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Lyle Ashton Harris
selected work   •   biography   •   publications   •   press   •   events

Education

  • 1992 Whitney Museum of American Art, Independent Study Program, NY
  • 1991 National Graduate Photography Seminar, Tisch School of the Arts, New York University
  • 1990 MFA, California Institute of the Arts, Valencia, CA
  • 1988 BA with honors, Wesleyan University, Middletown, CT

 

Solo Exhibitions

 

  • 2011 Lyle Ashton Harris, The Studio Museum in Harlem, NY (upcoming)
  • 2010 Untitled (Black Power), Cokkie Snoei Gallery, Amsterdam Netherlands
  • Ghana, CRG Gallery, NY
  • 2008 Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University,Cambridge, MA
  • Lyle Ashton Harris, Adamson Gallery, Washington, DC
  • Lyle Ashton Harris: Blow Up, Scottsdale Museum of Contemporary Art, Scottsdale, AZ / UB Center for the Arts, Buffalo, NY
  • 2006 Performing MJ, Vital Expressions in American Art, The Studio Museum in Harlem, New York, NY
  • 2004 Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France
  • Regarding Michael Jackson: Performing Racial, Gender, and Sexual Difference Center Stage, Conference, Yale University, New Haven, CT
  • Blow Up, Rhona Hoffman Gallery, Chicago, IL
  • 2003 Memoirs of Hadrian, CRG Gallery, New York, NY
  • 2002 New Work, Baldwin Gallery, Aspen, CO
  • 1999 20 x 24, Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue)
  • 1998 Distillation, Galerie Analix Forever, Geneva, Switzerland
  • Alchemy, in collaboration with Thomas Allen Harris, New Langston Arts, San Francisco, CA. Traveled to Corcoran Gallery of Art, Washington, DC (catalogue)
  • 1997 The White Face Series, Thomas Erben Gallery, NY
  • 1996 The Watering Hole, Jack Tilton Gallery, NY
  • Lyle Ashton Harris, Select Photographs: The First Decade, Centro de Arte Euroamericano, Caracas, Venezuela
  • 1994 The Good Life, Jack Tilton Gallery, New York, NY
  • Redemption, Schmidt Contemporary Art, St. Louis, MO
  • 1993 Americas, Simon Watson’s Living Room, NY
  • Face, Broadway Window, New Museum of Contemporary Art, New York, NY

 

