BOOKS<\/p>\n
More Voice-Over: Colin Campbell Writings<\/em><\/a>. Concordia University Press, 2021. 344 pp. Edited anthology of the video artist’s scripts and other writings (short fiction, articles, talks, excerpts of his two novels, etc.). It has been reviewed by Charles Reeve in RACAR<\/a><\/em>, Francisco-Fernando Granados in\u00a0C Magazine<\/em><\/a> and Keith Garebian in Literary Review of Canada<\/a>.\u00a0<\/em><\/p>\n Coming After<\/a><\/em>. Toronto: The Power Plant, 2012. 124 pp. Catalogue of the\u00a0exhibition<\/a>\u00a0at The Power Plant, 10 December, 2011 \u2013 4 March, 2012. Designed by Sameer Farooq,\u00a0New Ink. Illustrations by Logan MacDonald, artist projects by Ulrike M\u00fcller and Jimmy Robert, texts by Sharon Hayes and Zoe Leonard. Here is my curatorial text.<\/a><\/p>\n Trash: A Queer Film Classic<\/em><\/a>. Vancouver: Arsenal Pulp Press, 2009. 175 pp. Book on the 1970 Paul Morrissey\/Andy Warhol film. Reviews from\u00a0Quill & Quire<\/a><\/em>,\u00a0C Magazine<\/a>\u00a0<\/em>and\u00a0Jump Cut<\/em><\/a>. Toronto & Berlin launch pictures\u00a0here<\/a>. An interview from Magenta Magazine\u00a0<\/em>here<\/a>.\u00a0Also, I was quoted in\u00a0The New York Times<\/em><\/a>\u00a0and in\u00a0NY Art Beat<\/a><\/em>\u00a0in connection with the book.<\/p>\n People Like Us: The Gossip of Colin Campbell<\/a>.<\/em> Oakville Galleries, 2008. Texts by Jon Davies and John Greyson. 64 pp. The catalogue and exhibition guide won designer Mark Timmings a Special Recognition for Design at the 2009 Ontario Association of Art Galleries Awards.<\/p>\n EDITING<\/p>\n With Sam Ashby, I co-edited issues 5 (2015) and 6 (2021) of Little Joe Magazine<\/em><\/a>, “A magazine about queers and cinema, mostly.” Also see Little Joe: A book about queers and cinema, mostly<\/em><\/a>, SPBH Editions, 2024, edited by Ashby.<\/p>\n ARTICLES, ETC.<\/p>\n WRITING FOR XTRA!<\/em> IS ALL INDEXED ON THIS PAGE<\/a> (features on Gregg Araki, Daniel Barrow, GB Jones, Barbara Hammer, Shu Lea Cheang, Kent Monkman, Steve Reinke, Francesco Vezzoli, John Waters, and others).<\/p>\n “The Scene of the Crime” in Camera Austria<\/a><\/em> 168 (2024). Feature on artist Lyle Ashton Harris.<\/p>\n \u201c\u2018Manhandle the Merchandise\u2019: Michael Snow\u2019s Breakfast (Table Top Dolly)<\/em>\u201d in Pop Cinema<\/em><\/a>, Edinburgh University Press, 2024, edited by Glyn Davis and Tom Day.<\/p>\n \u201cThe Remains of Jerome Caja and Charles Sexton\u201d in Archives of American Art Journal<\/em><\/a> 63.2 (2024).<\/p>\n Short text on John Greyson\u2019s video The World Is Sick (sic)<\/em> in Toronto Living with AIDS<\/em><\/a>, PUBLIC Books, 2024, edited by Ryan Conrad.<\/p>\n \u201cTrying to See What Isn\u2019t There\u201d in Afterimage<\/em><\/a> 51.3 (2024). Essay on Daniel Boudinet and others.<\/p>\n “Morbid Symptoms<\/a>” essay for the Walker Art Center’s Reader, Minneapolis, May 2024.<\/p>\n Artist biographies for Teddy Sandoval and the Butch Gardens School of Art<\/em><\/a>, Inventory Press with Williams College Museum of Art, Vincent Price Art Museum, and Independent Curators International, 2024, edited by C. Ondine Chavoya and David Evans Frantz.