2011    Beyond Symbolism to Surrealism: Alexei Remizov’s Synthetic Art, Northwestern University Press, (16 color & 46 b/w illustrations)


2016    Dustbunnies: Dave Hickey’s Online Aphorisms.June 2014­­–March 2015.PCP Press. 586 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. “Everyone’s a critic,” by David Hawkes)

2016   Wasted Words: The Essential Dave Hickey Online Compilation.PCP Press. 124 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. “Everyone’s a critic,” by David Hawkes)


2022    “Isteriia po-siurrealistki” (“Hysteria: The Surrealist Case,”) Aleksei Remizov: Issledovaniia i materialy  (Aleksei Remizov: Research and Materials). Edited by Alla M. Gracheva, Russian Academy of Sciences, forthcoming

2008     “The Writing-Drawing Continuum of Alexei Remizov,” Elective Affinities.Word & Image Interactions 6. Edited by Catriona McLeod, Véronique Plesch and Charlotte Schoell-Glass. Amsterdam and Atlanta: Rodopi

2003     “Ot teksta i izobrazheniia k zvuku: rukopisnyi al’bom “Marun” kak primer sinteticheskogo tvorchestva Alekseia Remizova” (“From Text and Image to Sound: the Album “Marun” As an Example of Alexei Remizov’s Synthetic Art”). Aleksei Remizov: Issledovaniia i materialy  (Aleksei Remizov: Research and Materials). Edited by Alla M. Gracheva and Antonella d’Amelia, St. Petersburg-Salerno: Russian Academy of Sciences/Institute of Russian Literature

1999     “Between a Rock and a Hard Place: Holy Rus’ and Hard Cash in Post-Soviet Rock Music,” co-author. In Consuming Russia: Popular Culture, Sex, and Society Since Gorbachev. Edited by Adele Barker, Duke University Press


2022      “Anyone Can be My Protagonist: Wayne Thiebaud’s Unrepresented Spectator,” in Wayne Thiebaud: Figures, forthcoming

2021    “A Masterwork: Thiebaud’s One Hundred-year-old Clown,” in Wayne Thiebaud: Clowns, Laguna Art Museum, December 6, 2020–April 4, 2021

2020   “Nothing is Unimportant,” catalogue essay for the Wayne Thiebaud 100: Paintings, Drawings, and Prints, Pomegranate Press, Crocker Museum of Art

2018    “Annie Lapin: The Archeology of Meaning,” Miles McEnery Gallery,  September 2018

2017     “Sexual Neurosis or Creative Catalyst? Hysteria and Demonic Possession in Alexei Remizov’s Solomoniia,”in Mental Illness in Symbolism. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars Press

2012     “Merezhkovsky’s Leonardo,” The Lives of Leonardo. Edited by Thomas Frangenberg and Rodney Palmer, Warburg Institute Colloquia 22

2010     “A Powerless Seeker: Merezhkovsky’s Romance as Life-Writing,” in Symbolism, its Origins and Consequences. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars Press


2021     “The Currency Referendum,” co-authored with David Hawkes, Whitehot Magazine, November 2021

2021    “A Treasure Trove of Priceless Pornography,” Quillette, July 31

2021     “NFTs: The Afterlife of the Aura,” co-authored with David Hawkes, Athenaeum Review, May 26

2021      “Digital Art NFTs: The Marriage of Art & Money,” Athenaeum Review, April 13

2020      “Philip Guston (Not) Now: The Impact Argument,” Athenaeum Review, November 16

2020       “In Defense of Lecturing,” Athenaeum Review, October 15           

2020       “Classicism by Decree,” Athenaeum Review, Issue 5

2012      “The Invisible Cosmology of Chihiro Kabata,” Glossary, vol. 1, Edited by Charles Merewether. Institute of Contemporary Art, Singapore

2010      “Alexei Remizov’s Creative Act,” Interfaces: Image Text Language, vol. 29. Edited by Maurice Geracht and Frédéric Ogée

2007      “Cézanne and the Poetics of Metonymy,” Word & Image, 23 (3), July–September

2003      “Blok’s ‘Gift of Hearing’ Through Remizov’s “Audible Colors,”” Slavic and East European Journal, Volume 47, Number 3

1996      “Melancholia II: An Interview with Manel Llèdos,” Graven Images: Studies in Culture, Law, and the Sacred, Volume 3

1995      “On the Iconography of ‘From Many Wounds You Bleed, O People’: An Intersection of Art and Literature,” The Print Collector’s Newsletter 25:6


2021       Daniel Oppenheimer, Far From Respectable: Dave Hickey and His Art, University of Texas Press, 2021, Athenaeum Review, Issue 7 (Fall 2021), “Dave Hickey Now” 

