BFA, Emerson College; PhD, The London Consortium, The University of London.



  • Against Ambience and Other Essays, Bloomsbury Academic, 2016
  • In The Blink Of An Ear: Toward A Non-Cochlear Sonic Art, Bloomsbury Academic, 2009
  • One Reason To Live: Conversations about Music, Errant Bodies, 2006

Personal Statement

My research is focused on conceptualism (including proto- and post-conceptual practices) since the 1960s. Much of my work interrogates the use of sound in visual art contexts. I teach art as a constituent part of human society, intertwined with politics, economics, race, gender, class, sexuality, and history. In other words, I have little use for notions of autonomy, art-for-art's sake, phenomenology, new materialisms, formalism, or beauty.

I have written about artists including John Cage, Fluxus, Janet Cardiff, Liam Gillick, Robert Rauschenberg, Marina Rosenfeld, Samson Young, Mattin, Nam June Paik, Alvin Lucier, Robert Morris, Susan Goldman, and George Brecht. I also write about rock and roll as a significant contributor to the artistic transitions of the 1960s, 70s, and 80s. My work relies on Continental philosophy, post-structuralism, post-Marxist approaches, literary theory, and critical theory.

Some of the courses I teach:

  • Rock and Roll vs. Modernism
  • Singing LeWitt: Conceptualism and Sound
  • The Production of Resistance: Art & Politics Since 1965
  • History of the Sonic Arts
  • Survey of Modern and Contemporary Art

Thesis Advisees

  • Claire Frost (MA 2017): The Future Eva Hesse: Lucy Lippard, Sol LeWitt, and the Construction of 'Eva Hesse'
  • Brian T. Leahy (MA 2015): Art Without Work: Tehching Hsieh's No Art Piece and the Ethics of Laziness
  • Lauren R. Fulton (MA 2015): Sensations in Flux: Alison Knowles's Sonic, Tactile, and Metaphysical Experiences


Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.