Writing

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Peer Reviewed

Pregnant Pause: Technological Disruption and the Neganthropic Aesthetics of Landscape in Ireland’s Borderland” In: Aesthetics, Digital Studies and Bernard Stiegler. London and New York: Bloomsbury, 2021 (forthcoming). 

Entangled Gestures and Technical Objects: Illuminating embodiment and digital experience through diffraction in performance.” Performance Research, 25 (5):49-55, 2021.  

Strange Mothers: The Maternal and Contemporary Media Art in Ireland” In: Digital Art in Ireland: New Media and Irish Artistic Practice. London and New York: Anthem Press, 2021. 

Locative Reverb: Artistic Practice, Sound Technology, and the Grammatization of the Listener in the City” In: Technology and the City Towards a Philosophy of Urban Technologies. London and New York: Springer International Publishing.

Context Collapse” In: Mothers, Mothering, and COVID-19: Dispatches from a Pandemic. Bradford, Ontario, Canada: Demeter Press, 2021. 

Impossible Totalities: Political Performance as Palimpsest” In: Responding to Site: The Performance Work of Marilyn Arsem. London: Intellect, 2020. 

Discipline, Resistance, Resilence” In: The Live Art Almanac Volume 5. London, UK: Live Art Development Agency, 2019.  

Duty Free Art: Art in the Age of Planetary Civil War, by Hito Steyerl.” In Visual Resources, Special Issue “Art in the Age of Financial Crisis,” edited by Conor McGarrigle and Marisa Lerer, vol 34(3), 2018.

Performing Pregnant: An Aesthetic Investigation of Pregnancy.” In New Feminist Perspectives on Embodiment, edited by Clara Fischer and Luna Dolezal. London: Palgrave Macmillan, 2018.

Performances of Situated Knowledge in the Aging Female Body.” In Ageing Women in Literature and Visual Culture: Reflections, Refractions, Reimaginings, edited by Margaret O’Neill, Michaela Schrage-Frueh and Cathy McGlynn. London: Palgrave Macmillan, 2017.

Not just ‘a Life within the Home:’ Maternal Labour, Art Work, and Performance Action in the Irish Intimate Public Sphere.” In Performance Research, Special Issue “On the Maternal,” edited by Emily Underwood-Lee and Lena Simic, vol 22(5), 2017.

’Bring a Camera with You:’ The Posthumous Collaboration of Ahmed Basiony and Shady El Noshokaty.” Proceedings of the European Society for Aesthetics, vol. 7, 2015.

Polyphonic Resonance: Sound Art in Ireland.” In Performance Art in Ireland: A History, edited by Dr Áine Phillips. London: Live Art Development Agency and Intellect Books, 2015

Catalogue Essays

“Transient Time.” In Memorialising the Sacred, Dublin: Farpoint Recordings, 2018.

“Flesh Beyond Silence.” In Beyond Silence: A Bell Rings in an Empty Sky, Dublin: Farpoint Recordings, 2017

“Blackened Tongues and Spitting Mothers: The Carnivalesque Humour of Amanda Coogan.” Amanda Coogan: I’ll sing you a song from around the town, Dublin: Royal Hibernian Academy, 2016.

“Transplanted Nostalgia.” A Soundmap of Dún Laogharie, developed by Anthony Kelly and David Stalling, 2015

“… the transformative ability of Strange Attractor.” In Strange Attractor: Catalogue for Boston Exhibition, edited by Anthony Kelly and EL Putnam. Dublin: Farpoint Recordings, 2014

Other Publications

“Fragile Strength.” Visual Artists’ News Sheet, Issue 6, November – December 2017.

Law of Inertia.” (Celina Muldoon, Austin Hearne, Annemarie Kilshaw, and Angela McDonagh), Circa Magazine, February 14, 2017

Parasitic Interventions: An Interview with Jesse Jones.” ARTPULSE, vol.6(27), 2016.

“A Hunger for Liveness.” Visual Artists’ News Sheet, Issue 5, September – October 2016.

“Discipline, Resistance, Resilience: Future Histories at Kilmainham Gaol.” Visual Artists’ News Sheet, Issue 4, July – August 2016.

“Exhibition Review – Jesse Jones: NO MORE FUN AND GAMES.” ARTPULSE, vol.7(26), 2016.

