Please download Philip Auslander’s complete CV here.
Below is a complete list of Auslander’s academic publications and art writing. Along the way, there are some links to materials online.
Women Rock! Portraits in Popular Music. Milan: White Star, 2023.
Liveness: Performance in a Mediatized Culture. Third Edition. London: Routledge, 2023.
In Concert: Performing Musical Persona. Ann Arbor: University of Michigan Press, 2021.
Reactivations: Essays on Performance and Its Documentation. Ann Arbor: University of Michigan Press, (2018).
Liveness: Performance in a Mediatized Culture. Second Edition. London, New York: Routledge, 2008.
Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: University of Michigan Press, 2006.
Liveness: Performance in a Mediatized Culture. London, New York: Routledge, 1999.
From Acting to Performance: Essays in Modernism and Postmodernism. London, New York: Routledge, 1997.
Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance. Theatre: Theory/Text/Performance. Ann Arbor: University of Michigan Press, 1992.
The New York School Poets as Playwrights: O’Hara, Ashbery, Koch, Schuyler and the Visual Arts. Literature and the Visual Arts: New Foundations, Vol. 3. New York: Peter Lang, 1989.
Books in Translation
Glam rock. La subversion des genres. Paris: La Découverte, Philarmonie de Paris La rue musicale, series: « Culture sonore », 2015. [French translation of Performing Glam Rock: Gender and Theatricality in Popular Music]
V Zivo: Uprizarjanje V Mediati Zirani Kulturi (2. Izdaja). Trans. Aleksandra Rekar, Foreword by Bojana Kunst. Knjiznica MGL (Nr.146). Ljubljana: Mestno Gledalisce Ljubljansko, 2007. [Slovenian translation of Liveness: Performance in a Mediatized Culture, Second Edition.]
Bodies in Commotion: Disability and Performance (co-edited with Carrie Sandahl). Ann Arbor: University of Michigan Press, 2005.
Performance: Critical Concepts in Literary and Cultural Studies. Four volumes. London: Routledge, 2003.
Chapters in Books
“Performance Documentation: Ephemerality, Temporality, Authenticity,” in Reconstructing Performance Art: Practices of Historicisation, Documentation and Representation, Ed. Tancredi Gusman. London: Routledge, 2023.
“Norman Greenbaum, ‘Spirit in the Sky’ (1969),” in One-Hit Wonders: An Oblique History of Popular Music, Ed. Sarah Hill. New York: Bloomsbury, 2022.
“’Musical Personae’ Revisited,” in Investigating Musical Performance: Theoretical Models and Intersections, ed. Gianmario Borio et al. Abingdon: Routledge, 2020.
“Framing Personae in Music Video.” In The Bloomsbury Handbook of Popular Music Video Analysis. Eds. Lori Burns and Stan Hawkins. London: Bloomsbury, 2019.
“Performance e cultura mediatizzata.” [“Live Performance in a Mediatized Culture” in Italian Translation.] In Performance art: Traiettorie ed esperienze internazionali. Ed. Chiara Mu and Paolo Martore. Rome: Castelvecchi Editore, 2018.
“Lucille Meets Guitarbot: Instrumentality, Agency, and Technology in Musical Performance” [revised and expanded]. In Musical Instruments in the 21st Century: Identities, Configurations, Practices. Ed. Till Boverman et al. Singapore: Springer Nature, 2017.
“Ver É Acreditar: A performance ao vivo e o discurso da autenticidade na culturo do rock.” [“Seeing is Believing: Live Performance and the Discourse of Authenticity in Rock Culture” in Brazilian Portuguese translation.] In Circuitos Urbanos E Palcos Mediáticos: Perspectivas Culturais Da Música ao Vivo. Ed. Lais Barros Falcão de Almeida and Victor De Almeida Nobre Pires. Maceió: Edufal, 2017.
“21st Century Girl: Lady Gaga, Performance Art, and Glam Rock.” In Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. Ed. Ian Chapman and Henry Johnson. Abingdon: Routledge, 2016.
With Ian Inglis (50% Contribution). “Nothing is Real: The Beatles as Virtual Performers.” In The Oxford Handbook of Music and Virtuality. Ed. Sheila Whitely and Shara Rambaran. Oxford: Oxford University Press, 2016.
“Afterword: Karaoke as Performance Reactivation.” In Kevin Brown, Karaoke Idols: Popular Music and the Performance of Identity. Bristol, UK, Chicago: Intellect, 2015.
