Other Publications
2025 Published Articles & Essays
Lucia Halder, “Im Gespräch mit Lucia Halder,” in Die Fotografie und ihre Institutionen: Von der Lehrsammlung zum Bundesinstitut, edited by Anja Schürmann and Kathrin Yacavone, 406-412. Berlin: Reimer Verlag, 2025.
Kate Palmer Albers, “From Banks to Blanks: The Poetic Spaces of Automated Vision,” in Artist, Image, Archive, City: Ed Ruscha’s Streets of Los Angeles, edited by Andrew Perchuk, Emily Pugh, and Zanna Gilbert, 145-152. Los Angeles: Getty Research Institute, 2025.
Vindhya Buthpitiya, "Studio East: Everyday Photography and the Militarisation of Leisure in Trincomalee," Eidolon Journal (September 2025). https://everydayphotography.org/journal/studio-east-everyday-photography-and-the-militarisation-of-leisure-in-trincomalee.
Julieta Pestarino, “Latin Americans Photoclubs: Photographic Cooperation on a Regional and Global Scale,” in Brazilian Modernist Photography (1939–1964), edited by Helouise Costa and Marcella Marer, 220-227. Paris: Atelier EXB, 2025.
Julieta Pestarino, “Notes on How to Build a Forest,” in Notes on How to Build a Forest. After Nature | Ulrike Crespo Prize, Isadora Romero, 76-97. Berlin: C/O Berlin and Hartmann Books, 2025.
Brooke Belisle and Briankle Chang, "AI and Photography: An Interview with Brooke Belisle," Photography and Culture (April 2025): 1–7. https://doi.org/10.1080/17514517.2025.2488170.
Brooke Belisle, "Photography and AI: Why it Matters, Though," Critical Inquiry 51:2 (Winter 2025). https://doi.org/10.1086/732921.
Melody Davis, “Lost Among the Cannibals: Keystone’s Misrepresentation of a Nguni Musician,” International Journal on Stereo & Immersive Media, vol. 8, no. 1 (2025): 50-69. https://doi.org/10.60543/ijsim.v8i1.9502.
Melody Davis, “Behind the Scenes with Franklin George Weller: The Creation of Stereoscopic Tableaux.” 19: Interdisciplinary Studies in the Long Nineteenth Century, edited by Gülru Çakmak and Patricia Smyth, 2025(38). https://doi.org/10.16995/ntn.25192.
Alejandra López-Oliveros, “Redefining Gender and Rural Life in the Pampas: Alessandra Sanguinetti’s The Adventures of Guille and Belinda Series,” Art Inquiries vol. 20, no. 1 (2025): 10—21. https://scholarscompass.vcu.edu/artinquiries_secacart/vol20/iss1/2.
Francesca Strobino, "Experimental Metallic Surfaces and Absent Images: On the Materiality of William Henry Fox Talbot’s Photomechanical Practice," Zeitschrift für Kunstgeschichte, vol. 88, no. 3, special issue Archival Absences: Towards an Incomplete History of Photography, guest editors Elizabeth Otto and Steffen Siegel (October 2025): 310-327. https://doi.org/10.1515/zkg-2025-3004.
Francesca Strobino, "Reproducing Nature: Alois Auer’s and William Henry Fox Talbot’s Printing Processes (1852)," The PhotoHistorian. Journal of the Royal Photographic Society’s Historical Group, no. 202 (August 2025): 15-23.
Francesca Strobino, "Colouring and Crafting Nineteenth Century Science: Giorgio Roster and His Hand-Coloured Lantern Slides," Nuncius vol. 40, no. 2 (June 2025): 321–348. https://data.isiscb.org/p/isis/citation/CBB450760543.
Sara Dominici, “The Flash and the Fixing of the Latent Image around the 1890s,” Photographica, 11 (2025): 25-36. https://doi.org/10.4000/153qw.
Jordan Reznick, "The Warp and Weft of Landscape: Indigenous Ecological Knowledge and Colonial Photography in Yosemite Valley," California History 102, no. 3 (Fall 2025): 34-72.
