Publications

Living To Tell, review of Paris Lees’ What It Feels Like For A Girl, in Tribune, July 2021.

What Does It Mean To Be Working Class In The Arts? in Tribune, April 2021.

Class Slippers: Jo Spence on Fantasy, Photography and Fairytales. With a preface by Marina Warner. (Bristol: RRB Books: 2020).

Gender, Class and Cliché in the BBC’s Normal People, in Red Pepper, May 2020.

“The Photography of the Oppressed”, in Tribune Magazine, February 2020.

“A Portrait of an Unseen Female Grotesque: Carol Morley’s The Alcohol Years (2000)”, in Another Gaze: Feminist Film Journal, August 2019.

“The Labour of Class Discourse: Jo Spence and The Unmentionableness of Class”, in Art and Work, special issue 9, PARSE JOURNAL, Spring 2019.

“‘Unsuitable for Galleries’: The Class Politics of Self-Representation in Jo Spence’s Photographic Collaborations”, in Orlando Magazine, Issue 03, Beyond The Body. November 2018. pp66-71.

“A Working-Class Anti-Pygmalion Aesthetics of the Female Grotesque in the Photographs of Richard Billingham”, in “Femininity Revisited: Figuring Critical Femininity Studies”, special issue of European Journal of Women’s Studies, eds Ulrika Dahl and Jenny Suden. July 2018. pp355-370.

“Against ‘Good Taste’: Class, Corpulence and the Subversive Pleasures of ‘Unfit’ Femininities”, in Fat Sex: New Directions in Theory and Activism (London: Ashgate, 2015), eds Helen Hester and Caroline Waters. pp67-84.

“Defensive Pleasures: Class and the Carnivalesque and Shameless” in One+One Filmmakers Journal, Issue 12, Vol 2. December 2013. pp24-29

“Delicious Decay: The Laugh of the Grandmother - Images of the Female Grotesque in Leonora Carrington's The Hearing Trumpet and David and Al Maysles' Grey Gardens”, in Everyday Surrealism: Literature, Theatre, Film, eds Sven Hanuschek and Margit Dirdvherl (München: Edition Text und Kritik, 2013). pp110-122.