“Afterword: So Close, and Yet So Far Away: The Proxemics of Liveness,” in Experiencing Liveness in Contemporary Performance: Interdisciplinary Perspectives, ed. Matthew Reason and Anja Mølle Lindelof. New York, London: Routledge, 2016.
“Théâtre et performance : l’évasion de la representation.” In Corps en scène, ed. Catherine Courtet et al. Paris: CNRS Editions, 2015.
“Music as Performance: The Disciplinary Dilemma Revisited” [Expanded Version]. In Sound und Performance. Thurnauer Schriften zum Musiktheater, Bd. 24. Ed. Wolf-Dieter Ernst. Würzburg: Verlag Königshausen & Neumann, 2015.
“Everybody’s in Show Biz: Performing Star Identity in Popular Music.” In The SAGE Handbook of Popular Music. Ed. Andy Bennett and Steve Waksman. London: SAGE Publications, 2015.
“Barbie in a Meat Dress: Performance and Mediatization in the 21st Century.” In Mediatization of Communication. Handbooks of Communication Science. Ed. Knut Lundby. Berlin: De Gruyter Mouton, 2014.
“Performatywnos ́c ́ documentacji performansow” [Polish translation of “The Performativity of Performance Documentation”]. In RE//MIX: Performans I Dokumentacja, ed. Tomasza Platy and Doroty Sajewskiej. Warsaw: Krytyka Polityczna.
“Jazz Improvisation as a Social Arrangement.” In Taking It to the Bridge: Music As Performance. Ed. Nicholas Cook and Richard Pettengill. Ann Arbor: University of Michigan Press, 2013.
“Music as Performance: The Disciplinary Dilemma Revisited” [Afterword]. In Taking It to the Bridge: Music As Performance. Ed. Nicholas Cook and Richard Pettengill. Ann Arbor: University of Michigan Press, 2013.
“Sound and Vision: The Audio-Visual Economy of Musical Performance,” in The Oxford Handbook of New Audiovisual Aesthetics, ed. John Richardson, et al. New York: Oxford University Press, 2013.
“Le direct numérique selon une perspective historico-philosophique” [“Digital Liveness in Historico-Philosophical Perspective” in French translation]. In Le réel à l’épreuve des technologies, ed. Josette Féral and Edwige Perrot. Rennes, France: Presses Universitaires de Rennes, 2013.
“Sound und Bild: Die audio/visuelle Ökonomie musikalischer” [German Translation of “Sound and Vision: The Audio/Visual Economy of Musical Performance].” In Ware Inszenierungen: Performance, Vermarktung und Authentizität in der populären Musik. Ed. Dietrich Helms and Thomas Phelps. Bielefeld: Transcript Verlag, 2013.
“The Performativity of Performance Documentation” [reprint], in Perform Repeat Record, ed. Amelia Jones and Adrian Heathfield. Fishponds, Bristol, UK: Intellect Books, 2012.
“’The Gollum Problem’: Teaching Performance and /as Intellectual Property,” Options for Teaching Literature and Law, ed. Cathrine Frank, Austin Sarat, and Matthew Anderson. New York: Modern Language Association, 2011.
“Reactivation: Performance, Mediatization, and the Present Moment,” Interfaces of Performance, Digital Resarch in the Arts and Humanities Series, ed. Janis Jefferies, Rachel Zerihan, and Maria X. Aldershot: Ashgate: 2009.
“Musical Persona: The Physical Performance of Popular Music,” The Ashgate Research Companion to Popular Musicology, ed. Derek B. Scott. Aldershot: Ashgate, 2009.
“Live and Technologically Mediated Performance,” The Cambridge Companion to Performance Studies, ed. Tracy C. Davis. Cambridge, NY: Cambridge University Press, 2008.
“On the Performativity of Performance Documentation,” After the Act: The (Re)Presentation of Performance Art, ed. Babara Clausen. Vienna: Museum Moderner Kunst Stiftung Ludwig, 2007.
The same book was simultaneously published in German:
“Zur Performativität der Performancedokumentation,” After the Act: Die (Re)Präsentation der Performancekunst, ed. Babara Clausen. Vienna: Museum Moderner Kunst Stiftung Ludwig, 2007.
“Motional Abstraction: Alwin Nikolais’s Formalism.” The Returns of Alwin Nikolais: Bodies, Boundaries and the Dance Canon, ed. Randy Martin and Claudia Gitelman. Middletown: Wesleyan University Press, 2007.
