Recent and Forthcoming Publications
Screening Publics (in progress)
Making Images Move: Handmade Cinema and the Other Arts. (University of California Press, 2020)
Co-editor (with John G. Hanhardt and Edith Decker-Phillips), We Are in Open Circuits: Writings by Nam June Paik (The MIT Press, 2020) [Selections are featured in Nam June Paik: The Future is Now, exhibition catalogue (London: Tate Publications, 2019)].
“Nam June Paik’s Etude 1 and the Indeterminate Origins of Digital Media Art,” October (Spring 2018): 3-28.
“Post-Coital Thoughts on Nam June Paik’s ‘Double Climax’” INCITE Journal of Experimental Media #7/8 (2018): 216-224.
“Between Canvas and Celluloid: Painted Films and Filmed Paintings,” MIRAJ: The Moving Image Review & Art Journal 3.2 (2015): 162-176.
“Nam June Paik’s TV Crown and the Origins of Media Interactivity,” Millennium Film Journal (Fall 2013): 88-93.
“Eradicating the Psychic Space Between Eye and Ear: Synthetic Film Sound’s Challenge to the Index,” Animation Journal 20 (2012): 51-85.
“Analog Circuit Palettes, Cathode Ray Canvases: Digital’s Analog, Experimental Past,” Film History 24.2 (Spring 2012): 135–57.
“The Joshua Light Show: Concrete Practices and Ephemeral Effects,” American Art 22.2 (Summer 2008): 17–21.
“Outer and Inner Space,” in The Andy Warhol Film Project, vol. 3 [catalogue raisonné] ed. John G. Hanhardt (Forthcoming, the Whitney Museum of American Art and Yale University Press, 2020).
“Video Art’s Past and Present ‘Future Tense’: The Case of Nam June Paik’s Satellite Works,” in Object—Event—Performance: Art, Materiality, and Continuity since the 1960s, ed. Hanna Hölling (Forthcoming, Bard Graduate Center, Cultural Histories of the Material World series, 2020).
“ ‘This Script is Not Final, and is Subject to Changes’: Nam June Paik Between Page and Screen,” in We Are in Open Circuits: Writings by Nam June Paik, ed. John G. Hanhardt, Gregory Zinman, and Edith Decker-Phillips (The MIT Press, 2019), 73-85. This essay was excerpted in The Art Section as “‘New Relationships Between Things Already Existing’: Nam June Paik as a Writer” (November 2019).[link]
“Echoes of the Earth: Handmade Film Ecologies,” in Process Cinema: Handmade Films in the Digital Era, eds. Scott MacKenzie and Janine Marchessault (McGill-Queen’s University Press, 2019), 108-124.
“ICYMI: The Moving Image Online” in The Routledge Companion to Media Studies and Digital Humanities, ed. Jentery Sayers (Routledge, 2018), 292-299.
“The Legacy of Thomas Wilfred’s Lumia,” in Lumia: Thomas Wilfred and the Art of Light, ed. Keely Orgeman (Yale University Art Gallery/Yale University Press, 2017), 75-96.
“Getting Messy: Chance and Glitch in Contemporary Video Art,” in Abstract Video: The Moving Image in Contemporary Art, ed. Gabrielle Jennings (University of California Press, 2015), 98-115.
“The Right Stuff?: Handmade special effects in commercial and industrial film,” in Special Effects: New Histories, Theories, Contexts, eds. Bob Rehak, Dan North, and Michael Duffy. (BFI/Palgrave Macmillan, 2015), 224-240.
“From Canvas to Screen: Weimar Germany and the Birth of Abstract Cinema,” in A New History of German Cinema, eds. M. Richardson and J. Kapczynski (Rochester, NY: Camden House, 2012): 98-104.
Selected Short Essays
“By Hand: Cameraless Films at Canyon Cinema,” Canyon Cinema 50th Anniversary Project (forthcoming, 2020).
“Good Morning, Mr. Orwell: Four Contradictions,” ArtReview (October 2019): 68-69.
“Engram (optical sound #001) by Blanca Rego” Angular vol. 1 DVD (2015).
“Does Anybody Really Know What Time it Is? Christian Marclay’s The Clock,” Art Papers (January/February 2013).
“Micah Stansell: The Water and the Blood,” in The Water and the Blood, exhibition catalog, Museum of Contemporary Art of Georgia (Atlanta: Working Artists Project, 2012).
“Cinemachines by Garrett Stewart,” Critical Inquiry (forthcoming, 2020).
“Postwar: The Films of Daniel Eisenberg,” Afterimage 38.6 (May/June 2011): 41.
“Movement as Meaning in Experimental Film, by Daniel Barnett,” Movement: A Media Studies E-Journal 1.1 (Winter 2009).