{"id":8,"date":"2010-06-15T18:03:09","date_gmt":"2010-06-16T01:03:09","guid":{"rendered":"https:\/\/juliafriedman.org\/?page_id=8"},"modified":"2026-06-21T19:53:25","modified_gmt":"2026-06-22T02:53:25","slug":"publications","status":"publish","type":"page","link":"https:\/\/juliafriedman.org\/?page_id=8","title":{"rendered":"publications"},"content":{"rendered":"

MONOGRAPHS<\/span><\/strong><\/p>\n

2011 \u00a0 \u00a0Beyond Symbolism to Surrealism: Alexei Remizov\u2019s Synthetic Art<\/em>,<\/a> Northwestern University Press, (16 color & 46 b\/w illustrations)<\/span><\/p>\n

EDITED VOLUMES<\/strong><\/span><\/p>\n

2016\u00a0\u00a0\u00a0\u00a0Dustbunnies: Dave Hickey\u2019s Online Aphorisms.<\/em>June 2014\u00ad\u00ad\u2013March 2015.<\/em>PCP Press. 586 pages. (Reviewed in Times Literary Supplement<\/em>, May 27, 2016, pp. 23-24. \u201cEveryone\u2019s a critic,\u201d by David Hawkes)<\/span><\/p>\n

2016\u00a0\u00a0\u00a0Wasted Words: The Essential Dave Hickey Online Compilation.\u00a0<\/em>PCP Press. 124 pages. (Reviewed in Times Literary Supplement<\/em>, May 27, 2016, pp. 23-24. \u201cEveryone\u2019s a critic,\u201d by David Hawkes)<\/span><\/pre>\n
REFEREED CHAPTERS IN BOOKS<\/strong><\/span><\/p>\n
2025 \u00a0 \u00a0\u201cIsteriia po-siurrealistki\u201d (\u201cHysteria: The Surrealist Case,\u201d) Aleksei Remizov: Issledovaniia i materialy<\/em>\u00a0 (Aleksei Remizov: Research and Materials). Edited by Alla M. Gracheva, Russian Academy of Sciences, forthcoming<\/span><\/p>\n
2008 \u00a0 \u00a0 \u201cThe Writing-Drawing Continuum of Alexei Remizov,\u201d Elective Affinities<\/em>.Word & Image Interactions 6<\/em>. Edited by Catriona McLeod, V\u00e9ronique Plesch and Charlotte Schoell-Glass. Amsterdam and Atlanta: Rodopi<\/span><\/p>\n
2003 \u00a0 \u00a0 \u201cOt teksta i izobrazheniia k zvuku: rukopisnyi al’bom \u201cMarun\u201d kak primer sinteticheskogo tvorchestva Alekseia Remizova\u201d (\u201cFrom Text and Image to Sound: the Album \u201cMarun\u201d As an Example of Alexei Remizov\u2019s Synthetic Art\u201d). Aleksei Remizov: Issledovaniia i materialy<\/em>\u00a0 (Aleksei Remizov: Research and Materials<\/em>). Edited by Alla M. Gracheva and Antonella d\u2019Amelia, St. Petersburg-Salerno: Russian Academy of Sciences\/Institute of Russian Literature<\/span><\/p>\n
1999 \u00a0 \u00a0 \u201cBetween a Rock and a Hard Place: Holy Rus\u2019 and Hard Cash in Post-Soviet Rock Music,\u201d co-author. In Consuming Russia: Popular Culture, Sex, and Society Since Gorbachev<\/em>. Edited by Adele Barker, Duke University Press<\/span><\/p>\n
CATALOGUE ESSAYS \u00a0<\/strong><\/span><\/p>\n
2025 \u00a0 \u00a0\u201cAnyone Can Be My Protagonist,\u201d in Wayne Thiebaud Reconsidered: Radical Realism<\/em>, Rizzoli<\/span><\/p>\n
2025 \u00a0 \u201cThe Currency of Value,\u201d co-authored with David Hawkes, in The Currency Unique Prints<\/em>, Heni publishers, forthcoming<\/span><\/p>\n
2024 \u00a0 \u00a0\u201cFrom Sfumato to Ganzfelds: \u2018Art and Space\u2019 in Context,\u201d in Luminaries of Light: Pioneers of California Light & Space Movement, <\/em>Honarkar Foundation<\/span><\/p>\n