“AnimalCam: Ocularcentrism and Non-Human Performance.”A Performance Cosmology: Testimony from the Future, Evidence of the Past, ed. Judie Christie, Richard Gough, and Daniel Watt. London: Routledge, 2006.
“Humanoid Boogie: Reflections on Robotic Performance,” Staging Philosophy: New Approaches to Theater and Performance, ed. David Krasner and David Saltz, Ann Arbor: University of Michigan Press, 2006.
“Watch That Man: David Bowie: Hammersmith Odeon, London, July 3, 1973,” Performance And Popular Music: History, Place And Time, ed. Ian Inglis. Aldershot: Ashgate, 2006.
“Live Performance in a Mediatized Culture,” Aesthetics: A Reader in Philosophy of the Arts, 2nd Ed., ed. David Goldblatt and Lee B. Brown, Upper Saddle River: Prentice Hall, 2005.
“Liveness: Performance and the Anxiety of Simulation” (revised redaction), The Popular Music Reader, ed. Andy Bennett, Barry Shank, and Jason Toynbee. London, New York: Routledge, 2005.
“Performance as Therapy: Spalding Gray’s Autopathographic Monologues,” Bodies in Commotion: Performance and Disability, ed. Philip Auslander and Carrie Sandahl. Ann Arbor: University of Michigan Press, 2005.
“Task and Vision Revisited: Two Conversations with Willem Dafoe (1984/2002),” The Wooster Group and Its Traditions, ed. Johan Callens. Dramaturgies: Texts, Cultures, and Performances. Brussels: Peter Lang/Presses Interuniversitaires Européennes, 2004.
“The Inauthentic Voice: Vocal Production in Glam Rock,” Kunst-Stimmen, ed. Doris Kolesch and Jenny Schrödl. Berlin: Theater der Zeit: Recherchen, 2004.
“Looking at Records” [reprint], Aural Cultures, ed. Jim Drobnick. Toronto: YYZ, 2004.
“Live from Cyberspace, or, I was sitting at my computer this guy appeared he thought I was a bot” [reprint], Critical Theory and Performance, Second Ed., ed. Janelle Reinelt and Joseph Roach. Ann Arbor: University of Michigan Press, forthcoming.
“Postmodernism and Performance,” The Cambridge Companion to Postmodernism, ed. Steven Connor. Cambridge: Cambridge University Press, 2004.
“Legally Live: Performance In/Of the Law” [reprint], Performance: Critical Concepts in Literary and Cultural Studies, ed. Philip Auslander. London: Routledge, 2003.
“Live from Cyberspace: Performance on the Internet,” On the Cutting Edge: Intermediale Performanzen im historischen Wandel, ed. Jutta Eming, Annette Jael Lehmman, Irmgard Maassen. Berlin: Rombach-Verlag, 2002.
“‘An Orchid in the Land of Technology’: Live Performance and Walter Benjamin,” Cultural Work, ed. Andrew Beck. London: Routledge, 2002.
“The Surgical Self: Body Alteration and Identity” [reprint], Performance Studies (Readers in Cultural Criticism Series), ed. Erin Striff. Houndmills: Palgrave Macmillan, 2002.
“Fluxus Art-Amusement: The Music of the Future?” [revised and expanded version], Contours of the Theatrical Avant-Garde: Performance and Textuality, ed. James Harding. Ann Arbor: University of Michigan Press, 2000.
“‘Black Plastic with a Hole in the Middle’: On the Materiality of Music Media,” Proceedings: Living in a Material World, Coventry, UK: Coventry University, 1999.
“Liveness: Performance and the Anxiety of Simulation,” Performance and Cultural Politics, ed. Elin Diamond. London, New York: Routledge, 1996.
“Just Be Yourself: Logocentrism and Difference in Performance Theory” [reprint], Acting (Re)Considered: Theories and Practices, ed. Phillip B. Zarilli. London, New York: Routledge, 1994. Second Ed. 2002.
“Task and Vision: Willem Dafoe in L.S.D.” [expanded version], Acting (Re)Considered: Theories and Practices, ed. Phillip B. Zarilli. London, New York: Routledge, 1994. Second Ed. 2002.
“Boal—Blau—Brecht: the Body,” Playing Boal, ed. Jan Cohen-Cruz and Mady Schutzman. London, New York: Routledge, 1994.
