PUBLICATIONS

Peer-Reviewed Articles

2024

• '"Death, like a sculptor": archaeology, materials and text in Harriet Hosmer's Pompeian Sentinel,' Sculpture Journal, Vol 33, No.1, pp. 47-70. https://doi.org/10.3828/sj.2024.33.1.04

2023

• '"What Are Men to Rocks and Mountains?" Mythology and Geology in Chaos by GF Watts (1817-1904),' British Art Journal, Vol XXIV, No. 1, pp. 96-104. https://www.jstor.org/stable/48760503

• "Do 'Sleeping Shepherds' Dream of 3D-Printed Sheep: John Gibson, Oliver Laric, and Digital Neoclassicism", British Art Studies, Iss. 24. https://doi.org/10.17658/issn.2058-5462/issue-24/mgustin 

• '"This Lotus Spell is Intenser": Sources and Selections in Emma Stebbins’s The Lotus-Eater,’ Word & Image Vol. 38 Iss. 04 (Feb. 2023) pp. 478-498. https://doi.org/10.1080/02666286.2022.2068310 

2022

• 'G.F. Watts’ Satan and the Monte Cavallo Horse Tamers,' The Burlington Magazine, Vol. 164 (July 2022).

• 'The Funerary Forms and Cemetery Citations of Harriet Hosmer's Medusa,' Markers, Vol. 38 (2022), pp. 6-42.

2021

• '"Corps a Corps": Martyrs, Models, and Myths in Harriet Hosmer's Beatrice Cenci,' Art History  (Sept. 2021) https://doi.org/10.1111/1467-8365.12589 

• '"Two Styles More Opposed": Harriet Hosmer's Classicisms between Winckelmann and Bernini,' Journal of Latin and Cosmopolitan European Literatures, Winckelmann’s Victims special edition (Dec. 2021) https://jolcel.ugent.be/issue/view/2696/1246

2019

• 'Canova’s copper head of Medusa,' The Burlington Magazine vol. 161, no. 1400, November 2019, pp. 916–23.

• 'Culture Capitalism: Emma Stebbins’s Allegories from the Braccio Nuovo,' Nineteenth Century Magazine, vol. 39, no. 2, November 2019, pp. 12–18.

Reviews 

2023

• "'Rossettis: Radical Romantics, or, DANTE GABRIEL ROSSETTI and Some Other People I Guess.' Review, The Rossettis, Tate Britain, 6 April – 24 September 2023. Curated by Carol Jacobi and James Finch; organized by  Tate Britain with Delaware Art Museum. Journal of Victorian Culture, vcad025, https://doi.org/10.1093/jvcult/vcad025 

• '"Ophelia's Bathtub Boogaloo.' Review, Pre-Raphaelite Sisters: edited by Glenda Youde and Robert Wilkes & Muse by Ruth Millington.' Journal of Victorian Culture, Journal of Victorian Culture, vcad026, https://doi.org/10.1093/jvcult/vcad026.

2022

• 'Two Exhibitions in Rome.' The Classical Review, vol. 72, no. 1, March 2022. First view available https://doi.org/10.1017/S0009840X2100367X

2020

• 'Jérôme Neutres, In the Volcano: Cai Guo-Qiang and Pompeii,' Sculpture Journal, 2020, vol. 29, no. 2 (2020) pp. 243–6. https://doi.org/10.3828/sj.2020.29.2.8

• '"The Victorian Gayze from Winckelmann to Michael Field." Review, Dustin Friedman, Before Queer Theory: Victorian Aestheticism and the Self,' Journal of Victorian Culture, Volume 25, Issue 3, July 2020, pp. 465–467. https://doi.org/10.1093/jvcult/vcaa014

2019

• Review: 'R. Warren, Art Nouveau and the Classical Tradition,' Journal of Hellenic Studies, vol. 139, November 2019, pp. 293–294.

Essays and Catalogues

2020

• ‘Wisdom Holds the Spartium: A Closer Look at The Lady Prays-Desire,’ in 'Pre-Raphaelite Sisters: Models, Artists, Muses': In Conversation, Aspectus: A Journal of Visual Culture, Issue 2, October 2020.

