Books

Chapters/

Catalogue Essays

  • ‘MONTAGE AS MARXIST TIME-TRAVELLING’, brecht fragments , Raven row, london, june 2024 (forthcoming)

  • ‘Ruth Wolf-Rehfeldt: An Art Worker at Home with Work’, in DRAWN BETWEEN THE LINES, ChertLüdde, October 2021, pp.1, 22-25.

  • ‘Werner Büttner - Vom Zeitalter der Götter bis zu den guten alten Tagen des Kalten Krieges und danach: A Rock Caught between two Hard Places’, in Werner Büttner, Last Lecture Show, Hamburger Kunsthalle, Oct 2021-Jan 2022, forthcoming (German text).

  • ‘Ruth Wolf-Rehfeldt: Eine Kunstarbeiterin zu Hause bei der Arbeit’, in Ruth Wolf-Rehfeldt: Gerhard Altenbourg Preis 2021, das Lindenau-Museum im Prinzenpalais des Residenzschlosses, Sept 2021, (German text).

  • ‘Photography’s Conflicting Modernisms and Modernities’, in Companion to Photography, ed., Stephen Bull, Wiley-Blackwell, 2020, pp. 203-42.

  • ‘Filmic Excursions to the Bottom of the Sea (and Back again): Karen Russo’s Futurological Archaeology’, in Karen Russo Haus Atlantis, Künstlerhauser Worpswede, 2019, pp. 7-30.

  • ‘Thomas Ruff: Portraying Modernity’ in Thomas Ruff, Whitechapel Gallery, London, 2018, pp. 176-187.

  • ‘Not Yet' Materialized: Carlfriedrich Claus's 'Talking Papers', Material Practice and Critical Consciousness in Postwar European Art, 1946-1971, eds., Natalie Adamson and Steven Harris, Wiley-Blackwell, 2017, pp.164-87.

  • 'Edmund Kesting & the Abstract Face of Conformity in East Germany', in the Ethics of Seeing: German Photography Reconsidered, eds., Paul Betts, Jennifer Evans and Stefan-Ludwig Hoffmann, Berghahn, 2016, pp. 157-181.

  • Contributions to ‘A Conversational Essay on Documentary Struggles in the ‘Long 1970s’’, in The Not Yet: On the Reinvention of Documentary and the Critique of Modernism, ed., Jorge Ribalta, Reina Sofia, Madrid, 2015, pp.46-104.

  • 'A Family Affair: Photography, the Cold War and the Domestic Sphere', Family Politics: Photoworks Annual, Photoworks, 2013, pp. 166-77.

  • 'Maggie and the Fairytale of the Free Market', Chateau Despair: Lisa Barnard, Gost, London, 2013, pp. 56-63.

  • 'Carlfriedrich Claus: Speaking Utopia's Language', Saxony - Works from the Deutsche Bank Collection, Museum der bildenden Künste Leipzig, March 2013, np.

  • 'Making an Ugly World Beautiful: Morality and Aesthetics in the Aftermath', Memory of Fire: The War of Images and Images of War, Julian Stallabrass, ed., Photoworks, 2013.

  • 'Adorno and Garbage', Encyclopaedia of Consumption and Waste: The Social Science of Garbage, Bill Rathje, ed., Sage, 2012.

  • 'Subject, Object, Mimesis: The Aesthetic World of the Bechers' Photography' eds., Diarmuid Costello and Margaret Iversen, Photography After Conceptual Art, WileyBlackwell, 2010, pp. 50-69.

  • 'Taryn Simon: An American Index of the Hidden and Unfamiliar', Deutsche Börse Photography Prize 2009, Stefanie Braun, ed., Photographers Gallery and C/O Berlin, 2009, pp. 134-6.

  • 'Siân Pile: Photography Between the Known', Siân Pile, Domo Baal Gallery, London, 2008, n.p.

  • 'Evelyn Richter's Photography: Inside the Mise en Abyme', Do Not Refreeze: German Photography Behind the Iron Curtain, Matthew Shaul, ed., Cornerhouse, Manchester, 2007, pp. 28-33.

  • 'Coming Out', 100°, The Ruskin School of Drawing and Fine Art, University of Oxford, June, 2006, n.p.

  • 'The Thing and Its Resemblance (In II Parts)', This is a Test: James Ireland, Angel Row Gallery, Nottingham, 2005, pp. 41-7.

Articles in journals

  • ‘Jürgen Schieferdecker’s Mappes and Montages: Protests in Print’, currently under review.

  • ‘Stefan Lorant’s Lilliputian Look-Alikes.’: Fotogeschichte-Themenheft: Zirkulierende Bilder. Fotografien in Zeitschriften, Heft 164 | 2022 | Jg. 42, December 2021, pp.14-24.

  • ‘Henri Cartier-Bresson’s ‘Man and Machine’: Rethinking the Cold War Traffic in Photographs - Against the Grain’, Photography & Culture, vol.14, January 2021, pp.135-154.

  • ‘Hermann Glöckner: Waste as a Figure of Thought', New German Critique, Vol. 44, No. 130, 2017, pp. 169-203.

  • ‘Not Yet Materialized: Carlfriedrich Claus’s ‘Talking Papers’’, Art History, Vol.39, Issue 4, September 2016, pp.796-819.

  • ‘A Post-Fascist Family of Man? Cold War Humanism, Democracy and Photography in Germany', Oxford Art Journal, Vol. 35, Issue 3, December 2012, pp. 315-336.

  • 'A Socialist Realist Sander? Comparative Portraiture as a Marxist Model in the German Democratic Republic', Grey Room, No. 47, Spring 2012, pp. 38-59.

  • 'Photography's Theoretical Blind Spots: Looking at the German Paradigm', Photographies, Vol. 2, No. 2, September 2009, pp. 255-70.

  • 'Subject, Object, Mimesis: The Aesthetic World of the Bechers' Photography' Art History, Vol. 32, Issue 5, 2009, pp. 874-893.