"Extralegal Portraiture: Surveillance, Between Privacy and Expression," Grey Room (2022): forthcoming.

"Coercive Disobedience: Art and Simulated Transgression," Art Journal 80, no. 3 (Fall 2021): 78–99.


Coercive disobedience is a targeted mode of protest; it goads retribution, dialogically exposing laws and policies in a manner that is potentially damaging to the interests of dominant elites. While previous discussions of coercive disobedience are limited to political science, law, and philosophy, I propose a consideration of such modes of dissent within an art context. Under consideration are experiments in simulated transgression realized by Paolo Cirio and Alessandro Ludovico, as well as James Baumgartner and UBERMORGEN. In their transgressing of conventional forms of lawbreaking, their artworks became crimes, not because a crime was committed but because they were pursued as crimes. The artists’ mode of coercive disobedience encourages a questioning of how and why simulated transgressions were able to generate powerful legal consequences and retaliatory actions.

“Financial True Crime: Art, Para-journalism, and Data-Driven Storytelling,” Art History 44, no. 2 (2021): 256–284.


It is not surprising when blue-chip artworks are (in)advertently caught up in dubious financial activities. But, what role might art itself play in investigating and narrating the intricacies of financial crime? To consider a segment of creative practice deconstructing global financial matters (internet scams, tax fraud, money laundering) I propose using the framework of true crime. True crime is a genre comprising stories of real events, the telling of which is shaped by the narrator. Here, I extend discussions of true crime from literature, film, and radio/podcasts into the field of art, situating it as a lens for understanding projects by Joana Hadjithomas and Khalil Joreige, Mark Lombardi, Paolo Cirio, and Andreas Zingerle and Linda Kronman. Rather than simply responding to fraud, these artists investigate it, manifesting crime scenes for abstract and illicit activities and sharing information in a creative, didactic, and intertextual manner.

Database(s): EBSCOhost Academic Search Complete, Art Full Text (H. W. Wilson), Wiley Online Library

“Uncivil Obedience: Lowell Darling Follows the Law,” American Art 34, no. 1 (Spring 2020): 112–135.


Scholars and artists have long been interested in socially engaged artworks, particularly those involving civil disobedience. But what of the opposite approach? What of radical adherence? In the 1970s, California-based artist Lowell Darling realized a series of creative endeavors exploiting uncivil obedience, characterized by a conspicuous and hyperbolic compliance with established laws, rules, and mandates. Following the disallowance of proposed deductions to his 1969 federal income tax return, Darling—by way of projects such as the fictional Fat City School of Finds Arts—deconstructed the so-called hobby loss rule of the U.S. Tax Code by rigorously and ironically fulfilling those factors said to indicate a profit-seeking intent. In 1978, Darling mined the intricacies of electioneering norms and campaign finance by staging an insincere run for governor of California. In these projects, Darling mobilized a kind of legal medium for creative expression, manifesting a mode of art-making that departed from expectations about how art and law might interact and intersect within art practice. Archive photos by Sabine Pearlman​.

Database(s): EBSCOhost Academic Search Complete, America: History & Life, Art Full Text (H. W. Wilson), University of Chicago Press Journals

"(Im)Personal Matters: Intimate Strangers and Affective Market Economies," Oxford Art Journal 42, no. 1 (Spring 2019): 45–67.


This article discusses the work of artists Ann Hirsch, Amalia Ulman, and Marisa Olson. Topics discussed include the development of fictional personae (personas), the intersection of art and reality television, affect and intimacy, labor exploitation, art on the internet, and the use of social media as a medium for creative expression.

Database(s): EBSCOhost Electronic Journal Services, Art Full Text (H. W. Wilson), Oxford Journals [electronic resource]

"Naming: Heteronymy and the Imaginary Artists of George Herms," American Art 32, no. 2 (Summer 2018): 24–51. *Patricia and Phillip Frost Essay Award, Smithsonian American Art Museum


Within a Cold War climate of paranoia regarding secret identities and communist plots, California-based artist George Herms realized artworks attributed to fictional artist-authors: Eric Hammerscoffer, Paul Mistrie, Iris Firewater, Sigmund Fletcher, Astropoet Moonstone, and Tarzan Feathers. The lives of these imaginary artists were narrated in outlandish biographies, and their artworks were displayed in museum and gallery exhibitions. Rather than simply presenting work under a different name (a pseudonym), Herms deployed the literary technique of heteronymy—which is both a tool (a heteronym) and a conceptual strategy. Herms’s heteronymous practice comprised presenting work by distinct personae, each of whom differed from the others in terms of aesthetic style, philosophy, personality, and life story. By advertising the fictional status of the attributed artists, and doing so alongside documentation of their existence, Herms galvanized the problematic space connecting a named artist-author to his/her/their artwork.