<\/p>\n With August Klintberg, \u201cWhy Can\u2019t I Be Two People?: Aleesa Cohene and Benny Nemer\u2019s The Same Problem<\/em>\u201d in Journal of Canadian Art History<\/em><\/a> 43. 1\u20132 (2022), special issue on collaboration edited by Erin Silver and Elizabeth Anne Cavaliere.<\/p>\n “The End of the Line”<\/a> essay on Nelson Henricks’s work in the Vid\u00e9ographe online publication accompanying his win of the 2024 Robert-Forget Award.<\/p>\n Text for Kyle Alden Martens’ exhibition Spun Through the Heel<\/a>\u00a0<\/em>at Patel Brown, Montreal, April 25 \u2013 June 1, 2024.<\/p>\n “‘Landscapes’: Andy Warhol and Victor Hugo’s collaborations in gay sex and art”<\/a>\u00a0in Porn Studies, <\/em>April 2024.<\/p>\n I participated in \u00ab Draguer \u00bb le mus\u00e9e et ses sources : la queerness face aux archives<\/em><\/a>, the Centre Pompidou’s Biblioth\u00e8que Kandinsky’s 9th summer school (2023) and have a short text in its journal <\/a>\u00a0(2024).<\/p>\n Review of Velvet Terrorism: Pussy Riot’s Russia<\/a> <\/em>at the Mus\u00e9e d’art contemporain de Montr\u00e9al in Camera Austria <\/a><\/em>\u00a0165 (2024).<\/p>\n “The Word Made Flesh: On John Bentley Mays’s ‘Miracles of Emanuel Jaques'”<\/a> in RACAR<\/em> 48.1 (2023). I presented this paper at the UAAC Conference at the University of Toronto on October 29, 2022 on the panel Queer Episodes of Canadian Art<\/a>\u00a0and at the General Idea Symposium<\/a> at the National Gallery of Canada, Ottawa, on June 4, 2022.<\/p>\n “Defaced” in Chris Curreri<\/a>, <\/em>Agnes Etherington Art Centre and Contemporary Calgary, 2023, edited by Emelie Chhangur.<\/p>\n Review of The Lives of Documents\u2014Photography as Project<\/a>\u00a0<\/em>at the Canadian Centre for Architecture in Montreal in Camera Austria <\/a><\/em>\u00a0163 (2023).<\/p>\n Review of Rui Mateus Amaral, Paul P. and Scott Treleaven’s book Scott Burton: Garden Court<\/em><\/a> in C Magazine<\/em><\/a> online (May 24, 2023).<\/p>\n “Horse 4 Horse”<\/a> with illustrations by Logan MacDonald for Hazel Meyer, DEEP HORSE TEXTS<\/em><\/a>, 2022.<\/p>\n \u201cWhere Nostalgia Languishes: Josh Faught and San Francisco\u201d<\/a> for the CCA Wattis Institute Library\u2019s 2022 Open Call.<\/p>\n Short text on David Wojnarowicz’s Untitled (One Day This Kid…) <\/em>in\u00a0Smarthistory<\/a>.<\/p>\n \u201cCinema for the Dead?: Queer Diaristic Film & Video\u201d in A Companion to Experimental Cinema<\/em><\/a>, Wiley Blackwell, 2022, edited by Federico Windhausen.<\/p>\n With Richard Meyer, \u201cA Dialogue\u201d in A Concise Companion to Visual Culture<\/em><\/a>, Wiley Blackwell, 2021, edited by Aubrey Anable, Joan Saab and Catherine Zuromskis.<\/p>\n A personal introduction to the films of Curt McDowell was published on the Friends of Canyon Cinema platform<\/a> in December 2021.<\/p>\n \u201cStuck Aesthetics\u201d<\/a> on artist S\u00e9amus Gallagher in We Buy Gold<\/em><\/a>, Gallery TPW, Toronto, 2021, curated by Mich\u00e8le Pearson Clarke.<\/p>\n \u201cSell Your Parents: Marketing the Handwriting of Julia Warhola and Phung Vo\u201d in Master Drawings<\/em><\/a> 58, no. 3 (2020).