Articles & Essays
“Anti-Semitism, Propaganda, and Modernism,” in Aaron Rosen, ed., In Focus: Orthodox Boys 1948 by Bernard Perlin (London: Tate Research Publications, 2016), at: http://www.tate.org.uk/research/publications/in-focus/orthodox-boys-bernard-perlin/anti-semitism-propaganda-modernism (online September 1, 2016)
“Commemorating Disaster and Disobedience: National Park Service Initiatives in the 21st Century,” Social Science Quarterly 97, no. 1 (March 2016): 105-114.
“Guest Editor’s Statement: Thinking About Forever,” Special Issue, The Dilemma of Public Art’s Permanence, Public Art Dialogue 6, no.1 (Spring 2016): 1-5.
“Commemorating the Port Chicago Naval Magazine Disaster of 1944: Remembering the Racial Injustices of the ‘Good War’ in Contemporary America,” American Studies Journal 59 (2015), at: http://www.asjournal.org/59-2015/ (online May 10, 2015)
“Hopper’s Cool: Modernism and Emotional Restraint,” American Art 29, no. 3 (Fall 2015): 3-27.
“Victim Memorials and Public Feeling,” Ekfrase: Nordic Journal of Visual Culture 5, no. 2 (Fall 2014): 98-100.
“Transnational 9/11 Memorials: American Exceptionalism and Global Memories of Terrorism,” Jahrbuch für Politik und Geschichte 5 (2014): 123-42.
“Public Art, Public Response: Negotiating Civic Shame in Duluth, Minnesota,” Indiana Magazine of History 110, no. 1 (March 2014): 40-46.
“Nighthawks y el cine negro,” Caimán Cuadernos de Cine, Especial Issue “Edward Hopper y El Cine,” 15, no. 1 (Junio 2012): 26-28.
“Women Warrior Memorials and Issues of Gender in Contemporary American Public Art,” Public Art Dialogue 2, no. 2 (September 2012): 190-214.
“Public Art Chronicles: Louise Bourgeois’ Helping Hands and Chicago’s Identity Issues,” Public Art Dialogue 2, no. 1 (2012): 94-102.
“Augustus Saint-Gaudens’s The Puritan: Founders’ Statues, Indian Wars, Contested Public Spaces, and Anger’s Memory in Springfield, Massachusetts,” Winterthur Portfolio 46, no. 4 (Winter 2012): 237- 269.
“Artists in Hollywood: Thomas Hart Benton and Nathanael West Picture America’s Dream Dump,” The Space Between: Literature and Culture, 1914-1945 7, no. 1 (2011): 9-32.
“In Conversation: Disputation Over Sacred Space in Contemporary America,” Material Religion: The Journal of Objects, Art, and Belief 7, no. 2 (July 2011): 269-271.
“Makes Me Laugh, Makes Me Cry: Feelings and American Art,” American Art 25, no. 3 (Fall 2011): 2-8.
“Public Art Chronicles: Michael Heizer’s Effigy Tumuli,” Public Art Dialogue 1, no. 2 (September 2011): 241-246.
“Remembering 9/11: Memorials and Cultural Memory,” OAH Magazine of History 25, no. 3 (July 2011): 27-30.
“Looking at Labor: Images of Work in 1930s American Art,” The Journal of Decorative and Propaganda Arts 24 (2002): 230-57.
“Believing in Elvis: Popular Piety in Material Culture,” Business Perspectives 14, no. 3 (Summer 2002): 30-38.
“Honoré Sharrer’s Tribute to the American Working People: Issues of Labor and Leisure in Post-World War II American Art,” American Art 16, no. 3 (Fall 2002): 54-81.
“Death, Art, and Memory in the Public Sphere: The Visual and Material Culture of Grief in Contemporary America,” Mortality 7, no. 1 (2002): 63-82.
“Hangin’ Out at the Leanin’ Tree: Mastery and Mythos in Western American Art, Old and New,” Journal of the West 40, no. 4 (Fall 2001): 16-25.
Guest Editor with Robert L. McGrath, Journal of the West 40, no. 4 (Fall 2001), Special Issue, “Images of the West,” with essays by Nancy Anderson, William Anthes, Rayna Green, Elizabeth Kennedy, and William Truettner, and introductory essay “From Archetype to Stereotype: The Making and Marketing of Western Art,” 6-7.