Ranu Roychoudhuri, “The Art of Belonging in the Imagined Homeland,” in Framing Portraits, Binding Albums: Family Photographs in India, Suryanandini Narain and Shilpi Goswamy, eds. (New Delhi: Zubaan Books, 2025): 360—380.
Charlene Heath, ”The Right Photographers at the Wrong Time and Place: Looking Back at Women on the ‘Open Road’“ U.S. Route 1 (After Berenice Abbott), Anna Fox and Karen Knorr, eds. (London: Trolly Books, 2025). U.S. ROUTE 1 (AFTER BERENICE ABBOTT) by Anna Fox and Karen Knorr – Trolley Books.
Kylie Thomas, "Ernest Cole: the South African photographer at the centre of a powerful and heartbreaking film", The Conversation, April 16 2025. https://theconversation.com/ernest-cole-the-south-african-photographer-at-the-centre-of-a-powerful-and-heartbreaking-film-254508.
Jessica Williams Stark, “‘In her capacity as a reporter:’ Naomi Shapiro’s Anti-Apartheid Photojournalism,” Safundi (2025): 1-12. https://www.tandfonline.com/eprint/INPC6YFBIQMAB6TXVIST/full?target=10.1080/17533171.2025.2468030.
Sarah Churchill, "Domestic Documents: Contemporary Photography and the Irish Housing Crisis," Irish University Review, Emily Mark-Fitzgerald and Emma Radley, eds. (Edinburgh: Edinburgh University Press, 2025): 82–98.
Kylie Thomas & Darren Newbury, "Cold War Photographic Diplomacy: Darren Newbury in Conversation with Kylie Thomas," Journal of War & Culture Studies 18, no. 2 (2025): 203–217. https://doi.org/10.1080/17526272.2025.2466929.
Thy Phu, Erina Duganne, Dat Nguyen, and Kylie Thomas, "Cold War Visual Legacies." Journal of War & Culture Studies 18, no. 2 (2025): 95–103. https://doi.org/10.1080/17526272.2025.2463209.
Jessica Williams Stark, “Anne Fischer, 1914-1986,” [Hi]stories of the German-Jewish Diaspora, part of the Leo Baeck Institute’s German-Jewish History in Modern Times, a digital platform hosted by the Moses Mendelssohn Center for European-Jewish Studies, University of Potsdam. https://diaspora.jewish-history-online.net/article/gjd:article-20.
Alise Tifentale, “Izohēlija un inscenējums beidzot atkal modē” [Isohelia and Staged Photos are in Style Again] (exhibition review). FK Magazine, January 17, 2025. https://fotokvartals.lv/2025/01/17/izohelija-un-inscenejums-beidzot-atkal-mode/
Francesca Strobino, "Crafting and Colouring Nineteenth Century Science: Giorgio Roster and his Lantern Slides," Nuncius 40, no. 2 (June 2025). *Winner of the 2024 Nuncius Prize
Lisa Elmaleh, "The Promised Land Remains Elusive for Asylum Seekers," in High Country News, Jennifer Sahn and Bear Guerra, eds. (June 2025): 20-27. https://www.hcn.org/issues/57-6/the-promised-land-remains-elusive-for-asylum-seekers/.
Nina Lager Vestberg, "Reproducing a Nation: The Photomechanical Construction of Norway 1884–1905", Photography and Culture, online first (April 2025): 1–20. https://doi.org/10.1080/17514517.2025.2484122
Diana Kamin and Anthony T. Troncale, “‘Pictorially Yours:’ The Correspondence of Joseph Cornell and Romana Javitz,” Archives of American Art Journal 64, no. 1 (Spring 2025). https://www.journals.uchicago.edu/doi/10.1086/735900.
Melody Davis, "At the Crossroads: The Banjo and the Stereograph," Stereo World 50, no 4 (2025), 4-14. https://melodydavis.wixsite.com/melody-davis--art-hi/art-history.
