** books * curated exhibitions
2022
** Make It Modern: A History of Art in the Twentieth Century, Yale University Press, London and New Haven, 2022, pp 368
2021
‘D’Arcy Thompson’s Surrealism’, in Ellen Levy and Charissa Terranova (eds), D’Arcy Wentworth Thompson’s Generative Influences in Art, Design and Architecture, Bloomsbury Publishing, London and New York, 2021, pp 81-96
2020
** The Life of Forms in Art: Modernism, Organism, Vitality, Bloomsbury Publishing, London and New York, 2020, 253 pp
2018
‘Precarious Journeys’, in Thread Bearing Witness [Alice Kettle and others], published by The Artists Agency for The Whitworth Museum and Art Gallery, University of Manchester, 2018, pp 21-43
‘Touch’, essay for Touch: Julian Brown, Celia Cook, Jane Harris, Mali Morris RA, Candida Stevens Gallery, Chichester, 2018, np
2017
‘Something is Said: A Conversation with Maria Chevska’, Journal of Contemporary Painting, Vol 1, no 3, 2017, pp 83-99
* Air Water Stone, Southampton City Art Gallery, November 2017-January 2018
2016
‘Vom Dadaismus zur Konkretion / From Dada to Concretion’, in S. Schaschl (ed), Um die Ecke Denken: Die Sammlung Haus Konstruktiv (1986-2016) und Gastinterventionen / Thinking Outside the Box: The Museum Haus Konstruktiv Collection (1986-2016) and Guest Interventions, Hatje Cantz, Berlin 2016, pp 25-38
‘St Ives and British Modernism: The George and Ann Dannatt Collection’, in Proceedings of the Dorset Natural History and Archaeological Society, Vol 137, Dorchester 2016, pp 2-12<
‘A Dada among Pragmatists’, in M. Steinkamp and L. Würtenberger (eds), Hans Arp and the United States, Vol 1, Stiftung Hans Arp und Sophie Taeuber-Arp, e. V., Berlin 2016, pp 69-87
‘Peter de Francia’ Dictionary of National Biography, Oxford University Press 2016
2015
‘Swarming, Entropy, Flow / Fliessen, Schwärmen, Entropie’’ in K. Nakas (ed), Verflüssigungen: Aesthetische und semantiusche Dimensionen eines Topos, Wilhelm Fink Publishers, Paderborn 2015, pp 13-24
** St Ives and British Modernism: The George and Ann Dannatt Collection, Pallant House Gallery, Chichester, 2015 154 pp
2014
** After Constructivism, Yale University Press, New Haven and London 2014, pp 292
‘Picasso and the Psychoanalysts’, in A. Pop and M. Widrich (eds), Ugliness: The Non-Beautiful in Art and Theory, I.B. Tauris Press, London and New York 2014, pp 49-68
2013
‘Motherwell’s Risk’, in S. Davidson (ed), Robert Motherwell: The Early Collages, The Solomon R. Guggenheim Foundation, New York 2013, pp 30-41
‘Geometry After Utopia’, in C. Lodder, M. Kokkori, M. Mileeva (eds), Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond, Brill Publishers, Amsterdam 2013, pp 239-53
2012
‘Sarah Lucas’ [review of Sarah Lucas: Ordinary Things, Henry Moore Institute, Leeds], in Burlington Magazine, Vol CLIV, Number 1316, November 2012, pp 808-9
‘Strzeminski’s Biological Line’, in P. Polit (ed), Wladislaw Strzeminski and the Readability of Images [in Polish], Muzeum Sztuki, Lodz 2012, pp 205-19
‘Dogancay’s World’ [catalogue essay] for Burhan Dogancay: A Retrospective, Museum of Modern Art, Istanbul and Prestel Verlag, Munich 2012, pp 17-26
‘Time and the Water’ [catalogue essay], Landfalls: The Titanic and Place [film installation by Stephen Brigdale], Bargate Museum Gallery, Southampton 2012, pp 1-5
‘The National Gallery London: “For all ranks and degrees of men”’, in C.Paul (ed), The First Modern Museums of Art: The Birth of an Institution in 18th and Early 19th Century Europe, Getty Publishing, Los Angeles 2012, pp 282-303
‘Michael Fried’s “Art and its Objects”’, in D. Newall and G. Pooke (eds), Fifty Key Texts in Art History, Routledge, London and New York 2012, pp 135-9