“‘Brought to You by Fem-Rage’: Stand-up Comedy and the Politics of Gender,” Acting Out: Feminist Performances, ed. Lynda Hart and Peggy Phelan. Ann Arbor: University of Michigan Press, 1993.
“‘Comedy About the Failure of Comedy’: Stand-up Comedy and Postmodernism,” Critical Theory and Performance, ed. Janelle Reinelt and Joseph Roach. Ann Arbor: University of Michigan Press, 1992.
“Vito Acconci and the Politics of the Body in Postmodern Performance,” After the Future: Postmodern Times and Places, ed. Gary Shapiro. Albany: State University of New York Press, 1990.
American Experimental Theater: A Critical Introduction. New York: University Arts Resources, 1993.
“Ragnar Kjartansson and the Art of Pleasure,” PAJ: A Journal of Performance and Art, May 2022.
“John Cage’s 4’33”: A Performance Perspective,” Naxos Musicology International,
Online, March 14, 2022.
“Pandemic Proceedings: Legal Performance in the Time of Covid-19,” PAJ: A Journal of Performance and Art, September 2021.
“Live–In Person! The Beatles as Performers, 1963-1966,” Acting Archives, Vol. 10, No. 20, 2020 (published in 2021).
“On Repetition,” Performance Research, Vol. 23, Nos. 4-5, 2018.
“Film Acting and Performance Capture: The Index in Crisis,” PAJ: A Journal of Performance and Art, September 2017.
“The Fame: Performance Art and Celebrity Culture,” Dissect Journal #3, 2016.
“On the Concept of Persona in Performance,” Kunstlicht Vol. 36, No. 3, 2015.
“Digital Liveness: A Historico-Philosophical Perspective,” PAJ: A Journal of Performance and Art Vol. 34, No. 3, September 2012.
“Lucille Meets GuitarBot: Instrumentality, Agency, and Technology in Musical Performance,” Theatre Journal, Vol. 61, No. 4, December 2009.
“The Performativity of Performance Art Documentation,” Performing Arts Journal, 84, September 2006.
“Music as Performance: Living in the Immaterial World,” Theatre Survey, Vol. 47, No. 2, Fall 2006.
“Musical Personae,” TDR: The Journal of Performance Studies, Vol. 50, No. 1, Spring 2006.
“At the Listening Post, or, Do Machines Perform?” International Journal of Performance Arts and Digital Media, Vol. 1, No. 1, 2005.
“No-Shows: The Headcount from the NEA,” TDR: The Journal of Performance Studies, Vol. 49, No. 1, 2005.
“I Wanna Be Your Man: Suzi Quatro’s Musical Androgyny,” Popular Music, Vol. 23, No. 1, 2004.
“Performance Analysis and Popular Music: A Manifesto,” Contemporary Theatre Review, Vol. 14, No. 1, 2004.
“Good Old Rock and Roll: Performing the 1950s in the 1970s,” Journal of Popular Music Studies, Vol. 15, No. 2, 2003.
“Live from Cyberspace, or, I was sitting at my computer this guy appeared he thought I was a bot,” Performing Arts Journal, January 2002.
“Le performance en direct dans une culture mediatizée,” L’Annuaire Théâtral [Canada], 29, Spring 2001.
“Cyberspace as a Performance Art Venue,” Performance Research, October 2001.
“Looking at Records,” TDR: The Journal of Performance Studies, Vol. 45, No. 1, Spring 2001.
“Liveness, Mediatization, and Intermedial Performance,” Degrés: Revue de synthèse à orientation sémiologique [Belgium], No. 101, Spring 2000.
“Tee Vee’s Playhouse: Live Performance in a Mediatized Culture,” Aura: Film Studies Journal [Sweden], Vol. 6, No. 1, 2000.
“Liveness: Performance en de angst voor simulatie,” De Witte Raaf [Flemish translation of “Liveness: Performance and the Anxiety of Simulation” in Belgian cultural studies journal], September/October 1999.
“Seeing Is Believing: Live Performance and the Discourse of Authenticity in Rock Culture,” Literature and Psychology: a journal of psychoanalytic and cultural criticism, Vol. 44, No. 4, 1998.
“Gotta Make It Real: Live performance, simulatie en het vertoog van authenticiteitin de rockcultur,” De Vlaamse Gids [article in Flemish in Belgian cultural studies journal], May/June 1998.
“Against Ontology: Making Distinctions between the Live and the Mediatized,” Performance Research, Autumn 1997.