Robert Hirsch and Edward Bateman, “AI: Creativity and Imagemaking.” VASA Journal on Images and Culture (March 2025). https://vjic.org/vjic2/?page_id=8635.
2024 Published Articles & Essays
Lucia Halder and Kiri Dalena, "Birds of Prey: Encounters with Dean Conant Worcester‘s Colonial Photo Campaign from the Philippines," Fotogeschichte Heft 173 | Jg. 44 (Wien 2024): 15-22.
Annebella Pollen, "Subjective Cameras and Ekphrastic Writing: The Present and Absent Photograph in Mass Observation," in The Historical Contexts and Contemporary Uses of Mass Observation: 1930s to the Present, edited by Lucy Curzon and Ben Jones, 107-129. London: Bloomsbury Academic, November 2024.
Felicity T. C. Hamer, “Bending Time: Remembrance, Bereavement and (Missing) Personal Photographs,” Narrative Culture, vol. 11, no. 1 (Spring 2024), 76-99.
Ranu Roychoudhuri, “Aesthetics of Light and Time: An Intellectual History of Pictorialism in India,” South Asian Studies, no. 40 (1): 25-45. DOI: 10.1080/02666030.2024.2338996.
Monica Bravo and Emma Silverman, eds., “National Parks in Prospect,” special issue of 7 essays, 2 artist projects, and 2 interviews, Art Journal 83, no. 4 (Winter 2024).
Monica Bravo, “Mineral Analogs: Carleton Watkins’s Photographs and the Gold Standard,” The Art Bulletin 106, no. 3 (November 2024): 8-35.
Annebella Pollen, "Subjective Cameras and Ekphrastic Writing: The Present and Absent Photograph in Mass Observation," in The Historical Contexts and Contemporary Uses of Mass Observation: 1930s to the Present, Lucy Curzon and Ben Jones, eds. (London: Bloomsbury Academic, 2024), 107-129.
Alise Tifentale, "Arte, idealismo e rede de contatos: a participação brasileira na cultura fotoclubista global (1950–1965)” [Art, Idealism, and Networking: Brazilian Participation in the Global Photo-Club Culture, 1950–1965],” in Fotografia moderna no Brasil, 1900–1950. Arte, saber e poder, Helouise Costa and Heloisa Espada, eds. (São Paulo: Instituto Moreira Salles, 2024), 168–192.
Alise Tifentale, “How a Photographer Became an Artist: The Development of the Artistic Style of Gunārs Binde in the Cultural Context of the 1960s,” in Binde 100–10, Anna Binde, Alexey Murashko, and Elīza Ramza, eds. (Riga: Gunārs Binde Foundation, 2024), 27–41.
Francesca Strobino, "William Henry Fox Talbot’s Photographs at the Kórnik Library," Pamiętnik Bibli-oteki Kórnickiej, no. 41, (2024).
Kwabena Slaughter, "Twenty Two Divided by Seven: Geometry at Tuskegee," in Picturing Black History: Photographs and Stories that Changed the World, D. Edmeier, D. D. Johnson, S. Conn, and N. B. Breyfogle, eds. (New York: Abrams, 2024).