‘Essay’ [catalogue essay], in Burnt Madder: Clyde Hopkins New Paintings, Chelsea Future Space, London 2012, pp 4-6
2011
Agenda for Excellence: The Research Potential of Southampton City Art Collection: A Report Commissioned by Hampshire County Council [refereed], October 2011
2010
‘Here, Too, Confusion Reigned’ [review of C. Klonk, Spaces of Experience: Art Gallery Interiors from 1800-2000, Yale University Press 2009], Oxford Art Journal, Vol 32, no 2, 2010, pp 249-52
* ‘Against Grids’ [catalogue essay] for Against Grids: New Paintings and Objects by Ian Dawson, Nick Mead, Katie Pratt, RIBA Gallery Liverpool, May 2010, pp 2-15
‘Sculpture in Painting’ [review of Sculpture in Painting, Henry Moore Institute, Leeds, 2009], Burlington Magazine, No 1282, Vol CLII, January 2010, pp 58-9
‘George Dannatt’, catalogue essay for George Dannatt, Lemon Street Gallery, Truro, February 2010, pp 2-6
2009
‘Absurd Lines, Protest Walks: Notes on Richard Long’, The Sculpture Journal, Vol 18, No 2, 2009, pp 176-188
‘The Cutting Edge’, EXIT magazine [special issue on collage], no 35, Madrid, 2009, pp 16-28 [in Spanish and English]
‘Essay’ in David Ferry: Montage 2007-2009, Canterbury 2009, pp 46-8
‘Lamm’s Way’, in Leonid Lamm: From Virtuality to Utopia, Palace Editions, St Petersburg 2009, pp 7-23
‘Aleksandr Rodchenko’s Lines of Force’, Tate Papers, Autumn 2009, np
2008
** Art Today [Chinese edition of Art Today], Jiangsu, China 2008, 248 pp
** Urban Walls: A Generation of Collage in Europe and America: Burhan Dogancay, Francois Dufrêne, Raymond Hains, Robert Rauschenberg, Mimmo Rotella, Jacques Villeglé, Wolf Vostell, Hudson Hills Press, New York 2008
‘Music and Form’ [catalogue essay], George Dannatt: New Paintings, Osborne Samuel Gallery, London 2008, unpaginated
2007
‘Virtuosity and Contrivance in the New Sculpture’, in J. Harris (ed), Value, Art, Politics: Criticism, Meaning and Interpretation after Postmodernism, Liverpool University Press, pp 397-423
‘Socialist Realism: “To depict reality in its revolutionary development”’, in M. Beaumont (ed), Adventures in Realism, Blackwell Publishing, Oxford 2007, pp 142-157
2006
‘Kandinsky and Contemporary Painting’, Tate Papers, Autumn 2006, np
** Aktualnoe iskusstvo 1970-2005, [Russian edition of Art Today, 2005], Slovo Publishers, Moscow, 256 pp
‘Into Production!’ [review of M. Gough, The Artist as Producer: Russian Constructivism in Revolution, University of California Press 2005], Oxford Art Journal, Vol 29, No 3, 2006, pp 453-5
‘The Lateral View’, Circa: Irish Journal of Contemporary Art, July 2006, p 88
‘Giamportone’s Elegies’, in Gerald Giamportone [exh cat], John Hansard Gallery, University of Southampton, 2006, [in press]
‘Freedom and Constraint: Three Painters at the Hansard’, Viewpoint, Issue 450, 20 March 2006, pp 1-4
‘Introduction’ and ‘Revulsion/Matter’s Limits’, in Sculpture and Psychoanalysis, 2006, pp 1-12, 213-231
** Sculpture and Psychoanalysis [editor], Ashgate Press and the Henry Moore Institute, Leeds, 2006, 238 pp
2005
* Shallow Space, Henry Moore Institute, Leeds 2005 [accompanied by ‘Shallow Space: Modernism’s Civilising Norm’, Henry Moore Institute Essays on Sculpture, No 48, 12pp]
** Art Today, Lawrence King Publishing, London, 2005, 256pp
** Contemporary Art: Art since the 1970s, Prentice Hall, New York 2005, 256 pp [USA edition of the above]
‘Collage Velocities’, in Collage: Signs and Surfaces [exh cat], Pavel Zoubok Gallery, New York, April-May 2005 [not paginated]
** Elements of Abstraction: Space, Line and Interval in Modern British Art, Southampton City Art Gallery, Southampton 2005, 96 pp
‘Geometry and British Art from Blast to Circle’, ‘Constructivism in the West Country’, ‘Abstract Art and the Decline of Modernism’, in Elements of Abstraction: Space, Line and Interval in Modern British Art, Southampton City Art Gallery 2005, pp 49-61, 62-71, 84-88
