“Video Installation.” Oxford Bibliographies in Cinema and Media Studies (online), ed. Krin Gabbard (New York: Oxford University Press, 2020). Access at:

“Broken English: Allegories of Media Ruin in the Digital Age,” in Artists’ Moving Image in Britain since 1989, ed. Erika Balsom, Lucy Reynolds, Lucy Perks (New Haven: Yale University Press, 2019).

“Vesuvius at Home,” essay on film by Christin Turner commissioned by Vdrome, online artists’ moving image platform (October 2019). Access at:

Ways of Seeing After the Internet,” Millenium Film Journal 67 (Spring 2018), 62-73.

“Cut to Cute: Fact, Form, and Feeling in Digital Animation,” Conversation with filmmaker and artist Peggy Ahwesh, Experimental and Expanded Animation, ed. Nicholas Hamlyn and Vicky Smith (London: Palgrave MacMillan, 2018.

“Review of Adair Rounthwaite, Asking the Audience: Participatory Art in 1980s New York (Minneapolis: University of Minnesota Press, 2017),” Panorama: Journal of the Association of Historians of American Art (May 2018). Access at:

“A Machine in the Garden.” Review of The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema (Cambridge, MA: MIT Press, 2015), Oxford Art Journal (March 2018).

“Paradise Lost.” Review of Leap Before You Look: Black Mountain College, 1933-1957, Institute of Contemporary Art, Boston. Journal of Art & the Public Sphere, Vol. 5, No. 2 (December 2016), 198-205.

“Subterranean Homegrown Blues.” Review of Thomas Crow, The Long March of Pop: Art, Music and Design, 1930-1995 (New Haven: Yale University Press, 2014).” Art Journal Vol. 75, No. 3 (Fall 2016), 70-73.

“EASTER MORNING: Bruce Conner’s Second Coming,” in BRUCE CONNER: IT’S ALL TRUE, ed. Rudolf Frieling and Gary Garrels, San Francisco Museum of Modern Art/Museum of Modern Art (Berkeley: University of California Press, 2016), 359-361.

“Pop, Collaboration, Utopia: Bruce Conner’s BREAKAWAY in 1960s Los Angeles,” Camera Obscura 89, Vol. 30, No. 2 (September 2015), 1-27.

“Delirious Architectures: On Jeremy Blake, Liquid Crystal Palace, and Digital Materialism. An Interview with Michael Connor by Johanna Gosse,” in Abstract Video: The Moving Image in Contemporary Art, ed. Gabrielle Jennings (Berkeley, CA: University of California Press, 2015), 116-128.

“Et in Arcadia Ego: Richard Torchia in Conversation with Johanna Gosse on Tacita Dean’s JG (2013) and Exhibiting Film in the Gallery,” MIRAJ: Moving Image Review & Art Journal 3.1 (April 2014), 94-104.

“Waiting to be Seen,” in James Coupe: On the Observing of the Observer of the Observers, exhibition catalogue, The Phillips Museum of Art, Franklin & Marshall College, Lancaster, PA (2013), 13-19.

From Art to Experience: The Porous Philosophy of Ray Johnson,” and “Reading Ray: VanDerBeek Deep,” The Journal of Black Mountain College Studies (Spring 2012).

“Celluloid Circus: Three ‘Ruckus’ Films by Red Grooms,” in Old Masters and Modern Muses: Red Grooms’s Portraits of Artists, 1957-2009, exhibition catalogue, Bryn Mawr College (2010), 28-30.

“Art on the Front Lines: Contemporary Artists and Politics,” Radical History Review 106 (Winter 2010), 198-214.