Julieta Pestarino, “Botanical Portraits: On a 1935 Argentinean Book by Ilse von Rentzell with Photographs by Anatole Saderman," Rundbrief Fotografie 31, no. 2 (2024): 8-22. https://www.deutscherkunstverlag.de/article/10.1515/rbf-2024-2004
Melody Davis, "Lost Among the Cannibals: Keystone's Misrepresentation of a Nguni Musician," International Journal on Stereo and Immersive Media 8, no. 1 (2024), 50-69. https://revistas.ulusofona.pt/index.php/stereo/article/view/9502/5839
Ranu Roychoudhuri, "Aesthetic of Light and Time: An Intellectual History of Pictorialism from India," South Asian Studies 40, no. 1 (2024): 25–45. https://doi.org/10.1080/02666030.2024.2338996
Elizabeth Keto, "Negative Evidence: Timothy H. O'Sullivan's Photographs of the Sea Islands," Rutgers Art Review 40 (Fall 2024): 1-27. https://rar.rutgers.edu/wp-content/uploads/2024/10/Volume-40_Negative-Evidence.pdf
Camille Bellet and Emily Kathryn Morgan, “Co-valence in Cow-veillance: Sensing Technologies and Human-Animal Affinities in Dairying,” Science, Technology, & Human Values (2024): 1-28. https://journals.sagepub.com/doi/full/10.1177/01622439241280177
Matthias Johannes Schmid Pfaller, "American Arcadia? The Shift of the Homoerotic Gaze in Herbert List’s Work," History of Photography (2024): 1–22. https://doi.org/10.1080/03087298.2024.2393044
Annebella Pollen, “‘Cameras and Young People Belong Together:’ Camera Comics (1944-46) as an Imaginative, Ideological and Commercial Space for Addressing and Depicting American Child Photographers,” Journal of Graphic Novels and Comics (2024): 1-22. https://www.tandfonline.com/doi/full/10.1080/21504857.2024.2367622
Sarah Bassnett, “Trevor Paglen’s Border Abstractions in the Age of Machine Vision,” photographies 17, no. 1-2 (Spring 2024): 25-42. https://doi.org/10.1080/17540763.2023.2272245
Sara Dominici, Guest editorial: Locating the Darkroom. Special issue on "The Darkroom: Chemical, Cultural, Industrial," PhotoResearcher 41 (April 2024): 4-15. http://www.eshph.org/journal/wp-content/uploads/sites/2/2024/03/PhR_41_Editorial.pdf
Catherine Zuromskis, "History in the First Person: The Visual Culture of the Zapruder Film," American Art 38, no. 1 (Spring 2024): 28-53.
2023 Published Articles & Essays
Ranu Roychoudhuri, “Notes on Historiography of Photographs from India,” History Compass, e12763, vol. 21, vol. 5 (2023). DOI: 10.1111/hic3.12763.
Sara Dominici, “Photography and Early Motor Touring in Britain,” History of Photography 47, no. 3 (2023): 234-255. https://doi.org/10.1080/03087298.2024.2338610.
Annebella Pollen, “‘There is nothing less spectacular than a pestilence:’ Picturing the Pandemic in Mass Observation’s Covid-19 Collections, History of the Human Sciences 36, no. 2 (April 2023): 71-104. https://doi.org/10.1177/09526951221134002.
Annebella Pollen, “From Art History Pedagogic Resource to Post-Digital Art Medium: Shifting Cultural Values in a Dismantled Slide Library,” History of Photography (2023): 5-27. https://doi.org/10.1080/03087298.2023.2284543.
Andrés Zervigón, “Visible Yet Transparent: The Lens in Nineteen-Century Photographic Cultures,” Critical Inquiry 49, no. 4 (Summer 2023): 626-662.
Andrés Zervigón, Review of Juliet Hacking and Joanne Lukitch, eds., Photography and the Arts: Essays on Nineteenth-Century Practices and Debates, London, Bloomsbury, 2020. In 19th-Century Art Worldwide 22, no. 1 (Spring 2023). Available at http://www.19thc-artworldwide.org/spring23/zervigon-reviews-photography-and-the-arts-edited-by-hacking-and-lukitsh.
Jessica Williams Stark, “From Hamburg to Cape Town: The Denizen Photography of Else and Helmuth Hausmann.” In Urban Exile: Theories, Methods, Research Practices, edited by Burcu Dogramaci, Ekaterina Aygun, Mareike Hetschold, Laura Karp Lugo, Rachel Lee and Helene Roth, 601-631. Bristol: Intellect, 2023.
Susan Laxton, “Play.” In The Art Institute of Chicago Field Guide to Photography and Media, edited by Antawan I Byrd and Elizabeth Siegel, 286. Chicago: The Art Institute of Chicago, 2023.
Alise Tifentale, “Completing an Unfinished Sentence: On the Collaboration between Sophie Thun and the Archive of Zenta Dzividzinska.” In Sophie Thun: Trails and Tributes (ex.cat.), edited by Christin Müller and Torsten Scheid, 49-55. Hildesheim: Kunstverein Hildesheim and Verlag für moderne Kunst, 2023.
