History of Photography and Contemporary Art
Professor Siona Wilson teaches at the College of Staten Island. Her research interests are grounded in issues of sexual difference and the intersection of art and politics in post-war and contemporary art. She has published on photography, experimental film, and performance art, and her first monographic book, Sex-Politics UK: Feminist Effects in 1970s Art is forthcoming from University of Minnesota Press. Professor Wilson is also a contributing writer for Art Review.
Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance. Minneapolis, MN : University of Minnesota Press, 2014.
Review of Modern Women: Women Artists at the Museum of Modern Art, edited by Cornelia Butler and Alexandra Schwartz (New York: Museum of Modern Art, 2010). caa.reviews, October 13, 2011.
"Enduring Death: Hauntings of Literature and Art." Review of Death-Drive: Freudian Hauntings in Literature and Art, by Robert Rowland Smith (Edinburgh: Edinburgh University Press, 2010). parallax 17, no. 4 (2011): 124-129.
“Reading Freire in London: Jo Spence’s Photographs Between Popular and Avant-Garde.” In The Popular Avant-Garde, edited by Renée Silverman, 183-199. Amsterdam and New York: Editions Rodopi BV, 2010.
“’Girls say yes to boys who say no’: Four Artists Refigure the Sex War on Terror.” Oxford Art Journal 32, no. 1 (2009): 121-142.
“Destinations for Feminist Art: Past, Present and Future.” Women’s Studies Quarterly 36:1/2 (2008): 302-307.
“From Women's Work to the Umbilical Lens: Mary Kelly’s Early Films.” Art History 31, no. 1 (2008): 79-102.
“White Metonymy: a Discussion of Jo Spence and Terry Dennett’s Colonization.” In Jo Spence: Beyond the Perfect Image. Photography, Subjectivity, Antagonism, 242-61. Barcelona: Museu d’Art Contemporani Barcelona, 2005.