2024 \u00a0 \u00a0\u201cThe Meta of Marble,\u201d in Reza Aramesh. Action: By Number.<\/em> Edited by Serubiri Moses. Skira. 124\u2013129<\/span><\/p>\n
2023 \u00a0 \u201cThe Currency Referendum,\u201d co-authored with David Hawkes, in Damien Hirst, The Currency, Volume II\u2014Physical,\u00a0<\/em>catalogue raisonn\u00e9, Heni Publishers<\/span><\/p>\n
2022 \u00a0 \u00a0\u201cRotraut: Nature is the Essence,\u201d PBG exhibition catalogue<\/span><\/p>\n
2022 \u00a0 \u00a0 \u201cWayne Thiebaud\u2019s Unrepresented Spectator,\u201d in Wayne Thiebaud: Figures<\/em>, Wayne Thiebaud Foundation<\/span><\/p>\n
2021 \u00a0 \u00a0\u201cA Masterwork: Thiebaud\u2019s One Hundred-year-old Clown,\u201d in Wayne Thiebaud: Clowns<\/em>, Laguna Art Museum, December 6, 2020\u2013April 4, 2021<\/span><\/p>\n
2020 \u00a0 \u00a0\u201cNothing is Unimportant,\u201d catalogue essay for the Wayne Thiebaud 100: Paintings, Drawings, and Prints<\/em>, Pomegranate Press, Crocker Museum of Art<\/span><\/p>\n
2018 \u00a0 \u00a0 \u201cAnnie Lapin: The Archeology of Meaning,\u201d Miles McEnery Gallery, \u00a0September 2018<\/span><\/p>\n
INVITED CHAPTERS IN BOOKS\u00a0<\/strong><\/span><\/p>\n
2017 \u00a0 \u00a0 \u201cSexual Neusis or Creative Catalyst? Hysteria and Demonic Possession in Alexei Remizov\u2019s Solomoniia<\/em>,\u201din Mental Illness in Symbolism<\/em>. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars Press<\/span><\/p>\n
2012 \u00a0 \u00a0 \u201cMerezhkovsky\u2019s Leonardo,\u201d The Lives of Leonardo<\/em>. Edited by Thomas Frangenberg and Rodney Palmer, Warburg Institute Colloquia 22<\/span><\/p>\n
2010 \u00a0 \u00a0 \u201cA Powerless Seeker: Merezhkovsky\u2019s Romance as Life-Writing,\u201d in Symbolism, its Origins and Consequences<\/em>. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars Press<\/span><\/p>\n
JOURNAL ARTICLES<\/strong><\/span><\/p>\n
2012\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe Invisible Cosmology of Chihiro Kabata,\u201d Glossary<\/em>, vol. 1, Edited by Charles Merewether. Institute of Contemporary Art, Singapore<\/span><\/p>\n
2010\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAlexei Remizov\u2019s Creative Act,\u201d Interfaces: Image Text Language<\/em>, vol. 29. Edited by Maurice Geracht and Fr\u00e9d\u00e9ric Og\u00e9<\/span><\/p>\n
2007\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cC\u00e9zanne and the Poetics of Metonymy,\u201d\u00a0<\/a>Word & Image<\/em>, 23 (3), July\u2013September<\/span><\/p>\n
2003\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cBlok\u2019s \u2018Gift of Hearing\u2019 Through Remizov\u2019s \u201cAudible Colors,\u201d\u201d Slavic and East European Journal<\/em>, Volume 47, Number 3<\/span><\/p>\n
1996\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cMelancholia II: An Interview with Manel Ll\u00e8dos,\u201d Graven Images: Studies in Culture, Law, and the Sacred<\/em>, Volume 3<\/span><\/p>\n
1995\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cOn the Iconography of \u2018From Many Wounds You Bleed, O People\u2019: An Intersection of Art and Literature,\u201d The Print Collector\u2019s Newsletter\u00a0<\/em>25:6<\/span><\/p>\n