“Legally Live: Performance In/Of the Law,” TDR: The Journal of Performance Studies, Summer 1997.
“Evangelical Fervor” [report on the First Annual Performance Studies Conference], TDR: The Journal of Performance Studies, Winter 1996.
“Orlan’s Theatre of Operations,” TheatreForum, Spring 1995.
“Live Performance in a Mediatized Culture, Part Deux,” Theatre Annual: A Journal of Performance Studies, Fall 1994.
“Live Performance in a Mediatized Culture,” Essays in Theatre, November 1992.
“Intellectual Property Meets the Cyborg: Performance and the Cultural Politics of Technology,” Performing Arts Journal, January 1992.
“Going with the Flow: Performance Art and Mass Culture,” TDR: The Journal of Performance Studies, Summer 1989.
“Embodiment: The Politics of Postmodern Dance,” TDR: The Journal of Performance Studies, Winter 1989.
“Toward A Concept of the Political in Postmodern Theatre,” Theatre Journal, March 1987.
“Just Be Yourself: Logocentrism and Difference in Performance Theory,” Art and Cinema (New Series), Summer 1986.
“Task and Vision: Willem Dafoe in L.S.D.,” TDR: The Journal of Performance Studies, Summer 1985.
“Staying Alive: The Living Theatre in the ‘80s,” American Theatre, Summer 1984.
“‘Holy Theatre’ and Catharsis,” Theatre Research International, Spring 1984.
“Surrealism in the Theatre: The Plays of Roger Vitrac,” Theatre Journal, Fall 1980.
Online Articles, Creative Work, and Short Pieces
“In Memoriam: David Bowie,” Contemporary Theatre Review Vol. 26, No. 2, 2016.
“Hi there. Nice to be with you. Happy you could stick around: The First Time I Heard the Bonzo Dog (Doo Dah) Band.” www.iaspm-us.net, the website of the United States branch of the International Association for the Study of Popular Music, 24 Sept. 2012. Available at: http://iaspm-us.net/the-first-time-i-ever-heard-philip-auslander-hi-there-nice-to-be-with-you-happy-you-could-stick-around-the-first-time-i-heard-the-bonzo-dog-doo-dah-band/ – http://iaspm-us.net/the-first-time-i-ever-heard-philip-auslander-hi-ther
“This is Not a Paper,” Manifesta Journal #14 (2012). Online at: http://www.manifestajournal.org/issues/souvenirs-souvenirs – page-issuessouvenirssouvenirsnotpaper (also available in print form)
“Sound and Vision: Record of the Past or Performance in the Present?” Paper presented at the Research Center for the History and Analysis of Recorded Music, Royal Holloway, University of London, 2005.
Scott Magelssen, Simming: Participatory Performance and the Making of Meaning, Theatre Annual Vol. 68, 2015.
Aoife Monks, The Actor in Costume, Contemporary Theatre Review Vol. 21, No. 1, 2011.
Michele White, The Body and the Screen, Theatre Journal, Vol. 61, No. 4, December 2009.
Tracy C. Davis and Thomas Postlewait, eds., Theatricality, TDR: The Journal of Performance Studies, Vol. 50, No. 2, 2006.
Gavin Carver and Colin Beardon, eds., New Visions in Performance: The Impact of Digital Technologies, Modern Drama, Vol. 47, No. 3, 2004.
Elizabeth Klaver, Performing Television: Contemporary Drama and the Media Culture, Essays in Theatre, Vol. 20, No. 1, 2001 (published in 2004).
Susan Fast, In the Houses of the Holy: Led Zeppelin and the Power of Rock Music, Intensities: The Journal of Cult Media (online at http://www.cult-media.com), Spring 2003.
Steve Redhead, Unpopular Cultures: The Birth of Law and Popular Culture and Steve Giles, Bertolt Brecht and Critical Theory: Marxism, Modernity and The Threepenny Lawsuit, TDR: The Journal of Performance Studies, Fall 1999.
Elinor Fuchs, The Death of Character: Perspectives on Theater after Modernism, Modern Drama, Spring 1997.
Una Chaudhuri, Staging Place: The Geography of Modern Drama, The Brecht Yearbook 1997.
Jon Erickson, The Fate of the Object: From Modern Object to Postmodern Sign in Performance, Art, and Poetry, Theatre Survey, May 1996.
Jill Dolan, Presence and Desire: Essays on Gender, Sexuality, Performance, Theatre Journal, December 1995.
