OCCASIONAL ESSAYS
expanded photography, Robert C. May Photography Lecture, University of Kentucky, 8 September 2023
untamed, UNLIKELY volume 08, Janaury 31, 2023
The Radicality of Intimacy, Theo Westenberger Estate, September 30, 2015
Les Goddesses; an essay occasioned by Moyra Davey’s exhibition: “Spleen. Indolence. Torpor. Ill-humor.” at Murray Guy Gallery, MOMMY, April 2012
The Shoes and Shroud of Che Guevara, 2012
Middle East Relations, Studio 10, May 2012
sad tree, Sachsenhausen (october 1995)
Taking a bath with “the best man in France,” 2012
An Ode to Douglas Huebler, 2012
excerpts from a diary of travel in India, 1989
Dual Projection; Blinky and Me, 2011
Sex on the Run? No, We Parked, The New York Times, Modern Love, 7 October 2010
The Dreamlife of Mayflies, 2009 tiszariverproject.com
A Coney Island of the Mind, 2000
I Paid for Woodstock, thirteen.org REEL 13
For David Foster Wallace with Love and Squalus, Exquisite Corpse
Helmbrechts walk, 1998 – 2003 – meditations, cultureID
a love letter to oleg kulik, ArtNet Magazine, 1997
SELECTED BIBLIOGRAPHY
‘Susan Silas: the self-portrait sessions’ Investigates the Projected Self, McDonald, Rachael, Entertainment Voice, 14 July 2016
CB1 Gallery: Susan Silas, Cap, Max King, Artillery, 30 June 2016
Susan Silas’ naked look at self-image at CB1 Gallery, Mizota, Sharon, Los Angeles Times, 25 June 2016
Everlasting Love: Susan Silas’s Intimate Photographs, Micchelli, Thomas, Hyperallergic, March 2014
Holocaust and Redemption in the Photography of Susan Silas, G. Roger Denson, Huffington Post, 5 April 2011.
I Love Susan Silas, Charlie Finch, ArtNet Magazine, August, 2009
“We are all witnesses”: Susan Silas’s Helmbrechts walk, Erin Hanas, Montage, 2009
Exposing violence, amnesia, and the fascist forest through Susan Silas and Collier Schorr’s Holocaust Art, Brett Ashley Kaplan, Images, vol 2, number 1, 2008. Brill publishing
REVIEWS
Peeling Back the Layers of Alina Szapocznikow’s Bodily Sculptures, Hyperallergic, 21 November 2019
On the altar of self-consciousness: NVM in conversation with Susan Silas and Liam Gillick, exhibition catalogue for OPHELIA by the artist Nadja Verena Marcin, Sandstein Verlag, 2019
The Understudied History of Enslaved Women in Colonial Cape Town, Hyperallergic, 29 August 2019
Inspired by Photos Taken by His Murdered Father, an Artist Offers an Eloquent View of Memory and Trauma, Hyperallergic, 26 June 2019
Walid Raad Uses Fact and Fiction to Tell a Powerful History of Beirut, Hyperallergic, 13 May 2019
Remembering Barbara Hammer, Who Envisioned Spaces for Women to Be Themselves, Hyperallergic, 3 March 2019
Martha Wilson Tries on Prescribed Female Roles, from Housewife to First Lady, Hyperallergic, 8 October 2018
Remembering Robert F. Kennedy’s Funeral Train, 50 Years Later, Hyperallergic, 18 September 2018
Childbirth and Menstruation in Defiant Art by Latin American Women, Hyperallergic, 11 July 2018
Ralph Eugene Meatyard: The Family Album of Lucybelle Crater at DC Moore Gallery, Photograph, Jan/Feb 2018
Barbara Hammer Refuses the Male Gaze in 1970s Photographs, Hyperallergic, 17 January 2018
With a Wall of Photos, Bernadette Mayer Evokes a Landscape of Memories, Hyperallergic, 5 October, 2017
Cows Going Home: Revisiting Sylvia Plachy’s photo essay, Theo Westenberger Estate, (tumblr site), 31 May 2017
Botticelli’s Venuses and Our Enduring Need for Beauty, Hyperallergic, 19 May, 2017
Incorporating Photography into Art History, Starting with August Sander, Hyperallergic, March 29, 2017
Meditative Light Art with Dark Undertones, Hyperallergic, February 15, 2017
A Forgotten 20th-Century Photographer Who Folded Her Work into the Fabric of Life, Hyperallergic, November 23, 2016
Framing Cindy Sherman Against a Hollywood Backdrop, Hyperallergic, September 20, 2016
Conjuring a Piece of the Earth by Its Outline, Hyperallergic, August 15, 2016
The Virtual is Liminal: An Interview with Claudia Hart, Hyperallergic, May 24, 2016
Using Cameras to Commune with Nature, Hyperallergic, March 28, 2106
Altarpieces for the Digital Age, Hyperallergic, March 9, 2016
Linn Underhill: Analogue Body Extraordinaire, Theo Westenberger Estate, February 2016
A Show of Over 100 Women Artists Offers Redress but No Resolution, Hyperallergic, January 18, 2016
The Larger-Than-Life Projections of a Modern-Day Artist Adventurer, Hyperallergic, December 7, 2015
Nona Faustine: White Shoes, Theo Westenberger Estate, November 30, 2015
A Woman Artist Who Turns Pornography into Painting, Hyperallergic, November 12, 2015
On Sexual Paintings and Shifting Images: An Interview with Joan Semmel, Hyperallergic, May 6, 2015
Conjuring the Anxiety of Domestic Spaces During War, Hyperallergic, March 18, 2015
Artifice, Authorship, and the History of Photography, Hyperallergic, September 9, 2014
A Painter Finds Depth in Flatness, Hyperallergic, August 28, 2014
Thoughts on the Life and Art of Barbara DeGenevieve, Hyperallergic, August 14, 2014
Art Before Images, Hyperallergic, April 10, 2014
A Look Inside Miami’s New Art Museum, Hyperallergic, December 19, 2013.
The Twilight Performance of an Aging Queen, Hyperallergic, December 10, 2013.
A Bag Lady by Any Other Name, Hyperallergic, October 28, 2013.
The Kaleidoscopic Visions of Leslie Thornton, Hyperallergic, May 22, 2013.
Finding Empathy in the Confines of Our Skin, Hyperallergic, April 8, 2013.
Sympathy for the Devil, Hyperallergic, December 17, 2012
Founded by Twin Artists, a Residency and Foundation Brightens Vietnam’s Art Scene, Hyperallergic, November 29, 2012
Female Artists, Female Bodies, Hyperallergic, July 23, 2012
A Building Portends the Future of Bushwick, Hyperallergic, June 4, 2012
dennis adams at the queens museum, ArtNet Magazine, 1996