Books in progress
Swordplay and Stereometry: The Terror, Masculinity, and a Late Enlightenment Conception of Nature and the Antique (unsolicited letter of interest from humanities editor at Cornell University Press).
Articles in progress
“The Matter of Fact: J.-L. David’s Portrait of the Lavoisiers” (revision and conflation of two different papers on the Lavoisiers delivered at the 1997 and 1998 annual meetings of the American Society of Eighteenth-Century Studies).
“Emperor Apparent: J.-L. David’s Portrait of Napoleon Crossing the Alps” (revision of paper of same title delivered at the 1997 annual meeting of the Western Society for Eighteenth-Century Studies).
Chapters in Books
“Historically Specific Uses of a Universal Subject,” French Identity and Its Discontents: Nationalism, Colonialism, and Race, ed. Tyler Stovall and Georges van den Abbeele (Lanham, Md.: Rowman and Littlefield:2003)
Contributions to Books
Catalog entries for two portraits by J.-L. David (Emmanuel-Joseph Sieyès and Napoleon Bonaparte), La Collection Grenville L. Winthrop. Chefs-d’œuvre du Fogg Art Museum, Université de Harvard, Paris: Réunion des Musées nationaux, pp. 97-100. Catalog entries also appeared in the English-language edition, A Private Passion: 19th-Cenury Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University,, New York: Metropolitan Museum, pp. 89-93.
"Swordplay in 1793: Jacques-Louis David's Painting of Le Peletier de Saint-Fargeau on his Deathbed," ed. James A.W. Heffernan, Representing the French Revolution, Dartmouth College: University Press of New England, pp. 169-191
"Rebel Daughters: Double Bind or Chiasmus?" (review of Rebel Daughters: Women and the French Revolution, ed. Sarah Melzer and Leslie W. Rabine), European Romantic Review, July, pp. 101-110
"David contre David: Réflexions sur un colloque," Revue de l'art, no. 91, pp. 68-70 Review of Le Serment du Jeu de Paume by Philippe Bordes, Burlington Magazine, vol. CXXVII, February, pp. 101-102
Review of David et Rome (exhibition at the French Academy in Rome), Oxford Art Journal, vol. 5, no. 1, pp. 66-67