Review article (seven books on the body), TDR: The Journal of Performance Studies, Fall 1995.
Deborah A. Geis, Postmodern Theatric[k]s: Monologue in Contemporary American Drama, Theatre Journal, March 1995.
David Bianculli, Teleliteracy and Lynn Spigel, Make Room for TV, Configurations, Fall 1994.
Peggy Phelan, Unmarked: The Politics of Performance, TDR: The Journal of Performance Studies, Fall 1994.
Review article (four books on performance and theory), TDR: The Journal of Performance Studies, Fall 1993.
Herbert Blau, The Audience, Theatre Journal, October 1992.
Stefan Brecht, The Bread and Puppet Theatre, vols. 1 and 2, Theatre Journal, May 1990.
Emma Goldman, The Social Significance of Modern Drama, and Peter Szondi, Theory of the Modern Drama, Genre, Summer 1989.
Herbert Blau, The Eye of Prey: Subversions of the Postmodern, Theatre Journal, December 1988.
Jonathan Arac, Ed., Postmodernism and Politics, Theatre Journal, May 1987.
Marvin Carlson, Theories of the Theatre, American Theatre, March 1985.
Three books on contemporary American theatre and drama, Theatre Journal, May 1983.
Christopher Innes, Holy Theatre: Ritual and the Avant Garde, Canadian Review of Comparative Literature, March 1983.
“That Show Was Epic! Phil Lesh and The Terrapin Family Band, 3/16/18 by Phil Lesh,” Theatre Journal, Volume 73, Number 3, September 2021.
Songs and Stories from Moby Dick (Laurie Anderson), Spoleto Festival, ArtForum, October 1999.
Kwaidan (Ping Chong), Center for Puppetry Arts, Theatre Journal, December 1998.
“The Second Helsinki Act, May 1997,” Western European Stages, Fall 1997.
The School for Wives (Molière), Theater Emory, Theatre Journal, October 1991.
The Cradle Will Rock (Blitzstein), The Acting Company, Theatre Journal, December 1983.
Articles in Reference Works
“Glam Rock,” in Bloomsbury Encyclopedia of Popular Music of the World, ed. John Sheperd. London, New York: Bloomsbury, forthcoming.
Entries on Virtual Reality, Liveness, Cybernetics, Intermediality, Photography, Digital Performance, Internet for Reading Performance: Theatricality Across Genres, ed. Gabrielle Cody and Meiling Cheng. Abingdon: Routledge, 2015.
Entries on Glam Rock and Glam Metal for the Grove Dictionary of American Music. New York: Oxford University Press, 2014.
“Ping Chong,” Postmodernism: Key Figures, ed. Hans Bertens and Joseph Natoli. London: Blackwell, 2002.
“Frank O’Hara” [chapter excerpted from The New York School Poets as Playwrights], Contemporary Literary Criticism vol. 78, ed. James P. Draper. Detroit: Gale Research, 1994.
“Ntozake Shange,” Survey of American Literature. Freeport, NY: Marshall Cavendish, 1991.
“Jean-Claude van Itallie, America Hurrah,” Masterplots II: Drama, ed. Frank N. Magill. Pasadena, CA: Salem Press, 1990.
Entries for Jean-Claude van Itallie, America Hurrah; Arthur Kopit, Wings; Megan Terry, Keep Tightly Closed in a Cool, Dry Place; Slawomir Mrozek, The Police, Cyclopedia of Literary Characters, ed. Frank N. Magill. Pasadena, CA: Salem Press, 1990.
“Tuning In: Why Not Go All Virtual?” Newsday, 29 February 2004.
Museum and Gallery Catalogue Essays
“Focus on Me! Performance in the Work of Lizzie Fitch and Ryan Trecartin.” In Whether Line Lizzie Fitch|Ryan Trecartin. Eds. Chiara Costa and Mario Mainetti. Milan: Fondazione Prada, 2019.
“The Liveness of Watching Online: Performance Room,” in Perform, Experience, Relive: BMW Tate Live Program, ed. Cecilia Wee. London: Tate Modern, 2016.
“The Adventures of Dick: Looking at Larry Anderson’s Work, 1979-2015.” In Larry Jens Anderson: The Atlanta Years (1979-2015). Atlanta: Museum of Contemporary Art of Georgia, 2016.
