Peer Reviewed
“Why Do We Think There Have Been No Great Women Artists? Revisiting Linda Nochlin and the Archive,” The Art Bulletin (December 2022), https://doi.org/10.1080/00043079.2022.2070397.
“Maria Hadfield Cosway’s ‘Genius’ for Print: A Didactic, Commercial, and Professional Path,” in Female Printmakers, Publishers and Printsellers: The Imprint of Women in Graphic Media, 1735-1830, ed. Cynthia Roman and Cristina Martinez (forthcoming, Cambridge University Press).
“Mary Moser: Portraitist,” Journal18, Issue 8 Self/Portrait (Fall 2019), http://www.journal18.org/issue8/mary-moser-portraitist/.
“Exceptional, but not Exceptions: Public Exhibitions and the Rise of the Woman Artist in London and Paris, 1760-1830,” Eighteenth-Century Studies 51, no. 4 (Summer 2018): 393-416, https://muse.jhu.edu/article/699954.
“The Year 1800: The Growing Presence of Female Exhibitors at the Royal Academy,” in The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (London: Paul Mellon Centre for Studies in British Art, 2018), https://www.chronicle250.com/1800.
“The Year 1812: Gender and the ‘Present State of…Public Taste’,” in The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (London: Paul Mellon Centre for Studies in British Art, 2018), https://www.chronicle250.com/1812.
“‘The Fullest Imitation of Life’: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution,” Journal18, Issue 3 Lifelike (Spring 2017), http://www.journal18.org/1438.
“A Princely Education through Print: Stefano della Bella’s 1644 Jeux de Cartes Etched for Louis XIV,” Getty Research Journal, no. 9 (Spring 2017): 1-22, https://www.journals.uchicago.edu/doi/abs/10.1086/691284?mobileUi=0. Honorable mention, Association of Print Scholars’ Schulman and Bullard Article Prize.
Book, Exhibition, and Film Reviews
“Living, Breathing Expressions of Self: On Jennifer Higgie’s The Mirror and the Palette,” Los Angeles Review of Books (January 18, 2022), https://lareviewofbooks.org/article/living-breathing-expressions-of-self-on-jennifer-higgies-the-mirror-and-the-palette/.
Review of Jennifer Higgie, The Mirror and the Palette: Rebellion, Revolution, and Resilience: Five Hundred Years of Women’s Self Portraits (Simon & Schuster, 2021).
“Peintres Femmes: A Review,” Journal18 (October 2021), https://www.journal18.org/5872.
Review of Peintres femmes, 1780-1830: Naissance d’un combat (Musée du Luxembourg, 2021).
“Fortyish Woman Seeks Meaning of Life,” Los Angeles Review of Books (March 4, 2021), https://lareviewofbooks.org/article/fortyish-woman-seeks-meaning-of-life/.
Review of Mia Kankimäki, The Women I Think About at Night: Traveling the Paths of My Heroes (Simon & Schuster, 2020).
Review of Mark Phillips and Jordan Bear, eds., What Was History Painting and What Is It Now? (2019), The Journal of Interdisciplinary History 51, no. 3(Winter 2021): 467-469, https://muse.jhu.edu/article/775174/pdf.
“‘Don’t Regret. Remember’: Frictions of History and Gender in Céline Sciamma’s Portrait of a Lady on Fire,” Los Angeles Review of Books (May 11, 2020), https://lareviewofbooks.org/article/dont-regret-remember-frictions-of-history-and-gender-in-celine-sciammas-portrait-of-a-lady-on-fire.
Review of Céline Sciamma, Portrait de la jeune fille en feu, 2019.
Select Other Writings
“Brushes with History: Women Artists in Revolutionary France and Britain,” Age of Revolutions (August 1, 2022), https://ageofrevolutions.com/2022/08/01/brushes-with-history-women-artists-in-revolutionary-france-and-britain/.
“Exhibiting Women: The Art of Professionalism in London and Paris, 1760-1830,” Art Herstory (July 5, 2022), https://artherstory.net/exhibiting-women-the-art-of-professionalism-in-london-and-paris-1760-1830/.
“Colonialism in the Photographic Archive,” PMC Notes, The Paul Mellon Centre for Studies in British Art (January 2022), https://issuu.com/paulmelloncentre/docs/pmc_notes_20.
“Mary Wollstonecraft” and “Élisabeth Vigée Le Brun,” in Women Who Changed the World, 4 vols., ed. Candice Goucher (Santa Barbara, CA: ABC-CLIO, 2022).
“Archival Silence and Historical Bias,” People and the Photo Archive [Paul Mellon Centre Photo Archive], The Paul Mellon Centre for Studies in British Art (November 2021), https://photoarchive.paul-mellon-centre.ac.uk/groups/Archival-Silence-and-Historical-Bias.
“Marie-Guillemine Benoist, Revolutionary Painter,” Art Herstory (December 18, 2020), https://artherstory.net/marie-guillemine-benoist-revolutionary-painter/.
“Towards a Historically Representative Canon: Integrating Gender and Data for a Revised Model of the Past,” in Jeffrey Collins, Elizabeth Fraser, Elizabeth Mansfield, Amelia Rauser, Kristel Smentek & Wendy Bellion, Paris Spies-Gans, Nancy Um, Amy Freund, “Reflections on HECAA at 25: A Roundtable Discussion,” Journal18 Issue 9 Field Notes (Spring 2020), http://www.journal18.org/issue9/reflections-on-hecaa-at-25-a-roundtable-discussion/. Roundtable on the state and future of the art historical field.
Interview with Heather McPherson, ASECS at 50 Interview Series, Eighteenth-Century Studies 52, Special Issue: ASECS at 50 (Winter 2020), https://muse.jhu.edu/article/747234.
“On Margaret Cavendish,” essay reflecting on Margaret Cavendish’s The Blazing World (1666), Los Angeles Review of Books (March 2017, print edition): 99-104.
“‘Let the Southerns come here’: Letters of a Slaveholding Father and Son,” The Princeton & Slavery Project (November 2017), https://slavery.princeton.edu/stories/let-the-southerns-come-here-letters-of-a-slaveholding-father-and-son.
“James Madison,” The Princeton & Slavery Project (November 2017), https://slavery.princeton.edu/stories/james-madison.
“Shock Dog! New Sculpture at the Met,” Journal18 (2015), http://www.journal18.org/nq/shock-dog-new-sculpture-at-the-met-by-paris-amanda-spies-gans/.
“‘The Air of a Real Tour’: Women Writers and the First Narrative Geographies for Children, 1790-1828,” Princeton University Library Chronicle 74, no. 2 (Winter 2013): 210-251, https://www.jstor.org/stable/10.25290/prinunivlibrchro.74.2.0210#metadata_info_tab_contents.