<\/p>\n Memorial text for RM Vaughan (1965\u20132020) accompanying the curated program A Selection of Dazzling Scarves: Films & Videos by RM Vaughan<\/a> for CFMDC and Vtape.<\/p>\n “The Fountain”<\/a>\u00a0for The<\/em> Hoosac Institute<\/em> 6 (2020).<\/p>\n “The Not-Quite-Forbidden Fruit: Sexploitation’s Queer Temporality”<\/a>\u00a0in GLQ\u00a0<\/em>25, no. 3 (2019). Review of Elena Gorfinkel’s 2017 book Lewd Looks: American Sexploitation Cinema in the 1960s<\/em><\/a>.<\/p>\n Short texts on Pauline Boudry\/Renate Lorenz, Zackary Drucker, Josh Faught, Steve Reinke and James Richards, Ashley Hans Scheirl, and Akram Zaatari for the 2nd revised and updated edition of Art & Queer Culture<\/em><\/a>, Phaidon, 2019, edited by Catherine Lord & Richard Meyer.<\/p>\n “Tongue and Groove”<\/a> (curatorial essay for the 2015 solo exhibition House & Home & Garden<\/em>) in Roula Partheniou: Index<\/em><\/a>, Dunlop Art Gallery, 2018, edited by Jennifer Matotek and Roula Partheniou.<\/p>\n Short text on Andil Gosine’s artwork 1, 2<\/em> for Coolie Coolie Viens<\/em><\/a>, McIntosh Gallery, Western University, 2018, edited by Matthew Ryan Smith.<\/p>\n “From Stillies to Stills” in Contact Warhol: Photography Without End<\/em><\/a>, Cantor Arts Center + The MIT Press, 2018, edited by Peggy Phelan and Richard Meyer. The accompanying exhibition<\/a> was at the Cantor Arts Center, Stanford University, 2018\u201319.<\/p>\n “Misfitting Together”\u00a0in\u00a0 Criticism<\/em><\/a> 60, no. 1 (2018). Review of Douglas Crimp’s 2016 book Before Pictures.<\/em><\/p>\n “Michael Wallin: The World Is Full of Miracles <\/a>” on the Canyon Cinema 50 website, 2018 (also published in Canyon Cinemazine<\/em> #6).<\/p>\n “A Love Letter to Videofag” in The Videofag Book<\/em><\/a>, BookThug, 2017, edited by William Ellis and Jordan Tannahill.<\/p>\n \u201cTraumatizing the Museum\u201d<\/a> in Momus<\/em>, July 13, 2018.\u00a0Interview with artist Joshua Schwebel.<\/p>\n “Sean Howe” in catalogue for Where here: 2018 Stanford MFA Thesis Exhibition<\/em>, curated by Gail Wight, Stanford Art Gallery. Text on the artist<\/a>.<\/p>\n With Michael Kinney,\u00a0“A John Waters Roundtable”<\/a>\u00a0in Stanford Live’s magazine Encore<\/em>, Mar\/Apr 2018.<\/p>\n \u201cThe Fountain\u201d limited edition chapbook, [2nd floor projects], San Francisco, 2018. Essay for the exhibition\u00a0Curt, Susan, Mike, Rick, Robert, Ann, George, Janie, Carla, Mark, Vincent, Stephen, Melinda, Scott, Marion, Ainslie, John, Ronnie, Kathleen, Deeling, Lela\u2026<\/i><\/a> <\/i>Selections from the Curt McDowell Estate<\/em><\/a>, curated by Margaret Tedesco at Et al. etc., San Francisco.<\/p>\n “A machine to drain meaning from the world”<\/a>\u00a0in the catalogue for the 2018 Images Festival, Toronto. Essay on Spotlight artist Steve Reinke.<\/p>\n “Stargazing for the Solitary” in\u00a0The Art of Description: Fifteen Experiments in Art Writing by Stanford Graduate Students<\/em>, Cantor Arts Center, 2017, edited by Alexander Nemerov. Essay on Joseph Cornell’s Untitled (Constellation)<\/em><\/a>, c. 1957\u20139.<\/p>\n “Eric Kostiuk Williams,\u00a0<\/a>Babybel Wax Bodysuit<\/em>, Retrofit Comics (Philadelphia) and Big Planet Comics (Washington, DC), 2016, and Condo Heartbreak<\/em> Disco<\/em>, Koyama Press (Toronto), 2017<\/a>\u00a0in C Magazine<\/em> 134 (Summer 2017). Review.