“Elvis in the Public Sphere: Fans, Faith, and Cultural Production in Contemporary America,” Odense American Studies International Series 24 (October 1996): 1-24.
“Displaying Cultural Difference: The North American Art Collections at the Denver Art Museum,” Museum Anthropology 20, no. 1 (Spring 1996): 1-15.
“Raising Community Consciousness with Public Art: Contrasting Projects by Judy Baca and Andrew Leicester,” American Art 6, no. 1 (Winter 1992): 62-81.
“New Deal Politics and Regionalist Art: Thomas Hart Benton’s A Social History of the State of Indiana,” Prospects: An Annual of American Studies 17 (1992): 353-78.
“The Image of the American Woman in the 1930s: Reginald Marsh and Paramount Picture,” Woman’s Art Journal 4, no. 2 (Fall/Winter 1983): 1-4.
“Copies, Collectibles, and ‘Art for the People’,” Artpaper 2, no. 9 (May 1983): 5.
“Edward Hopper, Nighthawks, and Film Noir,” Post Script: Essays in Film and the Humanities 2, no. 2 (Winter 1983): 14-36.
“Writing My Religion: Journalistic Practices and Issues of Faith for Modern American Artists,” in Jerzy Kutnik and Edyta Frelik, eds., Wordstruck: American Artists as Readers, Writers, and Literati (Lublin: Maria Curie-Sklodowska University, 2020).
“Life’s Impact: Circulation, Copycats, and Reader Response” in Katherine A. Bussard and Kristen Gresh, eds., Life Magazine and the Power of Photography (New Haven: Yale University Press, 2020), 112-125.
“The Art of the Gentling Brothers: Contemporary Realists in the Lone Star State,” in Will Gorham, ed., Scott and Stuart Gentling (Fort Worth: Amon Carter Museum of American Art, 2020).
“Toppling the Trung Sisters Monument: Cultural Vandalism in Saigon, 1963,” in Decoding Dictatorial Statues, eds. Ted Hyunhak Yoon and Bernke Klein Zandvoort (Eindhoven, The Netherlands: Onomatopee, 2019), 160-169, 279-280.
"Accommodating Mobility: Marjorie Hillis, Edward Hopper, and the Meaning of ‘Home’ in Modern America,” in Edward Hopper and the American Hotel, ed. Leo Mazow (New Haven: Yale University Press, 2019), 46-61, 181-183.
“Manly Workers and Pin-Up Girls: Sources for Comic Book Superheroes in 1930s American Visual Culture,” in Men of Steel, Women of Wonder: Modern American Superheroes in Contemporary Art, ed. Alejo Benedetti (Fayetteville: University of Arkansas Press, 2019), 78-113.
“Agnes Pelton’s Visionary Modernism,” in Agnes Pelton: Desert Transcendentalist, ed. Gilbert Vicario (Phoenix Art Museum, 2019), 30-39.
“Mining the Dream Factory: Thomas Hart Benton, American Artists, and the Rise of the Movie Industry,” in American Epics: Thomas Hart Benton and Hollywood (New York: Prestel, 2015), 64-82.
“Regional Reputations, Modern Tastes, and Cultural Nationalism: Kentucky and the Index of American Design, 1936-1942,” in Kentucky by Design: The Decorative Arts and American Culture, ed. Andrew Kelly (Lexington: University Press of Kentucky, 2015), 10-27.
“Public Feeling, Public Healing: Contemporary Memorials and the Mediation of Grief,” in Cultures of Privacy: Paradigms, Transformations, Contestations, eds. Karsten Fitz and Bärbel Harju (Heidelberg: Universitätsverlag Winter, 2015), 35-55.
“War Porn: Spectacle and Seduction in Contemporary American War Memorials,” in War Isn’t Hell, It’s Entertainment: Essays on Visual Media and the Representation of Conflict, ed. Rikke Schubart (Jefferson, NC: McFarland & Company, Inc., 2009), 13-30.
“Thomas Hart Benton Illustrates John Steinbeck’s The Grapes of Wrath,” in A New Literary History of America, eds. Greil Marcus and Werner Sollors (Cambridge: Harvard University Press, 2009), 737- 742.
