Getty Research Institute, Consortium Scholar and residential fellowship, 2019–20
Harry Ransom Center, University of Texas, research fellowship, 2014
Mellon Postdoctoral Fellow, Society for the Humanities and Department of the History of Art, Cornell University, 2011-12
Georgia O'Keeffe Research Center, residential fellowship, 2011
Dumbarton Oaks, Garden and Landscape Studies, residential fellowship, 2011
. Princeton: Princeton University Press, 2021.Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s
. Cambridge, MA: MIT Press, 2014. Co-edited Book and Special Journal IssueThe Invention of the American Desert: Art, Land, and the Politics of Environment
, edited with Lyle Massey. Berkeley: University of California Press, 2021.“Climate Crisis and Visual Culture,”
edited with Lucas Hilderbrand, Afterimage
47, no. 2 (Summer 2020), 12–58.Selected Articles and Review Essays
Forthcoming: “On the Recalcitrance of the Desert Island, by way of Andrea Zittel’s A–Z West
,” in The Invention of the American Desert: Art, Land, and the Politics of Environment
, ed. Lyle Massey and James Nisbet. Berkeley: University of California Press, 2021.
“On and Off the Grid,” in Picture Ecology: Art and Ecocriticism in Planetary Perspective
, ed. Karl Kusserow (New Haven and Princeton: Yale University Press and Princeton University Art Museum, 2021): 222–239.
“Beauty for America,” in Alma W. Thomas: Everything is Beautiful
, ed. Jonathan Frederick Walz and Seth Feman, exh. cat. New Haven, CT and Columbus, GA: Yale University Press and The Columbus Museum, 2021, 166–173.
“Nowhere and Everywhere at the Same Time: Robert Barry’s Inert Gas Series,” in "Sublimation: Redefining Materiality in Art after Modernism,"
ed. Christian Berger and Annika Schlitte, Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft
, Special Issue 19 (2021): 89–113.
“History Painting After Conceptual Art,” in What Was History Painting and What Is it Now
, ed. Mark Phillips and Jordan Bear (Montreal and Kingston: McGill-Queen’s University Press, 2019), 182–203.
“Photography as Photoenergy,” in Energies in the Arts
, ed. Douglas Kahn (Cambridge, MA: MIT Press, 2019), 87–126; with Daniel Hackbarth.
“The Ecological Site,” in Ecologies, Agents, Terrains
, ed. Christopher Heuer and Rebecca Zorach (Williamstown, MA and New Haven: Clark Art Institute and Yale University Press, 2018), 3–33.
“Energia, Optics, and Photography’s Formation in England,” in Kraft, Intensität, Energie. Zur Dynamik der Künste in der Frühen Neuzeit
, ed. Frank Fehrenbach, Robert Felfe, and Karin Leonhard (Berlin: De Gruyter, 2017), 289–299.
“Mark Dion’s Tropical Ecology,” in Mark Dion: The Culture of Nature
, exh. cat., ed. Ruth Erickson (Boston: Institute of Contemporary Art, 2017), 70–79.
"Negative Process," In Focus: Salt Flat 1968 by Dennis Oppenheim
, ed. John R. Blakinger (Tate Research Publication, 2017), http://www.tate.org.uk/research/publications/in-focus/salt-flat/negative-process.
"Environmental Abstraction and the Polluted Image," American Art
31, no. 1 (Spring 2017): 114–131.
"Contemporary Environmental Art," in The Routledge Companion to the Environmental Humanities
, ed. Ursula Heise, Jon Christensen, and Michelle Niemann (London: Routledge, 2016), 301–312.
"Surface/Sphere: Walter De Maria's Geopolitical Dimensions," The Art Bulletin
98, no. 3 (September 2016): 373–394.
“Atmospheric Cameras and Ecological Light in the Landscapes of Eadweard Muybridge,” Photography & Culture
6, no. 2 (July 2013): 131–156.
“A Brief Moment in the History of Photo-Energy: Walter De Maria’s Lightning Field.” Grey Room
50 (Winter 2013): 66–89.
Book review for The Ethics of Earth Art
by Amanda Boetzkes. Art Journal
71, no. 1 (Spring 2012): 161–64.
“Walead Beshty: PROCESSCOLORFIELD.” X–TRA
14, no. 2 (Winter 2012): 45–53.
“Material Propositions on the Individual/Collective: The Work of Vladimir Tatlin.” Modernism/modernity
17, no. 1 (January 2010): 109–134.
Book review for The Lightning Field
by Kenneth Baker. caa.reviews (June 24, 2009). doi:10.3202/caa.reviews.2009.62, http://caareviews.org/reviews/1291.
“Coast to Coast: Land Work Between the N. E. Thing Co. and Lucy Lippard.” Archives of American Art Journal
47, nos. 1-2 (Spring 2008): 58–65.