Writings on 21st-century art and artists

“Paradoxes of Queer Visibility: A Conversation between David J. Getsy and Daniel Berndt,” in Daniel Berndt, Susanne Huber, and Christian Liclair, eds., Ambivalent Work*s: Queer Perspectives and Art History (Berlin: Diaphanes, 2024), 187–209.

“The Hole is a Center: Angelo Madsen Minax in Conversation with David J. Getsy,” Pioneer Works Broadcast (11 April 2024).

“Partiality and Passion: Andrew Atchison’s Quotational Abstraction,” broadside accompanying the exhibition Statements: Andrew Atchison (Melbourne: LON Gallery, 2023)

“Thresholds: Ever Baldwin’s Paintings,” in Devon Zimmerman, ed., Ever Baldwin: Down the Line, exh. cat (Ogunquit, Maine: Ogunquit Museum of Art, 2023), 12-21.

“Queer Possibilities: Lesbian Feminist Abstract Painting in the 1970s and After,” in Katy Siegel and Mark Godfrey, eds., Making Their Mark: Art by Women in the Shah Garg Collection (New York: Gregory R. Miller & Co, 2023), 70-79.

(co-authored with Che Gossett) “A Syllabus on Transgender and Nonbinary Methods for Art and Art History,” Art Journal 80.4 (Winter 2021): 100–115. Winner of the College Art Association’s Award for Distinction for best article published in Art Journal in 2021.

“Ceaseless,” a response to a forum of twelve scholars and critics responding to my text on “Refusing Ambiguity” (published in 2019 as one of my “Ten Queer Theses on Abstraction”), On_Culture: The Open Journal for the Study of Culture 12 (2021).

“Shim (The Number of Inches Between Them), 2020,” in Gordon Hall with Mira Dayal, Circling the Square: Words from End of Day, exh. cat. (New York: Hesse Flatow, 2020), n.p.

“Multiple Exposures: Sean Fader’s #wishingpelt and Humor in Social Media Performance,” ASAP/Journal 5.3 (September 2020): 515-20.

“Viewfinder: Sean Fader and Queer Visibility in the Age of the Digital Photograph,” in Sean Fader: Thirst/Trap, exh. cat. (New York: Denny Dimin Gallery, 2020), 7-23.

"Ten Queer Theses on Abstraction," in Jared Ledesma, ed., Queer Abstraction (Des Moines: Des Moines Art Center, 2019), 65-75.

"Queer Figurations in the Sculpture of Elmgreen & Dragset," in Leigh Arnold, ed., Elmgreen & Dragset: Sculpture (Dallas: Nasher Sculpture Center, 2019), 154-94. 

“Intimacy, Unknowing, and Discovery: David Getsy in Conversation with Christina Quarles,” in Andrew Bonacina, ed., Christina Quarles, exh. cat. (Wakefield: Hepworth Wakefield, 2019), 31-40.

“Slow Bonds and the Intimacy of Objects: A Conversation between Gordon Hall and David J. Getsy” in Gordon Hall, 'The Number of Inches Between Them,' exh. cat, MIT List Visual Arts Center (Gordon Hall, 2019), 67-89. [Also republished in Gordon Hall, 'OVER-BELIEFS: Collected Writing, 2011–2018' (Portland, Oregon: Portland Institute for Contemporary Art, 2019), 44-49]

"Here You Come Again: Repetition and Fidelity in Erik Hanson's Bluto Paintings, A Conversation between Ramzi Fawaz and David Getsy," in Erik Hanson: Two Years of Bluto, exh. cat. (New York: Marlborough Gallery, 2019)

"Tearing Off the Labels: David J. Getsy and Yan Xing in Conversation," in Michelle Grabner, ed., An American City, Eleven Cultural Exercises: Cleveland Triennial for Contemporary Art, exh. cat, vol. 2 of 2 (Cleveland: FRONT/Cleveland Museum of Art, 2018), 21-24.

"A Sight to Withhold: David J. Getsy on Cassils," Artforum (February 2018): 57-60. 

"Abstract Bodies and Otherwise: A Conversation with Amelia Jones and David Getsy on Gender and Sexuality in the Writing of Art History," CAAreviews (posted 16 February 2018). 

"Slava Mogutin, Infiltrator," in Slava Mogutin, Bros & Brosephines (Brooklyn: powerHouse Books, 2017), 88-95.

"Jared Buckhiester: Love Me Tender," in ASAP/J: The Open-Access Platform of ASAP/Journal. Posted 28 September 2017.

“Oltre il muro. Corpo, gender, sessualità e arte. Parla David J. Getsy di Camilla Boemio,” Exibart.com (29 March 2017). [English translation available as PDF: “Off the Wall, Beyond the Wall: Body, Gender, Sexuality, and Art. David J. Getsy in conversation with Camilla Boemio”]

"Seeing Commitments: Jonah Groeneboer's Ethics of Discernment," in Temporary Art Review(8 March 2016). [online]

"Generativity: On Michelle Grabner's Recent Sculpture," in Michelle Grabner: Bronze (New York: James Cohan Gallery, 2016), 4-10.

"Histories for the Future: Visionary Identification in the Work of Carlos Motta," in Carlos Motta: Deviations, exh. cat. (New York: P.P.O.W. Gallery, April 2016).

"Behind and Through: Promiscuous Abstractions in Andrew Holmquist's Recent Figurative Paintings," in Stage Left: Andrew Holmquist (Chicago: Carrie Secrist Gallery, 2016)

"Appearing Differently: Abstraction's Transgender and Queer Capacities," interview by William Simmons, in C. Erharter, D. Schwärzler, R. Sicar, and H. Scheirl, eds., Pink Labor on Golden Streets: Queer Art Practices (Berlin: Sternberg Press, 2015), 38-55.

"The Image of Becoming: Cassils's Allegories of Transformation," Cassils, exh. cat. (Eindhoven: MU Eindhoven, 2015), 10-22.

“Abstraction and the Unforeclosed” [conclusion to Abstract Bodies, re: Cassils’s Becoming an Image, transgender capacity, and contemporary abstraction]

"Catherine Opie, Portraiture, and the Decoy of the Iconographic," in Confronting the Abject, William & Stephanie Sick Distinguished Professorship Monograph Series, no. 3: Catherine Opie (Chicago: School of the Art Institute of Chicago, 2015), 15-37.

"Laying it Down: Heroic Reclining Men and Other Tactical Inversions," in Eugenie Tsai and Rujeko Hockley, eds., Kehinde Wiley: A New Republic, exh. cat. (Brooklyn: Brooklyn Museum of Art, 2015), 94-99.

"William J. O'Brien: Making Faces," in William J. O'Brien: Ceramic Heads (Los Angeles: Wood Kusaka Studios, 2014), n.p.

"Queer Formalisms: Jennifer Doyle and David Getsy in Conversation," Art Journal 72.4 (Winter 2013): 58-71.

"Queer Exercises: Amber Hawk Swanson's Performances of Self-Realization," GLQ 19.4 (Fall 2013): 465-85.

"John Chamberlain's Pliability: The New Monumental Aluminium Works," The Burlington Magazine 153.1304 (November 2011): 738-44.

"Mourning, Yearning, Cruising: Ernesto Pujol's Memorial Gestures," PAJ: A Journal of Performance and Art 90 (September 2008): 11-24.