PUBLICATIONS: BOOK REVIEWS AND CONFERENCE PROCEEDINGS\u00a0<\/span><\/strong><\/p>\n
2025 \u00a0 \u00a0 \u201cA Distant View: Svetlana Alpers\u2019 \u2018Is Art History?\u2019,\u201d The Hedgehog Review<\/em>, Summer 2025, 141-146<\/span><\/p>\n
2021 \u00a0 \u00a0 Daniel Oppenheimer, Far From Respectable: Dave Hickey and his Art<\/em>, UT Press, 2020. Athenaeum \u00a0Review<\/em>, \u201cDave Hickey Now,\u201d November 12<\/span><\/p>\n
2020 \u00a0 \u00a0 Camille Paglia, Provocations<\/em>. Kropf, 2018. Athenaeum Review<\/em>, Issue 3 (Winter 2020), \u201cThe Last Call,\u201d 172\u2013177<\/span><\/p>\n
2008 \u00a0 \u00a0 Oleg Brezgin,<\/strong> Persona Diagileva v khudozhestvennoi kul\u201dture rossii, zapadnoi evropy i ameriki. Bibliographia.<\/em> Perm\u2019: 2007 (\u201cDiagilev\u2019s Persona and the Artistic Culture of Russia, Western Europe and the United States. A Bibliography\u201d), book review, SEEJ<\/em> 52.3 (Fall)<\/span><\/p>\n
2007 \u00a0 \u00a0 \u201cCrossing the Boundaries: Alexei Remizov\u2019s Artistic Space,\u201d \u201cOni unesli s soboi Rossiiu,\u201d (\u201cThey Carried Russia to Exile\u201d), Symposium on the 65th<\/sup> anniversary of The New Review<\/em>, Harriman Institute, Colombia University, The New Review<\/em><\/span><\/p>\n
2005 \u00a0 \u00a0 Michael Urban with Andrei Evdokimov, Russia Gets the Blues:\u00a0 Music, Culture, and Community in Unsettled Times<\/em> (Cornell, 2004), book review, Canadian Slavonic Papers<\/em> vol. 48, nos. 3-4<\/span><\/p>\n
2001 \u00a0 \u00a0 \u201cVospriiatie fovizma i kubizma v russkoi kritike kontza deviatnadzatogo, nachala dvadzatogo veka.\u201d\u00a0 (\u201cThe Reception of Fauvism and Cubism in Turn-of-the-Century Russian Criticism\u201d) Norwich Slavic Conference Proceedings<\/em>, Konetz veka kak kul\u2019turnyi fenomen (The End of a Century as a Cultural Phenomenon)<\/span><\/p>\n
PUBLICATIONS: MAGAZINE ARTICLES\u00a0<\/span><\/strong><\/span><\/p>\n
2026 \u201cThe Art of Looking: A tribute to David Hockney (1937-2026),<\/a>\u201d Quillette<\/em>, June 22<\/span><\/p>\n
2026 \u00a0<\/span>\u201cHilde Lynn Helphenstein: The Red-Headed Stepchild of the Art World,\u201d<\/a> Whitehot Magazine, <\/em>June 10<\/p>\n
2026 \u00a0<\/span>\u201cThe Art World\u2019s Managed Fantasies: A Response to Josh Kline,\u201d<\/a> The Brooklyn Rail<\/em>, May 20<\/p>\n
2026 \u00a0\u00a0<\/span>\u201cArrest and Moral Pageantry,\u201d<\/a> Quillette<\/em>, March 3<\/p>\n
2025 \u00a0<\/span>\u00a0\u201cWhat Monuments Stand to Teach Americans About Themselves,\u201d<\/span> <\/a>The Spectator<\/em>, December 22<\/p>\n
2025 \u00a0 \u201c<\/a>Appetite for Destruction,\u201d<\/a> Quillette<\/em>, October 25<\/span><\/p>\n
2025 \u00a0 <\/span>\u201cOn the Assassination of Charlie Kirk<\/a>: Murder in the Posthuman Age,\u201d The Hedgehog Review<\/em>, <\/span>co-authored with David Hawkes, September 24<\/span><\/p>\n
2025 \u00a0 “A Practicing Art Historian,”<\/a> The New Criterion,\u00a0<\/em>July 4<\/span><\/span><\/p>\n
2025 \u00a0 “Gustave Caillebotte: Painting Men,”<\/a> The New Criterion<\/em>, Vol. 43, No. 8 (May)<\/span><\/p>\n
