Book
Beyond the Happening: Performance Art and the Politics of Communication, Rethinking Art’s Histories (Manchester: Manchester University Press, 2020).
Edited Book
London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960–1980, ed. Jo Applin, Catherine Spencer and Amy Tobin (University Park, PA: Penn State University Press, 2018).
Journal Articles
‘To Let You Understand: Franki Raffles and Feminist Solidarity,’ Art History 45, no. 3 (2022): 624–49, https://doi.org/10.1111/1467-8365.12661
‘The Red Gown: Reflections on the In/Visibility of Menstruation in Scotland,’ co-authored with Camilla Røstvik and Bee Hughes, Open Library of Humanities Journal 8, no. 1 (April 2022): https://olh.openlibhums.org/article/id/6340/
‘Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación,’ ARTMargins 10, no. 2 (2021): 50–72, https://doi.org/10.1162/artm_a_00292
‘Joan Jonas’s Imagist Poetics,’ Art Journal 80, no. 1 (Spring 2021): 66–83, https://doi.org/10.1080/00043249.2021.1872304
‘Challenging Nationalisms at the Venice Biennale,’ with Karen Brown, Journal of Curatorial Studies 9, no. 2 (Autumn 2020): 3–6, https://doi.org/10.1386/jcs_00008_2
‘Forms of Difference in Sorcières,’ Women: A Cultural Review 30, no. 3 (2019): 254–79, https://doi.org/10.1080/09574042.2019.1658512
‘The Pedagogies of Performative Afterlife,’ Parallax 24, no. 1 (February 2018): 19–44, https://doi.org/10.1080/13534645.2017.141526
‘Acts of Displacement: Lea Lublin’s Mon fils, May ’68 and Feminist Psychosocial Revolt,’ Oxford Art Journal 40, no. 1 (May 2017): 65–83, https://doi.org/10.1093/oxartj/kcx012
‘A Calendar of Happenings: Allan Kaprow, Counter-Chronologies and Cataloguing Performance, c. 1970,’ Art History 39, no. 3 (June 2016): 568–99, https://doi.org/10.1111/1467-8365.12213
‘Performing Pop: Marta Minujín and the “Argentine Image-Makers”,’ Tate Papers 24 (Winter 2015): http://www.tate.org.uk/research/publications/tate-papers/24/performing-pop-marta-minujin-and-the-argentine-image-makers
‘Abstraction’s Ecologies: Post-Industrialisation, Waste and the Commodity Form in Prunella Clough’s Paintings of the 1980s and 1990s,’ British Art Studies 1, no. 1 (2015): http://dx.doi.org/10.17658/issn.2058-5462/issue-01/cspencer
‘Coral and Lichen, Brains and Bowels: Jay DeFeo’s Hybrid Abstraction,’ Tate Papers 23 (Spring 2015): http://www.tate.org.uk/research/publications/tate-papers/coral-and-lichen-brains-and-bowels-jay-defeos-hybrid-abstraction
‘The Independent Group’s “Anthropology of Ourselves”,’ Art History 35, no. 2 (April 2012): 314–35, https://doi.org/10.1111/j.1467-8365.2011.00888.x
Chapters in Books
‘The Time and Place of Revolt: The London Women’s Film Group and Women of the Rhondda,’ in Of Other Spaces: When Gesture Becomes Event, ed. Sophia Hao (Berlin: Sternberg, 2019), 195–201.
‘Taking the Trouble to Sound It: Mediating Conflict in the Work of Rita Donagh,’ in London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960–1980, ed. Jo Applin, Catherine Spencer and Amy Tobin (University Park, PA: Penn State University Press, 2018), 115–32.
‘Ensnare, Engulf, Overwhelm: From Existentialism to Counterculture in the work of Marta Minujín,’ in Sabotage Art: Politics and Iconoclasm in Contemporary Latin America, ed. Sophie Halart and Mara Polgovsky Ezcurra (London: I. B. Tauris, 2016), 13–34.
Second paperback edition published with Bloomsbury, 2022.
‘Covert Resistance: Prunella Clough’s Cold War “Urbscapes”,’ in British Art in the Nuclear Age, ed. Catherine Jolivette (Farnham: Ashgate, 2014), 171–94.
Winner of the 2016 Historians of British Art Book Award in the ‘Multi-Author’ category.
Exhibition Guides and Catalogues
Life Support: Forms of Care in Art and Activism (Glasgow: Glasgow Women’s Library, 2021), exhibition guide, co-written with Caroline Gausden, Kirsten Lloyd, and Nat Raha. Downloadable PDF available here.
‘Introduction,’ in Robert Mallary: The New Mexico Reliefs (London: Mayor Gallery/Frieze Masters, 2017), 1–9.
Shorter pieces of writing
‘After Dematerialization, Cybernetics: Art, Systems and the Centro de Arte y Comunicación,’ Journal of the History of Ideas Blog, 8 April 2022.
‘Maud Sulter: Significant Others,’ Boswell Art Collection: 25th Anniversary (St Andrews: University of St Andrews, 2021).
‘2002: A Short History of Abstract Art in Britain,’ The Royal Academy Summer Exhibition: A Chronicle, 1769-2018, Paul Mellon Centre for Studies in British Art (2018): https://chronicle250.com/2002
‘1987: The Overlooked Inventiveness of Women’s Abstraction,’ The Royal Academy Summer Exhibition: A Chronicle, 1769-2018, Paul Mellon Centre for Studies in British Art (2018): https://chronicle250.com/1987
‘Taking Care: Feminist Curatorial Pasts, Presents and Futures,’ with Kirsten Lloyd, Victoria Horne and Jenny Richards, On Curating 29 (May 2016): 116–28.
Book Reviews
‘Ana Mendieta is Everywhere’ (review of Genevieve Hyacinthe, Radical Virtuosity, MIT 2019), Art History 44, no. 1 (2021): 186–191, https://doi.org/10.1111/1467-8365.12409
‘The Extreme Limits of Performance’ (review of Dominic Johnson, Unlimited Action, Manchester 2018), Oxford Art Journal 43, no. 1 (March 2020): 146–149, https://doi.org/10.1093/oxartj/kcaa001.
‘The Expanding and Disappearing Work of Art’ (review of Adair Rounthwaite, Asking the Audience,Minnesota 2017 and Anna Dezeuze, Almost Nothing, Manchester 2017), Art History 41, no. 5 (2018): 1003–7, https://doi.org/10.1111/1467-8365.12409
‘“Made in England”: Art History, Criticism and Curating through the Writings of Lawrence Alloway, Dawn Ades and Lawrence Gowing,’ Critique d’Art 46 (Spring/Summer 2016), https://journals.openedition.org/critiquedart/21195
‘Richard Tuttle,’ Sculpture Journal 24, no. 2 (2015): 305–6, https://doi.org/10.3828/sj.2015.24.2.13
‘Performance, its Documents, and Audiences’ (review of Mechtild Widrich, Performative Monuments: The Rematerialisation of Public Art, Manchester, 2014 and Frazer Ward, No Innocent Bystanders: Performance Art and Audience, Dartmouth, 2012), Oxford Art Journal 38, no. 1 (2015): 152–5, https://doi.org/10.1093/oxartj/kcv001
‘Prunella Clough: Regions Unmapped’ by Frances Spalding, Immediations 1, no. 4 (Winter, 2012): 34–6.