“Twenty Years Later, Looking at Art Made in Response to 9/11 in New York: Gerhard Richter, Eric Fischl, Naoto Nakagawa, and Roz Dimon, “

in The Past and Future of the City (Tokyo: Suiseisha Press, 2022).

“Lynne Drexler”

in Lynne Drexler: The First Decade, 1959-1969, Mnuchin Gallery & Berry Cambell Gallery, New York, October 27-December 17, 2022.

Frida Kahlo’s Circulating Crafts: Her Painting and Her Invented Identities

in Yaëlle Biro and Noémie Étienne, eds., Rhapsodic Objects Art, Agency, and Materiality, (Berlin, Germany: De Gruyter, 2021).

Becoming Luise Kaish

in Maura Reilly, ed., Luise Kaish: An American Art Legacy, (London and New York: D. Giles Ltd. Publishing, 2021).

Entry on Theresa Bernstein

in Palmer Art Museum Collection Catalogue, Penn State, (University College, Pennsylvania, 2021).

Reflections: Lee Krasner Interview from February 6, 1971

in Eleanor Nairne, ed., Lee Krasner Living Colour, (London: Thames & Hudson, 2019) for Barbican retrospective exhibition; toured to Frankfurt, Berne, and Bilbao, pp. 170-183.

After Georgia O’Keeffe’s Flower [fiction]

in Lawrence Block, ed.: Alive in Shape and Color: 17 Paintings by Great Artists and the Stories They Inspired (New York and London: Pegasus Books, 2017).

Fashioning a Feminist Vision, 1972-2017

in Nancy Youdelman: Fashioning a Feminist Vision, 1972-2017 (Fresno, CA: Fresno Art Museum, 2017), pp. 13-24.

Greek Subjects, Greek-American Artists, and American Abstract Expressionism

in Athens Journal of Humanities and Arts, vol. 4, issue 1, January 2017, pp. 25-34.  http://www.athensjournals.gr/ajha/current

The Preacher Collects [fiction]

in Lawrence Block, ed. In Sunlight or In Shadow: Stories Inspired by the Paintings of Edward Hopper (New York and London: Pegasus Books, 2016), pp. 155-166.

Theresa Bernstein (1890–2002): A Krakow-born Jewish Artist in America

in Art in Jewish Society, Warsaw, Poland, 2016.

Ángel Mateo Charris

in Los Cosmolocalistas: Charris [Ángel Mateo Charris], MURAM (Museo Regional de Arte Moderno),Cartagena, Spain, September 2016.

 Syd Solomon: Concealed and Revealed

Lead essay in exhibition catalogue for Syd Solomon show of that name at the Greenville County Museum of Art (touring exhibition starting in South Carolina, August 2016 through the Ringling Museum in 2021.)

Linda Stein’s Holocaust Heroes: Fierce Heroes: Fierce Females and Related Works

in Holocaust Heroes: Fierce Females: Tapestries and Sculpture By Linda Stein, New York: Have Art: Will Travel! Inc., February 2016, touring exhibition.

Russian Jews’ at the National Academy of Design

in Russian Jews in America, vol. 11, Giperion Publishing, Saint Petersberg, 2015.

Jewish Women Artists as Activists: Theresa Bernstein, Lee Krasner, Judy Chicago, and Helene Aylon

in Festschrift for Gail Reimer, edited by Joyce Antler, Jewish Women’s Archives, Waltham, Massachusetts, 2014.

Jackson Pollock, Lee Krasner, and a New Concept of Nature

In Perception of Nature – Construction of Landscape, Global Perspectives, ED. By Nakama Yuko & Hans Dickel, Sangesha Publishers Inc., Tokyo, Japan, March 2014

Anti-Heroic Images in Contemporary American Art

in Epos e Antiepos dall’Antichità al Novecento, CentoPagine. Rivista elettronica internazionale che raccoglie i contributi resi nei Seminari sulla continuità dell’antico; 
CentoPagine 2011

The Cosmopolitan vs. the National: Shifting Identities in American Art, 1900-1945

in Art Across America: American Art and Culture, The National Museum of Korea, Seoul, 2013, pp. 32-53.

 

Alfred Stieglitz, les compositeurs contemporains et le Modernisme

in Carrefour Stieglitz(The Sign of Stieglitz),ed. by Jay Bochner and Jean-Pierre Montier (Rennes, France: Presses Universitaire de Rennes, 2012.)

Aaron Copland’s America

In Making Music for Modern Dance: Collaboration in the Formative Years of a New American Art, Katherine Teck, ed., Oxford University Press, 2011, pp. 158-160.

Judy Chicago in Fresno

in Entering the Picture: Judy Chicago, the Fresno Feminist Art Program and the Collective Visions of Women Artists, Jill Fields, ed., Routlege Press, 2011, pp. 25-44.