Group Exhibitions

  • 2010 The Global Africa Project, Museum of Arts and Design, New York, NY (forthcoming)
  • Hide/Seek: Difference and Desire in American Portraiture, Smithsonian National Portrait Gallery, Washington DC. Traveled to Brooklyn Museum of Art, Brooklyn, NY (catalogue)
  • 2009 The Summer Show, CRG Gallery, NY
  • Kreyol Factory, Grande Hale de la Villete, Paris, France (catalogue)
  • 2008 Expenditure, Busan Biennale 2008, Busan Museum of Modern Art, Busan, South Korea (catalogue)
  • Sketches from the Shore, Neil L. and Angelica Zander Rudenstine Gallery, Harvard University, Cambridge, MA
  • S&M: Shines and Masquerades in Cosmopolitan Times, [Co-Curator], 80 Washington Square East Galleries, New York University, New York, NY
  • 2007 Think with the Senses, Feel with the Mind, 52nd Venice Biennale, Venice, Italy (catalogue)
  • Photography And The Self: The Legacy of F. Holland Day, Whitney Museum of American Art, New York, NY
  • 2006 Other families, Pallazo Cavour, Turin, Italy (catalogue)
  • Crossing the Line: African American Artists in the Jacqueline Bradley and Clarence Otis, Jr. Collection, Cornell Fine Arts Museum, Winter Park, FL (catalogue)
  • Shoot the Family, Cranbrook Art Museum, Bloomfield Hill, MI (catalogue). Traveled to Knoxville Museum of Art, Knoxville, TN; Western Gallery, Western Washington University, Bellingham, WA; David and Sandra Bakalar Gallery, Massachusetts College of Art, Boston, MA; Contemporary Art Museum, St. Louis, MO; Columbus College of Art and Design, Columbus, OH
  • The Unhomely: Phantom Scenes in Global Society, 2nd International Bienal de Arte Contemporaneo de Sevilla, Seville, Spain (catalogue)
  • (NOT) GAY ART NOW, Curated by Jack Pierson, Paul Kasmin Gallery, New York, NY
  • 2005 Male Desire Two, Mary Ryan Gallery, NY
  • African Queen, The Studio Museum in Harlem, New York, NY
  • Double Conciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX (catalogue)
  • IDENTITÀ & nomadismo, Palazzo delle Papesse, Centro Arte Contemporanea, Siena (catalogue)
  • Earth and Memory: African and African American Photography, Elizabeth Stone Harper Gallery, Presbyterian College, Clinton, SC
  • 2004 Selves and Others, The Bronx Museum of the Arts, Bronx, NY
  • Male Body Image, Storrs Gallery, University of Connecticut, Storrs, CT
  • Neoqueer, Center on Contemporary Art, Seattle, WA
  • Disparities and Deformations: Our Grotesque, SITE Santa Fe’s Fifth International Biennial Santa Fe, NM (catalogue)
  • The Muse, Leslie Tonkonow Artworks + Projects, New York, NY
  • African American Artists in Los Angeles, A Survey Exhibition: Fade (1990-2003) Luckman
  • Gallery, California State University, Los Angeles, CA
  • 2003 American Tableaux: Many Voices, Many Stories at Miami Art Museum, Miami, FL
  • African American Artists in Los Angeles, A Survey Exhibition: Fade (1990-2003), Luckman Gallery, California State University Los Angeles, Los Angeles, CA
  • The Alumni Show, Zilkha, Gallery, Wesleyan University, Middletown, CT
  • Love Supreme, La Criee Centre D’Art Contemporain, Rennes, France
  • The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN
  • Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York, NY (catalogue). Traveled to Seattle Art Museum, Seattle, WA; Museum of Photographic Arts, San Diego, CA; San Diego Museum of Art, San Diego, CA
  • 2002 Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow
  • Goddess, Galerie Lelong, New York, NY
  • 2001 Rome Prize Fellow’s Show, The American Academy in Rome, Rome, Italy
  • Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Institute, Washington, DC (catalogue)
  • 2000 Man & Space, Kwangju Biennale, Seoul, Korea (catalogue)
  • Masterminds of Mode: International Fashion Festival in Mitsukoshi Nihonbashi, Tokyo (catalogue); Traveled to Kobe Fashion Museum, Kobe, Japan; Mitsubishi-Jisho Atrium, Fukuoka, Japan
  • Faith, The Aldrich Museum of Contemporary Art, Ridgefield, CT
  • 1999 Ghost in the Shell – Photography and the Human Soul, 1850-2000, Los Angeles County Museum of Art, Los Angeles, CA (catalogue)
  • Postcards from Black America, De Beyerd Center of Contemporary Art, Breda, Netherlands (catalogue)
  • Les Mondes du Sida: Entre Resignation et Espoir, Centre d’Art Contemporain, Geneva, Switzerland. Traveled to Dialogai, Geneva, Switzerland; Centro d’Arte Contemporanea, Bellinzona, Switzerland
  • 1998 816, Galerie Analix B Polla & C Cargnel, Paris, France
  • Welcome, Curated by Renato Bianchini, Citta Sant’Angelo, Pescara, Italy
  • 1998 Diana.98, Museum fur Gegenwartskunst, Zurich, Switzerland
  • Millenovecento, Galerie Analix B Polla & C Cargnel, Paris, France
  • Aids Worlds – Between Resignation and Hope, Center of Contemporary Art, Geneva and Dialogai, Geneva, Switzerland
  • Black Nudes: New Identities, Gay Games Amsterdam 1998, Amsterdam, Netherlands
  • 1997 Scene of the Crime, UCLA/Armand Hammer Museum of Art, Los Angeles, CA (catalogue)
  • Adrift, Bard College, Annandale-on-the-Hudson, New York
  • Selections from the Audrey & Sydney Irmas Collection of Photographic Self Portraits: 1940-96, Los Angeles County Museum of Art, Los Angeles, CA
  • Rrose is a Rrose is a Rrose: Gender Performance in Photography, The Solomon R. Guggenheim Museum, New York, NY (catalogue) Traveled to The Andy Warhol Museum, Pittsburgh, PA
  • Bang! The Gun as Image, Museum of Fine Arts, Florida State University, Tallahassee, FL
  • This End Up: Selections from the collection of Robert J. Shiffler, Cleveland Center for Contemporary Art, Cleveland, OH
  • Face & Figure: Contemporary Art, Museum of Fine Art, Boston, MA
  • 1996 Hotter than July, Margo Leavin Gallery, Los Angeles, CA
  • Interzones, Kunstforeningen, Copenhagen, Denmark. Traveled to Konstmuseum, Uppsala, Sweden
  • Persona, Renaissance Society at the University of Chicago, Chicago, IL (catalogue)
  • Portraits, James Graham and Sons, New York, NY
  • The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA
  • 1995 Face Value: American Portraits, The Parish Art Museum, Southampton, NY (catalogue) Traveled to: Wexner Center for the Arts, Columbus, OH and Tampa Museum of Art, Tampa, FL
  • Desire – Borealis 7, Helsinki City Museum and The Nordic Arts Centre, Helsinki, Finland (catalogue). Traveled to Louisiana Museum of Art, Denmark, 1996
  • Hard Comforts, Zikha Gallery, Wesleyan University, Middletown, CT
