
Feinting Spells: Cubism and Trompe l'Oeil
New York Review
January 19, 2023
Part of the delight of trompe l’oeil is the way it relocates, at least for a moment, the edge between art and life. The most dramatic example here is an actual marble tabletop on which Boilly painted a spill of pocket contents—business card, letter, miniature portrait, coins. Collage can do something comparable, as in Picasso’s inclusion of a real calling card whose folded corner has been removed and replaced with a drawn imitation. For both artists, real-world utility

Sybil & Cyril: Dynamism, Domesticated
New York Review of Books
March 10, 2022
Between-the-wars has become a popular trope of film and television—cloche hats and people huddled before enormous radios—but Uglow gives us something else: thinking people navigating a world that was not just different from our own but also different from the one that nostalgia had imposed on them. Sybil and Cyril may have been adventurous and “modern,” but they spent as much time looking backward as looking

Knowing How: Art and Labor
New York Review of Books
August 18, 2021
Glenn Adamson and Alan Sekula take different approaches and rely on different areas of expertise, but the central story they tell is the same: how expressions of mind have gained hegemony over manipulations of matter, and what has been damaged in the process.

Kerry James Marshall's Exquisite Corpses
New York Review of Books
December 12, 2022
For four decades Marshall has been helping himself to the bounty of art history, extrapolating distinctive strengths of early Renaissance or French rococo and setting them to work in entirely novel ways to depict Black subjects and Black experience. In a spellbinding exhibition now at Jack Shainman Gallery, it’s Surrealism’s turn. Hilarious and sinister, easy to approach and impossible to resolve, the paintings and drawings in “Exquisite Corpse: This is Not the Game” follow the segmented protocol to which the Surrealists laid claim under the name le cadavre exquise.

The House That Johns Built
New York Review of Books
January 13, 2022
What has Johns done for us lately? Pretty much what he did for us in the first place: he continually disrupts the mental shorthand that converts complex visual experience into simple mental categories, with all their buttressing opinions, received wisdom, and personal preferences. In a world (including the art world) where “visuals” are used to simplify arguments and kindle beliefs, Johns reminds us that doubling, bifurcation, and uncertainty are the terms of vision itself.

Portraits and Politics
New York Review
October 7, 2021
It is hard, looking at the young Alessandro de’ Medici in Jacopo da Pontormo’s painting of 1534–1535, not to empathize. Long-nosed and tender-eyed, he has a moody Adam Driver gravitas. Though he is looking at us, his hands emerge from his vast black cloak to fiddle with stylus and paper, where a faint female profile can be seen. Reputedly

Philip Guston's Discomfort Zone
New York Review of Books
January 14, 2021
Like the cigarettes and bottles, like the eye that looks insatiably but never grows a hand to fix what it sees, the hood signals a history of poor decisions and ineffectual resolutions that may or may not include mob violence. It is the kind of bad that can find a home beneath all kinds of headgear

Winslow Homer
The Atlantic
May 2022
The Homer of The Gulf Stream is both more worldly and more elusive than the Homer of little red schoolhouses and sou’westers. And what the 90 or so paintings and watercolors assembled in “Crosscurrents” make clear is that the most salient quality of his art was never straightforwardness; it is his knack for using visual precision to demonstrate the limits of vision. We can see what is happening but not what will happen. He is the master of the ambiguous outcome, which also makes him the master of the unclear moral: Believe in the ship, and The Gulf Stream is a lesson in forbearance; believe in the waterspout, and it is a lesson in futility.

Seeing Things: Anna Mary Howitt in Art History
in Picturing the Invisible: Exploring interdisciplinary synergies from the arts and the sciences. Edited by Paul Coldwell and Ruth M. Morgan
2022
In the freshly written saga of Victorian women artists, Howitt was cast as the system’s ‘tragic victim’. This story is seductive. It pits a likeable, relatable heroine against a misogynistic villain, and dovetails neatly with current understandings of gender politics. It is, however, full of holes. The most yawning lacuna concerns the art itself: none of Anna Mary Howitt’s paintings is currently locatable.

The Garfields Collect
Johanna and Leslie Garfield in conversation with Susan Tallman
2021
Published in conjunction with "Modern Times: British Prints 1913–1939" at the Metropolitan Museum of Art, 2021

other recent publications
Jim Dine: I Print: Catalogue Raisonné of Prints, 2001–2020
with Tobias Burg, editor
Göttingen: Steidl 2021
Bits and Pieces: 400 Years of Collage
Print Quarterly, March 2021
What the Little Woman Was Up To:
Five Hundred Years of Women’s Work: The Lisa Unger Baskin Collection
New York Review of Books, 26 March 2020
The Self-portrait from Schiele to Beckman at the Neue Galerie
New York Review of Books, 18 July 2019
Poons v Koons: the Art of ‘The Price of Everything'
New York Review Daily, February 2019
Mirror Mirror: The Prints of Alison Saar
Susan Tallman, Nancy Doll and Alison Saar
Portland: Jordan Schnitzer Family Foundation 2019
Art in Print, Sep-Oct 2018
Art in Print, Jul-Aug 2018
The American Dream: Pop to the Present
Stephen Coppell, Catherine Daunt, Susan Tallman
London: the British Museum 2017