Publications

Research Papers

Selected Articles

Screen Shot 2019-12-14 at 1.25.47 PM.png

“Whose Streets? Police Violence and the Recorded Image,” in Re-framing Street Photography," ed. Stephanie Schwartz, special issue, Arts 8 no. 4 (November 2019).

Screen Shot 2019-12-14 at 1.22.29 PM.png

“Interview between T. J. Demos, Terri Weissman, and Sunhee Jang” in Special Issue: "What Do Museums Change? Art and Democracy," Misul Segye (Monthly Art Magazine Published in Seoul, S. Korea), (August 2019): 78-83.

Screen Shot 2019-12-14 at 4.58.46 PM.png

“Impossible Closure: Realism and Durational Aesthetics in Susan Meiselas’s Nicaragua,” NOVEL: A forum on Fiction 49/2 (Fall 2016): 295-315.

Screen Shot 2019-12-14 at 5.10.05 PM.png

“Freedom’s Just Another Word,” in Contemporary Art: 1989 to the Present, ed. Alexander Dumbadze and Suzanne Hudson (Wiley-Blackwell, 2013): 311-321.

Screen Shot 2019-12-13 at 9.48.37 PM.png

Unknown Switchboard Operator, 1974

Weissman, Terri with Kevin Hamilton. “Art and Infrastructures: Information,” in "Art and Inftastructures: Information," ed. Kevin Hamilton and Terri Weissman, special issues Media-N 10 no. 3 (Fall 2014): 7-10.

Screen Shot 2019-12-14 at 7.28.15 AM.png

“Detroit’s Edible Gardens: Art and Agriculture in a Post-Environmental World,” in "Contemporary Art and the Politics of Ecology," ed. T.J. Demos, special issue,Third Text 120 no. 1, online supplement (January, 2013).

D-Town Farms, 2012

Screen Shot 2019-12-13 at 4.07.46 PM.png

“This is What Democracy Looks Like: Allan Sekula and the Political Subject,” in TATE In Focus: Waiting for Tear Gas 2000 by Allan Sekula, ed. Stephanie Schwartz (London: Tate Modern, 2016)

Allan Sekula, Waiting for Tear Gas, 1999-2000

Screen Shot 2019-12-14 at 5.04.04 PM.png

“Realism & Storytelling in American Scene Photography,” catalog essay, American Scene Photography: Martin Z. Margulies Collection (Fort Lauderdale: NSU Museum of Art, 2014): 2-18.

Screen Shot 2019-12-14 at 5.20.48 PM.png

“Berenice Abbott and the Science of Photography,” Berenice Abbott, (Galerie Nationale du Jeu de Paume: Paris, 2012): 30-46.