Dr Fiona Anderson

Lecturer in Art History

Email: fiona.anderson@ncl.ac.uk
Telephone: 0191 208 8687

Publications

Anderson F. Monks of the Dead River: Cruising New York’s Ruined Waterfront in the late 1970s. University of Chicago Press, 2019. In Press.
Becker P, Day J, Barham A, Hebson N, Anderson F, Elkin K. Artists Who Write: Strategies. 2017. Newcastle upon Tyne: The Northern Charter, 1 day.
Anderson F, Tobin A. Collaboration is Not An Alternative: Artists Working Together in London and New York, 1974–1981. In: Meredith A. Brown, Michelle Millar Fisher, ed. Collaboration and Its (Dis)contents: Art, Architecture, and Photography Since 1950. London: Courtauld Books Online, 2017, pp.158-178.
Anderson F. ‘‘A trail of drift and debris’: Traces of Whitman in the correspondence art of Ray Johnson'. Journal of American Studies 2015, 49(1), 55-75.
Anderson F. An Unhemmed Dress: Popular Preservation and Civic Disobedience on the Manhattan Waterfront. Shima: The International Journal of Research Into Island Cultures 2015, 9(1), 18.
Anderson F. Cruising the Queer Ruins of New York’s Abandoned Waterfront. Performance Research 2015, 20(3), 135-144.
Anderson F. Preserving and politicising the alternative space. Oxford Art Journal 2015, 38(3), 448-451.
Anderson F. Dominic Johnson, Glorious Catastrophe: Jack Smith, Performance and Visual Culture (Manchester: Manchester University Press, 2012). Contemporary Theatre Review 2014, 24(1), 116-117.
Anderson F. eds. Lynne Cooke and Douglas Crimp, with Kristen Poor, Mixed Use Manhattan: Photography and Related Practices, 1970s to the Present (Cambridge, MA: MIT Press, 2010). Immediations 2011, 2(4).
Anderson F. Notions of the Collaborative in the Work of David Wojnarowicz. Papers of Surrealism 2010, (8).
Anderson F. Paul Thek: Diver, a Retrospective at the Whitney Museum of American Art. The Burlington Magazine 2010, 153(1294).
Anderson F. Sue-Ellen Case, Feminist and Queer Performance: Critical Strategies (Houndsmill: Palgrave Macmillan, 2009). Contemporary Theatre Review 2009, 19(3).