Articles and Interviews (selected)
Charlotte Kent, "Materializing the Immaterial: Aliza Shvarts Interviewed by Carlotte Kent," BOMB, 15 November, 2021:
https://bombmagazine.org/articles/materializing-the-immaterial-aliza-shvarts-interviewed/
Emily Apter, “A Conversation with Aliza Shvarts” October, 176 (Spring 2021):
[PDF]
Charlotte Kent, "Phreaking the Hotline: Aliza Shvarts," CLOT Magazine, 28 October 2020:
https://www.clotmag.com/oped/phreaking-hotline-aliza-shvarts-by-charlotte-kent
Elizabeth Buhe, “Aliza Shvarts: Purported,” The Brooklyn Rail, August 2020:
https://brooklynrail.org/2020/07/artseen/Aliza-Shvarts-Purported
Hallie Ayres, Emily Apter, and Aliza Shvarts in Conversation on Purported, e-flux Podcast, 5 May 2020:
https://www.e-flux.com/podcasts/407866/aliza-shvarts-and-emily-apter-on-purported and [transcript]
Emily Watlington, "Aliza Shvarts on the Traumatic Experience of Going Viral," Art in America, 24 April 2020,
Wendy Vogel, "Weapon of Choice," Artforum, 13 March 2020,
https://www.artforum.com/slant/wendy-vogel-on-art-and-abortion-82428
Lux Alptraum, "Opening a Pandora's Box of Truths About Rape Kits," Vox, 19 February, 2020,
Zuzana Štefková, "The body as evidence," Artalk, 11 September 2019, https://artalk.cz/2019/09/11/telo-jako-dukaz/
Olga Kopenkina, "Forever Banned: Aliza Shvarts' Exploration of Technologies of Gender," Women & Performance, Vol. 30, Issue 3, December 2021 and Moscow Art Journal No. 109, 2019:
https://www.tandfonline.com/doi/full/10.1080/0740770X.2021.1985277?src=
Osman Can Yerebakan, "The Artist Making Installations Out of Rape Kits," New York Magazine: The Cut, 15 January 2015:
https://www.thecut.com/2019/01/aliza-shvarts-rape-kit-exhibition-is-a-sad-american-picture.html [Anthem.pdf]
Emmanuel Olunkwa, "Interview: Aliza Shvarts," Artforum, 18 June 2018: www.artforum.com/interviews/aliza-shvarts-talks-about-her-exhibition-at-artspace-in-new-haven-connecticut-75730
Wendy Vogel, “Going Viral: Aliza Shvarts's Daring Performance Work.” Mousse Magazine, Issue 64 (Summer 2018). [Going Viral.pdf]
Jenna Crowder, “Language at the Edge of Legibility: Aliza Shvarts at Artspace New Haven,” Temporary Art Review, 28 June 2018: http://temporaryartreview.com/language-at-the-edges-of-legality-aliza-shvarts-at-artspace-new-haven/
Lux Alptraum, "There is Life After Campus Infamy," The New York Times, 21 July 2018:
https://www.nytimes.com/2018/07/21/style/campus-sex-women-exposure.html.
Martha Willette Lewis, "Live Culture, Episode 37: Structure (De, Con, & In)", WPKN (March 31, 2018): https://soundcloud.com/wpkn895/sets/live-culture-with-martha
Coco Fusco, "Learning the Rules of the Game," Texte Zur Kunst, 109 (March 2018): 108-127.
Laryb Abrar, “Abortion Art and its #MeToo Moments,” Musee Magazine, 25 July 2018: http://museemagazine.com/features/2018/7/24/abortion-art-and-its-metoo-moments
Packsy Plackis-Cheng, "Aliza Shvarts on Being Banned and What We Have in Common," Impactmania, 30 May 2017: http://www.impactmania.com/article/aliza-shvarts-banned-common/
Andrew Kachel, "Aliza Shvarts," Out of Order Magazine (Summer 2017): 257-267. [alizashvarts.pdf]
Ana Grahovac. “Aliza Shvarts’s Art of Aborting: Queer Conceptions and Reproductive Futurism.” Studies in the Maternal, 5(2), 1-19: http://www.mamsie.bbk.ac.uk/articles/abstract/10.16995/sim.17/
Rosemary Candelario, “Abortion Performance and Politics,” CSW Update, UCLA Center for the Study of Women (2012): https://escholarship.org/uc/item/7sv5h222
Lisa Hall Hagan. “A performance ethics of the ‘real’ body: the case of Aliza Shvarts and ‘Untitled [Senior Thesis], 2008.” Performing Ethos, 2:1 (2012).
Carrie Lambert-Beatty, “Make-Believe: Parafiction and Plausability”, October No. 129 (Summer 2009): 51-84. Cambridge, MA: MIT University Press. [Lambert-Beatty_Make-Believe.pdf]
Jennifer Doyle, “Blind Spots and Failed Performance: Abortion, Feminism, and Queer Theory”, Qui Parle: Critical Humanities and Social Sciences Vol. 18, No. 1 (Fall/Winter 2009): 25-52.
Charlie Finch, “Mission Aborted” Artnet Magazine (May 2008): http://www.artnet.de/magazine/mission-aborted/.
Amanda Marcotte “A+ For Abortion Art”, Reproductive Health Reality Check (2008): http://www.rhrealitycheck.org/blog/2008/04/21/a-for-abortion-art.
Julie Hilden, “Censorship at Yale: Why the University' Refusal to Exhibit Student Aliza Shvarts's Senior Art Project Violated Its Speech Code,” FindLaw (27 May 2008): https://supreme.findlaw.com/legal-commentary/censorship-at-yale-why-the-universitys-refusal-to-exhibit-student-aliza-shvartss-senior-art-project-violated-its-speech-code.html
Seth Kim-Cohen, “Art Lecturer: Yale erred in banning Shvarts’ art” Yale Daily News, April 23 2008:
https://yaledailynews.com/blog/2008/04/23/art-lecturer-yale-erred-in-banning-shvarts-art/.
Book Chapters and Catalogues (selected)
Laura S. Levitt, The Objects That Remain (Pittsburg: Penn State University Press, 2020).
Lux Alptraum, Faking It: The Lies Women Tell About Sex—And the Truths They Reveal (New York: Seal Press, 2018).
Sarah Fritchey, Angelique Szymanek, and Aliza Shvarts, Aliza Shvarts: Off Scene, design by Cayla Lockwood (New Haven, CT: Artspace, 2018). https://issuu.com/alizashvarts/docs/offscene_final_pages_cover_issuu [Off Scene.pdf]
Nikki Cesare Schotzko. Learning How to Fall: Art and Culture After September 11. (New York: Routledge 2015). [Schotzko_Learning How to Fall.pdf]
Jennifer Doyle. Hold it Against Me: Difficulty and Emotion in Contemporary Art. (Durham: Duke University Press, 2013). [Doyle_Hold it Against Me.pdf]
Joseph Roach, “Deep Play, Dark Play: Framing the Limit(less).“ The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum. Ed. James Martin Harding and Cindy Rosenthal. (New York: Palgrave MacMillan, 2011): 275-283.
Wendy Steiner. The Real Real Thing: The Model in the Mirror of Art. (Chicago: Chicago University press, 2010).