  • Human / Nature, New Museum of Contemporary Art, New York
  • In a Different Light, Berkeley Art Center/Pacific Film Archive, Berkeley, CA (catalogue)
  • Inside/Out, Psychological Self Portraiture, Aldrich Museum, Ridgefield, CT (catalogue)
  • Mirage: Enigmas of Race, Difference and Desire, Institute of Contemporary Art, London, England (catalogue)
  • Masculine Masquerade, MIT List Art Center, Cambridge, MA (catalogue)
  • Narcissistic Disturbance, Ben Maltz Gallery, Otis College of Arts and Design, Los Angeles, CA (catalogue)
  • Pervert, Fine Arts Gallery, University of California Irvine Art Gallery, Irvine, CA (catalogue)
  • Picture Thoughts, Ambrosino Gallery, Miami, FL
  • P.L.A.N.(Photography Los Angeles Now), Los Angeles County Museum of Art, Los Angeles, CA
  • Traces: The Body in Contemporary Photography, Bronx Museum of Art, Bronx, NY
  • Uncertain Identity II, Galerie Analix at Basel Art Fair, Geneva, Switzerland
  • Video: Immagine e Poggetto- Artisti degli Stati Uniti, Museo Laboratorio Di Arte
  • Contemporanea, Rome, Italy
  • 1994 Black Male: Representations of Masculinity in Contemporary Art, Whitney Museum of American Art, New York. NY (catalogue). Traveled to: UCLA/Armand Hammer Museum of Art, Los Angeles, CA
  • Sincerity and Other Peccadillos –LAX/’94, The Los Angeles Exhibition Gallery at Barnsdall Art Park, Los Angeles, CA (catalogue)
  • Telling…Stories, Randolph Street Gallery, Chicago, IL
  • 1993 Ciphers of Identity, University of Maryland, Baltimore, MD (catalogue). Traveled to: Ronald Feldman Gallery, New York, University of South Florida Contemporary Art Museum, Tampa, FL, Fine Arts Gallery University of California, Irvine, CA, Contemporary Art Center, New Orleans, LA, Woodruff Art Center, Atlanta College of Art, Atlanta, GA, Kemper Museum of Contemporary Art and Design, Kansas City, MO
  • Dress Codes, Institute of Contemporary Art, Boston, MA (video catalogue)
  • 42nd Street Art Project: Victory Parade, Times Square, New York, NY
  • Identifications and Desires, Real Art Ways, Hartford, CT
  • In Out of the Cold: Redemption, Center for the Arts Yerba Buena Gardens, San Francisco, CA
  • Markets of Resistance, White Columns, New York, NY
  • 1992 Ainsi font font font, Galerie Rizzo, Paris, France
  • Body Politic, Santa Monica Museum of Art, Santa Monica, CA
  • Fever, Exit Art, New York, NY
  • In This World, Robert Flack, Lyle Ashton Harris, Denis Lessard, Contemporary Art Gallery, Vancouver, Canada
  • LAX: Los Angeles Exhibition, Santa Monica Museum, Santa Monica, CA
  • Multiples, Daniel Bucholz, Koln, Germany
  • Presenting Rearwards, Rosamund Felsen Gallery, Los Angeles, CA
  • Reclaiming Sensuality, California Museum of Photography, Riverside, CA
  • 1991 Acquired Visions: Seeing Ourselves Through AIDS, The Studio Museum of Harlem, New York, NY
  • Schwarze Kunst: Konzepte zu Politik and Identital, NGBK, Berlin, Germany (catalogue)
  • Disputed Identities, Camerawork, San Francisco, CA. Traveled to: Contemporary Arts Center, New Orleans, LA
  • Someone/Somebody, Meyers/Bloom Gallery, Los Angeles, CA
  • Situation, New Langston Arts, San Francisco, CA
  • 1990 AutoPortraits, Camerawork, London, UK

