In preparation
Female Art and Agency in Former Yugoslavia 1971-2001, Bloomsbury (2024)
“A Leap Across Borders: Alternative Exhibition Concepts at Belgrade’s Student Cultural Center during the 1970s”, in: Exhibitions as Sites of Artistic Contact during the Cold War, Katalin Cseh-Varga; Cristian Nae (eds.), London/New York: Routledge (in progress)
Book chapters and catalog entries
„Here/Hear“, foreword to Being In-Between/In-Between Being: an exploration of intertextuality and identity by womxn and queer artists, exh. catalog, University of Buffalo Art Department, 2021, curated by Jocelyn E. Marshall
“Marta Jovanović,” in 57th October Salon Belgrade: The Marvelous Cacophony, curated and edited by Danielle Kvaran and Gunnar B. Kvaran, Cultural Center of Belgrade 2018, 204-205.
„Food Decay and Disgust. Paul McCarthy’s Bossy Burger as Contemporary Still Life’”, in: Silvia Bottinelli, Margherita d’Ayala Valva (eds.), The Taste of Art. Food, Cooking, and Counterculture in Contemporary Practices, Fayetteville: The University of Arkansas Press 2017, 93-105.
“’In the midst of this strange country:’” Paul Nash’s War Landscapes,” in: Gordon Hughes, Philipp Blom, (Hrsg.): Nothing but the Clouds Unchanged: Artists in World War One, Getty Publications, Los Angeles 2014, 80-87.
Articles
“’Finding a Body‘: Performance as Practice and Theory in the Work of Barbara T. Smith,” Zbornik, Journal of the Department of Modern and Contemporary Art, University of Belgrade, 2019, 99-116.
“Documenting Carolee Schneemann’s Performance Works” (with Rachel Rivenc), The Getty Research Journal no 9, January 2018, Los Angeles, The Getty Research Institute, 167-189.
“Belgrade Heartbeat. Marta Jovanovic’s Performance Ljubav”, in: PAJ – Performance Art Journal, MIT Press Journals, no. 115 (Volume XXXIX, no. 1), 2017, 46-52.
„Ent-Grenzung und Groteske: Ekel in den performativen Installationen Paul McCarthys“, kunsttexte.de – Journal für Kunst- und Bildgeschichte, vol. 4/2016, 1-21.
“Computational Evaluation of Coral Reef Aesthetics”, with Andreas F. Haas, Marine Guibert, Tim Co, Sandi Calhoun, Forest Rohwer et al, in: PeerJ, Peer-Reviewed Open Access Journal, 10 November 2015.
“Ernst Ludwig Kirchner’s drawings of the Apocalypse,”(with Thomas W. Gaehtgens), The Getty Research Journal, no. 6, Los Angeles 2014, pp. 83-102.
“The Fairest in the Land: the Deconstruction of Beauty in Paul McCarthy’s WS”, in: Afterimage – The Journal for Media Arts and Cultural Criticism, vol. 41.3, November/December 2013, pp. 14-18.
“Sex, Violence, and the Human Body: Disgust and Censorship in the Visual Arts”, GENRE – International and Interdisciplinary Journal for Literature and the Arts, Long Beach 2012, pp. 85-100.
Paul McCarthy und die ‚Entertainment-Metropole‘ Los Angeles- Aspekte der Produktion und Rezeption eines multimedialen Kunstkonzepts , Digitale Hochschulschriften, Ludwig-Maximilians-University Munich, 2011.
Reviews
Amy Bryzgel: Performance Art in Eastern Europe since 1960, Manchester University Press 2017, review for H-NET Reviews in the Humanities &Social Sciences
Lucia Rainer: On the Threshold of Knowing. Lectures and Performances in Art and Academia, Bielefeld: transcript 2017, review for sehepunkte.de.
“Escape Attempt”, Shulamit Nazarian Gallery Los Angeles, 2017, in: secac Online Exhibition Reviews
Pamela Geldmacher, Rewriting Avantgarde: Fortschritt, Utopie, Kollektiv und Partizipation in der Performancekunst, Bielefeld, transcript Verlag, 2015, review for sehepunkte.de, 2017.
Blogs and Interviews
Anja Foerschner and Marta Jovanovic on Feminist Art, CAA Conversations, March 2019
“Crossing the Line: The “Disgusting” Female Body as Artistic Medium of Resistance”, The Getty IRIS, March 2017.
“A World War One exhibition finds new meaning in France,” The Getty Iris, December 16, 2016.
Jasmina Avramov, Interview with Anja Foerschner, ELLE Serbia, April 2016, p. 68.
Feature and Interview in Les Femmes Folles – Women in Art, September 2015.
“A Wartime Apocalypse, in Miniature”, The Getty Iris, August 1, 2014.