Writing

Publications: Art History and Art Criticism

  • “Thoughts on Wood,” in the Virginia Woolf Bulletin, 2010.  Republished excerpt from my “Lightness Visible: An Appreciation of Bloomsbury’s Books and Blocks” (see below).
  • “Virginia Woolf, Art Galleries and Museums,” in Maggie Humm (editor) The Edinburgh Companion to Virginia Woolf and the Arts (Edinburgh: Edinburgh University Press, 2010), 140-159.
  • “Woolf, Fry, and The Psycho-Aesthetics of Solidity,” in Lisa Shahriari and Gina Potts (editors) Virginia Woolf’s Bloomsbury: Aesthetic Theory and Literary Practice (Basingstoke: Palgrave Macmillan, 2010), 104-120.
  • “Lightness Visible: An Appreciation of Bloomsbury’s Books and Blocks,” in Nancy E. Green and Christopher Reed (editors) A Room Of Their Own: The Bloomsbury Artists in American Collections (Ithaca: Cornell University Press, 2008), 88-117. Commissioned essay funded by a major grant from the National Endowment for the Humanities.
  • “Woolf, Fry, and The Psycho-Aesthetics of Solidity,” in Lisa Shahriari and Gina Potts (editors) Back to Bloomsbury, Selected Papers from the Fourteenth International Conference on Virginia Woolf (Bakersfield: California State University Bakersfield, 2008), 244-254.
  • “Borderline Personalities: Woolf Reviews Kapp,” in Anna Burrells, Steve Ellis, Deborah Parsons and Kathryn Simpson (editors) Woolfian Boundaries: Selected Papers from the Sixteenth Annual Conference (Clemson University Digital Press, 2007), 127-137.
  • “The Twentieth Part: Virginia Woolf in the British Museum Reading Room,” in Literature Compass (Blackwell Publishing) Volume 4, Issue 1 (December 2006), 220-234. Online access: www3.interscience.wiley.com/journal/117994392/abstract
  • “The Twentieth Part: Word and Image in Woolf’s Reading Room,” in Helen Southworth and Elisa Kay Sparks (editors) Woolf and the Art of Exploration: Selected Papers From the Fifteenth Annual International Conference on Virginia Woolf (Clemson: Clemson University Digital Press, 2006), 103-111.
  • “A Conversation with Rodger Roundy,” in Number: An Independent Arts Journal, no. 57, Fall 2006, 6-7.
  • Review of Ann Martin’s Red Riding Hood and the Wolf in Bed: Modernism’s Fairy Tales (Toronto: University of Toronto Press, 2006), in Mark Hussey (editor) Woolf Studies Annual, Volume 14, 2008 (New York: Pace University Press), 198-201.
  • Review of Wayne Andersen’s Cézanne and the Eternal Feminine (Cambridge University Press, 2005) in H-France. Online access: http://h-france.net/vol6reviews/harvey2.html
  • “Charles and John, Or, On Letting Go and Holding On,” in the Virginia Woolf Bulletin, no. 17, September 2004, 17-26.
  • “The Critic Vanishes? Roger Fry’s Contribution to the Encyclopaedia Britannica,” in The Charleston Magazine: Charleston, Bloomsbury and the Arts, Issue 24, Autumn / Winter 2001, 15-20.
  • “‘The Irony of the Situation’: Fry, Daumier and the New York Times,” in The Charleston Magazine: Charleston, Bloomsbury and the Arts, Issue 23, Spring / Summer, 2001, 15-16.
  • “Cézanne versus Cézanne: Roger Fry’s ‘Double Story’ in The Northwestern Journal of Art History, vol. 1, Fall 2001, 1-9.
  • “Cézanne and Zola: Reassessment of L’Eternel feminine,” in The Burlington Magazine, no. 1142, vol. CXL, May 1998, 312-318.
  • “Cézanne’s Apples.” Letter to the British newspaper, The Independent, February 13, 1996, 18.

Publications: other