Alise Tifentale, "Working the Labor-Leisure Machine: Proposal for a Photography Museum without Images." In Riga Technoculture Research Unit, edited by Elizaveta Shneyderman and Zane Onckule. Published online, February 2023: https://www.rtru.org/under-the-hood/participants/alise-tifentale.
Nadya Bair, "Collaboration." In The Art Institute of Chicago Field Guide to Photography and Media, edited by Antawan Byrd and Elizabeth Siegel, 112-117. Chicago: The Art Institute of Chicago, 2023.
Nadya Bair, “Suitcases, Stamps, and Paper: Piecing Together the Story of Black Star’s Nazi Photographs.” In Facing Black Star, edited by Thierry Gervais and Vincent Lavoie, 66-91. Cambridge: MIT Press, 2023.
Nadya Bair, “Made for Distribution: Robert Capa und John Steinbecks Reise in die UdSSR,” Fotogeschichte 168 (2023): 31-40.
Darren Newbury, "Ernest Cole’s House of Bondage, the United States Information Agency, and the cultural politics of race in the Cold War.” In Cold War Camera, edited by Erina Duganne, Andrea Noble and Thy Phu, 33-65. Durham and London: Duke University Press, 2023.
Kate Manlik, Jane Simon, and Nicole Matthews, "The Fabric of Resistance: Care, Domestic Objects, and HIV Self-Narratives in the Work of Kia LaBeija and Jessica Whitbread," Signs: Journal of Women in Culture and Society 48, no. 3, (2023): 683–707. https://doi.org/10.1086/723269.
Sarah Parsons, “Domesticating Jefferson Davis: Family Photography and Postwar Confederate Visual Culture,” American Art 37, no. 1 (Spring 2023), 82-105. doi: 10.1086/724509.
Susan Laxton, "Le Mot d'esprit et sa relation au composite," Transbordeur 7, 2023. Published online at https://transbordeur.ch/fr/2023/mot-esprit-relation-composite/.
Sarah Bassnett and Blessy Augustine, co-edited special issue of the journal Photography & Culture on Photography and 21st-Century Migration 16, no. 3 (September 2023). https://doi.org/10.1080/17514517.2024.2313910.
Sarah Bassnett, “Family, Diaspora, and the Politics of Care in Griselda San Martin’s The Wall, 2015-16,” Photography and Culture 16, no. 3 (September 2023): 219-33. https://doi.org/10.1080/17514517.2023.2292457.
Sarah Bassnett, “Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration,” Oxford Art Journal 46, no. 3 (December 2023): 327-55. https://doi.org/10.1093/oxartj/kcad030.
2022 Published Articles & Essays
Ranu Roychoudhuri, “Intermediality and Cosmopolitanism: Photography and Activism in Postcolonial Calcutta.” In Points of View: Defining Moments of Photography in India, Gayatri Sinha, ed. (Delhi: Kiran Nadar Museum of Art, 2022): 204—221.
Andrés Zervigón, “Visual Explosion in the Weimar Era’s Print Media.” In Material Modernity: Innovations in Art, Design and Architecture in the Weimar Republic, edited by Deborah Ascher Barnstone and Maria Makela, 115-139. London: Bloomsbury, 2022.
Camille Bellet and Emily Kathryn Morgan, “Breed(ing) Narratives: Visualizing Values in Industrial Farming.” Animal Studies Journal 11, no. 1 (2022): 200-255. Published online at https://ro.uow.edu.au/asj/vol11/iss1/10.
Donna West Brett, "Ilse Bing: Surrealism and Oneiric Paris." In Ilse Bing, edited by Juan Vicente Aliaga, 47-55. Stockport: Dewi Lewis/Madrid: Fundación MAPFRE, 2022.
