Conceptual writing I’ve done in conjunction with art works/installations in the U.S. and abroad appears in a number of publications. Likewise writing I’ve done for academic pubs and art institutions:
“What I Want,” in (Home)icide, a collaborative text by Judith Barry and Ken Saylor for Projet Unité 2, Firminy, France, April 1993.
“The Love Canalchemist: The Abridged Lexicon of Modern ApocryphALCHEMY,” in Antwerp(ecidia): A Glossary of Received Ideas, J. Barry, for “Whole Potatoes from Mashed, On Taking a Normal Situation..,” Museum of Contemporary Art, Antwerp, 1993.
“Rouen, Capital of the Free World,” in Rouen: Intermittent Futures and Touring Machines, Le Genie Du Lieu, Rouen, 1994, an English/French flip book with drawings by Thomas Zummer that I co-authored with Judith Barry. A conceptual piece, it was purchased by French National Arts Council (or something like that — gotta get the org. correct).
“Something Wonderful,” “Dear Concerned Citizen,” in Social Text 36, Duke University Press, Fall 1993.
“Eons. . . ,” and with Judith Barry: “Inquiry into Ha®dCell,” in Crash: Nostalgia for the Absence of Cyberspace, eds. Robert Reynolds and Thomas Zummer, Thread Waxing Space, NY, 1994, and Video Spaces, Eight Installations, ed. Barbara London, The Museum of Modern Art, NY, 1995.
“Mutate and Grow,” text and soundtrack (originally created for J. Barry’s “On Taking a Normal Situation..,” MUKHA, City of Culture 1993, Antwerp), published in Itinerant Texts, a set of original slide works by twelve international artists on travel, transience and the nature of site-specificity commissioned by Book Works for “Artist / Author: Contemporary Artists’ Books,” a touring exhibition organized by the American Federation of Arts (Judith Barry’s slide the Mutate and Grow text).