2025 \u00a0“The Art of Social Engineering,”<\/a> Quillette<\/em>, May 19<\/span><\/p>\n
2024 \u00a0 “Culture of Complaint and New Deal Murals,”<\/a> Quillette<\/em>, October 16<\/span><\/p>\n
2024 \u00a0 \u00a0“Why We Need The Athenaeum,”<\/a> Athenaeum Review<\/em>, Issue 10, Summer 2024, 50-54<\/span><\/p>\n
2024 \u00a0 \u00a0 “The Great War of 2024,”<\/a> The New Criterion<\/em>, June 28<\/span><\/p>\n
2024 \u00a0 \u00a0“The Perfect Trifecta,”<\/a> Quillette<\/em>, June 4<\/span>\u00a0<\/p>\n
2024 \u00a0 \u00a0“Narcissism for All,”<\/a> Quillette<\/em>, March 30<\/span><\/p>\n
2024 \u00a0 \u00a0 “Cruz Control,”<\/a> The New Criterion<\/em>, Vol. 42, No. 8 (April)<\/span><\/p>\n
2024 \u00a0 \u00a0 “A freestyle biennial,”<\/a> The New Criterion<\/em>, February 23<\/span><\/p>\n
2024 \u00a0 \u00a0 \u201c<\/a><\/span>Art for the privileged class,”<\/a>\u00a0 The\u00a0<\/i>New<\/i>\u00a0Criterion<\/i>, January 12<\/span><\/p>\n
2023 \u00a0 \u00a0 \u201c<\/a><\/span>Blake reconsidered,”\u00a0<\/a>The\u00a0<\/i>New<\/i>\u00a0Criterion<\/i>, December 22<\/span><\/p>\n
2023 \u00a0 \u00a0 <\/span>“War of the Worlds,”<\/a> The\u00a0<\/i>New<\/i>\u00a0Criterion<\/i>, December 14\u00a0<\/span><\/p>\n
2023 \u00a0 \u00a0 \u201c<\/a><\/span>How artists resist,”\u00a0<\/a><\/span>The\u00a0<\/i>New<\/i><\/span>\u00a0Criterion<\/i>, November 7<\/span><\/p>\n
2023 \u00a0 \u00a0\u00a0 \u201c<\/a><\/span>Faking Hope: AI Art as Propaganda,”<\/a> Quillette<\/i><\/span>, November 3<\/span><\/p>\n
2023 \u00a0 \u00a0 \u201c<\/a><\/span>Ballet is Woman”\u00a0<\/a><\/span>The\u00a0<\/i>New<\/i><\/span>\u00a0Criterion<\/i>, October 20<\/span><\/p>\n
2023 \u00a0 \u00a0 \u201c<\/a>Bob Ross, Populist Artist,\u201d<\/a> Quillette<\/em>, July 19\u00a0<\/span><\/p>\n
2023 \u00a0 \u00a0 \u00a0 \u201cThe art of ignorance,\u201d<\/a> The New Criterion<\/em>, June 13<\/span><\/p>\n
2023 \u00a0 \u00a0 \u00a0\u00a0 \u201cA Royal Grift,\u201d <\/a><\/span>Co-authored with David Hawkes, Quillette<\/em>, May 20<\/span><\/p>\n
2023 \u00a0 \u00a0 \u00a0 \u00a0\u201c<\/a>Nudity and Nonconsensual Viewing,<\/a>\u201d<\/a> Quillette<\/em>, April 28<\/span><\/p>\n
2023 \u00a0 \u00a0 \u00a0 \u00a0\u201c<\/a>Boring Art, Impotent Politics,<\/a>\u201d<\/a> Quillette<\/em>, January 27<\/span><\/p>\n
2022 \u00a0 \u00a0 \u00a0 \u201cThe Currency Referendum. Part 3.<\/a>\u201d co-authored with David Hawkes,\u00a0Whitehot Magazine<\/em>,<\/span><\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 November 27<\/span><\/p>\n
2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cPoetic Justice: How and Octogenarian Artist Defied Curatorial Bureaucracy,\u201d<\/a> Quillette<\/em>, October 28<\/span><\/p>\n
2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cLena Moross: Empathy Against the Machine,\u201d<\/a> Coagula<\/em>, September 8<\/span><\/p>\n
2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe Currency Referendum. Part 2.\u201d<\/a>\u00a0co-authored with David Hawkes,\u00a0Whitehot Magazine<\/em>, August 15<\/span><\/p>\n