Donna West Brett, "Inadequate Images: Material Violence, Redaction and Pixilation in the Stasi Archive." In Law’s Documents: Materiality, Authority, Aesthetics, edited by Katherine Biber and Trish Luker, 223-245. New York: Routledge Glass House series, 2022.
Donna West Brett, "László Moholy-Nagy: Adventures in Light, Space and Time." In Material Modernity: Innovative Visual Work in the Weimar Republic, edited by Deborah Ascher Barnstone and Maria Makela, 143-164. New York: Bloomsbury, 2022.
Melody Davis, "Minstrelsy, Blackface, and Racialised Performance in Narrative Stereoviews, 1860-1902," International Journal on Stereo & Immersive Media 6, no. 1: 70-89. https://revistas.ulusofona.pt/index.php/stereo/article/view/8088.
Sara Dominici, "Early Photographic Federations and the Pursuit of Collaborative Education," Early Popular Visual Culture 20, no. 4 (2022): 388-411. doi: 10.1080/17460654.2022.2087710.
Marie Meyerding, “'Africa's First Woman Press Photographer': Mabel Cetu's Photographs in Zonk!,” African Arts 55, no. 3 (2022). doi: https://doi.org/10.1162/afar_a_00669.
Josie R. Johnson, "Pictures for the Taking: Margaret Bourke-White’s Soviet Photographs in Magazines." The Journal of Modern Periodical Studies 13, no. 1 (2022): 1-42. Project MUSE muse.jhu.edu/article/857993.
Maria Garth, "Soviet Avant-Gardes and Socialist Realism: Women Photographers Bridging the Divide," Journal of Avant-Garde Studies 1, no. 2 (2022): 188-220. doi: https://doi.org/10.1163/25896377-00102002.
Maria Garth, "Issues, Challenges, and Insights: Art Historical Research on Latvian Art and Photography at the Zimmerli Art Museum (USA)," Proceedings of the National Library of Latvia 9, no. 29 (2022): 42-57. https://dom.lndb.lv/data/obj/1055522.html.
Maria Garth, "George Kennan’s Photography Collection of Political Exiles in Labor Camps of Late Imperial Siberia," Journal of Russian American Studies 6, no. 2 (2022): 120–145. https://doi.org/10.17161/jras.v6i2.18630.
Kelly Midori McCormick, "Tokiwa Toyoko, the nude shooting session, and the gendered optics of Japanese postwar photography," Japan Forum 34, no. 3 (2022), 383-411.
Carolin Görgen & Camille Rouquet, eds. "Camera Memoria: Photographic Memory from the Margins." Miranda: Multidisciplinary Journal on the English-speaking World, No. 25 (2022).
Robert Hirsch, “Photography and the Holocaust: Then and Now”
“Jewish & Partisan Photographic Perspectives, Part 2”, In VASA Journal on Images and Culture, Vienna, April 2022, see: https://vjic.org/vjic2/?page_id=6719.
Jordan Reznick, “Dismembered Muses and Mirrors that Bite: A Trans Perspective on Gender Variance in Surrealist Visual Arts.” In The Routledge Companion to Surrealism, edited by by Kirsten Strom. London: Routledge, 2022.
Jordan Reznick, “Through the Guillotine Mirror: Claude Cahun’s Photographic Theory of Trans against the Void,” Art Journal 81, no. 3 (Fall 2022): 53-69.
Matthias Johannes Pfaller Schmid, "Between Topographical Groundwork and Neocolonial Aspirations: The ‘Best Practice’ of Survey Photography in the Chilean-Argentine Boundary Case of 1902," Photography and Culture (2022). doi: 10.1080/17514517.2022.2126160.
Matthias Johannes Pfaller Schmid. "Monuments of Dissidence: 3D Models of the Social Unrest in Chile by the Artist Collective Antes del Olvido." H-ART. Revista de historia, teoría y crítica de arte, no. 11 (2022): 185–200. https://doi.org/10.25025/hart11.2022.08.
Helen Trompeteler, “Queen Victoria and the Photographic Expression of Widowhood,” 19: Interdisciplinary Studies in the Long Nineteenth Century, edited by Michael Hatt and Joanna Marschner, 2022 (33). doi: https://doi.org/10.16995/ntn.4717.
