SELECTED PUBLICATIONS: Photographs, Articles, & Self-Authored Essays


Ballerini, Julia, ed. SEQUENCE(con)SEQUENCE,  Aperture Foundation, NY, 1989

Felshin, Nina, The Presence of Absence: New Installations, Independent Curators, Inc., NY, NY, 1989

Galassi, Peter, The Pleasures and Terrors of Domestic Comfort, Museum of Modern Art, NY, 1991

Geibert, Ronald, Parents, The Dayton Art Institute, Dayton, OH, 1992

Gender and Memory, special issue of SIGNS: Journal of Women in Culture and Society (UCLA), vol. 28, no. 1., edited by Marianne Hirsch and Valerie Smith. Cover image and "Missing," pp.478-79, University of Chicago Press, Journal Division, Fall 2002.

George, Alice Rose, Abigail Heyman, and Ethan Hoffman, eds., flesh & blood, Picture Project,  NY, 1992

Handy, Ellen, “Fixing the Art of Digital Photography: Electronic Shadows,” History of Photography, Spring 1998, Guest Editor Susan H. Edwards

Handy, Ellen, “Genius loci, Ingenious Locations, and Landscape Photography Today, Nostalgia, Femininity, and Looking Toward the Millennium,” Camerawork, A Journal of Photographic Arts, San Francisco, CA, Vol. 23 No. 2, 1996

Hirsch, Marianne, “Collected Memories: Lorie Novak's Virtual Family Album,” in Inter/Faces: Women's Visual and Performance Art, ed. by Sidonie Smith, Julia Watson, Ann Arbor: Univ. of Mich., 2003. READ

Hirsch, Marianne, and Lorie Novak, “Family Projections: Lorie Novak in conversation with Marianne Hirsch,” Family Politics, Issue 20, Photoworks Annual, Brighton, England, 2013

Hirsch, Marianne, The Generation of Postmemory: Writing and Visual Culture After the Holocaust, Columbia University Press, NY, 2012. Cover Image and work discussed in several essays.

Hirsch, Marianne, “Projected Memory: Holocaust Photographs in Personal and Public Fantasy,” in Acts of Memory: cultural recall in the present ed. by Mieke Bal, Jonathan Crewe, and Leo Spitzer, University Press of New England, Hanover, NH, 1999

Hirsch, Marianne, “Resisting Images:  Power, Knowledge, and Agency” in Provoking Agent
edited by Judith Gardiner, University of Illinois Press, 1995

Hirsch, Marianne, “Surviving Images: Holocaust Photographs and the Work of Postmemory,The Yale Journal of Criticism 14.1, Spring 2001, pp. 5-37, Yale Univ. and The Johns Hopkins Univ. Press. PDF

Hirsch, Marianne, FAMILY FRAMES photography, narrative, and postmemory, Harvard,1997

Kenny, Kay, “Lorie Novak,” Encyclopedia of Twentieth-Century Photography, Routledge, NY,
Volume 2, p.1169-1172, 2006

Korean Monthly Photo Magazine, Featured Photographer, October 2005

Lahs-Gonzales, Olivia and Lucy Lippard, Defining Eye: Women Photographers of the 20th Century,
St. Louis Art Museum, St. Louis, MO, 1997

Nordstrom, Alison, VOYAGES (per)FORMED exhibition catalogue, Southeast Museum of Photography, Daytona Beach, FL, 2001

Novak, Lorie, “Collected Visions”, in The Familial Gaze, ed. by Marianne Hirsch,
University Press of New England, Hanover, NH, 1999, PDF

Novak, Lorie, “Fragments and Past Lives,” in Gender and Culture in the 1950s edited by Deborah Nelson, WSQ (Women's Studies Quarterly), Vol 33, Nos. 3 & 4, Fall/Winter 2005, PDF

Novak, Lorie, “Photographic Interference,” in Picturing Atrocity edited by Geoffrey Batchen, Mick Gidley, Nancy K. Miller, Jay Prosser, Reaktion Books, London, 2012

Novak, Lorie, “Photographs,” 9 11: Trauma at Home, ed. by Judith Greenberg, Univ. of Nebraska, 2003

Novak, Lorie, VOYAGES (per)FORMED, artist book, 2001, Southeast Museum of Photography, Daytona Beach, FL, 2001

Novak, Lorie and Jan Cohen-Cruz, eds., Urban Ensemble: University / Community Collaborations in the Arts, Tisch School of the Arts, New York University, 1998, PDF

Noval, Trena, “In Other Worlds: the persistence of memory, life, and art: The work of Ana Mendieta and Lorie Novak,” Camerawork, A Journal of Photographic Arts, San Francisco, CA, Vol. 23 No.2, 1996

Okun, R., ed. The Rosenbergs—Collected Visions of Artists & Writers, Universe Books, NY, 1988

Photography in the 1990’s:  fifty portfolios, CD-ROM, Wright State University, Dayton, OH, 1995

Rosenblum, Naomi, A History of Women Photographers, Abbeville Publishing Group, NY, 1994

Samis, Peter, “Fragments of an Imagined Past: Contemporary Artists and the Cult of the Faded Photograph,” S.F. Camerawork Quarterly, Fall 1989

Smith, Joshua,The Photography of Invention: American Pictures of the 1980s,MIT Press,1989

Sturken, Marita, Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero, Duke University Press, 2007

Taylor, Diana with Lorie Novak, eds, Dancing with the Zapatistas, digital book, Duke University Press, 2015

The World’s Best Photographs, 1980-1990, LIFE Magazine, Winter 1990

Wexler, Laura, Encounters in the Aftermath, exhibition brochure, Columbia University School of Art, NY, 2011, PDF

Wexler, Laura, "Instilling Interference," in ON THE SUBJECT OF ARCHIVES, ed. by Marianne Hirsch and Diana Taylor, e-misférica 9.1-9.2, Summer 2012,e- journal of the Hemispheric Institute

Wolf, Sylvia, The Digital Eye: Photographic Art in the Electronic Age, Prestel USA, 2010

Wolthers, Louise, “Virtual Selves: Art and Digital Autobiography,” in Digital Snaps: The New Face of Photography, edited by Jonas Larsen and Mette Sandbye, I.B. Tauris, London, 2014