“Mia Unverzagt’s Not So Innocent Images.” In Anna Gaskell/Mia Unverzagt: Dialog. Berlin: Revolver Publishing, 2015. [Catalog essay for exhibition at the Städtische Galerie Bremen]
“Surrogate Performances: Performance Documentation and the New York Avant-garde, ca. 1964–74.” In On Performativity, edited by Elizabeth Carpenter. Vol. 1 of Living Collections Catalogue. Minneapolis: Walker Art Center, 2014. http://walkerart.org/collections/publications/performativity/surrogate-performances.
“Trace Elements: The Work of Maurice Carlin.” Text commissioned for the exhibition Maurice Carlin: First… Next… Then… Finally…, Castlefield Gallery, Manchester, UK, 8 February 2013 — 17 February 2013. Available at: http://www.castlefieldgallery.co.uk/event/maurice-carlin-first-next-then-finally/
“Repetition and Theatricality in Ragnar Kjartansson’s Performance Art,” Ragnar Kjartansson: To Music/An die Musik (Zurich, Switzerland: Migros Museum für Gegenwartskunst/JRP|Ringier, 2012).
“Pictures of an Exhibition,” in Between Zones: On the Representation of the Performative and the Notation of Movement, ed. Raphael Gygax and Heike Munder. Zurich: migros museum fur gegenwarts kunst, 2010.
“21st Century Dandy,” in Phantasieblume: A Survey of the Work of Nick Fox. London: Centre for Recent Drawing, 2010.
“Toward a Hermeneutics of Performance Art Documentation,” Lessons in the Art of Falling – Photographs of Norwegian Performance and Process Art 1966–2009, ed. Jonas Ekeberg. Horten, Norway: Preus Museum, 2009.
“Phil Auslander in Conversation with Paul Pfeiffer,” Contemporary Art at the Dodd: Paul Pfeiffer, ed. Isabel Wallace and Nora Wendl. Athens, GA: Lamar Dodd School of Art, The University of Georgia, 2008.
Nina Mushinsky: Interior, Christianssands Kunstforening, Nordjyllands Kunstmuseum, Trondheim Kunstmuseum, Nordnorsk Kunstmuseum, 2003-2004.
Kojo Griffin: Recent Work, The Harriett Tubman Museum, Macon, GA, 2001.
“American Theater in Transition: The 1950s,” “American Theater in the Vietnam Era,” and “Theater in the 1970s,” in Lisa Phillips, The American Century: Art & Culture 1950-2000. New York: The Whitney Museum of American Art, 1999.
Catalogue essay for Cynthia Knapp (Paintings), Fay Gold Gallery, Atlanta, GA, Sept. 1995.
Catalogue essay for “The Autrey Mill Project” (four-person show), Autrey Mill Nature Preserve and Heritage Center, Alpharetta, GA, Oct. 1994.
“Will Castleberry Hill Ever Become Atlanta’s Version of Chelsea?” ArtVoices, December 2008.
“Putting Blacks on Stamps: Cedric Smith creates narratives based on historical ‘what ifs,’” ArtVoices, November 2008.
“Straight Outta Cape Town: Robin Rhode,” Art Papers, March/April 2006.
“Mixing the Colors: iona rozeal brown,” Art Papers, May/June 2004.
“The Biennale and Its Discontents,” PAJ: A Journal of Performance and Art, 76, January 2004.
“Behind the Scenes: Gregor Schneider’s Totes Haus ur,” PAJ: A Journal of Performance and Art 75, September 2003.
“Humanoid Boogie: Robotic Performances at the Venice Biennial,” Art Papers, January/February 2002.
“Unnecessary Duplicates: Identity and Technology in Laurie Anderson’s Performances,” Art Papers, January/February 2000.
“Fluxus Art-Amusement: The Music of the Future?” Art Papers, March/April 1999.
Run for Cover (art exhibition) at the Spruill Center, ArtVoices, March 2010.
Alec Soth, Photography, High Museum of Art, Atlanta, GA, ArtForum, November 2009.
Make Room: Karyn Olivier, Amanda Ross-Ho, Lisa Sigal, Group Exhibition of Installations, Atlanta Contemporary Art Center, ArtVoices, April 2009.
Richard Fleming, Photography, Whitespace Gallery, Atlanta, GA, ArtVoices, March 2009.
Maria Magdalena Campos-Pons, Video Installations, Spelman College Art Museum, Atlanta, GA, ArtForum, February 2009.