2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAgainst De-Materialization: Tom Wolfe in the Age of NFTs,\u201d<\/a> co-authored with David Hawkes, \u00a0<\/i>\u00a0 \u00a0 \u00a0\u00a0Quillette, March 9<\/em><\/span><\/p>\n
2022 \u00a0\u00a0 \u00a0\u00a0 \u00a0\u201c<\/a>Wayne Thiebaud, 1920\u20132021,<\/a>\u201d<\/a> The New Criterion<\/em>, Vol. 40, No. 6 (February)<\/span><\/p>\n
2022 \u00a0 \u00a0 \u00a0 \u00a0\u201cThe man who laughed in church,\u201d<\/a> The New Criterion,\u00a0<\/i>vol. 40, No. 5 (January)<\/span><\/p>\n
2021 \u00a0 \u00a0 \u00a0 \u00a0\u201cThe Currency Referendum,\u201d\u00a0<\/a>co-authored with David Hawkes,\u00a0Whitehot Magazine<\/em>, November\u00a022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n
2021 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u201cPrices are no help at all,\u201d<\/a> The New Criterion<\/em>, November 4, 2021<\/span><\/p>\n
2021 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u201cAwkward thinking,\u201d<\/a> The New Criterion<\/em>, August 10, 2021<\/span><\/p>\n
2021 \u00a0 \u00a0\u00a0 \u00a0\u00a0 \u00a0\u201c<\/a>A Treasure Trove of Priceless Pornography,”<\/a> Quillette<\/em>, July 31\u00a0<\/span><\/p>\n
2021 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0<\/span>\u201cNFTs: The Afterlife of the Aura,\u201d<\/a> co-authored with David Hawkes,\u00a0<\/span>Athenaeum Review<\/em>, May 26<\/span><\/span><\/p>\n
2021 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u201c<\/a>Digital Art NFTs: The Marriage of Art & Money,”<\/a> Athenaeum Review<\/em>, April 13<\/span><\/p>\n
2021 \u00a0 \u00a0\u00a0 \u00a0\u00a0 \u00a0\u201cA Cleaner Slate,\u201d<\/a> The New Criterion<\/em>, March 2<\/span><\/p>\n
2020 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0\u201cPhilip Guston (Not) Now: The Impact Argument,\u201d<\/a> Athenaeum Review<\/i>, November 16<\/span><\/p>\n
2020 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0“Past Continuous,” <\/a><\/span>The New Criterion<\/em>, November 14<\/span><\/p>\n
 2020 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u201cIn Defense of Lecturing,\u201d<\/a> Athenaeum Review<\/i>, October 15\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span><\/p>\n
2020 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0 \u201cClassicism by Decree,\u201d<\/a> Athenaeum Review<\/i>, Issue 5<\/span><\/p>\n
2020 \u00a0 \u00a0\u00a0 \u00a0\u00a0 <\/span>\u201cThe most dangerous place to be,\u201d<\/a> co-authored with David Hawkes, The New Criterion, <\/i>August 27<\/span><\/p>\n
2020 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u201cWhy words matter,\u201d<\/a> The New Criterion, <\/i>July 2<\/span><\/p>\n
2019 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u201cThere ought to be clowns,\u201d<\/a> The New Criterion<\/i>, vol. 38, no. 4 (December)<\/span><\/p>\n
2019 \u00a0 \u00a0\u00a0 \u00a0\u00a0 \u00a0\u201c<\/a>Hour of the clown,<\/a>\u201d<\/a>\u00a0The New Criterion,<\/em> June 20<\/a><\/span><\/p>\n
2019 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u201cOk, Cupid?,\u201d The New Criterion, <\/em>May 16<\/a><\/span><\/p>\n
