Olivia Naoise Crough, oliviacrough at gmail dot com
[Pronounced “nee-sha crow”]
PhD Candidate, Art, Film, and Visual Studies, Harvard University
Visiting Assistant Professor, History of Art and Design, Pratt Institute
News
Presenting “For Whom the Air Waves” at Harvard Graduate School of Design’s Symposium in Honor of Giuliana Bruno on November 21, 2024.
Selected Writing
“Swamp Water,” Mubi Notebook (forthcoming).
“Dispatches from the 62nd New York Film Festival: Currents,” Screen Slate (October 21, 2024).
“Cinema of Palestinian Return,” Screen Slate (May 2, 2024)
“Figures Minus Facts: The Films of Mary Helena Clark,” Screen Slate (February 24, 2024).
“Friendship’s Death,” Screen Slate (December 10, 2023).
“Knights of Cinema: The Story of the Palestine Film Unit,” Screen Slate (November 30, 2023).
“Cinema, Surrealism, and Marxism at BAM,” Screen Slate (November 10, 2023).
“Soft Power and Imperialist Pedagogy: Clara Ianni at Amant,” Art in America (October 26, 2022).
“William Henry Fox Talbot at the Pushkin Museum, Moscow,” CAA reviews (August 12, 2022).
“No hay futuro: on Sarah Minter’s Nadie es inocente,” e-flux (October 2021). Written for Adelita Husni-Bey’s Unreformable Artist Cinemas program.
“Varvara Stepanova: Bolster our defense with whatever you can!” in Jodi Hauptman and Adrian Sudhalter eds., Engineer, Agitator, Constructor: The Artist Reinvented (New York: MoMA, 2020): 108—111.
“Isotype in Moscow,” in Hicham Awad ed., The Derivative 1:1 (Beirut Art Center, October 27, 2020).
“Le rire collectif (Collective laughter),” Charlie Chaplin dans l’œil des avant-gardes (Nantes Museum of Art and Snoeck, 2019): 72–77.
“Hermann Glöckner” and “Brigitte Matschinsky-Denninghof,” Inventur: Art in Germany 1943–55 (Cambridge: Harvard Art Museums/New Haven: Yale University Press, 2018): 160–62, 280–82, 290–93.
“Jess T. Dugan” and “Rubén Ortiz-Torres,” Art for Rollins: The Alfond Collection of Contemporary Art, Vol. III (Ithaca: Cornell Fine Arts Museum, 2018): 66, 140.
“El Lissitzky’s Screening Rooms,” The Key Debates: Mutations and Appropriations in European Film Studies: Screens (University of Amsterdam Press, 2016): 223–36.
“Les Salles de Projection d’El Lissitzky,” Nouvelle revue d’esthétique 2:16 (Presses Universitaires de France, March 2016): 97—107.
[Pronounced “nee-sha crow”]
PhD Candidate, Art, Film, and Visual Studies, Harvard University
Visiting Assistant Professor, History of Art and Design, Pratt Institute
News
Presenting “For Whom the Air Waves” at Harvard Graduate School of Design’s Symposium in Honor of Giuliana Bruno on November 21, 2024.
Selected Writing
“Swamp Water,” Mubi Notebook (forthcoming).
“Dispatches from the 62nd New York Film Festival: Currents,” Screen Slate (October 21, 2024).
“Cinema of Palestinian Return,” Screen Slate (May 2, 2024)
“Figures Minus Facts: The Films of Mary Helena Clark,” Screen Slate (February 24, 2024).
“Friendship’s Death,” Screen Slate (December 10, 2023).
“Knights of Cinema: The Story of the Palestine Film Unit,” Screen Slate (November 30, 2023).
“Cinema, Surrealism, and Marxism at BAM,” Screen Slate (November 10, 2023).
“Soft Power and Imperialist Pedagogy: Clara Ianni at Amant,” Art in America (October 26, 2022).
“William Henry Fox Talbot at the Pushkin Museum, Moscow,” CAA reviews (August 12, 2022).
“No hay futuro: on Sarah Minter’s Nadie es inocente,” e-flux (October 2021). Written for Adelita Husni-Bey’s Unreformable Artist Cinemas program.
“Varvara Stepanova: Bolster our defense with whatever you can!” in Jodi Hauptman and Adrian Sudhalter eds., Engineer, Agitator, Constructor: The Artist Reinvented (New York: MoMA, 2020): 108—111.
“Isotype in Moscow,” in Hicham Awad ed., The Derivative 1:1 (Beirut Art Center, October 27, 2020).
“Le rire collectif (Collective laughter),” Charlie Chaplin dans l’œil des avant-gardes (Nantes Museum of Art and Snoeck, 2019): 72–77.
“Hermann Glöckner” and “Brigitte Matschinsky-Denninghof,” Inventur: Art in Germany 1943–55 (Cambridge: Harvard Art Museums/New Haven: Yale University Press, 2018): 160–62, 280–82, 290–93.
“Jess T. Dugan” and “Rubén Ortiz-Torres,” Art for Rollins: The Alfond Collection of Contemporary Art, Vol. III (Ithaca: Cornell Fine Arts Museum, 2018): 66, 140.
“El Lissitzky’s Screening Rooms,” The Key Debates: Mutations and Appropriations in European Film Studies: Screens (University of Amsterdam Press, 2016): 223–36.
“Les Salles de Projection d’El Lissitzky,” Nouvelle revue d’esthétique 2:16 (Presses Universitaires de France, March 2016): 97—107.