“The Next Step?” in Re-Enchantment, eds. James Elkins and David Morgan (New York: Routledge, 2008), 297-301.
“Victors, Victims, and Western Memories: Monuments at Little Bighorn,” in (Im)Permanence: Cultures In/Out of Time, eds. Judith Schachter and Stephen Brockman (University Park, PA: Penn State University Press, 2008), 120-128.
“Rock and Roll Pilgrims: Reflections on Ritual, Religiosity, and Race at Graceland,” in Shrines and Pilgrimage in the Modern World: New Itineraries into the Sacred, ed. Peter Jan Margry (Amsterdam: Amsterdam University Press, 2008): 123-141.
“Joseph Cornell and Christian Science,” in Joseph Cornell: Opening the Box, eds. Jason Edwards and Stephanie L. Taylor (Oxford/Bern: Peter Lang, 2007), 113-135.
“Wandering the Old, Weird America: Poetic Musings and Pilgrimage Perspectives on Vernacular Environments,” in Sublime Spaces and Visionary Worlds: Built Environments of Vernacular Artists, ed. Leslie Umberger (New York: Princeton Architectural Press, 2007), 24-45.
“Shoot Out: Poking Fun and Challenging Myths in Western American Art,” in Redrawing Boundaries: Perspectives on Western American Art, ed. Peter Hassrick (Denver: The Institute of Western American Art, 2007), 44-55.
“Controversy and Public Art: The Phoenix Pots Episode,” in Infusion: 20 Years of Public Art in Phoenix (Phoenix: Phoenix Office of Arts and Culture, 2005), 46-55.
“Elvis Forever,” in Afterlife as Afterimage: Understanding Posthumous Fame, eds. Joli Jensen and Steve Jones (New York: Peter Lang, Inc., 2005), 116-141.
“Complicating Modernism: Issues of Liberation and Constraint Among the Women Art Students of Robert Henri,” in American Women Modernists: The Legacy of Robert Henri, 1910-1945, ed. Marian E. Wardle (New Brunswick: Rutgers University Press, 2005), 116-137, 246-249.
“Popular Culture Canonization: Elvis Presley as Saint and Savior,” in The Making of Saints: Contesting Sacred Ground, ed. James F. Hopgood (Tuscaloosa: University of Alabama Press, 2005), 152-168.
“American Folk Art’s ‘Distinctive Character’: The Index of American Design and New Deal Notions of Cultural Nationalism,” in Drawing on America’s Past: Folk Art, Modernism, and the Index of American Design, eds. Virginia Tuttle Clayton, et al (Washington, D.C.: National Gallery of Art, 2002), 60-73.
“The Visual Arts in Post-1945 America,” in A Companion to Post-1945 America, eds. Jean-Christopher Agnew and Roy Rosenzweig (Oxford: Blackwell Publishers Ltd., 2002), 113-33.
“Believing in Elvis: Popular Piety in Material Culture,” in Practicing Religion in the Age of the Media: Explorations in Media, Religion, and Culture, eds. Stewart Hoover and Lynn Schofield Clark (New York: Columbia University Press, 2002), 63-86.
“‘Revolutionary Art is a Tool for Liberation’: Emory Douglas and Protest Aesthetics at the Black Panther,” in Liberation, Imagination, and the Black Panther Party: A New Look at the Panthers and Their Legacy, eds. Kathleen Cleaver and George Katsiaficas (New York: Routledge, 2001), 175-87, 278-280.
“Introduction: Looking at Life: Rethinking America's Favorite Magazine, 1936-1972,” in Looking at Life Magazine, ed. Erika Doss (Washington, D.C.: Smithsonian Institution Press, 2001), 1-21.
“Visualizing Black America: Gordon Parks at Life, 1948-1971,” in Looking at Life Magazine, ed. Erika Doss (Washington, D.C.: Smithsonian Institution Press, 2001), 220-41.
“Robert Gober’s ‘Virgin’ Installation: Issues of Spirituality in Contemporary American Art,” in The Visual Culture of American Religions, eds. David Morgan and Sally M. Promey (Berkeley: University of California Press, 2001), 129-45, 322-24.
“Images of American Women in the 1930s: Reginald Marsh and Paramount Picture,” in Critical Issues in American Art: A Book of Readings, ed. Mary Ann Calo (New York: Icon Editions, 1997), 295-301.
