Norman McLaren, Pas de deux, 1968. National Film Board of Canada. See “Norman McLaren, Pas de deux (1968)”.
WRITING
Ongoing
Editor of DOWSER, notes on artists’ moving image in Scotland (Glasgow: Transit Arts, 2020–)
2025
“Poor Man’s Avant-Garde: The counterhistories of Scotland’s contingent artists’ film”, Moving Image Review and Art Journal, Vol. 14, No. 1 (April 2025): 30–50.
2024
“Norman McLaren, Pas de deux (1968)”, CanadARThistories: Reimagining the Canadian Art History Survey, edited by Alena Buis, Johanna Amos, Sarah E.K. Smith, Elizabeth Anne Cavaliere, Devon Smither, and Jen Kennedy (Toronto: eCampus Ontario, 2024)
“Notes on Perception (looking out for a place to go)”, Bobbi Cameron and Owain Train McGilvary: I’m attended as a portal myself, Glasgow International, 2024
“Notes on Perception (looking out for a place to go)”, Bobbi Cameron and Owain Train McGilvary: I’m attended as a portal myself, Glasgow International, 2024
2023
“Ruinous Collage: Lis Rhodes’ political archivism”, Unravelling Times, The Hunterian Art Gallery (Glasgow, 2023)
2022
“Cruising Oblivion: Tim Leyendekker’s Feast (2021)”, Square Eyes (Vienna, 2022)
“Mandy McIntosh’s Fair Creature (2004)”, contribution to the British Art UnCanon (London, 2022)
“Tree Huggers, Space Cadets: Conversations with a Forest and non-human collectivity”, MIMC 001 (Hawick: Moving Image Makers Collective, 2022)
“Mandy McIntosh’s Fair Creature (2004)”, contribution to the British Art UnCanon (London, 2022)
“Tree Huggers, Space Cadets: Conversations with a Forest and non-human collectivity”, MIMC 001 (Hawick: Moving Image Makers Collective, 2022)
2021
“An artery: on Anne Marie-Copestake’s A love (2019)”, LUX Scotland (Glasgow, 2021)
“On Some Conditions Facing an Early Career Curator”, British Art Network January 2021 Newsletter, Paul Mellon Centre & Tate (London, 2021)
“On Some Conditions Facing an Early Career Curator”, British Art Network January 2021 Newsletter, Paul Mellon Centre & Tate (London, 2021)
2020
“Stemming the Flow: The Lake and The Lake / Land Underwater”, Open City Documentary Festival (London, 2020)
“Seizing the means of projection: thirty years of artists’ moving image exhibition in Glasgow”, MAP Magazine, #56: Staying Close (Glasgow, 2020)
“What good is sitting, alone in your room?: Black box, white cube, and the grey zone of artists’ moving image”, Institute of Contemporary Arts (London, 2020)
“Seizing the means of projection: thirty years of artists’ moving image exhibition in Glasgow”, MAP Magazine, #56: Staying Close (Glasgow, 2020)
“What good is sitting, alone in your room?: Black box, white cube, and the grey zone of artists’ moving image”, Institute of Contemporary Arts (London, 2020)
2019
“AGAINST DIALOGUE, OR, WE NEED TO SING TO MOUNTAINS: Notes from the 15th Berwick Film & Media Arts Festival”, MAP Magazine, #54: …Beneath High Libra (Glasgow, 2019)
2018
“Dark Chambers, Fever Dreams: Artists’ Moving Image and the Gothic Landscape”, MAP Magazine, #48: Together We Will Have A Lot of Fun (Glasgow, 2018)
“Flashing Green: Notes on Post-Nature, the 11th Taipei Biennial”, Videoclub (2018)
“‘DO YOU REALLY JUST WANT TO BE PART OF A BAND?’: Notes from the 14th Berwick Film & Media Arts Festival”, MAP Magazine, #47: The Body is a Fiction (Glasgow, 2018)
“Flashing Green: Notes on Post-Nature, the 11th Taipei Biennial”, Videoclub (2018)
“‘DO YOU REALLY JUST WANT TO BE PART OF A BAND?’: Notes from the 14th Berwick Film & Media Arts Festival”, MAP Magazine, #47: The Body is a Fiction (Glasgow, 2018)
2017
“Live action allegory construction, edited” in Curatorial Studio, Living Out Ideas (Glasgow, 2017), available at Good Press