Database(s): EBSCOhost Academic Search Complete, America: History & Life, Art Full Text (H. W. Wilson), University of Chicago Press Journals

"Incongruent Humor, Labor, and Public Fame in Postwar Los Angeles," Archives of American Art Journal 53, no. 1/2 (Spring 2014): 4–29.


The article focuses on Los Angeles-based artists Billy Al Bengston, Ed Ruscha, Larry Bell, and Craig Kauffman, considering their work throughout the 1960s. The author discusses their collaboration on a 1968 project and subsequent book "Business Cards," which combined art, commerce, and humor. She explores the advertising material for the projects and analyzes the use of public performance, pseudonyms, and personae.

Database(s): JSTOR, America: History & Life, Art Full Text (H. W. Wilson), University of Chicago Press Journals

Book Chapter(s)

“Aesthetic Incongruity: Art and Humor in Post-Independence Azerbaijan,” in Humor in Contemporary Art: Between the Local and the Global. eds. Mette Gieskes and Gregory Williams (Bloomsbury), forthcoming. ISBN: 978-150-135-8791

Exhibition Catalogues

“Snapshot: An Artchive of Azerbaijan,” in Azerbaijan: The Colors of Wind and Fire, Contemporary Artists from Azerbaijan, 25–34, exhibition catalogue (Villorba, Italy: Fabrica, 2014).

“Faig Ahmed,” “Rashad Alakbarov,” “Afruz Amighi,” “Kutluğ Ataman,” “Shoja Azari,” “Rashad Babayev,” “Ali Banisadr,” “Ali Hasanov,” “Orkhan Huseynov,” “Sitara Ibrahimova,” “Aida Mahmudova,” “Farid Rasulov,” in Dina Nasser-Khadivi, Nicholas Cullinan, Negar Azimi, and Monica Steinberg, Love Me, Love Me Not. Contemporary Art from Azerbaijan and its Neighbours – 55th Venice Biennale, 66–124, exhibition catalogue (Baku, Azerbaijan: YARAT, 2013).

Commonist: Contemporary Art Exhibition, 22 September - 22 October 2012, exhibition catalogue (Baku, Azerbaijan: YARAT!, 2012).

“James Brooks,” “William Crovello,” “Helen Frankenthaler,” “Philip Pavia,” “Esteban Vicente,” in The Abstract Impulse: Fifty Years of Abstraction at the National Academy 1956-2006, ed. Marshall Price, 39–40, 43–44, 49–50, 67–68, 76–77, exhibition catalogue (New York, NY: National Academy of Design, 2007).


REVIEW (Book): "Public Art and the Fragility of Democracy: An Essay in Political Aesthetics, by Fred Evans," Public Art Dialogue 10, no. 1 (2020): 102–103.


Book review of Fred Evans, Public Art and the Fragility of Democracy: An Essay in Political Aesthetics (New York: Columbia University Press, 2018).

Database(s): EBSCOhost Electronic Journal Services, Taylor & Francis online

REVIEW (Book): "Models of Integrity: Art and Law in Post-Sixties America, by Joan Kee," Law & Literature 32, no. 2 (2020): 309–313.


Book review of Joan Kee, Models of Integrity: Art and Law in Post-Sixties America (University of California Press, 2019).

Database(s): Taylor & Francis online

REVIEW (Exhibition): “On Creating Reality, by Andy Kaufman at Maccarone,” Tabula Quarterly (Spring 2013).

REVIEW (Book): “Biala: Vision and Memory,” Woman’s Art Journal 33, no. 2 (November 2013): 52–53.


Database(s): JSTOR, Art Full Text (H. W. Wilson), Women's Studies International


"Foreword" to Special Issue, "Transcendentals: At the Intersection of Art and Law," Public Jurist (2020): 2.

“Two Things You Can Count on—Art and Taxes,” The ICW Blog, The Huntington-University of Southern California History Department (April 2017).

“Los Angeles and the Backwards Glance,” Pacific Binaries: Anja Schaffner (December 21, 2015—March 20, 2016).


discussed in: Sarah Archino, Siofra McSherry, and Isabella Streffen, "A Third Place: the &/ project," in Academics, Artists, and Museums: 21st-Century Partnerships (Routledge, 2019); and And/Or "And Or Project by Sarah Archino," Journal on Images and Culture

co-author with Shana Lessing, “An Anatomy of ‘Voice’," Hostos WAC/RAC Initiative: From the Writing Desk 11 (Spring 2012): 2, 5–6.