Masaki Fujihata, New Media Installations, Cornerhouse, Manchester, UK, ArtForum, December 2008.
Susanne Kühn, Painting, Denver Museum of Contemporary Art, Colorado, ArtForum, December 2008.
“After 1968: Contemporary Artists and the Civil Rights Legacy,” Group Exhibition, High Museum of Art, Atlanta, ArtForum, November 2008.
Carrie Mae Weems, Video Installation, SCAD ACA Gallery, Atlanta, ArtForum, October 2008.
Jack Whitten, Painting, Atlanta Contemporary Art Center, ArtForum, September 2008.
Fereydoon Family, Digital Images, Whitespace Gallery, Atlanta, Artillery, May/June 2008.
Rocio Rodriguez, Painting, Fay Gold Gallery, Atlanta, ArtForum, May 2008.
John Otte, Painting, Whitespace Gallery, Atlanta, ArtForum, April 2008.
Genevieve Arnold, Painting, The Museum of Contemporary Art of Georgia, ArtForum, May 2007.
Matt Bryans, Mixed Media, Atlanta Contemporary Art Center, ArtForum, March 2007.
Kalup Linzy, Video, Romo Gallery, ArtForum, October 2006.
Joe Sola, “Taking a Bullet” (Video/Installation), Atlanta College of Art Gallery, ArtForum, April 2006.
David Haines and Joyce Hinterding, “Purple Rain” (Video Installation), ArtSpace, Sydney, Australia, ArtForum, October 2005.
Claire Corey, Digital Paintings, Solomon Projects, ArtForum, March 2005.
John Largaespada, Photography, Atlanta College of Art Gallery, ArtForum, January 2005.
Chris Vereen, Photography, Atlanta Contemporary Art Center, ArtForum, November 2004.
Hussein Chalayan, Video Installation, Istanbul Museum of Contemporary Art, Istanbul, Turkey, ArtForum, November 2004.
Anne Truitt, Sculpture and Drawings, Michael C. Carlos Museum, Emory University, ArtForum, May 2004.
Samuel Mockbee and the Rural Studio, Architecture, Birmingham (AL) Museum of Art, ArtForum, January 2004.
Melik Ohanian, Multimedia Installation, Atlanta College of Art Gallery, Atlanta, GA, ArtForum, May 2003.
“L’Objet Sonore,” Multimedia Sculpture Group Show, Eyedrum, Atlanta, GA, Art Papers, May 2003.
“Like Lions Raging: A Commemorative Exhibition,” Multimedia Group Show, Spruill Gallery , Atlanta, GA, Art Papers, January 2003.
Darren Murray, Painting, Kevin Kavanagh Gallery, Dublin, Ireland, ArtForum, December 2002.
“Un/Natural Selection,” Multimedia Group Show, City Gallery at Chastain, Atlanta, Art Papers, May/June 2002.
“Il Respiro Nascosto delle Cose,” Multimedia Group Show, Galleria de la Citta, Verona, Italy, ArtForum, April 2002.
Bertozzi & Casoni, Ceramic Sculpture, Cardi, Milan, Italy, ArtForum, March 2002.
Jim Waters, Painting, Kiang Gallery, Atlanta, ArtForum, January 2002.
Beatriz Milhazes, Painting, Birmingham (AL) Museum of Art, ArtForum, November 2001.
Gretchen Hupfel, Photography, Nexus Center for Contemporary Art, Atlanta, ArtForum, April 2001.
Jessica Diamond, Site-specific Painting, Birmingham (AL) Museum of Art, AtrForum, February 2001.
Cathy de Monchaux, Sculpture, Hirshorn Museum and Sculpture Garden, Washington, DC, ArtForum, November 2000.
Kojo Griffin, Paintings, ArtForum, September 2000.
“Self Evident” (group show), Art Papers, November/December 1999.
Walker Evans, “Simple Secrets,” Photography, High Museum of Art, Atlanta, ArtForum, October 1998.
Corinne Colarusso, “Free Wandering” (paintings), Art Papers, May/June 1997.
Constance Mulhall Fraatz, “Not to Scale” (installation), Art Papers, July/August 1995.
“Imagine a World without AIDS: The AIDS Cure Project Art Show,” Art Papers, Jan./Feb. 1995.
Janeila Howalt, “Happy Holidays” (paintings), Art Papers, Jan./Feb. 1995.
Scott Gilliam and Billy Johnston, “Fight or Flight” (installation), Art Papers, May/June 1993.