The Bitter Southerner

Good Luck, Morons: Lazarus Lake and His Impossible Race 
       -(audio version on Audm, read by Simon Vance)
Bitter Southerner's Top Stories of 2017
The Persistence of Vinyl


Lazarus Lake and the Race that Eats Its Young

Nashville Scene

OSGEMEOS: Brazilian Artist Duo
Picasso Baby: Picasso’s Lesser-Known Ceramic Works
Review: Watch Me Move, Frist Animation Exhibit
Kitsch, Watkins, and the Tim Burton-Nashville Connection


Against Subtlety
Field Trip #3: Phoenix is a Nightmare
Field Trip #2: Chicago
Field Trip #1: Los Angeles
Is Nashville Ready for an Art Fair?
A Hush in the Hustle: Doug Wheeler at the Guggenheim
Book Review: Magic and Loss: The Internet as Art
Loaded Symbols and Artistic Responsibility
Permanent Residents: Jenny Holzer at Cheekwood
What are some good art documentaries?
How can I stop procrastinating?
On Originality
On the Art-Life and Work-Life Balance
On Craftsmanship
Practice Makes Perfect
The Many Ways of Vinyl: Kevin Cooley and Phillip Andrew Lewis
Review: The Medium's Session at Zeitgeist Gallery

Creative Loafing

Good Luck, Morons: Lazarus Lake and His Impossible Race (re-print)

Oxford American

100 under 100: the New Superstars of Art, as selected by their peers


          Required Reading


          The Unseen World: A Father's Legacy & Secrets in the Information Age          

Empty Mirror

          Is Southern Art a Thing?: Thoughts from a Technically Southern Art Writer

Chapter 16

Between the Mystery and Wonder 

The Tennessean

TSM receives "most significant collection of contemporary art"
A Glimpse into Bhutan, the 'Forbidden Kingdom'
Frist delves into European art, past and present
Maplewood students, Pakistani artist deliberate on drones
Malick Sidibé's energetic B&W photos on display
Frist curator explores 'Phantom Bodies'
Vanderbilt professor shares 'Lost Art' of photography
Sherrick & Paul exhibit Vivian Maier photos
The Ghosts of Technology Past
Jaume Plensa’s larger-than-life ‘Human Landscape’
William Eggleston and daughter Andra launch textile line.
American Grit: Katy Grannan Revisits Dust Bowl


Interview with Mae Aur
Interview with Sara Estes, Guest Editor No:83
A Conversation with Harmony Korine

12th and Broad

David Lusk Gallery Rolls Out New Show
The Story Behind Hope in the Hills

Nashville Arts Magazine

My Favorite Painting
Julia Martin (cover story)
The Porch Writer's Collective
Ted Jones: Man of Faith


Art of Work: Hyeon Jung Kim
Picturing Music: Kandinsky at the Frist
Art Versus Craft: Selvage at TSU





The Los Angeles Review

             Yesterday and All the Days After That

3:AM Magazine

Poem Brut #43/Duos #14 - Umbilical (with Veronica Kavass)

The Citron Review

             Citron 10: Anthology | Notes on Flash Fiction Selection
I Thought You Were an Anchor in the Drift of the World

Razor Lit Mag

             Yesterday and All the Days After That
             Before the Razor Essay

Julep Journal

              Ten Year Gap: from my journals in 2004 and 2014

Waxing & Waning: A Literary Journal

              Texarkana: Five Poems 
              An Infinite Number of Things that Are Not This

Filling Station

             Ten Year Gap: from my journals in 2004 and 2014  



             LISTEN: No Gallery? No Problem. Advice for Making Your Own Art Show

              LISTEN: Burnaway Columnist Helps Atlanta Frame Artwork The Right Way



"At some point you are in front of something you cannot ignore", essay for McLean Fahnestock: Undiscovered Country, Austin Peay State University, 2019. 

"Unseen World", introduction for The Drake by Tamara Reynolds. Forthcoming, 2019.

"Welcome to Midnight", essay, published in the anthology What Does It Mean to Be White in America2Leaf Press (New York), 2016.

"The Story of Tyler Hildebrand", exhibition catalogue essay, Tyler Hildebrand: Grandma Whitey, published by David Lusk Gallery, 2015. 

"The Space Between", exhibition catalogue essay, Maysey Craddock: Strand,  published by David Lusk Gallery, 2014.

"A New Way of Seeing", exhibition catalogue essay, Mary Addison Hackett: Crazy Eyes, published by David Lusk Gallery, 2014.