Talks & Papers

Invited Talks

“Picasso’s Melodrama,” Barnes Foundation, November 19.
“Dreams of Non-Contingency: Primitivism and Sachlichkeit in Wilhelmine Germany,” Department of Art and Art History, Wesleyan University, February 28.

“Key Moments in Biennial History: Between Politics and Beauty,” Whitney Museum of American Art, online, March 10, March 16, and April 21.

“Blurred Primitivism: Kirchner’s Studio Photographs,” frontBURNER Seminar, California Institute of the Arts, online, December 2.

“Die Brücke, Primitivism, and Sachlichkeit: A Colonial Economy of Feeling,” Los Angeles County Museum of Art, July 25.

“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 14.

Seminar Participant, “100 Years of Neue Sachlichkeit in Visual Culture,” German Studies Association Annual Conference, Arlington, VA, September 26-28.
“Impersonal Feelings and Forms in German Expressionism,” in “Varieties of the Impersonal,” chaired by Joseph Henry and Elias Kleinbock, American Comparative Literature Association Annual Conference, May 30.

Study Day Participant, “Clyfford Still’s Early Abstractions,” Clyfford Still Museum, October 19-21.
“Apocalyptic Burnout: Expressionism as Affective Labor,” in “Modernism from Madness to Mental Health,” Yale University, March 1.

“Time Signatures: Expressionism between Drawing and Print,” Drawings for Prints, International Fine Print Dealers Association Foundation, online, October 5.
Seminar Participant, “Made in Germany: Myths and Materiality of an Exporting Nation,” German Studies Association Annual Conference, Montreal, October 5-8.
“Erich Heckel’s Die Ballade vom Zuchthaus zu Reading and the Politics of the Natural,” in “Schlüsselwerke neu gesehen,” chaired by Meike Hoffmann, “Expressionism Revisited: New Approaches and Research Questions,” Brücke-Museum Berlin, June 3.
“Machine-Made, Hand-Finished: The Expressionist Woodcut and the Third German Applied Arts Exhibition,” in “Transitive Modernity: Intermediality in and around the Twentieth Century,” chaired by Lauren Rosati, “Research Out Loud: Met Fellows Present,” Metropolitan Museum of Art, online, May 11.
“Tectonic Expression in Die Brücke’s ‘Quarter-Hour Nudes’,’” in “Expression: Processes of Form and Mediation in Art,” eikones—Center for the Theory and History of the Image, Basel, March 24.

“Machine-Made, Hand-Finished: The Expressionist Woodcut and the Third German Applied Arts Exhibition,” Research Forum for German Visual Culture, online, November 3.
Emerging Scholars Workshop Participant, “New Pathways for Black German Studies,” German Studies Association Annual Conference, Houston, September 15-18.

“Die Brücke’s Sachlich Primitivism,” Mellon-Marron Museum Research Consortium Colloquium, Museum of Modern Art, New York, May 17.
“The Suture and the Needle,” in “Figuring Magic Realism: International Interpretations of an Elusive Term,” CUNY Graduate Center, online, April 9.
“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, online, April 2.

“The Handwerk of the Artist: Die Brücke’s Woodcuts and Wilhelmine Industry,” Berliner Graduierten-Symposium für moderne und zeitgenössische Kunstgeschichte, November 15.
“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 Annual Conference, Seattle, March 14.

“Empathy from Cacti to Brecht,” in Whitney Independent Study Program Critical Studies Symposium, Whitney Museum of American Art, New York, May 18.

“Tatlinism, or Hausmann’s Bluff,” in “Revolution in the Margins, 1917-2017,” CUNY Graduate Center, New York, October 13.
“Imitation and Crime: Hermann Muthesius and the Surrogate,” The Institute of Fine Arts of New York-Frick Collection Symposium, New York, April 21.
“Ambient Spectatorship,” in “The Critical Matter of Performance,” New Museum, New York, February 16.

“The Form of the Void,” in “Le monument à Apollinaire,” chaired by Peter Read, “Picasso: Sculpture” International Colloquium, Centre Georges Pompidou, Paris, March 24.

“Varieties of the Impersonal,” American Comparative Literature Association Annual Conference, May 29-June 1, with Elias Kleinbock.
“Magical Realism, New Objectivity, and the Return of Representation: A Reevaluation,” College Art Association Annual Conference, New York, February 13, with Joe Bucciero.

“Modernism from Madness to Mental Health,” Yale University Art Gallery and Department of the History of Art, Yale University, March 1, with Freyda Spira.

“The Visual Culture of German Colonialism,” German Studies Association Annual Conference, September 18, with Mimi Cheng.

“Scales of Visibility in Contemporary Indigenous Art,” CUNY Graduate Center, October 14, with Christopher T. Green, David Joselit, and Ian Wallace.

“From Wood to Water: Print’s Metamorphic Material,” Metropolitan Museum of Art, May 19.

“Art History from Home: Art, Work, and Labor,” Whitney Museum of American Art, online, July 21 and September 7.

“Art in Transit” Member Roundtable, Museum of Modern Art, online, July 20, with Caitlin Ryan.