtbarkeit im Kreig der Bilder,” in Lydia Haustein, Bernd M. Scherer and Martin Hager (eds.), Feinbilder: Ideologien und visuelle Strategien der Kulturen (Berlin: Wallstein Verlag, 2007), 135-156.
“‘That’s All Folks’: Contemporary Art and Popular Culture,” in Amelia Jones (ed.), A Companion to Contemporary Art Since 1945 (Oxford and Malden Ma.: Blackwell, 2006), 493-511.
“Network Subjects: or, The Ghost is the Message,” in Wendy Hui Kyong Chun (ed.), New Media, Old Media: A History and Theory Reader (New York: Routledge, 2005), 355-346
“The visual culture machine: or, Deterritorializing Mickey Mouse,” foreword to Amanda du Preez and Jeanne van Eeden (eds.), South African Visual Culture (Pretoria, South Africa: Van Schaik, 2005), v-vii.
“Libertad y Cultura Visual: Plantando cara a la globalización,” in José Luis Brea (ed.), Estudios Visuales: La espistemología de la visualidad en la era de la globalización (Madrid: Ediciones Akal, 2005), 161-173.
“Aboriginality: Gesture, Performance and Colonial Encounter,” in Migrating Images, Peter Seel (ed.) [Berlin: Haus der Kulturen der Welt, 2004).
Contributor to Maurice Berger (ed.), Postmodernism: A Virtual Discussion (New York: Distributed Art Publishers, 2003).
“The Empire of Camps,” in Feride Cicekoglu (ed.), 9-11 Istanbul-New York (Istanbul: Homer Kitabevi, 2003), 68-83.
“Teletubbies: Infant Cyborg Desire and the Fear of Global Visual Culture,”
in Lisa Parks and Shanti Kumar (eds.), Planet TV (New York: New York University Press, 2002), 439-454.
“Ghostwriting: Working Out Visual Culture,” in Michael Ann Holly and Keith Moxey (eds.), Art History, Aesthetics and Visual Studies (New Haven: Yale University Press, 2002)
“Paper, Picture, Sign: Conversations between the Deaf, the Hard-of-Hearing and others,” in Helen Deutsch and Felicity Nussbaum (eds.), “Defect”: Engendering the Modern Body (Ann Arbor: University of Michigan Press, 2000), pp.75-92.
“Blindness and Art,” in Lennard J. Davis (ed.), The Disability Studies Reader (Routledge, 1997), pp. 182-200.
"Framed: The Deaf in the Harem," in Jennifer Terry and Jacqueline Urla (eds.), Deviant Bodies (Indiana University Press, 1995), pp. 49-77
"Signs and Citizens: Sign Language and Visual Sign in the French Revolution," in John Brewer and Ann Bermingham (eds.), The Consumption of Culture in Early Modern Europe (Routledge, 1995), pp.272-93.
"Manet: The Respectable Rebel," in Bruce Bernard (ed.), The Impressionist Revolution (New York: Orbis, 1986), p. 21-29.
Catalogue Essays
“On Visuality and Image Wars,” in Shaheen Merali (ed.), Everywhere Is War (and Rumours of War) (Mumbai: Bodhi Art, 2008), n.p.
“Watching Babylon Again,” catalogue for J & K Collective “Babylon Diorama” at the Pergamon Museum, Berlin (Berlin: Pergamon Museum, 2008), n.p.
“Hitting the Wall,” catalogue for Cai Guo-Qiang “Head On” at the Deutsche Guggenheim, Berlin (Frankfurt: Deutsche Bank, 2006), 57-66 (also translated into German as “Mauern und Wölfe”).
“Atlantic Postcards” in catalogue for “Crossing the Atlantic: Uneasy Spaces,” 80 Washington Square East Gallery, New York, 2006, 15-20.
“Agent Orange: Fashion, the Body and the Contemporary,” in Peter Carelli and Lena Wilhelmsson (eds.), In Fashion: New Swedish Clothing Design (Helsingborg, Sweden: Redaktorer Editions, 2005), 280-84.
“Anarchy in the Ruins: Dreaming the Experimental University,” in Nato Thompson and Greg Sholette (eds.), The Interventionists (Massachussetts Museum of Contemporary Art, 2004).
“The Shadow and the Substance: Photography and Indexicality in American Photography,” in Coco Fusco and Brian Wallis (eds.), Only Skin Deep: Changing Visions of the American Self, International Center for Photography, (New York: Abrams, 2003).
“The Haunted House: Visuality and Global Culture,” in Arquitecturanimation (Barcelona, 2002), 1-54 (with Spanish translation).
“Inside/Out: Jewishness Imagines Emancipation,” in Susan Tumarkin Goodman (ed.), The Emergence of Jewish Artists in Nineteenth Century Europe, (New York: The Jewish Museum, New York City/Merell, 2001), 41-47.
“Eye Glasses,” catalogue essay for Ken Aptekar, Memorial Art Gallery, Rochester, NY, 2001
Catalogue essay for Elahe Massumi, Iranian Photography, Paris, 2001
“Intersections,” essay for Joseph Grigely: Body Signs, exhibit at W.P.A., Washington DC, Sep-Dec 1993, pp.1-5.
Commissions as editor of series: In·sight: Routledge Visual Culture
Ray Guins (ed.), The Object and Visual Culture (2009)
Vanessa Schwartz and Jeannene Pryzyblyski (eds.) The Nineteenth-Century Visual Culture Reader, 2004)
Amelia Jones (ed.), Feminism and Visual Culture (2003), 475pp |