“Making Imagination Safe in the 1950s: Disneyland's Fantasy Art and Architecture,” in Designing Disney's Theme Parks: The Architecture of Reassurance, ed. Karal Ann Marling (New York: Flammarion, 1997), 178-189, 216-218.
“The Year of Peril: Thomas Hart Benton and World War II,” in Thomas Hart Benton: Artist, Writer, and Intellectual, eds. Douglas Hurt and Mary K. Dains (Columbia, Missouri: The State Historical Society of Missouri, 1989), 35-63.
“The Art of Cultural Politics: From Regionalism to Abstract Expressionism,” in Recasting America: Culture and Politics in the Age of Cold War, ed. Lary May (Chicago: University of Chicago Press, 1989), 97-136.
“Ralph Fasanella’s More Perfect Union: Art, Labor, and Politics in Post-World War II America,” in Ralph Fasanella: A More Perfect Union (New York: Andrew Edlin Gallery, 2013), 4-15.
“Westward Perspectives: An Interview with T.L. Solien,” in T.L. Solien: Toward the Setting Sun, ed. Colleen Sheehy (Fargo and Minneapolis: Plains Art Museum and University of Minnesota Press, 2013), 53-61.
“American Moderns in the 1930s and 1940s: The Triumph of Diversity,” in New Forms: The Avant-Garde Meets the American Scene, 1934-1949 (Iowa City: University of Iowa Museum of Art and University of Iowa Press, 2013), 6-19.
“Cultural Globalization and Critical Regionalism in Contemporary American Art,” in Here, ed. Julien Robson (Philadelphia: Pennsylvania Academy of the Fine Arts, 2011), 17-25.
“Shared Memory: Artists’ Perspectives and Practices,” in Hiding Places: Memory in the Arts, eds. Amy Chaloupka and Leslie Umberger (Sheboygan: John Michael Kohler Art Center, 2011), 93-113.
“Visualizing Faith: Religious Presence and Meaning in Contemporary American Art,” in Coming Home! Self-Taught Artists, the Bible, and the American South, ed. Carol Crown (Memphis: Art Museum of the University of Memphis; Oxford: University Press of Mississippi, 2004), 20-30.
“Duane Hanson: Social Realist from America’s Heartland,” in Duane Hanson: Portraits from America’s Heartland, ed. Rusty Freeman (Fargo: Plains Art Museum, 2004), 17-33.
“Modern Times: Twentieth-Century American Modernists and Notions of Time,” in Tempus Fugit: Time Flies, ed. Jan Schall (Kansas City: Nelson-Atkins Museum of Art, 2000), 100-115.
“Hung Liu, Anita Rodriguez, Alison Saar, and Emmi Whitehorse: Re-Imaging the American West from Cross-Cultural Perspectives,” in Expanded Visions: Four Women Artists Print the American West (Denver: Women of the West Museum, 2000), 4-5, 28.
Review of Laurel Thatcher Ulrich, Ivan Gaskell, Sara J. Schechner, and Sarah Anne Carter, Tangible Things: Making History Through Objects (New York: Oxford University Press, 2015), in The Annals of Iowa (2015): 443-445.
Review of Samantha Baskind, Jewish Artists and the Bible in Twentieth-Century America (University Park: Penn State Press, 2014), in Material Religion: The Journal of Objects, Art, and Belief 11, no. 1 (2015): 119- 120.
Review of Scott Herring, The Hoarders: Material Deviance in Modern American Culture (Chicago: University of Chicago Press, 2014), in The Journal of American History 102, no. 2 (December 2015): 930.
Review of Gary B. Nash, The Liberty Bell (New Haven: Yale University Press, 2010), in The Journal of American History 97, no. 4 (March 2011): 1101.
“Mall Talk,” Review Essay of Nathan Glazer and Cynthia R. Field, The National Mall: Rethinking Washington's Monumental Core (Baltimore: The Johns Hopkins University Press, 2008), and Kirk Savage, Monument Wars: Washington, D.C., the National Mall, and the Transformation of the Memorial Landscape (Berkeley: University of California Press, 2009), in Reviews in American History 39, no. 2 (June 2011): 322-328.
Review of Betsy Fahlman, New Deal Art in Arizona (Tucson: University of Arizona Press, 2009) in American Studies 50, nos. 3-4 (Fall/Winter 2009): 178-179.