2018\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 \u201c’Happy trees\u2019 and culture-death,\u201d The New Criterion<\/i>, October 24<\/a><\/span><\/p>\n
2018 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u201cYou are what you read,\u201d The New Criterion, <\/em>June 12<\/a><\/span><\/p>\n
2018\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 \u201cTony DeLap at the Laguna Art Museum\u201d The New Criterion, <\/em>May 10<\/a><\/span><\/p>\n
2018 \u00a0 \u00a0 \u00a0\u00a0\u00a0 \u201cThe user-centric university,\u201d The New Criterion, <\/em>April 25<\/a><\/span><\/p>\n
2018 \u00a0 \u00a0 \u00a0 \u00a0\u201cPaint it black,\u201d The New Criterion<\/em>, vol. 36, no. 8 (April)<\/a><\/span><\/p>\n
2018 \u00a0 \u00a0 \u00a0 \u00a0\u201cMake art history great again,\u201d <\/a>The New Criterion, <\/em>February 2<\/span><\/p>\n
2018 \u00a0 \u00a0 \u00a0 \u00a0\u201cA warning about the Balthus warning,\u201dThe New Criterion, <\/em>January 5<\/a><\/span><\/p>\n
2017 \u00a0 \u00a0 \u00a0 \u00a0\u201cThe art world\u2019s \u2018hidden enemy\u2019,\u201d The New Criterion<\/em>, vol. 36, no. 4 (December)<\/a><\/span><\/p>\n
ART CRITICISM IN ARTFORUM INTERNATIONAL<\/em><\/strong><\/span><\/p>\n
2014\u00a0\u00a0\u00a0\u00a0\u00a0 Tom of Finland, PICKS, 02.12<\/span><\/p>\n
2013\u00a0\u00a0\u00a0\u00a0\u00a0 Iva Gueorguieva, PICKS, 09.23<\/span><\/p>\n
2013 \u00a0 \u00a0 \u00a0\u201cPainting,\u201dPICKS, 01.05<\/span><\/p>\n
2012\u00a0\u00a0\u00a0\u00a0\u00a0 Tsibi Geva, PICKS, 09.15<\/span><\/p>\n
2012 \u00a0 \u00a0 \u00a0Lawrence Weiner, PICKS, 06.06<\/span><\/p>\n
2012 \u00a0 \u00a0 \u00a0\u201cThe Economy of Means,\u201d PICKS, 03.14<\/span><\/p>\n
2012 \u00a0 \u00a0 \u00a0\u201cRequiem for the Sun: The Art of Mono-ha,\u201d PICKS, 03.10<\/span><\/p>\n
2011\u00a0\u00a0\u00a0\u00a0\u00a0 Juan Downey, PICKS, 10.15.11<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0Dmitrii Prigov, in print, October 2011<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0Paul Gaultier, PICKS, 09.10.11<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0\u201cVenice in Venice,\u201d PICKS, 06.07.11<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0 Paul Kos, PICKS, 05.04.11<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0 Xavier Veilhan, PICKS, 04.07.11<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0 LG Williams\/Estate of LG Williams, in print, May 2010<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0 Aki Sasamoto, PICKS, 01.17.11<\/span><\/p>\n
2010\u00a0\u00a0\u00a0\u00a0\u00a0 Taiji Matsue, PICKS, 11.04.10<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0Yuuki Matsumura, in print, October 2010<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0\u201cNanugi Agency, PICKS, 09.15.10<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 Nobuyoshi Araki, in print, September 2010<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 William Eggleston, PICKS, 07.10<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 Miwa Yanagi, in print, May 2010<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 Tamotsu Ikeya, in print, March 2010<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 Ohad Matalon, PICKS, 04.08.10<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 MeeNa Park, PICKS, 03.03.10<\/span><\/p>\n
