Articles and Book Chapters
“Black and Blue: The Shadows of Camera Lucida,” in Geoffrey Batchen’s Photography Degree Zero, forthcoming, MIT Press, forthcoming 2009.
“Gauguin in Black and Blue,” in Mary Sheriff’s Cultural Contact and the Making of European Art (University of North Carolina Press, Chapel Hill), forthcoming, 2008.
“Summer Was Inside the Marble” Marguerite Duras’ and Alain Resnais’ Hiroshima mon amour,” Issue 1, June 2008, Photography and Culture.
“Mouthing Metonymy in Lewis Carroll: Alice’s Alicious Appetite,” in Dennis Denisoff’s Victorian Children and Consumerism, Ashgate, forthcoming 2008.
“Blue Promise: The Photography of Sarah Jones, Archive (National Media Museum, Bradford), October, 2007
“Love in Black and Blue,” in Esther Tecihmann’s Silently Mirrored, catalog essay for Man&Eve Gallery, London, 2007.
“Utopia: Red, Round and Spelled with an ‘E’: Taj Forer’s Threefold Sun, Charta, 2007.
“Blossoming Bombs,” in Elin O’Hara Slavick’s, Bomb After Bomb, Charta, 2007.
“Double Consciousness: Auguste and Louis Lumi�re,” The Encyclopedia of 19th Century Photography, Routledge, 2007.
“Happiness With a Long Piece of Black Leader: Chris Marker’s Sans Soleil, 1982,” The Journal of Art History (UK), edited by Deborah Cherry, 2007.
“The Writerly Artist: Beautiful, Boring and Blue,” in A Companion to Contemporary Art Since 1945, ed. Amelia Jones (Oxford: Blackwell, 2006).
“Although You Cannot See Her, You Can Certainly Smell Her,” in The Smell Culture Reader, edited by James Drobnick (Oxford: Berg Publishers, 2006.)
“Navelled: The Drawings of Susan D’Amato,” Catalog Essay for an Exhibition at The Drawing Center, New York, New York, 2005.
Photographs, Dresses and Paperies,” in Not Just Any Dress, ed. Sandra Weber and Candis Steenberger (University of Montreal, 2004).
“Photographs are Fairyish: The Cottingley Fairy Photographs and Jacques-Henri Lartigue,” in the journal Archive (National Museum of Photography, Film and Television, West Yorkshire, UK, 2004).
“A Dream of a House,” in Alice Maher: Portraits (Millennium Court Arts Centre, Portadown, Northern Ireland, 2003)
“Pulling Ribbons From Mouths,” in Representing the Passions:
Histories, Bodies, Visions, ed. Richard Meyer (Los Angeles: The Getty, 2003).
“Reduplicative Desires,” in Visual Culture Reader, vol. 2, ed. Nick Mizroeff (New York: Routledge, 2003).
“Motherland Missed: Longing for Sally Mann’s Landscapes,” The Independent Weekly (Raleigh, NC) Jan. 2–8, 2002, 16–17.
“Motherland Missed: Sally Mann and Clementina, Viscountess Hawarden,” in Singular Women: Writing the Lives of Women Artists, eds. Kristen Frederickson and Sarah E. Webb (Berkeley: University of California, 2002).
“The Unmaking of Childhood,” introduction to Visual Representations of Children and the Construction of Childhood, ed. Marilyn Brown (London: Ashgate, 2002).
“A Soul Flutters, The Moon Draws,” an essay for David Solow’s traveling exhibition ex-voto/plumbum/history attached to my heels. November 2001.
“ ‘In Which the Story Pauses a Little’: Clementina Hawarden’s Home as Camera Box,” in Symbolic Imprints: Essays on Photography and Visual Culture, ed. Lars Kiel Bertelsen, Rune Gade, Mette Sandbye (Denmark: Aarhus University Press, 1999).
“A Samle P� Tab” [a translation of “Collecting Loss”] in the Danish journal Periskop: Forum for Kunthistoisk Debat NR 8 (1999).
“Introduction,” in (Un)Fixing Representation, eds. Judith Farquhar, Tomoko Masuzawa and Carol Mavor; Special issue of Cultural Studies, featuring essays by Peter Stallybrass, Patrick Brantlinger, et al., 12:1 (1998).
“Obscenity,” in The Encyclopedia of Aesthetics, ed. Michael Kelly (Oxford: Oxford University Press, 1998).
“Odor di Femina: Though You May Not See Her, You Can Certainly Smell Her,” in (Un)Fixing Representation, eds. Judith Farquhar, Tomoko Masuzawa and Carol Mavor; Special issue of Cultural Studies 12:1 (1998).
“Touching Netherplaces: Invisibility in the Photographs of Hannah Cullwick,” in Exceptional Spaces: Essays in Performance and History, ed. Della Pollock, (Chapel Hill: University of North Carolina Press, 1998).
“Too Close to See,” an essay for a traveling exhibition and catalog entitled Flesh and Blood, which features the work of Susanne Slavick, Sarah Slavick, Madeleine Marie Slavick and elin o’Hara slavick. Originally coordinated by Petra Fallaux, Flesh and Blood opened at the Hewlett Gallery at Carnegie Mellon University in December 1997.
“Collecting Loss,” Cultural Studies, 11:1 (1997).
“Becoming: The Photographs of Clementina Hawarden, 1859-1864,” in Genre; Special issue on photography, Picturing the End of Things: Photography and Apocalypse, ed. Nancy West, 29:1 and 2 (1996).
“Lewis Carroll’s Photographs of Little Girls,” in The Girl’s Own: A Social History of the Victorian Girl, eds. C. Nelson and L. Vallone, (Athens: University of Georgia Press, 1994).