Swiecka sztuka zydowska: tozsa-mosc sydowska w kontekscie kosmopolityzmju

in Polak, Zyd, artysta: Tozamosc a awangarda,” [“Secular Jewish Artists: Defining Jewish Identity in Cosmopolitan Terms,” in “Jewish Identities and Avant-garde Movement in Poland,”] Muzeum Sztuki, Lodz, Poland, 2010, pp. 169-187.

Reflections on Lee Krasner and Jewish Culture of Eastern Europe

in Jewish Artists in Central-Eastern Europe,” The First Congress of Jewish Art in Poland, Conferences of the Polish Society of Oriental Art, vol. III., eds. Jerzy Malinowski, Renata Piatkowska, and Tamara Sztyma-Knasieka, Warsaw, 2010.

Entries on Edward Hopper, Marsden Hartley, Morgan Russell, and Synchromism

in Grove Encyclopedia of American Art, Oxford University Press, 2010.

Art World Power and Women’s Incognito Work: The Case of Edward and Jo Hopper

in Gender, Sexuality, and Museums: A Routledge Reader, Amy Levin, ed., Routlege Press,  2010,  93-102.

 

Peter Seidel: Die Mikwe-Serie

in Ganz rein! Judische Ritualba*der Fotografied von Peter Seidel  Vienna, Austria: Verlag Holzhausen, 2010.

The Presence and Impact of Dutch Painters in Twentieth-Century America

in Hans Krabbendam et. al., eds., Four Centuries of Dutch-American Relations, 1609-2009, published for the Roosevelt Study Center by SUNY Press, 2009, pp. 1071-1080.

Modern and Postmodern Art and Architecture

in A Companion to the Classical Tradition, Craig Kallendorf, ed., Blackwell Publishing,  2007.

From the New York Avant-garde to Mexican Modernists: Aaron Copland and the Visual Arts

in Carol J. Oja and Judith Tick, eds., Aaron Copland and his World, published for the Bard Festival by Princeton University Press, 2005, pp. 101-120.

 

Upstarts and Matriarchs: Jewish-American Feminists and the Transformation of American Art

in Simon Zalkind, ed., Upstarts and Matriarchs: Jewish-American Feminists, Mizel Center for Arts and Culture, Denver, CO, January 2005.

 

Judy Chicago in the 1960s

in Avital Bloch and Lauri Umansky, eds., Impossible to Hold: Women and Culture in the 1960s, New York University Press, 2005, pp. 305-326.

Looking at White: The New Paintings of Ángel Mateo Charris

in Blanco: Charris (Madrid, Spain, Casa de Vacas, 2003), pp. 46-57.

Writing about Forgotten Women Artists: The Rediscovery of Jo Nivison Hopper

In Kristen Fredrickson and Sarah E. Webb, Singular Women: Writing the Lives of Women Artists (Berkeley: University of California Press, 2003).

Essays on works by Marsden Hartley and Edward Hopper

in American Dreams: American Art to 1950 in the Williams College Museum  of Art, Hudson Hills Press, New York, 2001.

 

Edward Hopper and American Culture: The View through Cinema and Architecture

in Edward Hopper, Hiroaki Hayakawa, ed., The Bunkamura Museum of Art, Tokyo, Japan, 2000

Edward Hopper and Architecture as Metaphor

in De las Vanguardias a las postmodernidad, Plauwerg, Barcelona, Spain, 2001.

Essays on works by Edward Hopper

for American Twentieth-Century Watercolors at the Munson-Williams-Proctor Intitute Museum of Art, Utica, New York, 2000.

The World of Angel Mateo Charris

in Angel Mateo Charris, IVAM (Institut Valencià Art Modern) Centre Julio Gonzalez, Valencia, Spain, 1999 and Madrid, Spain, 2000.

Articles on Edward Hopper and Marsden Hartley

for American National Biography, Oxford University Press, under the auspices of the American Council of Learned Societies, 1999, vol. 10, 254-257 and vol. 11, pp. 197-199.

Hemingway, España y Las Artes Plásticas (Hemingway, Spain, and the Visual Arts)

in Documenta Hemingway, Centre Cultural La Beneficencia, Valencia, Spain, 1998, pp. 161-182 and 273-277.

Bilder der Arbeit in America und Europe 1900-1930

in Work & Culture, Büro. Inszenierung von Arbeit, Landesmuseum, Linz, Austria, Ritter Verlag, 1998, pp. 149-155.

Angel Mateo Charris, Gonzalo Sicre Maqueda, y lo hopperiano

in Cape Cod – Cabo de Palos, Mestizo Press, Valencia, Spain, 1997.

Entries on Marsden Hartley, Edward Hopper, Morgan Russell, and Synchromism

in The Dictionary of Art, Macmillan Publishers Limited, London, England, 1996.

“The Role of Drawing in the Art of Edward Hopper,” (reprinted) and “Josephine Hopper,”

The Pilgrim Monument and Provincetown Museum, Provincetown, MA, 1996, pp. 14-25 and 28-31.

