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]
"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. [Living Labor.pdf]
“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, http://www.jfsonline.org/issue12-13/articles/shvarts/ [Nonconsensual Cllaborations.pdf]
“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. [Troubled Air.pdf]
“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). [How I learned.pdf]
“Alienation, too, has its uses” (co-written with Begum Yasar), Adrian Piper (Berlin: Sternberg Press, 2017). [Alienation.pdf]
“Atomic Time: On Karin Schneider’s Black Paintings,” Situational Diagram, Ed. Karin Schneider and Begum Yasar (Berlin: Sternberg Press, 2016). [Atomic Time.pdf]
“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). [On Sabotage.pdf]
“KANNON/CANON” (liner notes for studio album). Kannon. SunnO))) (Southern Lord: November 2016). [KANNON_CANON.pdf]
“Black Wedding,” The Brooklyn Rail, Special Issue: Polyphony (Brooklyn, February 2015). http://www.brooklynrail.org/2015/02/criticspage/black-wedding
“Fatherfucker” SALT: Contemporary Art and Feminism Magazine, Issue 7: Heterophobia (London: Montez Press, 2015). http://otdac.org/static/salt/issue7.html
“The Con”. TDR/The Drama Review. Summer 2014, Vol. 28, No. 2 (T222): 2-3. Cambridge: MIT University Press. [The Con.pdf]
“On Intimacies and Writing Histories of Performance: An Interview with Amelia Jones”, Oratures Vol 1 (2013), Performance Studies NYU. http://performance.tisch.nyu.edu/object/OratureVolI.html. [On Intimacy.pdf]
“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) [Figuration and Failure.pdf]
“Shvarts Explains [...]”. The Yale Daily News, April 18 2008. https://yaledailynews.com/blog/2008/04/18/shvarts-explains-her-repeated-self-induced-miscarriages/ [Yale Daily News.pdf]
Utopian Aesthetics from Andy Warhol to Laura Owens [Critical Utopianism from Yoko One to Jimmie Durham]. The Whitney Museum of American Art. (2017-2018). [https://whitney.org/Events/CriticalUtopianism] [https://whitney.org/Events/LearningSeriesUtopianAesthetics] .
The Practical Past: Intergenerational Feminisms (roundtable with Mary Kelly, Renee Green, Emily Apter, and Trista Mallory). Mitchell-Innes & Nash. New York, NY. (2017). [http://www.miandn.com/news/feminism-s-practical-past]
In the Last Instance (roundtable with Avram Finkelstein, Kameelah Janan Rasheed, Joshua Lubin-Levy, and others). Artist Space. New York, NY. (2017). [http://artistsspace.org/programs/in-the-last-instance]
This Space: Art and Nationhood [PARTICIPATION/OCCUPATION/BELONGING] The Whitney Museum of American Art. (2017). [https://whitney.org/Events/ThisSpaceArtAndNationhood] [https://whitney.org/Events/ParticipationOccupationBelonging]
“Consent/Dissent: A talk by Aliza Shvarts and Emma Sulkowicz” (lecture and screening). The 8th Floor. New York, NY. (2016).
Perpetual Inventory: Round-table discussion with Karin Schneider and Begum Yasar. Lévy Gorvy Gallery. New York, NY.
Prosthetic Realities, Fake Truths, and True Lies in Colombian Contemporary Art. David Rockefeller Center for Latin American Studies, Harvard University. Cambridge, MA. (2016). [https://drclas.harvard.edu/event/prosthetic-programming]
“A Curse: Between Concept and Conception” (keynote address). Magic: Between Embodiment and Ontology. 7th Annual Emerging Scholars Conference. Department of Art History and Communication Studies, McGill University. Montreal, Canada. (2016). [https://www.mcgill.ca/ahcs/channels/event/magic-between-embodiment-and-ontology-emerging-scholars-and-faculty-symposium-257598]
“Workshop: On Sabotage” (with Silvia Federici, Lise Soskolne/W.A.G.E, Melanie Gilligan, and Marina Vishmidt). WE (not I): Meetings, Talks, and Readings. Artists Space. New York, NY. [http://artistsspace.org/programs/we-not-i]
“Queens of Welfare/Pawns of Capital: Reframing welfare debates through archives, public discussion, and brunch” (roundtable with Frances Fox Piven, Silvia Federici, Mimi Abromowitz, Premilla Nadesen, and Arlen Austin). Abrons Arts Center. New York, NY. (2015). [http://www.abronsartscenter.org/on-view/exhibits/queens-of-welfare-pawns-of-capital-reframingwelfare-debates-through-archives-public-discussions-and-brunch/]
Interviews and Selected Bibliography
Martha Willette Lewis, "Live Culture, Episode 37: Structure (De, Con, & In)", WPKN (March 31, 2018): https://soundcloud.com/wpkn895/sets/live-culture-with-martha
Andrew Kachel, "Aliza Shvarts," Out of Order Magazine (Summer 2017): 257-267. [alizashvarts.pdf]
Nikki Cesare Schotzko. Learning How to Fall: Art and Culture After September 11. (New York: Routledge 2015). [Schotzko_Learning How to Fall.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/
Jennifer Doyle. Hold it Against Me: Difficulty and Emotion in Contemporary Art. (Durham: Duke University Press, 2013). [Doyle_Hold it Against Me.pdf]
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).
Rosemary Candelario. Abortion Performance and Politics. CSW Update, UCLA Center for the Study of Women. 2012: http://escholarship.org/uc/item/7sv5h222
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).
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]
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.
Seth Kim-Cohen, “Art Lecturer: Yale erred in banning Shvarts’ art” Yale Daily News, April 23 2008: http://www.yaledailynews.com/news/2008/apr/23/art-lecturer-yale-erred-in-banning-shvarts-art/.