** Collage: l’invention des avant-gardes, Editions Hazan, Paris 2005, 224 pp
2004
** Collage: The Making of Modern Art, Thames and Hudson, London 2004, 224 pp
‘Les archives aléatoires d’Eduardo Paolozzi’, ‘Paolozzi’s Aleatory Archive’, in Les Artistes Contemporains et l’Archive: Interrogation / Contemporary Artists and Archives, Presses Universitaires de Rennes, Rennes, France 2004, pp 91-100, 101-109
‘”It is all boastful art, and open affectation”: Mr Saatchi’s new empire of gold’, in Jan Bakos (ed), Artwork Through the Market: The Past and the Present, Slovakian Academy of Sciences, Bratislava 2004, pp 303-310
‘George Dannatt: Lyrical Constructivist’ [exh cat] in Works by George Dannatt and works from the George and Ann Dannatt Collection, The Winchester Gallery, 2004, pp 17-30
2003
‘Rise and Fall of the Soviet Pantheon’, in R. Wrigley and M. Craske (eds), Pantheons: Transformations of a Monumental Idea, Ashgate Press and the Henry Moore Institute, Leeds 2003, pp 221-42
* Sculpture and the Divine: The Winchester and Kingston Papers [edited with Stephen Newton], Oneiros Books, London 2003, 248 pp
‘Mark Wallinger’s Ecce Homo in Trafalgar Square’, in S. Newton and B. Taylor (eds), Sculpture and the Divine: The Winchester and Kingston Papers, London 2003, pp 183-94
2002
** The Art of Today [Korean edition], Yekyong Publishing, Seoul 2002, 214 pp
‘A Note on Gerhard Richter’s Grey 334/3’, Kursiv, Vienna, Vol 4, December 2002
‘Beauty from Violence’, TwoNineTwo: Essays in Visual Culture, Issue 3, Edinburgh 2002, pp 28-44
‘Foreigners and Fascists: Patterns of Hostility to Modern Art in Britain Before and after the First World War’, in D. Peters Corbett, Y. Holt, R.F. Russell (eds), The Geographies of Englishness: Landscape and the National Past 1880-1940 [Studies in British Art, Volume 14], Yale University Press 2002, pp 169-198
‘Quel fatigue … quelle barbarie!: The Visitor’s Torment’, in F. Bosbach (ed), Legacies of the Great Exhibition of 1851, Prinz-Albert Gesellschaft, University of Bayreuth, 2002, pp 13-30
2001
‘The Rauschenberg Retrospective of 1964’, Whitechapel Art Gallery Centenary Review, Whitechapel Art Gallery, London 2001, pp 71-6
2000
‘Photo-Painting and Avant-Garde in Soviet Russia’, History of Photography, Vol 24, no 4, Winter 2000, pp 283-291
‘History Painting East and West’, in D. Green and P. Seddon (eds), History Painting Reassessed, Manchester University Press, Manchester and New York 2000, pp 66-81
‘Later Soviet Sculpture’, Third Text, no 51, Summer 2000, pp 39-50
** Arte Hoy, Ediciones Akal, Madrid 2000 [Spanish edition of Art Today]
‘Art Museums and Galleries’, in M. Kemp (ed), The Oxford History of Western Art, Oxford University Press, 2000, pp 518-23
1999
** Art for the Nation: Exhibitions and the London Public 1747-2001, Manchester and New York 1999, 314 pp
‘Montage over Britain’, David Ferry: New Work, Winchester Gallery 1999, pp 13-23
1998
‘Commissar of Space: Kasimir Malevich’ [exh cat], Commissar of Space, Museum of Modern Art, Oxford 1998, pp 5-21
1997
‘A Gentle Art’ [exh cat], Modern British Painting from Reynolds to Nicholson, Southampton City Art Gallery and the Museo de Belles Artes Bilbao, 1997, pp 12-43
‘Terrors of Administration’ [review], Oxford Art Journal, Vol 20, no 1, 1997, pp
‘London in the Sixties’ [review of T.Crow, The Rise and Fall of the Sixties], Burlington Magazine,
1996
‘Old Masters in the Classroom’, in L. Dawtrey, T. Jackson, M. Masterton, P. Meecham (eds), Critical Studies and Modern Art, Yale University Press in association with the Arts Council of Britain and the Tate Gallery, 1996, pp 31-6.
