Commentator for: Joan Kee, University of Michigan, Ann Arbor, “Book Talk: Models of Integrity: Art and Law in Post-Sixties America,” Faculty of Art and Faculty of Law Seminar Series, University of Hong Kong
Organizer of: Erika Doss, University of Notre Dame, “Troubling Memorials: Disgraced Monuments and Problematic Public Art in America,” School of Modern Languages and Cultures Seminar Series, University of Hong Kong
Conferences and Panels Organized/Chaired
Beyond Connectivity: The Network as Art Historical Model, , Sarasota, FL, co-chair with Alexis Carrozza
Parafiction and Parafact: The Space Between, Southeastern College Art Conference (SECAC), Greensboro, NC, co-chair with Andrianna Campbell-Lafleur
Deadly Serious Art: Strategies of Humor as Critique, The Graduate Center, CUNY, New York, NY; Keynote: Simon Critchley, The New School, NY, co-chair with Sarah Archino.
“The Letter of the Law: Art and Uncivil Obedience,” Brownbag Lunch Series, Smithsonian American Art Museum, Washington, DC
“Alias: Art and Identity in Cold War Hollywood,” lecture given in conjunction with the exhibition, Holy Barbarians: Beat Culture on the West Coast (November 18, 2016 – March 12, 2017), Menil Collection, Houston, TX
“Incongruent Strategies: Engagements with Humor and Identity in Contemporary Azerbaijani Art,” Visiting Scholar Roundtable Series, Institute for European, Russian, and Eurasian Studies (IERES), Elliott School of International Affairs, George Washington University, Washington, DC
Papers Delivered in Association with Fellowship Positions
“The Legal Medium: An Aesthetics of Uncivil Obedience,” Department of Fine Arts Lecture Series, University of Hong Kong, HK
“Engagements with Chance and Risk: Los Angeles-based Artists Looking to Las Vegas in the Postwar Era,” Center for Gaming Research, University of Nevada, Las Vegas, NV. Podcast.
“Interrogating Performativity: Role Playing and Artistic Production in 1960s Los Angeles,” Scholar Lecture Series, Georgia O’Keeffe Museum, Santa Fe, NM
“F(r)amed by Los Angeles: Role-Playing within the Reflections of Billy Al Bengston’s 1960s Work,” Fellows Lectures in American Art, Smithsonian American Art Museum, Washington, DC
Papers through Submission (selected)
“Telling Stories: Art and Financial True Crime,” The Real Price: Between Art and the (art) market, , Newcastle University & Northumbria University, England (conference canceled due to COVID-19)
“Art Provoking Policy: Semiotic Disobedience and Conscientious Law-Breaking,” Arts Patronage in Modern America, Rothermere American Institute, University of Oxford
“Intimate Strangers and Affective Economies: Ann Hirsch, Amalia Ulman, and Marisa Olson,” Technologies of Counter-Publicity, College Art Association Conference (CAA), New York, NY; and Persona: ‘Performance Art’ or ‘Self-Branding’?, International Persona Studies Conference, Newcastle University, Newcastle, UK
“Art Chasing Liability: Digital Sharecropping and Conscientious Law-Breaking,” Critical Practices, , School of Creative Media, City University of Hong Kong. Conference Website.
“Art Chasing Fraud: Parajournalism and Transmedia Storytelling” , Royal Melbourne Institute of Technology (RMIT), Melbourne, Australia
“An Aesthetics of Uncivil Obedience: Performance Art and the Legal Medium,” Performing Resistance, , University of California, Berkeley, CA
“Humor and Activism in Contemporary Azerbaijani Art,” Humor, Globalization, and Culture-Specificity in Modern and Contemporary Art, Frans Hals Museum, The Netherlands; and , University of Washington, Seattle, WA
“Political Re-presentation: Artist-Candidates and the Boundaries of the Electoral Process,” Border Control: on the Edges of American Art, Tate Liverpool/Terra Foundation for American Art, Liverpool, United Kingdom
“Naming: Imaginary Authorship in Cold War Los Angeles,” American Conceptual Art and the Political Imagination, from Cold War to Globalization, , New York, NY
“Secret: George Herms and Clandestine Operations in Cold War Los Angeles,” Scholl Seminar on American Art, Newberry Library, Chicago, IL
“Viewer's Choice: Cosmopsis and Harun Farocki's Deep Play,” Unraveling Timelines: Challenges to Chrononormativity in Art and Art History, , Pittsburg, PA
“Erasure and (Re)construction: From Judy Gerowitz to Judy Chicago,” Erased, Replaced, Omitted, Denied: American Art and Negation, journée d'études, Institut national d'histoire de l'art/Terra Foundation for American Art, Paris, France
“F(r)amed for Levity: Published and Parodic Interventions of the Los Angeles Avant-Garde,” Languages of Art: Interactions Between Art and Literature, Art History Graduate Student Symposium, Rutgers, State University of New Jersey, New Brunswick, NJ
“Incongruent Strategies: Engagements with Humor and Identity in Contemporary Azerbaijani Art,” Caucasus Connections, American Research Institute of the South Caucasus (ARISC), Annual Conference, University of Indiana, Bloomington, IN. Video.
"Interrogating the Alter: Critical Engagements with Humorous Strategies in Southern California,” , Hanford, CA
“The Real And Reflected Self: Finish Fetish and the Alter Ego,” Finish Fetish Sculpture from Los Angeles, 1960s-1970s: Conservation Dilemmas, , Los Angeles, CA
“Prankster Antics and Intrusions: The Politics of Display in Los Angeles of the 1950s,” In Sight/On View: The Museum as Site of Inquiry, Annual Graduate Student Symposium, University of Illinois at Chicago, Chicago, IL; and 2012[SYM] , Woodland, CA