Articles and Chapters.
“Očhéthi Šakówiŋ Tradition and Multiple Modernisms,” in Dakota Modern: The Art of Oscar Howe, Bill Anthes and Kathleen Ash-Milby, eds. (Smithsonian Institution National Museum of the American Indian and University of Oklahoma Press, 2022), 15-31.
“Our Cats, Ourselves,” in Candice Lin, Natural History: A Half-Eaten Portrait, an Unrecognizable Landscape, a Still, Still Life (Claremont: Pitzer College Art Galleries, 2022), 34-41.
“Making Pictures on Baskets: Modern Indian Painting in an Expanded Field” in Mapping Modernisms: Art, Indigeneity, Colonialism, Elizabeth Harney and Ruth Phillips, eds., (Durham and London: Duke University Press, 2018), 90-109.
“On Settler Knowledge and Indigenous Political Ecology,” in Bill Anthes and Ciara Ennis, Edgar Heap of Birds: Defend Sacred Mountains (Claremont: Pitzer College Art Galleries, 2018), 9-14.
“Introduction to Painting, Printmaking, and Drawing,” in Native Art Now! Developments in Contemporary Native American Art Since 1992, Kate Morris and Veronica Passalacqua, eds., compiled by James H. Nottage (Indianapolis: Eiteljorg Museum of American Indians and Western Art, 2017), 16-27.
“Activating ‘The Difference Which Makes a Difference’: Juan Downey’s Decolonial Field,” in Juan Downey: Radiant Nature, Robert Crouch and Ciara Annis, eds. (Los Angeles: Los Angeles Contemporary Exhibitions, 2017), 177-183.
“Socially Engaged Art, Photography, and Art History,” in Activating Democracy: The “I Wish to Say” Project, Sheryl Oring, ed. (Bristol, UK: 2016). Intellect Books), 111-114.
“Marisol’s Indians,” in Marisol: Sculptures and Works on Paper, 1955-1998, Marina Pacini, ed. (Memphis: Brooks Museum of Art and New Haven: Yale University Press, 2014), 135-156.
“Tarrah Krajnak: Strays,” Exposure, v. 47, n. 1 (Spring 2014): 30-36.
“ ‘Why Injun Artist Me’: Acee Blue Eagle’s Diasporic Performative,” in Native Diasporas: Indigenous Identities and Settler Colonialism in the Americas, Gregory D. Smithers and Brooke N. Newman, eds. (University of Nebraska Press, 2014)
“Ethics in a World of Strange Strangers: Edgar Heap of Birds at Home and Abroad,” Art Journal, v. 71, n. 3 (Fall 2012): 58-77.
“Contemporary Native Artists and International Biennial Culture,” Visual Anthropology Review, v. 25, n. 2 (Fall 2009): 109–127.
“Indian Time at Foxwoods,” (Im)permanence: Cultures in/out of Time, Judith Schachter and Stephen Brockman, eds. (Carnegie Mellon University, Center for the Arts in Society/Penn State University Press, 2008
“Learning from Foxwoods: Visualizing the Mashantucket Pequot Tribal Nation,” American Indian Quarterly, v. 32, n. 2 (Spring 2008): 204-218.
“Cultural Controversies,” in The American Midwest: An Interpretive Encyclopedia, Andrew Cayton, Richard Sisson, and Chris Zacher, eds. (Bloomington: Indiana University Press, 2007), 620-623.
“Native American Art Centers” in The American Midwest: An Interpretive Encyclopedia, Andrew Cayton, Richard Sisson, and Chris Zacher, eds. (Bloomington: Indiana University Press, 2007), 669-670.
“The Indian’s White Man,” Journal of the West, v. 40, n. 4 (Fall 2001): 26-33.
“Vittore Gambello,” The Dictionary of Art. (New York: Grove Dictionaries, 1996).
Reviews: Native American Art History
Marie Mithlo, ed., For a Love of His People: The Photography of Horace Poolaw (New Haven: Yale University Press, 2014) in Winterthur Portfolio, v. 50 n. 2 (Summer/Autumn 2016): 199-200.
Jane Ewers Robinson, ed., Plains Indian Art: The Pioneering Work of John C. Ewers (Norman: University of Oklahoma Press, 2011) in Great Plains Quarterly, v. 32, n. 4 (Fall 2012): 288.
Judith Ostrowitz, Interventions: Native American Art for Far-Flung Territories (Seattle: University of Washington Press, 2009) caa.reviews online (December 15, 2009).
Teresa J. Wilkins, Patterns of Exchange: Navajo Weavers and Traders (Norman: University of Oklahoma Press, 2008) in New Mexico Historical Review, v. 84, n. 4 (Fall, 2009): 558-559.
Emma I. Hansen, Memory and Vision: Arts, Cultures, and Lives of Plains Indian People (Cody, Wyoming and Seattle: Buffalo Bill Historical Center/University of Washington Press, 2007) in Great Plains Quarterly, v. 29, n. 3 (Summer 2009): 258-259.
Jill Leslie Furst, Mojave Pottery, Mojave People: The Dillingham Collection of Mojave Ceramics (Santa Fe: School of American Research Press, 2001) in Journal of the West, v. 42, n. 4 (Fall 2003): 93-94. Invited
Christian F. Feest, ed. Studies in American Indian Art: A Memorial Tribute to Norman Feder (Vienna and Seattle: European Review of Native American Studies and University of Washington Press, 2001), in Great Plains Quarterly, v. 23, n. 2 (Spring) 2003: 135-136.
Reviews and Interviews: Contemporary Art
Transcultural Pilgrim: Three Decades of work by José Bedia, Fowler Museum at UCLA, caa.reviews online (August 24, 2012)
“Bruce Tapola, ‘The Velvety Cloak of Twilight,’ ” Art Papers, v. 29, n. 4 (July/Augus, 2005): 45-46
“Memphis,” Contemporary Magazine, Issue 75 (June, 2005): 16
“Southern Strategy: A Conversation with Grier Edmundson,” Number: 52 (Spring 2005): 8-9
“Learning to Love You More, Number: 51 (Winter 2005): 20-2
“Memphis,” Contemporary Magazine, Issue 70 (January 2005): 1
“Memphis,” Contemporary Magazine, Issue 65 (August 2004): 17
Roger Hull, Intersections: The Life and Art of Jan Zach (Salem, OR: Hallie Ford Museum of Art, Willamette University; Seattle, WA: University of Washington Press, 2002) in Journal of the West, v. 43, n. 3 (Summer 2004): 100.
“Nam Jun Paik, ‘Vide-O-Belisk, ” Memphis Brooks Museum of Art, Art Papers, v. 27, n. 5 (September/October 2003): 44-45
“John Salvest, ‘TEXTure’, ” Arkansas Arts Center, Little, Rock, Art Papers, v. 26, n. 5 (September/October 2002): 36-37
“Edgar Heap of Birds: Genocide and Democracy and Sovereign,” Todd Bockley Gallery, Minneapolis, Minnesota, 2017
The Ocelots of Foothill Boulevard, with Ciara Ennis, Pitzer College Art Galleries, Claremont, California, 2017
“Veda Reed: New Paintings,” David Lusk Gallery, Memphis, Tennessee, 2004
“Cold Comfort,” Memphis College of Art, 2003
“Plays Well With Others,” for “Nikki S. Lee: Projects,” Clough-Hanson Gallery, Rhodes College, Memphis, Tennessee, 2002
“Ted Faiers: the 1950s,” David Lusk Gallery, Memphis, Tennessee, 2002