2018

• ‘Pomegranates in Autumn: Ruminations on Rossetti’s Final Proserpine,’ Pre-Raphaelite Society Review, May 2018. Postgraduate Essay Prize, Second Place.

2013

• Suzanne Folds McCullagh, ed., with the assistance of Melissa L. Gustin. Dreams and Echoes: Drawings and Sculpture from the David and Celia Hilliard Collection, exh. cat. Yale University Press, 2013

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CONFERENCES AND SYMPOSIA

Convened

2022

• Session, 'Non-Finito: New Studies on G F Watts's Sculpture,' British Association for Victorian Studies Annual Conference, University of Birmingham, September 1-3 2022

• Session, ‘Old is New: Classical Reception and Temporalities in Art 1800-Today,’ Association for Art History Annual Conference 2022, with Nicole Cochrane, April 6-8 2022

2021

• Breaking Boundaries: Nineteenth-Century Visual Culture in the Woke Age, digital symposium, British Association for Victorian Studies and Edge Hill, March 12, 2021

2020

• Black Lives Matter: Race, Imperialism, and Victorian Studies, digital symposium, July 21, 2020 

• Cancelled, COVID-19 ‘Cyclical Classical: Rebirths, Renaissances, and Reinventions of Antiquity,’ Session at Association for Art History Annual Conference, Newcastle and Northumbria Universities, April 1–3, 2020

2019

• ORDER‽ Art, Classicism, and Discourse from 1755 to Today, Henry Moore Institute and Leeds Art Gallery, November 15–16, 2019 

• New Sculptors, Old Masters: The Victorian Renaissance of Italian Sculpture, Henry Moore Institute and Leeds Art Gallery, March 8, 2019, with Charlotte Drew 

2016

• The Leighton Network, University of York, Paul Mellon Centre, and Leighton House Museum, December 9, 2016, with Dr Ciarán Rua O’Neill and Dr Madeline Boden

• Past Time: Art, Anachronism, and Anachronisticism, University of York, November 18–20, 2016, with Ciarán Rua O’Neill and Meg Boulton. Keynote speakers, Professor Christopher Wood (NYU) and Dr Lambros Malafouris (Oxford)

 

Select Papers Given 

2024 

• “The Fragments that Remain’: Pheidias, Greece, and Temporality in G F Watts’s Classical Receptions,” INCSA The Nineteenth Century Today: Interdisciplinary, International, Intertemporal, Durham University, July 10-12, 2024.

2023

• “Secular Conversazione: G F Watts, Titian, and The Court of Death,” British Association for Victorian Studies Annual Conference, University of Surrey, August 30- Sept  2 2023. 

2022

• “England’s Michelangelo? G F Watts’s Female Sculptures and the Reproduction of the Renaissance,” Non-Finito: New Studies in G F Watts's Sculpture, British Association for Victorian Studies Annual Conference, University of Birmingham, September 1-3 2022.

• “Writing Watts’s Absent Art: Text and the House of Life,” Image/Text: What/Next? University of York, June 24, 2022. 

• “England’s Michelangelo? G F Watts’s Female Sculptures and the Reproduction of the Renaissance,” Re-Considering British Art History: The ECRN and DRN Summer Symposium, Paul Mellon Centre for British Art, London, June 10, 2022.

• ‘“A Nauseating Lissomness”: Medusa, Rome, and the Snake,’ De Morgan Foundation online talk, January 14, 2022

2021​

• (Invited) ‘What Shall We Do with a Mermaid Fountain? Harriet Hosmer’s Mermaid’s Cradle Beyond the Binary,’ University of Strathclyde School of Humanities, November 24, 2021 

• ‘Victory Shall Be Mine: the Form, Fate, and Fortune of the Vittoria di Fossombrone and Napoleon as Mars Peacemaker,’ Imperial Material: Napoleon’s Legacy in Culture, Art, and Heritage, Sept 3, 2021