‘Research in Soviet Art 1917-53’, Bulletin of the Society of Historians of East European and Russian Art and Architecture, Vol 1, no 4, 1996, pp 5-6
‘Art and Power’, [in Russian] Tvorchestvo, Moscow, no 1/2, 1996, pp 37-8
1995
** The Art of Today, Weidenfeld and Nicholson, London 1995
** Avant-Garde and After, Harry N. Abrams, New York 1995 [USA edition of the above]
** Kunst Heute, DuMont, Cologne 1995 [German translation of the above]
‘Photo-Power: Painting and Iconicity in the First Five Year Plan’, in Art and Power: Europe Under the Dictators 1930-45, Hayward Gallery London, Historisches Museum Berlin, MACBA Barcelona, 1995-6, pp 249-252
‘Essay-like Things’ [review of C. Harrison, Essays in Art and Language], Art History, Vol 18, no 3, September 1995, pp 448-53
‘The End(s) of the Museum’ [review of End(s) of the Museum conference, Tapies Foundation, Barcelona], Art Monthly, Sept 1995, pp 8-11
Agitation for Happiness’ [review of Agitation for Happiness, State Russian Museum St Petersburg], The Burlington Magazine, July 1995
1994
‘From Penitentiary to Temple of Art: Early Metaphors of Improvement at the Millbank Tate’, in M. Pointon (ed), Art Apart: art institutions and ideology across England and North America, Manchester University Press, 1994, pp 9-32
* Photo-Reclamation: New Art from Moscow and St Petersburg, John Hansard Gallery, University of Southampton and Photographers’ Gallery London 1994
‘Learning from the Luriki: recent photo-aesthetics in Russia’ [exh cat] in Photo-Reclamation, John Hansard Gallery, University of Southampton and the Photographers’ Gallery, London 1994, pp 7-73
‘Found and Adjusted: New Art from Russia’, Creative Camera, August/September 1994
‘Scar: John Goto’s New Work’, Contemporary Art, June 1994
1993
** Art of the Soviets: Essays in Post-Revolutionary Art, 1917 to the present day (edited and introduced by Brandon Taylor and Matthew Cullerne Bown), Manchester University Press (1993)
‘Framing Art – The Modern Art Museum’, in M. Vincentelli (ed), Gallery Education and the New Art History, Arts Council of Great Britain, 1993
‘The Great Utopia’ [review of The Great Utopia, Solomon R Guggenheim Museum, New York], The Burlington Magazine, January 1993, pp 51-3
‘Montage and its Comedies’ [review of M. Teitelbaum (ed), Montage and Modern Life],’ Oxford Art Journal, Vol 16, no 2, 1993, pp 91-6
1992
** Art and Literature under the Bolsheviks, Vol II, Authority and Revolution, Pluto Press, London 1992, pp 214
‘Minimal Painting, Philosophy, Photography’ [exh cat], Paul Winstanley: Paintings, Kettle’s Yard Gallery, Cambridge 1992
‘Anamorphoses’ [exh cat], Points North: Pierre Vivant, Zone Gallery, Newcastle upon Tyne, 1992
‘Janusz Olszewski’s Photographs’ [exh cat], Janusz Olszewski, Bracknell Arts Centre, 1992
1991
** Art and Literature under the Bolsheviks, Vol l, The Crisis of Renewal, Pluto Press, London 1991, pp 220
‘Montage in Britain’, in Hilmar Frank (ed), Montage Als Kunstprinzip, Akademie der Kunste, Berlin, 1991
‘Adrian Everitt’ [exh cat], Adrian Everitt, The Winchester Gallery, June 1991
‘Lines That Can Also Be Places and Events’ [exh cat], 10th Cleveland International Drawing Biennale, Middlesborough 1991
‘Displays of Power: with Foucault in the Museum’, Circa: Contemporary Visual Culture in Ireland, no 59, Sept/Oct 1991
‘Photo/Montage’, in AICARC Journal: Bulletin of the Archives of the Swiss Centre for Contemporary Art, Zurich, 1991, pp 52-56
‘Revising Abstract Expressionism: Trotsky, Greenberg and the “Political” Pollock Reconsidered, including remarks on Art and Language’, Over Here: Reviews in American Studies, Vol 11, no 2, Winter 1991, pp 5-29
‘Relative Values’ [review], Art Monthly, September 1991
‘Feux Pales: the Thoughtful Museum’ [review], Artscribe, Summer 1991
‘Shocks to the System’ [review], Art Monthly, June 1991
‘Bernard Feilden’, Art News, June 1991
Details of publications before this date are available on request
