I lecture in contextual studies at Colchester School of Art, teaching art and photography history and theory to BA (hons) photography students. I also teach part time in the School of Philosophy at the University of Essex. Since 2008, I have published numerous essays including “The New Critical Historians of Art?” in James Elkins and Michael Newman (eds.), The State of Art Criticism (Routledge, 2008) and “Rosalind Krauss” in Mark Durden (ed.), Fifty Key Writers on Photography (Routledge, 2013). An extended essay on Martin Heidegger’s notion of de-distancing and its value for art historiography, titled “Shapes of Time: Melancholia, Anachronism, and De-Distancing,” has just been published in Amanda Boetzkes and Aron Vinegar eds., Heidegger and the Work of Art History (Ashgate, 2014), and “For a Concept of Immaterial Indestructibility” in Camila Maroja and Caroline Menzies (eds.) The Permanence of the Transient (Cambridge Scholars, 2014).
Postwar art and criticism (especially North American art and criticism—minimalism, conceptualism, postmodernism). The origins and formation of the discipline of art history. Continental philosophy and aesthetics. Theories of temporality and historicity. The relationship between art-critical writing and art practice—especially art-critical writing by artists. Theories of interpretation and hermeneutics. Authenticity and collectivity in post-Fordist society. The structure and economics of the contemporary art market. Histories and theories of photography. Weimar and postwar German art.