Selected Publications

Mid-Century Modernism’s Racial History,” Hyperallergic, April 26, 2021.

“Add Bates, 306, and interlocking modernisms in mid-century Harlem.” American Art 35, no.1 (Spring 2021): 16-23.

Vanity Fair’s Independence Day Pageant,” in Charles Sheeler: Art, Industry, and Fashion, ed. Kirsten Jensen (Michener Art Museum, Doylestown, Pennsylvania, 2017), 47-65.

“‘Ceramic Pieces in the Mode of Our Day’: Stonelain and Decorative Taste in the American Home, 1950–1954,” in Art for Every Home: Associated American Artists, eds. Elizabeth Seaton and Jane McNamara Myers (Marianna Kistler Beach Museum of Art, Kansas State University, and Yale University Press, 2015), 167-85. In addition, “‘Apology Areas,’ or, How to Decorate with Pictures,” 186-88.

“Fearing a ‘Conservative Public’: The Dial Collection in Worcester.” American Art 27, no. 3 (Fall 2013): 27-33.

“La Galerie d’Art: Exposer l’art moderne dans le New York des années 1920,” in Carrefour Stieglitz: Colloque de Cerisy-la-Salle, ed. Jay Bochner and Jean-Pierre Montier (Collection “Art & Société,” Presses Universitaires de Rennes, 2012), 55-67.

“Ambivalence, Irony, and Americana: Sheeler’s American Interiors.” Winterthur Portfolio 45, no. 4 (Winter 2011): 249-276.

“‘The Happiest Party in Town’: Cocktail Accessories and American Culture, 1945-1965,” in Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980, ed. Joanne Ingersoll (RISD Museum, 2011), 75-87.

“Designing the Modern Family at the Fairs,” in Designing the World of Tomorrow: America’s World’s Fairs of the 1930s, eds. Laura Schiavo and Robert W. Rydell (Yale University Press and the National Building Museum, 2010), 141-157.

“The Avant-Garde and the Conservative in Lighting Design: The Modernism of Walter W. Kantack,” and Guest Editor’s Introduction, for Special Issue on American Modernism, Studies in the Decorative Arts 14, no. 2 (Spring-Summer 2007): 117-144; 2-5.

“‘One Big Picture’: A New View of Modern Art at the 1926 Brooklyn Exhibition,” in The Société Anonyme: Modernism for America, ed. Jennifer Gross (Yale University Press, 2006), 75-95.

“The Intimate Gallery and the Equivalents: Spirituality in the 1920s Work of Stieglitz.” The Art Bulletin 85, no. 4 (December 2003): 746-68.

“Brooks Stevens, the Man in Your Life: Shaping the Domestic Sphere, 1934-1950,” in Industrial Strength Design: How Brooks Stevens Shaped Your World, ed. Glenn Adamson. (MIT Press and the Milwaukee Art Museum, 2003), 9-22.