Peer-Reviewed Articles and Chapters
“Doom Donkey: Mick Barr's Drone of Information and The Rainbow Supremacy,” Black Metal Rainbows: Queer Metal Anthology. eds. Daniel Lukes and Stanimir Panayotov) (forthcoming PM Press, 2021).
"Living Labor: Between Marxism and Performance Studies,” Special Issue: Living Labor Guest edited by Aliza Shvarts and Joshua Lubin-Levy. Women and Performance, a journal of feminist theory, (February 2017). London: Routledge, Taylor & Francis.
“Nonconsensual Collaborations: Notes on a Shared Condition,” Special Issue: A Gun for Every Girl, Guest edited by Trista Mallory, Jen Kennedy, and Angelique Szymanek The Journal of Feminist Scholarship. (Spring 2017). University of Massachusetts, Dartmouth,
“Troubled Air: SunnO)))’s Metal Maieutic”. Special Issue: The Haptic, Guest edited by Rizvana Bradley. Women & Performance, a journal of feminist theory. Vol. 24, No. 2-3 (2014): 203-219. London: Routledge, Taylor & Francis.
“How I Learned to Stop Worrying and Love the Rape Kit”. Extensions: The Online Journal of Embodiment and Technology. Special Issue: “Anxieties of Overexposure: Enlargements, Contagions, and the Dark”. Issue 6 (October 2011). Republished in Feminist and Queer Information Studies Reader. Ed. Patrick Keilty and Rebecca Dean (Sacramento: Litwin Press, 2013).
Various Entries, MoMA Highlights: 375 Works from the Museum of Modern Art (New York: Museum of Modern Art, Revised 3rd Edition, 2019).
“Lady Lumps,” The Rational Dress Society: Cultural Uniform (New York: Art in General, 2018).
“Alienation, too, has its uses” (co-written with Begum Yasar), Adrian Piper (Berlin: Sternberg Press, 2017).
“Atomic Time: On Karin Schneider’s Black Paintings,” Situational Diagram, Ed. Karin Schneider and Begum Yasar (Berlin: Sternberg Press, 2016).
“On Sabotage,” Bodies Burning at the Edges (with Kiki Smith, Jacolby Satterwhite, Robert Montgomery, and Thomas Beale. Curated by Sarah Victoria Bothwell Fels and Jonah King). Leroy Neiman Gallery, Columbia University. New York, NY (October 2015).
“How does it feel to be a fiction?” Critical writing in conjunction with Public Opinion Laboratory/Andrew Lampert: Faked/Out, (New York: Recess, 2017).
“KANNON/CANON” (liner notes for studio album). Kannon. SunnO))) (Southern Lord: November 2016).
“Black Wedding,” The Brooklyn Rail, Special Issue: Polyphony (Brooklyn, February 2015).
“Fatherfucker” SALT: Contemporary Art and Feminism Magazine, Issue 7: Heterophobia (London: Montez Press, 2015).
“The Con”. TDR/The Drama Review. Summer 2014, Vol. 28, No. 2 (T222): 2-3. Cambridge: MIT University Press.
“On Intimacies and Writing Histories of Performance: An Interview with Amelia Jones”, Oratures Vol 1 (2013), Performance Studies NYU.
“Figuration and Failure, Performance and Pedagogy: Reflections Three Years Later”. Women & Performance, a journal of feminist theory. Vol. 21, No. 1 (2011): 161-168. London: Routledge, Taylor & Francis. Excerpted in Practice (Whitechapel Documents in Contemporary Art), ed. Marcus Boon and Gabriel Levine (Cambridge, MA: MIT Press, 2018)
“Shvarts Explains [...]”. The Yale Daily News, April 18 2008.
Selected Talks and Lectures
Hotline: Aliza Shvarts in Conversation with Sara Reisman. Performance-in-Place Series. The 8th Floor/Shelley & Donald Rubin Foundation. NYC (2020).
Reinvention and Contention: An Incomplete History of the Whitney Biennial, 1932-Present. The Whitney Museum of American Art. NYC (2019). and
Utopian Aesthetics from Andy Warhol to Laura Owens [Critical Utopianism from Yoko One to Jimmie Durham]. The Whitney Museum of American Art. NYC (2017-2018). or and
The Practical Past: Intergenerational Feminisms (roundtable with Mary Kelly, Renee Green, Emily Apter, and Trista Mallory). Mitchell-Innes & Nash. NYC (2017).
This Space: Art and Nationhood [PARTICIPATION/OCCUPATION/BELONGING]. The Whitney Museum of American Art. NYC (2017). or and
“Consent/Dissent: A talk by Aliza Shvarts and Emma Sulkowicz” (lecture and screening). The 8th Floor/Shelley & Donald Rubin Foundation. NYC (2016).