Lorenzo Triburgo and Sarah Van Dyck, Venus (2019) and roundtable participant: Critical Questions and Embodied Reflections: Trans Visual Culture Today—A Roundtable, Art Journal 80, no. 4 (Winter 2022): 38-52. doi: 10.1080/00043249.2021.1947702.
Andrés Zervigón, “Visual Explosion in the Weimar Era’s Print Media.” In Material Modernity: Innovations in Art, Design and Architecture in the Weimar Republic, edited by Deborah Ascher Barnstone and Maria Makela, 115-139. London: Bloomsbury, 2022.
Anja Schürmann. “Et Cetera Photobooks? Reflections on Conceptual Documentary Photography as Visual Enumeration.” In Forms of List-Making: Epistemic, Literary, and Visual Enumeration, edited by Barton R.A., Böckling J., Link S., and Rüggemeier A. Palgrave Macmillan, Cham, 2022. https://doi.org/10.1007/978-3-030-76970-3_13.
2021 Published Articles & Essays
Andrea Coffman, “Identifying the Photographer of an Early Panorama of Port Said: Francis Frith, Antonio Beato or Frank Mason Good?,” The Photo Historian: The Journal of the Royal Photographic Society’s Historical Group 191 (Winter 2021).
Anne Strachan Cross “‘The Pictures Which We Publish To-Day Are Fearful to Look Upon’: The Circulation of Images of Atrocity During the American Civil War,” History of Photography (17 Dec 2021). doi: 10.1080/03087298.2021.1993621.
Jessica Williams Stark, “A Working Woman’s Eye: Anne Fischer and the South African Photography of Weimar Women in Exile.” In Women and Photography in Africa: Creative Practices and Feminist Challenges, edited by Darren Newbury, Lorena Rizzo, and Kylie Thomas, 23-44. Abingdon: Routledge, 2021.
Kate Fogle, “A Second Life for the Snapshots of Elizabeth Howe Bliss,” History of Photography (December 2021). doi: 10.1080/03087298.2021.2010371.
Robert Hirsch, ““Nazi Photographic Perspectives,” VASA Journal on Images and Culture at: http://vjic.org/vjic2/?page_id=6180.
Nicole Hudgins, “No Girls Allowed? Gender in Victorian Photographic Societies, c.1850-1890,” Revue d’histoire culturelle, no. 3 (2021). Available online at https://revues.mshparisnord.fr/rhc/index.php?id=693.
Christine Hult-Lewis, "From Ashes to a Family," in What They Saw: Historical Photobooks by Women, 1843-1999 (NY: 10x10 Photobooks, 2021).
Susan Laxton, “Psicofotografía: Grete Stern and the Administration of the Unconscious,” October 172 (Spring 2020): 35-67. https://doi.org/10.1162/octo_a_00392.
Christina Michelon, “Views of Chicago: Picturing the Ruins of the Great Fire,” Panorama: Journal of the Association of Historians of American Art 7, no. 2 (Fall 2021). https://doi.org/10.24926/24716839.12401.
Katherine Mintie, “Picturing to Protect: Photography and Environmental Law in the United States, 1960-Present.” In Devour the Land: War and American Landscape Photograph, 1970-Present, edited by Makeda Best (Cambridge, MA: Harvard Art Museums, 2021).
Zsuszanna Szegedy-Maszak, “The Recently Discovered Notebook of Miklós Barabás. A Case Study of How Photographers in Eastern Europe Acquired Information on the Wet‐Collodion Process,” in Don’t Press Print: De/Re-constructing the Collodion Process: Proceedings of a conference held online on 1-2 October 2020. Royal Photographic Society, 2021.
Andrés Zervigón, “The Timeless Imprint of Erna Lendvai-Dircksen’s Face of the German Race.” In Photography in the Third Reich: Art, Physiognomy and Propaganda, edited by Christopher Webster, 97-128. Cambridge (UK): Open Book Publishers, 2021.