<\/p>\n “Sackville, I’m Yours<\/em>“<\/a> in Canada on Screen, TIFF. Short text on Colin Campbell’s 1972 videotape.<\/p>\n “Liz Magor”<\/a> in Frieze<\/em>, 15 August 2016 and in issue 182 (October 2016). Review of her solo exhibition Habitude<\/em>.<\/p>\n “Every Home a Heartache: Chantal Akerman”<\/a> in C Magazine<\/em> 130 (Summer 2016). Tribute to the late filmmaker.<\/p>\n With Mark Clintberg,“On Frottage and Other Queer Feelings”<\/a>\u00a0in\u00a0No More Potlucks\u00a0<\/em>44 (May 2016): Reflect.<\/p>\n With Mark Clintberg, “Haunted by Queer Affect: Geoffrey Farmer\u2019s The Intellection of Lady Spider House<\/em> and Allyson Mitchell\u2019s Killjoy\u2019s Kastle<\/em>“<\/a>\u00a0in Journal of Curatorial Studies\u00a0<\/em>5.1 (February 2016): Affect and Relationality.<\/p>\n “Leslie Hewitt”<\/a> in Frieze<\/em>, 15 March 2016 and in issue 179<\/a> (May 2016). Review of her solo exhibition\u00a0Collective Stance<\/em>.<\/p>\n “Mark Clintberg”<\/a>\u00a0in\u00a0Mark Clintberg: Long term relationship\u00a0<\/em>(Pierre-Fran\u00e7ois Ouellette Art Contemporain, 2016), translated by Jennifer Cou\u00eblle.<\/p>\n “A Weekend with Queer Art Legend Charles Atlas”<\/a> on Canadian Art<\/em> online, 4 February 2016.<\/p>\n “Scott Conarroe”<\/a>\u00a0in Ciel variable<\/em> 102 (January\u2013May 2016). Review of his solo exhibition\u00a0Canada By Rail and By Sea<\/em>.<\/p>\n \u201cYou Can’t Hold Back the Ocean with a Fork: Barry Doup\u00e9 animates an ever-expanding parallel universe”<\/a>\u00a0in\u00a0Canadian Art\u00a0<\/em>(Winter 2016).<\/p>\n “Notes from backstage: a dialogue among Pauline Boudry \/ Renate Lorenz and Jon Davies”<\/a>\u00a0in Otherwise: Imagining queer feminist art histories<\/a>\u00a0<\/i>(Manchester University Press, 2016), edited by Amelia Jones and Erin Silver.<\/p>\n “Stephen Andrews”<\/a>\u00a0in Canadian Art <\/i>(Fall 2015). Review of his survey exhibition POV<\/i>.<\/p>\n \u201cPerformatorium: Festival of Queer Performance<\/em>\u201d<\/a> in C Magazine <\/i>126 (Summer 2015). Review essay.<\/p>\n “The Projet Mobilivre \u2013 Bookmobile Project Collection”<\/a>\u00a0in The Bookmobile Book<\/i> (self-published, 2014), edited by Courtney Dailey, Onya Hogan-Finlay and Leila Pourtavaf.<\/p>\n \u201cPresent Absences: The Vexing Art of Joshua Schwebel\u201d<\/a> in Border Crossings<\/i> 33.2 (June 2014).<\/p>\n “Glittering Logic in a Minor Key”<\/a> in Criticism: A Quarterly for Literature and the Arts <\/i>56.2 (Spring 2014) issue on Jack Smith, edited by Marc Siegel. Review of Dominic Johnson\u2019s book Glorious Catastrophe: Jack Smith, Performance and Visual Culture<\/i><\/a>.<\/p>\n “Surface as substance”<\/a>\u00a0in the catalogue for\u00a0Beth Stuart: Doubting Thomas<\/em><\/a> (Esker Foundation, 2014) edited by Naomi Potter and Shauna Thompson.<\/p>\n “Sissy Boys on YouTube: Notes Towards a Cultural History of Online Queer Childhood”<\/a>\u00a0in C Magazine<\/em> 121 (Spring 2014). Essay.<\/p>\n \u201cCassils: Compositions.\u201d<\/a> Essay for artist Heather Cassils\u2019 2014 exhibition at Trinity Square Video (with Pleasure Dome), Toronto.<\/p>\n