2020       Camille Paglia, Provocations. Kropf, 2018. Athenaeum Review, Issue 3 (Winter 2020), “The Last Call,” 172–177

2008      Oleg BrezginPersona Diagileva v khudozhestvennoi kul”ture rossii, zapadnoi evropy i ameriki. Bibliographia. Perm’: 2007 (“Diagilev’s Persona and the Artistic Culture   of Russia, Western Europe and the United States. A Bibliography”), book review, SEEJ 52.3 (Fall)

2007      “Crossing the Boundaries: Alexei Remizov’s Artistic Space,” “Oni unesli s soboi Rossiiu,” (“They Carried Russia to Exile”), Symposium on the 65thanniversary of The New Review, Harriman Institute, Colombia University, The New Review

2005      Michael Urban with Andrei Evdokimov, Russia Gets the Blues: Music, Culture, and Community in Unsettled Times(Cornell, 2004), book review, Canadian Slavonic Papers vol. 48, nos. 3-4

2001      “Vospriiatie fovizma i kubizma v russkoi kritike kontza deviatnadzatogo, nachala dvadzatogo veka.”  (“The Reception of Fauvism and Cubism in Turn-of-the-Century      Russian Criticism”) Norwich Slavic Conference Proceedings, Konetz veka kak kul’turnyi fenomen (The End of a Century as a Cultural Phenomenon)


2014      Tom of Finland, PICKS, 02.12

2013      Iva Gueorguieva, PICKS, 09.23

2013      “Painting,”PICKS, 01.05

2012      Tsibi Geva, PICKS, 09.15

2012      Lawrence Weiner, PICKS, 06.06

2012      “The Economy of Means,” PICKS, 03.14

2012       “Requiem for the Sun: The Art of Mono-ha,” PICKS, 03.10

2011      Juan Downey, PICKS, 10.15.11

2011      Dmitrii Prigov, in print, October 2011

2011      Paul Gaultier, PICKS, 09.10.11

2011      “Venice in Venice,” PICKS, 06.07.11

2011       Paul Kos, PICKS, 05.04.11

2011       Xavier Veilhan, PICKS, 04.07.11

2011       LG Williams/Estate of LG Williams, in print, May 2010

2011       Aki Sasamoto, PICKS, 01.17.11

2010      Taiji Matsue, PICKS, 11.04.10

2010      Yuuki Matsumura, in print, October 2010

2010      “Nanugi Agency, PICKS, 09.15.10

2010       Nobuyoshi Araki, in print, September 2010

2010       William Eggleston, PICKS, 07.10

2010       Miwa Yanagi, in print, May 2010

2010       Tamotsu Ikeya, in print, March 2010

2010       Ohad Matalon, PICKS, 04.08.10

2010       MeeNa Park, PICKS, 03.03.10

2010       Kosuke Ichikawa, PICKS, 01.21.10

2009      Shinro Ohtake, PICKS, 11.08.09

2009      Seiji Aruga, PICKS, 10.15.09


2014      “On Abstraction, Ed Moses, and the Need to Explain”

2014      “Dave Hickey in Los Angeles: Pirate vs. Farmers”

2013      “Miley Cyrus Strikes Again, or the Destruction of the Pendulum”

2013      “From Raku-Fired Vessels to Large-Scale Installations: Wayne Higby’s Ceramics Retrospective at the ASU Art Museum”

2012      “Le Prix Marcel Duchamp récompense-t-il la créativité?”

2012      “Art in ‘Paradise’ (Far From the Art-Industrial Hive)”

2012     “The School of Things”: Japanese Art c. 1970 Comes to Los Angeles 

2011    “Turkey with the Side of Ajax: Thanksgiving According to Alice Neel”


2022  Wayne Thiebaud, 1920–2021, The New Criterion, Vol. 40, No. 6 (February)

2022  “The man who laughed in church,” The New Criterion, vol. 40, No. 5 (January)

2021   “Prices are no help at all,” The New Criterion, November 4

2021   “Awkward Thinking” The New Criterion, August 10

2021   “A Cleaner Slate,” The New Criterion, March 2

2020   “Past continuous,” The New Criterion, November 14

2020  “The most dangerous place to be,” co-authored with David Hawkes, The New Criterion, August 27

2020    “Why words matter,” The New Criterion, July 2

2019     “There ought to be clowns,” The New Criterion, vol. 38, no. 4 (December)

2019    “Hour of the clown,” The New Criterion, June 20

2019      “Ok, Cupid?,” The New Criterion, May 16

2018     “’Happy trees’ and culture-death,” The New Criterion, October 24

2018      “You are what you read,” The New Criterion, June 12

2018      “Tony DeLap at the Laguna Art Museum” The New Criterion, May 10

2018       “The user-centric university,” The New Criterion, April 25

2018        “Paint it black,” The New Criterion, vol. 36, no. 8 (April)

2018        “Make art history great again: crowdsourcing and the mechanics of publicity,” The New Criterion, February 02

2018        “A warning about the Balthus warning,”The New Criterion, January 05

2017      “The art world’s ‘hidden enemy’,” The New Criterion, vol. 36, no. 4 (December)