I’m a Ph.D. Candidate in the art history program at the CUNY Graduate Center and a Joan Tisch Teaching Fellow at the Whitney Museum of American Art. My research interests have centered on expressionism in Europe and the United States; German visual culture more broadly; the relationships between art and labor; primitivism and colonialism; drawings and prints; queer visual culture; performance; and historiography. My dissertation, “Spiritualized Machines: Die Brücke, Expressionism, and Wilhelmine Modernity,” argues for the structuring prominence of the machine and industrial production for German Expressionism, in particular the art of the artist group known as Die Brücke (The Bridge). Focusing on their background in design and architecture, I see expressionism as mediating a new German subject informed by both the country’s accelerated capitalism and a primitivizing emphasis on affect and feeling. The formal and political questions posed by this movement, I argue, anticipate contemporary dynamics of work, affective labor, and burnout. Writing
Essays and Articles
2021
2020
- Paula Modersohn-Becker, “Self-Portrait Nude with Amber Necklace, Half-Length I,” Smarthistory, July.
- “How Käthe Kollwitz Invented a New Art of Protest,” Frieze, January 20
2019
2018
- “Choreographing Archives, Curating Choreographers: Yvonne Rainer, Xavier Le Roy, and the Dance Retrospective,” in Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice, edited by Dena Davida, Jane Gabriels, Véronique Hudon, and Marc Provonost, 235-48 (Oxford: Berghahn Books), with Fabien Maltais-Bayda.
2017
2016
2015
- The Suffering Body of 1993: Whatever Happened to the Abject,” Momus, April 27
- “Ryan McNamara and the Afterlife of Performance,” Momus, February 4
2014
- “Criticism Project Altered Twice: A Dual Response to Xavier le Roy’s ‘Retrospective,’” Momus, December 14, with Fabien Maltais-Bayda.
- “The Commons of Aggregation: The Case for Net Art as Public Art,” Momus, October 27.
- “Sources of Harm: Notes on the Alternative Artworld,” Hyperallergic, September 11.
Catalogue Essays
2022
- “The Camera Feeds,” in When We Were Monsters: An Exhibition by James Richard (Kerpen, Germany: Haus Mödrath—Räume für Kunst).
2021
- “Return, Address,” in BPA//Exhibition 2021, edited by Anna-Lisa Scherfose (Berlin: KW Institute for Contemporary Art), n.. P.
2020
- “Thresholds: Salman Toor’s Group,” in Relations: Diaspora and Painting, edited by Cheryl Sim, 184-88 (Montreal: Phi Foundation for Contemporary Art).
2019
- “Resets: On James Richards’s Uncontrollable Universe,” in Artists in the Cinema: Projections Commissions 2019, 41-53 (Newcastle upon Tyne, England: Tyneside Cinema).
2018
- Max Neuhaus: Times Square, 1977 (New York: Dia Art Foundation, 2019), exhibition publication, unattributed.
2013
- “Pararealism: Philippe-Aubert Gauthier and Tanya St-Pierre’s Something is Happening,” exhibition publication (Peterborough, Canada: Artspace).
Exhibition Reviews
2022
2020
- Amos Badertscher at Schwules Museum (Berlin), artforum.com “Critics Pick,” June 17.
- Leila Hekmat at Isabella Bortolozzi Galerie (Berlin), artforum.com “Critics Pick,” June 3.
- Leila Hekmat at Isabella Bortolozzi Gallery (Berlin), artforum.com “Critics Pick,” May.
- Rose Wylie at Galerie Ernst Hilger (Vienna), artforum.com “Critics Pick,” January 30.
- Julio Rondo at Galerie Andreas Binder (Munich), artforum.com “Critics Pick,” January 22.
2019
- Ingrid Wiener at Barbara Wien (Berlin), artforum.com “Critics Pick,” October 11.
- Pierre Puvis de Chavannes at Michael Werner New York (New York), artforum.com “Critics Pick,” January 22.
2018
- Maia Ruth Lee, “Access To Tools” at Jack Hanley Gallery (New York), Flash Art 323, November-January 2019.
- Virginia Jaramillo at Hales Gallery (New York), artforum.com “Critics Pick,” November 21.
2017
2015
- Laure Prouvost at e-flux (New York, NY), Art in America, November 17
- Body by Body at Eli Peng Francis Perkins (New York, NY), Art in America, October 30
- Anicka Yi, “You Can Call Me F” at The Kitchen (New York, NY), Art in America, May 28
- “Share This! Appropriation After Cynicism” at Denny Gallery (New York, NY), Momus, January 8
2014
- “Jeff Koons: A Retrospective” at the Whitney Museum of American Art (New York, NY) and Cory Arcangel, “tl;dr” at Team Gallery (New York, NY), Momus, October 15
- “Jake and Dinos Chapman: Come and See,” at DHC/ART Foundation for Contemporary Art (Montreal), esse 82 (Autumn),
- 2014 Whitney Biennial, Whitney Museum of American Art (New York), esse 81 (Spring-Summer).
- Carrie Mae Weems, Solomon R. Guggenheim Museum (New York), esse 81 (Spring-Summer).