Review of Pam Meecham and Julie Sheldon, Making American Art (New York: Routledge, 2009), in American Studies 50, nos. 1-2 (Spring/Summer 2009): 127.
Review of Kristin Schwain, Signs of Grace: Religion and American Art in the Gilded Age (Ithaca: Cornell University Press, 2008), in caa.reviews at: http://www.caareviews.org/reviews/1362 (posted November 2009).
Review of Jonathan Fein and Brian Danitz, Objects and Memory: A Documentary Film (2008), in The Public Historian 31, no. 3 (August 2009): 119-120.
Review of Kathleen A. Foster, Nanette Esseck Brewer, and Margaret Contompasis, Thomas Hart Benton and the Indiana Murals (Bloomington: Indiana University Press, 2000), in Indiana Magazine of History 98, no. 2 (2002): 145-147.
Review of Thomas Dublin and Melissa Doak, Miner’s Son, Miner’s Photographer: The Life and Work of George Harvan (The Journal of Multimedia History 3, 2000), in Labor History 43, no. 3 (August 2002): 385-86.
Review of Darden Asbury Pyron, Liberace: An American Boy (Chicago: University of Chicago Press, 2000), in The Journal of American History 88, no. 2 (September 2001): 733-34.
Review of Made in California: Art, Image, and Identity, 1900-2000, eds. Stephanie Barron, Sheri Bernstein, and Ilene Susan Fort (Berkeley: University of California Press, 2000), in Journal of the West 40, no. 3 (Summer 2001): 97.
Review of Michael Brenson, Visionaries and Outcasts: The NEA, Congress, and the Place of the Visual Artist in America (New York: The New Press, 2001), in Archives of American Art Journal 41, nos. 1-4 (2001): 50-55.
Review of Barbara Kirshenblatt-Gimblett, Destination Culture: Tourism, Museums, and Heritage (Berkeley: University of California Press, 1998), in Winterthur Portfolio 34, nos. 2/3 (Summer/Autumn 1999): 178-82.
Review of David Craven, Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period (Cambridge: Cambridge University Press, 1999), in caa.reviews at: http://www.caareviews.org/reviews/317#.Wf31WhNSw3Y (posted October 1999)
289-95 “Not Just a Guy's Club Anymore,” Review Essay of Ann Eden Gibson, Abstract Expressionism: Other Politics (New Haven: Yale University Press, 1997), in American Quarterly 50, no. 4 (December 1998): 840-48.
Review of Stuart D. Hobbs, The End of the American Avant Garde (New York: New York University Press, 1997), in The Journal of American History 84, no. 4 (March 1998): 1581.
Review of Kirk Savage, Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America (Princeton: Princeton University Press, 1997), in Winterthur Portfolio 33, no. 4 (Winter 1998): 289-95.
Review of Robert L. Dorman, Revolt of the Provinces: The Regionalist Movement in America, 1920-1945 (Chapel Hill: University of North Carolina Press, 1993), in American Studies 35, no. 2 (Fall 1994): 148-49.
Review of Barbara Melosh, Engendering Culture, Manhood and Womanhood in New Deal Public Art and Theater (Washington, DC: Smithsonian Institution Press, 1991), in Woman's Art Journal 15, no. 2 (Fall/Winter 1994): 43-45.
Review of Stephen Polcari, Abstract Expressionism and the Modern Experience (Cambridge: Cambridge University Press, 1991), in The Journal of American History 79, no. 4 (March 1993): 1670-71.
Review of Ellen Wiley Todd, The "New Woman" Revised: Painting and Gender Politics on Fourteenth Street (Berkeley: University of California Press, 1993), in Winterthur Portfolio 28, nos. 2/3 (Summer/Autumn 1993): 204-07.
Essays on art and artists in Reflections: The American Collection of the Columbus Museum of Art, eds. Nanette V. Maciejunes and Melissa Wolfe (Columbus: Ohio University Press, 2019), 268-270 (Thomas Hart Benton), 387-390 (O. Louis Guglielmi), 398-400 (Paul Cadmus), 465-466 (John Wilde), 508-510 (Louise Nevelson), 569-572 (William Hawkins), 615-618 (Masumi Hayashi), and 652-654 (Paul Shambroom).