A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760-1830 (New Haven and London: Paul Mellon Centre for Studies in British Art in association with Yale University Press, 2022).

“Why Do We Think There Have Been No Great Women Artists? Revisiting Linda Nochlin, the Archive, and Practices of Feminist Art History,” The Art Bulletin 104, no. 4 (December 2022): 70-94, https://www-tandfonline-com.ezp-prod1.hul.harvard.edu/doi/full/10.1080/00043079.2022.2070397?src=.

“Colonialism in the Photographic Archive,” PMC Notes, Paul Mellon Centre for Studies in British Art, commissioned essay (January 2022), https://issuu.com/paulmelloncentre/docs/pmc_notes_20.

“Mary Wollstonecraft" and “Élisabeth Vigée Le Brun,” in Women Who Changed the World, 4 vols., ed. Candice Goucher (Santa Barbara, CA: ABC-CLIO, 2022).

"Archival Silence and Historical Bias,” People and the Photo Archive [Paul Mellon Centre Photo Archive], Paul Mellon Centre for Studies in British Art, commissioned essay (November 2021), https://photoarchive.paul-mellon-centre.ac.uk/groups/Archival-Silence-and-Historical-Bias.

“Peintres Femmes: A Review,” Journal18 (October 2021), https://www.journal18.org/5872. Review of Peintres femmes, 1780-1830. Naissance d’un combat (Musée du Luxembourg, 2021).

“Living, Breathing Expressions of Self: On Jennifer Higgie’s The Mirror and the Palette,” Los Angeles Review of Books (January 18, 2022), https://lareviewofbooks.org/article/living-breathing-expressions-of-self-on-jennifer-higgies-the-mirror-and-the-palette/. Review of Jennifer Higgie, The Mirror and the Palette: Rebellion, Revolution, and Resilience: Five Hundred Years of Women’s Self Portraits (Simon & Schuster, 2021).

“Fortyish Woman Seeks Meaning of Life,” Los Angeles Review of Books (March 4, 2021), https://lareviewofbooks.org/article/fortyish-woman-seeks-meaning-of-life/. Review of Mia Kankimäki, The Women I Think About at Night: Traveling the Paths of My Heroes (Simon & Schuster, 2020).

“Marie-Guillemine Benoist, Revolutionary Painter,” Art Herstory (December 18, 2020), https://artherstory.net/marie-guillemine-benoist-revolutionary-painter/.

“‘Don’t Regret. Remember’: Frictions of History and Gender in Céline Sciamma’s Portrait of a Lady on Fire,” Los Angeles Review of Books (May 11, 2020), https://lareviewofbooks.org/article/dont-regret-remember-frictions-of-history-and-gender-in-celine-sciammas-portrait-of-a-lady-on-fire. Review of Céline Sciamma, Portrait de la jeune fille en feu, 2019.

“Towards a Historically Representative Canon: Integrating Gender and Data for a Revised Model of the Past,” in Jeffrey Collins, Elizabeth Fraser, Elizabeth Mansfield, Amelia Rauser, Kristel Smentek & Wendy Bellion, Paris Spies-Gans, Nancy Um, Amy Freund, “Reflections on HECAA at 25: A Roundtable Discussion,” Journal18 Issue 9 Field Notes (Spring 2020), http://www.journal18.org/issue9/reflections-on-hecaa-at-25-a-roundtable-discussion/. Roundtable on the state and future of the art historical field.

Interview with Heather McPherson, ASECS at 50 Interview Series, Eighteenth-Century Studies 52, Special Issue: ASECS at 50 (Winter 2020), https://muse.jhu.edu/article/747234.

“Mary Moser: Portraitist,” Journal18, Issue 8 Self/Portrait (Fall 2019), http://www.journal18.org/issue8/mary-moser-portraitist/. 

“Exceptional, but not Exceptions: Public Exhibitions and the Rise of the Woman Artist in London and Paris, 1760-1830,” Eighteenth-Century Studies 51, no. 4 (Summer 2018): 393­-416, https://muse.jhu.edu/article/699954.

“The Year 1800: The Growing Presence of Female Exhibitors at the Royal Academy,” in The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (London: Paul Mellon Centre for Studies in British Art, 2018), https://www.chronicle250.com/1800.

 “The Year 1812: Gender and the ‘Present State of…Public Taste’,” in The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (London: Paul Mellon Centre for Studies in British Art, 2018), https://www.chronicle250.com/1812.

 “A Princely Education through Print: Stefano della Bella’s 1644 Jeux de Cartes Etched for Louis XIV,” Getty Research Journal, no. 9 (Spring 2017): 1-22, https://www.journals.uchicago.edu/doi/abs/10.1086/691284?mobileUi=0. Nominated by the Getty Research Institute for the Association of Print Scholars’ Schulman and Bullard Article Prize; won honorable mention. 

“On Margaret Cavendish,” essay reflecting on Margaret Cavendish’s The Blazing World (1666), Los Angeles Review of Books (March 2017, print edition): 99-104.

“‘Let the Southerns come here’: Letters of a Slaveholding Father and Son,” The Princeton & Slavery Project (November 2017), https://slavery.princeton.edu/stories/let-the-southerns-come-here-letters-of-a-slaveholding-father-and-son.

“James Madison,” The Princeton & Slavery Project (November 2017), https://slavery.princeton.edu/stories/james-madison.

“‘The Fullest Imitation of Life’: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution,” Journal18, Issue 3 Lifelike (Spring 2017), http://www.journal18.org/1438.

“Shock Dog! New Sculpture at the Met,” Journal18 (2015), http://www.journal18.org/nq/shock-dog-new-sculpture-at-the-met-by-paris-amanda-spies-gans/.

“‘The Air of a Real Tour’: Women Writers and the First Narrative Geographies for Children, 1790-1828,” Princeton University Library Chronicle 74, no. 2 (Winter 2013): 210-251, https://www.jstor.org/stable/10.25290/prinunivlibrchro.74.2.0210#metadata_info_tab_contents.