- “Damage Control: Art and Destruction Since 1950” at Hirschhorn Museum and Sculpture Garden (Washington, D.C.), C Magazine 122 (Summer 2014): 60-1.
2013
⤒ Back to topPerformance Reviews
2020
2018
- Mette Ingvartsen, “21 pornographies” and “The Permeable Stage: Reimagining the Social,” Performa Magazine, November.
2017
- Anne Teresa de Keersmaeker, “Work/Travail/Arbeid,” at the Museum of Modern Art (New York), Performa Magazine, May 18.
Book Reviews
2013
2012
⤒ Back to topInterviews
2022
2015
2014
2013
Talks and Papers
Invited Talks
2022
- “Where Are We Going? A Bus Journey” [on Ingeborg Bachmann], Night of Ideas, Villa Albertine and Brooklyn Public Library, May.
- “Key Moments in Biennial History: Between Politics and Beauty,” Whitney Museum of American Art, March.
2020
- “Blurred Primitivism: Kirchner’s Studio Photographs,” frontBURNER Seminar, California Institute of the Arts, Valencia, CA, December.
2019
- Robert Gore Rifkind Center for German Expressionist Studies Scholar-in-Residence, “Die Brücke, Primitivism, and Sachlichkeit: A Colonial Economy of Feeling,” Los Angeles County Museum of Art, July.
2015
- “Attention! Televisual Politics in Liz Magic Laser’s I Feel Your Pain,” in “‘Ce qui se dessine de nouveau’: On the Relationship Between Aesthetics and Politics in the Current Artistic Landscape,” DHC/ART Foundation, Montreal, January.
Conference and Symposium Papers
2021
- “The Suture and the Needle,” in “Figuring Magic Realism: International Interpretations of an Elusive Term,” CUNY Graduate Center, April.
- “Blur, Blackness, and Die Brücke,” in “Art, Obscurity, and the Politics of Rescue,” chaired by Flora Dunster and Amy Tobin, Association for Art History, Newcastle University and Northumbria University, April.
2019
- “The Handwerk of the Artist: Die Brücke’s Woodcuts and Wilhelmine Industry,” Berliner Graduierten-Symposium für moderne und zeitgenössische Kunstgeschichte, November.
- “The Circus Comes to Dresden,” in “The Art and Architecture of Alterity,” Art History Graduate Student Symposium, Rutgers University, April.
- “Empathy, Solidarity, and Other Things in Kuhle Wampe,” in “Life and Its Animation,” chaired by Katerina Korola and Cassandra Guan, Society for Cinema and Media Studies Conference, Seattle, March.
2018
- “Empathy from Cacti to Brecht,” in Whitney Independent Study Program Critical Studies Symposium, Whitney Museum of American Art, New York, May.
2017
- “Tatlinism, or Hausmann’s Bluff,” in “Revolution in the Margins, 1917-2017,” CUNY Graduate Center, New York, October. Video Documentation
- “Imitation and Crime: Hermann Muthesius and the Surrogate,” The Institute of Fine Arts of New York-Frick Collection Symposium, New York, April.
- “Ambient Spectatorship,” in “The Critical Matter of Performance,” New Museum, New York, February.
2016
- “The Form of the Void,” in “Le monument à Apollinaire,” chaired by Peter Read, “Picasso: Sculpture” International Colloquium, Centre Georges Pompidou, Paris, March.
- “‘Jeder Mensch ein Terrorist’: Joseph Beuys and Thomas Peiter at documenta V,” in “You Are Not Alone: Experimental Structures of Artistic Collaboration in Late Modernism,” chaired by Leda Campellin, Southeastern College Art Association Conference, Pittsburgh, October.
2015
- “Project for a Monument to Guillaume Apollinaire,” Second 2015 Museum Research Consortium Study Session, chaired by Leah Dickerman, Museum of Modern Art, New York, May.
Conferences and Panels Organized
2021
- “The Specter Haunting Art History: A Third Wave of Marxism?” with Kaegan Sparks, College Art Association Annual Conference, New York, February.
- “Scales of Visibility in Contemporary Indigenous Art,” with Christopher Green and Ian Wallace, CUNY Graduate Center, October.
Teaching
Courses
Brooklyn College
- ARTD.3066, “Modern Art,” undergraduate. Syllabus (PDF)
- ARTD.1010,” Art: Its History and Meaning,” undergraduate. Syllabus (PDF)
Other
CUNY Graduate Center
- Guest Lecturer, “Empathy Theory from Art Nouveau, Fauvism, Expressionism to the Bauhaus” doctoral seminar, CUNY Graduate Center, Prof. Romy Golan, Fall 2020.
- Co-Convener of “Social Choreography Working Group,” 2015, with Kaegan Sparks and Katherine Carl.
Washington University in St. Louis
- Guest Lecturer, “Native and Cosmopolitan Modernisms: The U. S. and Europe between the Wars” graduate and undergraduate seminar, Washington University in St. Louis, Prof. Angela Miller, Fall 2020.
Columbia University
- Guest Lecturer for “Graduate Seminar in Sculpture and Related Media,” Prof. Gabo Camnitzer, Spring 2019.
CV
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