 

Edward Hopper and the Democratic Tradition

in Democracy and the Arts in the United States, Fink Verlag, Munich, Germany, 1995.

Les Ballet Suédois and American Culture

in Avant-Garde in Paris: The Swedish Ballet, The Fine Arts Museums of San Francisco, 1995.

Edward Hopper’s Legacy

in Edward Hopper and the American Imagination, Whitney Museum of American Art & W.W. Norton, & Co., Inc., New York, 1995.

Entries on Marsden Hartley and Edward Hopper

for Master Paintings From The Butler Institute of American Art, Harry N. Abrams, Inc., New York, 1994.

Entry on Marsden Hartley

in Life Lines: American Master Drawings (1788-1962) From the Munson-Williams-Proctor Intitute, Utica, New York, 1994.

Entry on Edward Hopper

Collier’s Encyclopedia, New York, 1993.

Entries on Edward Hopper and on Nighthawks

The International Dictionary of Art and Artists, St. James Press, London and Chicago, 1990.

Edward Hopper’s Experience in France and Its Lasting Impact

in Edward Hopper, Adam Biro, Paris, France, 1989.

Essays on works by Edward Hopper and Morgan Russell

in the Catalogue of American Paintings in the Munson-Williams-Proctor Intitute, Abrams Art Books, New York, 1989.

Edward Hopper

in Sotheby’s Art at Auction, 1987-88, Sotheby’s Publications, London, 1988.

Entry on Edward Hopper

Dictionary of American Biography, ed., under the auspices of the American Council of Learned Societies, Charles Scribner’s Sons, Supplement VIII, 1988

The Technological Image as Metaphor in American Art, 1920-1940

in Visions of Tomorrow: New York And American Industrialization in the 1920s and 1930s, Isetan Museum of Art, Tokyo, Japan, 1988.

Edward Hopper’s Railroad Imagery

in The Railroad and the American Landscape: Representations of Technological Change in the Visual Arts, ed. by Leo Marx and Susan Danly, M.I.T. University Press, 1988.

Edward Hopper’s `Room in New York’

in The American Painting Collection of the Sheldon Memorial Art Gallery, Lincoln, Nebraska: University of Nebraska Press, 1988 (adapted from 1982 article).

Foreword

Collection of the Woodstock Artists Association, Overlook Press, Woodstock, New York, 1987.

 

The Changing Status of American Women Artists, 1900-1930

in American Women Artists: 1870-1930, inaugural exhibition, The National Museum of Women in the Arts, Washington, D.C., 1987.

Essays on works by Edward Hopper and Reginald Marsh

in American Watercolors in the Collection of the Worcester Art Museum, Abbeville Press, New York, 1987.

Surrealisten in New York und ihr Einfluss Auf Die Amerikanische Kunst

in Europe-America: Die Geschichte einer kunstlerischen Faszination, Museum Ludwig, Cologne, West Germany, 1986.

Entries

in catalogue for Futurismo e Futurismi, Palazzo Grassi, Venice, 1986, Abbeville Press, New York.

Die Musik in der frühen amerikanischen Abstraktion

in Vom Klang der Bilder: Der Musik in der Kunst des 20. Jahrhunderts, Staatsgalerie, Stuttgart, Prestel Verlag, 1985.

 

Essays on works by Jim Dine, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, and George Segal

in The Mary Sisler Collection, ed., by Francis M. Naumann, The Museum of Modern Art, New York, 1984.

American Art

in Primitivism in 20th Century Art: Affinity of the Tribal and the Modern, edited by William Rubin, The Museum of Modern Art, New York, 1984.

Le Bureau: le Point de Vue des Artistes

in L’Empire du Bureau, 1900-2000, Musée des Arts decoratifs, Paris, (Berger-Levrault, C.N.A.P.), 1984.

James Daugherty: Early Modernist and Simultaneist

in James H. Daugherty: An Exhibition of Work from Seven Decades, Westport-Weston Arts Council Gallery, Town Hall, Westport, Connecticut, 1983 (re-publication).

‘November, Washington Square’ by Edward Hopper

The Preston Morton Collection of American Art, Santa Barbara Museum of Art, 1981.

 

Konrad Cramer: Link from the German to the American Avant-garde

in Konrad Cramer: A Retrospective, Bard College Center, Annandale-on-Hudson, New York, 1981.

Edward Hopper: Das Frühwerk

in Edward Hopper: Das Frühwerk, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, West Germany, April 1981.

The First American Experiments with Abstract Art

in Abstraction  Towards a New Art, The Tate Gallery, London, February 1980.

Introduction

in Edward Hopper at Kennedy Galleries, May 1977.

“Morgan Russell: The Avant-Garde Dilemma” and “Morgan Russell: Chronology,”

in California: 5 Footnotes to Modern Art History, Los Angeles County Museum of Art, January 1977.

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