My first book, Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon, was published by Duke University Press in 2018. In collaboration with the Hood Museum, I recently organized a multidisciplinary symposium which explored questions relating to resource extraction, carbon imaginaries, species extinction and evocations of the deep past and worlds-to-come in contemporary art. A third research project in progress analyzes how contemporary artists critically engage with AI, machine vision, virtual reality and 3D printing as rapidly evolving forms that are marked by indeterminancies. It argues that these technologies serve to unsettle identity formations that span ontological boundaries (i.e. between human and nonhuman actants) and established hierarchies that are encoded across racial and gender lines.
"Whose Digital Heritage? Contemporary Art, 3D Printing and the Limits of Cultural Property," Third Text 159. 33 (July 2019). Forthcoming.
"A Face in the Cloud: Visual Culture, Artificial Intelligence, and the Physiognomic Turn," in Wiley Balckwell Companion to Visual Culture, ed. Aubrey Anable and Catherine Zuromskis (Hoboken: Wiley Blackwell, forthcoming 2019). Commisioned critical essay.
Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon (Duke University Press, 2018).
“Preservation By Other Means: Contemporary and the Deconstruction of Heritage,” special issue edited with Mary Coffey, Future Anterior 15.1 (Summer 2018).