• The Emperor Has No Clothes: Antonio Canova's Napoleon as Mars the Peacemaker and the Failure of Memorialisation,' Leeds Art Fund Talk, March 10, 2021

• ‘The Bones of a Story: Animating Absent Remains in The Last Days of Pompeii,’ Southampton Centre for Nineteenth Century Research, February 17, 2021

2020

• ‘Sporegasbord: Jean-Léon Gérôme’s Tanagra and Mushroom Temporalities,’ New Directions in Eighteenth- and Nineteenth-Century Art digital seminar series, July 27, 2020 

• ‘“Can a man like you know peace?” Classical Allusion in John Wick Chapter 2,’ College Art Association Annual Conference, Chicago, February 12–16, 2020

2019

• ‘American Psychopomp: Archaeology, Fake News, and the Pompeian Sentinel,’ SPAH Seminar Series, University of Essex, October 24, 2019

• ‘Neo-PLAssicism: Two Sleeping Shepherds in Three Dimensions,’ Association for Art History Conference, University of Brighton, April 4–6, 2019

• ‘Beatrice Cecilia: Stefano Maderno, Harriet Hosmer, and the Two-Body Problem,’ New Sculptors, Old Masters, Henry Moore Institute and Leeds Art Gallery, March 8, 2019

• ‘“She’s a Maneater, Ooo”: Burne-Jones’s The Depths of the Sea and Contemporary Culture,’ Queer Conversations, The Courtauld Institute of Art, March 1, 2019 

2018

• ‘American Psychopomp: Harriet Hosmer's Pompeian Sentinel and Problems with Plaster,’ Classical Material Culture in the Nineteenth Century, Birkbeck, University of London, November 23, 2018 

• ‘Bogs and Pools: Bernini, Paragone, and the (anti?) Classical,’ RELICS Winckelmann’s Victims: The Classics: Norms, Exclusions and Prejudices, University of Ghent September 20–22, 2018

• ‘STOP! It’s Lizard Time,’ BAVS 2018: Victorian Pattern, University of Exeter, August 29–31, 2018 

• ‘Mossy Grottoes: Harriet Hosmer’s Lesbian Fountains,’ Association For Art History Conference, Courtauld Institute of Art & King’s College London, April 7, 2018

2017

• ‘Fifty Shades of Gay: Harriet Hosmer’s Early Sadistic Eroticisms and the Classical Female Nude,’ BAVS 2017: Victorians Unbound, Bishop Grosseteste University, August 22–24, 2017.

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BLOG POSTS

•  “Sporegasblog,” New Directions in Eighteenth- and Nineteenth-Century Art Blog 

  • https://ndenca.wordpress.com/blog-2/ 

• Or, How I Learned to Love Contemporary Art as a Victorianist,” April 15, 2018, The Victorianist: BAVS Postgraduates Blog 

  • https://victorianist.wordpress.com/2019/04/15/neo-plassicism-or-how-i-learned-to-stop-worrying-and-love-contemporary-art/ 

• “Fishted Sisters: a re-reading of Evelyn's mermaid painting,” March 23, 2019, De Morgan Foundation Blog 

  • https://www.demorgan.org.uk/fishted-sisters-a-re-reading-of-evelyns-mermaid-painting-by-dr-melissa-gustin

• “The Sausage Machine of Embourgeoisement,” March 4, 2019, The Victorianist: BAVS Postgraduates Blog 

  • https://victorianist.wordpress.com/2019/03/04/the-sausage-machine-of-embourgeoisment

• “BAVS Conference 2018: Where were the art historians?” September 10, 2018, The Victorianist: BAVS Postgraduate Blog 

  • https://victorianist.wordpress.com/2018/09/10/bavs-conference-2018-where-were-the-art-historians/ 

• “Make New Things Familiar: Presentation Pros and Cons,” September 11, 2017, The Victorianist: BAVS Postgraduate Blog

https://victorianist.wordpress.com/2017/09/11/make-new-things-familiar-presentation-pros-and-cons-bavs-2017/