Other Writing

Articles and Chapters

“Making Pictures on Baskets: Modern Indian Painting in an Expanded Field” in Multiple Modernisms: Indigeneity, Colonialism, and Twentieth-Century Arts, Elizabeth Harney and Ruth Phillips, eds., (Durham and London: Duke University Press, forthcoming).

“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.

“2017: Indigenous Futures,” editorial introduction with Kate Morris, Art Journal, v. 76, n. 2 (Summer 2017): 6-9.

“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.

“Nashville Byline: Greg Pond and Cornel Novac at the Fugitive Art Center; ‘Altered Spaces’ at the Cheekwood Museum of Art Installation Gallery,” Number: 45 (Summer 2003): 14

“The Hidden Significance of a Clothespin: A Conversation with John Salvest,” Number: 44 (Spring 2003): 12-13

“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

Exhibition Essays

“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


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