2010 \u00a0 \u00a0 \u00a0 Kosuke Ichikawa, PICKS, 01.21.10<\/span><\/p>\n
2009\u00a0\u00a0\u00a0\u00a0\u00a0 Shinro Ohtake, PICKS, 11.08.09<\/span><\/p>\n
2009 \u00a0 \u00a0 \u00a0Seiji Aruga, PICKS, 10.15.09<\/span><\/p>\n
THE HUFFINGTON POST<\/em><\/strong><\/span><\/p>\n
2014\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cOn Abstraction, Ed Moses, and the Need to Explain\u201d<\/span><\/p>\n
2014\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cDave Hickey in Los Angeles: Pirate vs. Farmers\u201d<\/span><\/p>\n
2013\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cMiley Cyrus Strikes Again, or the Destruction of the Pendulum\u201d<\/span><\/p>\n
2013\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cFrom Raku-Fired Vessels to Large-Scale Installations: Wayne Higby\u2019s Ceramics Retrospective at the ASU Art Museum\u201d<\/span><\/p>\n
2012\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cLe Prix Marcel Duchamp r\u00e9compense-t-il la cr\u00e9ativit\u00e9?\u201d<\/span><\/p>\n
2012\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cArt in \u2018Paradise\u2019 (Far From the Art-Industrial Hive)\u201d<\/span><\/p>\n
2011\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe School of Things\u201d: Japanese Art c. 1970 Comes to Los Angeles<\/span><\/p>\n
2011 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u201cTurkey with the Side of Ajax: Thanksgiving According to Alice Need” \u00a0\u00a0<\/span><\/p>\n
\u00a0<\/p>\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
MONOGRAPHS 2011 \u00a0 \u00a0Beyond Symbolism to Surrealism: Alexei Remizov\u2019s Synthetic Art, Northwestern University Press, (16 color & 46 b\/w illustrations) EDITED VOLUMES 2016\u00a0\u00a0\u00a0\u00a0Dustbunnies: Dave Hickey\u2019s Online Aphorisms.June 2014\u00ad\u00ad\u2013March 2015.PCP Press. 586 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. \u201cEveryone\u2019s a critic,\u201d by David Hawkes) 2016\u00a0\u00a0\u00a0Wasted Words: The Essential Dave Hickey Online […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"artpage.php","meta":{"footnotes":""},"class_list":["post-8","page","type-page","status-publish","hentry"],"yoast_head":"\npublications - Julia Friedman<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/juliafriedman.org\/?page_id=8\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"publications - Julia Friedman\" \/>\n<meta property=\"og:description\" content=\"MONOGRAPHS 2011 \u00a0 \u00a0Beyond Symbolism to Surrealism: Alexei Remizov\u2019s Synthetic Art, Northwestern University Press, (16 color & 46 b\/w illustrations) EDITED VOLUMES 2016\u00a0\u00a0\u00a0\u00a0Dustbunnies: Dave Hickey\u2019s Online Aphorisms.June 2014\u00ad\u00ad\u2013March 2015.PCP Press. 