Dynamic Instability: An Interview with Amanda Coogan.” ARTPULSE, vol.7(26), 2016.

“Exhibition Review – Amanda Coogan: I’ll Sing You a Song from Around the Town.” ARTPULSE, vol. 7(25), 2015.

“Performing Motherhood: An Interview with Marni Kotak.” ARTPULSE, no. 22, 2015

“Suspended Animation: The Spectator as Performer in Tomás Saraceno’s in orbit.” In Big Red & Shiny, Volume 2 Issue 17, February 2014.

Augmented Biennale: The Impact of Digital Technology on the Art and Politics of the Venice Biennale.” Seismopolite: Journal of Art and Politics, Issue 6, 2014.

Sustaining the Ephemeral.” The Visual Artists’ News Sheet, Issue 7, January – February 2014.

The Ugly Americans: Allora and Calzadilla at the 2011 Venice Biennale.” In Big Red & Shiny, Volume 3 Issue 2, December 2012.

in:Action

Packet Switching Grief,” in:Action, February 24, 2020

buried, suppressed,” (Pauline Cummins, Inis t’Oirr: Aran Dance), in:Action, August 1, 2019

Rememory,” (Jessie Keenan), in:Action, September 12, 2018

The Womb is not a Void (Jesse Jones, “Tremble Tremble”), in:Action, July 29, 2018

Between the Troubles and Brexit,” (Bbeyond), in:Action, February 9, 2018

Eyes on the Prize,” (Reverend Billy and the Church of Stop shopping at DLAF 2017), in:Action, September 29, 2017

On the Brink,” (Gareth Cutter and Johanna Zwaig at DLAF 2017), in:Action, September 7, 2017

The Stillness of Silence,” (Inma Pavon at Danny McCarthy, A Bell Rngs in an Empty Sky), in:Action, August 4, 2017

Enter the Spielraum,” (Celina Muldoon), in:Action, July 12, 2017

Technological Translations,” (Amanda Coogan), in:Action, July 5, 2017

New Interventions,” (“What if” Performance Festival), in:Action, May 23, 2017

The Persistence of Presence,” (Amanda Coogan), in:Action, May 1, 2017

Being (Together),” (Bbeyond Being in Public Symposium), in:Action, April 24, 2017

Art of Restraint,” (Harry Moore, Anthony Kelly, and David Stalling), in:Action, March 31, 2017

Likemotherlikedaughterlikemother,” in:Action, March 21, 2017

Neoliberalism Made Strange,” (Jelili Atiku), in:Action, February 27, 2017

Channels of Creativity,” (Celebration of Creativity, curated by Roisin Jenkinson), in:Action, February 10, 2017

Creative Resistance and Existential Dread,” (Livestock: Queerstock), in:Action, January 26, 2017

Gestural Relativity,” (Bbeyond), in:Action, January 9, 2017

Enough Rope,” in:Action, October 21, 2016

Your innovation can’t save us now,” (Low Lying), in:Action, September 28, 2016

Washed Out: Embracing Failure,” in:Action, August 19, 2016

Pulsating the Fractured White Cube,” (Livestock) in:Action, June 4, 2016

Murmurations: Jed Speare and Strange Attractor (intentionally fragmented),” in:Action, May 21, 2016

Press / Writing About Work

Soren Bro Pold, “New Ways of Hiding: Towards Metainterface Realism” (2019)

Anne Karhio, “Ethics and Aesthetics of (Digital) Space: Institutions, Borders, and Transnational Frameworks of Digital Creative Practice in Ireland” (2020)

Interview by Áine Phillips, Performeringborders, October 14, 2018

Roisin Jenkinson and EL Putnam, “Exchanging Embers,” in:Action, January 12, 2018

Dr. Kate Antosik-Parsons, “Fertile Ground: Maternal Entanglements in the work of EL Putnam (excerpts),” in:Action, December 20, 2017

G Force, “EL Putnam solicits, exhibits anonymous postcards of love and loss,” The Boston Globe, August 28, 2012

Emily Hopkins, “Dig This: Performing on Paper,” Weekly Dig, July 26, 2012

“Discovering Art in Life,” Gaston Gazette, 2011

Square grid with pink, green hues, and yellow with overlay of abstracted hands