Writings on 19th-century art and artists

“How to Teach Manet’s Olympia after Transgender Studies,” Art History 45.2 (April 2022): 342-69.

“The Materiality and Mythology of Rodin’s Touch,” in Auguste Rodin: Displacements (Copenhagen: Ny Carlsberg Glyptoteket, 2021), 42-62. Adapted excerpt of chapter two of Rodin: Sex and the Making of Modern Sculpture.

Response to Alexander Nemerov's "Art is not the Archive," Archives of American Art Journal 57.2 (Fall 2018):71-72. 

"Exalting the Unremarkable: Van Gogh's Poet's Garden and Gauguin's Bedroom" in Gloria Groom, ed., Van Gogh's Bedrooms, exh. cat., Art Institute of Chicago (New Haven and London: Yale University Press, 2016), 36-49.

“Towards a Practicable Sculpture,” afterword to an annotated reprint of Edmund Gosse, The Place of Sculpture in Daily Life, ed. Martina Droth (Chicago: Soberscove Press, 2016), 81-86.

“Afterword: Victorian Sculpture for the Twenty-First Century,” in Angie Dustan, ed., “Victorian Sculpture,” special issue of 19: Interdisciplinary Studies in the Long Nineteenth Century 22 (2016).

"Acts of Stillness: Statues, Performativity, and Passive Resistance," Criticism 56.1 (2014):1-20.

Introduction to Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010)

“Rodin’s Performative Mark-making,” excerpt from Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010), 73-100.

“Rodin et Michel-Ange: réflexion sur l’érotisme des dessins de Rodin d’après les figures pour la chapelle des Médicis”, trans. Jeanne Bouniort, Revue de l’Art162 (December 2008): 59-69. Revised as “Michelangelo and Rodin’s Desires” in Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010), 29-57.

"Recognizing the Homoerotic: The Uses of Intersubjectivity in John Addington Symonds's 1887 Essays on Art," Visual Culture in Britain 8.1 (Spring 2007): 37-57.

"'Her invitation and her contempt': Bertram Mackennal and the Sculptural femme fatale in the 1890s," in Bertram Mackennal, exh. cat., ed. Deborah Edwards (Sydney: Art Gallery of New South Wales, 2007), 96-103, 206-7. 

"The Problem of Realism in Hamo Thornycroft's 1885 Royal Academy Lecture" [including annotated edition of 1885 Thornycroft manuscript], The Walpole Society 69 (2007): 211-25.

"Privileging the Object of Sculpture: Actuality and Harry Bates's Pandora of 1890," Art History 28.1 (February 2005): 74-95.

Introduction to Body Doubles: Sculpture in Britain, 1877-1905 (New Haven and London: Yale University Press, 2004)

"Encountering the Male Nude at the Origins of Modern Sculpture. Rodin, Leighton, Hildebrand, and the Negotiation of Physicality and Temporality," in The Enduring Instant: Time and the Spectator in the Visual Arts, ed. Antoinette Roesler-Friedenthal and Johannes Nathan (Berlin: Gebr. Mann Verlag, 2003), 296-313. 

"'Hard Realism': The Thanatic Corporeality of Edward Onslow Ford’s Shelley Memorial," Visual Culture in Britain 3.1 (April 2002): 53-76. Revised in Getsy, Body Doubles, 2004. 

"The Difficult Labour of Hamo Thornycroft’s Mower, 1884," Sculpture Journal 7 (April 2002): 44-57.

“Constant Companions: Exemplarity and Identification in Griselda Pollock’s Employment of Mary Cassatt’s At the Opera,” Chicago Art Journal 7.1 (Spring 1997): 4-14.