In addition to my research on photography and interactive artistic practices, I have published articles about the works of a range of 20th-century and contemporary artists, including the following:

‘Art and Epistemic Injustice: Ursula Biemann’s Remote Sensing and Black Sea Files’, Art and the Public Sphere, 3:1 (2014), pp. 45–62.

‘Computer Art and the Cosmopolitan Imagination’ in (ed.) K. Brown, Interactive Contemporary Art: Participation in Practice (I.B. Tauris, 2014), pp. 37–56.

Introduction in (ed.) K. Brown, Interactive Contemporary Art: Participation in Practice (I.B. Tauris 2014/paperback 2016), pp. 1–16.

‘Undoing Urban Modernity: Contemporary Art’s Confrontation with Waste’ in European Journal of Cultural Studies (Sage Publications), 16 (6), 2013, pp. 678–91.

‘The Artist as Urban Geographer: Mark Bradford and Julie Mehretu’ in American Art (Smithsonian Institution and University of Chicago Press), 24 (3), 2010, pp. 100–13.

‘Disruption and Delight: Dara Birnbaum’s Experiments with Sensory Pleasure’ in n.paradoxa, vol. 25, Jan., 2010, pp. 5–15.

‘Tolerating Art in a Liberal Society’ in The International Journal of Arts in Society, 4 (3), 2009, pp. 155–164.

‘The Book as Object and Event in the Works of John Latham’ in The International Journal of the Book, vol. 6, 2009, pp. 23–34.

‘Re-Placing Art: Museums and the Street’ in The International Journal of the Inclusive Museum, 1(2), 2008, pp. 89–96.

Exhibition review: ‘Ink Remix: Contemporary Ink Art from China, Hong Kong and Taiwan’ at the Canberra Museum and Gallery: The Journal of Curatorial Studies (2016).

Exhibition review: ‘Picasso et les maîtres’ at the Grand Palais, Paris: The Art Book, 16 (2), May, 2009, 14–15.

Exhibition review: ‘The House of Books has no Windows: Janet Cardiff and George Bures Miller at Modern Art Oxford’, Horizon Review, March, 2009.

Book Reviews:

Liam Gillick, Industry and Intelligence: Contemporary Art Since 1820 (Columbia 20University Press, 2016), Review 31.

Lee Hendrix (ed.), Noir: The Romance of Black in 19th-Century French Drawings and Prints, H-France, Vol. 17 (2017)

Ara H. Merjian, Giorgio di Chirico and the Metaphysical City: Nietzsche, Modernism, Paris in French Studies, 69:3 (2015).

Ed. Markus Müller, Camille Pissarro: Mit den Augen eines Impressionisten in Print Quarterly, XXXI, no. 4 (2014), 441–2.

Albert Boime, Revelation of Modernism: Responses to Cultural Crises in Fin-de-siècle Painting in Nineteenth-Century French Studies, vol. 42 (2013).

Berys Gaut, A Philosophy of Cinematic Art in Philosophy in Review, 12(5) (October, 2012), pp. 381–3.

Judith Nesbitt (ed.), Chris Ofili in The Art Book (November, 2010), p. 29.

Arthur Danto, Andy Warhol in The Art Book (November, 2010).

Ruth Iskin, Modern Woman and Parisian Consumer Culture in Impressionist Painting, in Canadian Art Review, XXXIII (1–2), 2009, pp. 140–2.

Mark Antliff and Patricia Leighten (eds), A Cubism Reader: Documents and Criticism, 1906–1914 in Nineteenth-Century French Studies, November, 2008.

Kendall Walton, Marvelous Images: On Values and the Arts in Philosophy in Review, 2010, no. 1, pp. 68–70.



El Anatsui’s shimmering installations at the Museum of Contemporary Art, San Diego, 2015