586 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. \u201cEveryone\u2019s a critic,\u201d by David Hawkes) 2016\u00a0\u00a0\u00a0Wasted Words: The Essential Dave Hickey Online […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/juliafriedman.org\/?page_id=8\" \/>\n<meta property=\"og:site_name\" content=\"Julia Friedman\" \/>\n<meta property=\"article:modified_time\" content=\"2026-06-22T02:53:25+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/?page_id=8\",\"url\":\"https:\\\/\\\/juliafriedman.org\\\/?page_id=8\",\"name\":\"publications - Julia Friedman\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/#website\"},\"datePublished\":\"2010-06-16T01:03:09+00:00\",\"dateModified\":\"2026-06-22T02:53:25+00:00\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/juliafriedman.org\\\/?page_id=8\"]}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/#website\",\"url\":\"https:\\\/\\\/juliafriedman.org\\\/\",\"name\":\"Julia Friedman\",\"description\":\"Art History and Contemporary Art\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/juliafriedman.org\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"publications - Julia Friedman","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/juliafriedman.org\/?page_id=8","og_locale":"en_US","og_type":"article","og_title":"publications - Julia Friedman","og_description":"MONOGRAPHS 2011 \u00a0 \u00a0Beyond Symbolism to Surrealism: Alexei Remizov\u2019s Synthetic Art, Northwestern University Press, (16 color & 46 b\/w illustrations) EDITED VOLUMES 2016\u00a0\u00a0\u00a0\u00a0Dustbunnies: Dave Hickey\u2019s Online Aphorisms.June 2014\u00ad\u00ad\u2013March 2015.PCP Press. 586 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. \u201cEveryone\u2019s a critic,\u201d by David Hawkes) 2016\u00a0\u00a0\u00a0Wasted Words: The Essential Dave Hickey Online […]","og_url":"https:\/\/juliafriedman.org\/?page_id=8","og_site_name":"Julia Friedman","article_modified_time":"2026-06-22T02:53:25+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/juliafriedman.org\/?page_id=8","url":"https:\/\/juliafriedman.org\/?page_id=8","name":"publications - Julia Friedman","isPartOf":{"@id":"https:\/\/juliafriedman.org\/#website"},"datePublished":"2010-06-16T01:03:09+00:00","dateModified":"2026-06-22T02:53:25+00:00","inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/juliafriedman.org\/?page_id=8"]}]},{"@type":"WebSite","@id":"https:\/\/juliafriedman.org\/#website","url":"https:\/\/juliafriedman.org\/","name":"Julia Friedman","description":"Art History and Contemporary Art","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/juliafriedman.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/juliafriedman.org\/index.php?rest_route=\/wp\/v2\/pages\/8","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juliafriedman.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/juliafriedman.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/juliafriedman.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/juliafriedman.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8"}],"version-history":[{"count":134,"href":"https:\/\/juliafriedman.org\/index.php?rest_route=\/wp\/v2\/pages\/8\/revisions"}],"predecessor-version":[{"id":5081,"href":"https:\/\/juliafriedman.org\/index.php?rest_route=\/wp\/v2\/pages\/8\/revisions\/5081"}],"wp:attachment":[{"href":"https:\/\/juliafriedman.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}