 

Published Photographs

 

  • 2010 Dee, Jonathan. “Neither Straight Nor Outta Compton.” The New York Times Magazine 25 July 2010: 23, 25, 26-7, 29. Print and web.
  • 2006 Appiah, Kwame Anthony. “The Case for Contamination.” The New York Times Magazine 1 Jan. 2006: 4, 30-31, 34. Print and web.
  • 2005 Hodgman, John. “Antony Finds His Voice.” The New York Times Magazine 4 Sept. 2005: 25. Print and web.
  • 2004 Hannaham, James, “Beyond the Pale,” New York Magazine, Summer Issue, June 28-July 5, p.99
  • Stoddard, Grant. “Sex/steria.” New York Magazine 22 Nov. 2004: 37, 39. Print.
  • Hedegaard, Erik. “The Entertainer: Al Sharpton.” New York Magazine 18 Oct. 2004: 37-8. Print.
  • Fusco, Coco and Wallis, Brian, Only Skin Deep, Changing Visions Of The American Self, International Center of Photography, Harry N. Abrams, Inc., NY, p.260, 328 & 329
  • 2003 Kenner, Rob and Pitts, George. “VX: 10 Years of Vibe Photography” p.119
  • Holt, Henry, Gore, Al and Tipper, The Spirit of Family, p. 89
  • 2002 Kuper, Simon, “The World’s Game is not just a Game,” The New York Times Magazine May 26, p. 37 – 41
  • Wolf, Sylvia, Visions from America: Photographs from the Whitney Museum of American Art 1940-2001, p. 21, Prestel
  • Goodman, Wendy, Retour a Harlem, Architectural Digest (French edition), Nov. p. 124
  • Andrews, Richard, Short Stories on Photography: Joseph and Elaine Monsen Collection at the Henry Art Gallery, p. 9
  • 2001 Max, D.T., “To Sleep no More,” The New York Times Magazine, May 6, p. 74 -75
  • • Stanley, Alessandra, “Berlusconi, The Return,” The New York Times Magazine, April 15, p. 40, (photographed Silvio Berlusconi)
  • Hyland, John, “Hot Chicks, Cool Rooms,” The New York Times Magazine’s Fashions of the Times, Spring Issue, p.185
  • Good, Karen Renee, “Vibe Hip Hope Divas,” Three Rivers Press
  • 2000 Prose, Francis, “Till Death do us Part,” Aperture, No. 159, p. 59
  • Wallach, Amei, “The Widow Peaks,” The New York Times Magazine, Sept. 24, p. 59 (photographed Yoko Ono)
  • Ogunnaike, Lola, “Next: Rappers and Proteges,” Vibe Magazine, Sept., p. 128-132 (photographed Missy Elliott, Fat Joe, Cuban Link, Jill Scott, The Roots, Lil’Bow Wow and Jermaine Dupri)
  • Ogunnaike, Lola, “What’s Really on the Minds of Americans: A Special Photography Issue, ” The New York Times Magazine, May 7, p. 65, (commissioned Self-Portrait)
  • Ex, Kris, “The Art of War,” Vibe, August, p. 24 & 145 (photographed Dead Prez)
  • Taylor, Stuart, “The Supreme Question,” Newsweek, July 10, p. 18-19, (photo illustration)
  • Harris, Lyle Ashton, “Hollywood: Special Collector’s Issue,” Code Magazine, March, p. 58 (photographed John Singleton, Jeffery Wright, Malcolm Lee and Reginald Hudlin)
  • Harris, Lyle Ashton, “Lyle Ashton Harris and Chuck Close: A Conversation” NKA, Fall/ Fall/Winter 2000, p. 56-63 and back cover
  • 1999 Elie, Paul, “The Next Cardinal,” The New York Times, October 10, p.70-73
  • Dent, David, “The Gospel According to Conrad Muhammad,” Vibe, p. 142-146 (photographed Conrad Muhammad)
  • 1997 Bruni, Frank, “Reconstructing Marky Mark,” The New York Times, August 31, p. 26-29 (photographed Mark Walberg)
  • DeParle, Jason, “Welfare to Work: A Sequel,” The New York Times, De. 28, p. 14-17
  • Johnson, Roy S. “The New Black Power,” Fortune, August 4, cover and p. 47
  • “Apocalyptic Wallpaper,” Wexner Center for the Arts, Ohio State University, Columbus, Ohio, p. 51
  • “A Thing of Beauty is…,” Art and Design Magazine – Art’s Design Profile, no. 54
  • “Rrose is a Rrose is a Rrose: Gender Performance in Photography,” Guggenheim Museum, New York, 1997 (book project)
  • Ferguson, Russell, Ed. “Uncommon Sense,” Los Angeles Museum of Contemporary Art, Los Angeles, CA (book project)
  • Harris, Lyle Ashton, “Times Square: A Special Photography Issue,” The New York Times Magazine, May 18, pages 61, 64-65 Rimanelli, David, “A Drift,” Artforum, February, p. 83
  • William Hood & William Stern, “Pardon Our Appearance: Masculinity Under Construction,” Lyle Ashton Harris with William Stern, Art Journal, guest eds. College Art Association Pubs, Summer, vol. 56, no. 2, p. 6
  • 1996 Maslin, Janet, “The Unnominated,” The New York Times Magazine, March 17, p. 38-39 (photographed Jennifer Jason Leigh)
  • Beers, David. “Blue Sky, California.” New York Times Magazine 12 May 1996: 51. Print.
  • Maurice Berger, Simon Watson and Brian Wallis, eds., Constructing Masculinity, NY: Routledge, 1996 (photograph, “The Good Life,” accompanies text)
  • Atlas, James, “True Confessions: The Age of the Literary Memoir,” The New York Times Magazine, May 12, p. 51 (photographed David Beers)
  • “ZYZZYVA, The Last Word,” West coast writers and artists, vol.XII, no. 3/4, p.192
  • 1995 ”Sisterhood,” THRESHOLDS: viewing culture 9, (cover photograph and portfolio)
  • “Longing for Tribe,” LA Weekly, April 21-27, p. 19
  • “Lyle Ashton Harris,” Brutus, 15 January, p. 58-65 (portfolio of eight photographs)
  • Enwezor, Okwui, “The Body in Question: Whose Body? ‘Balck Male: Representation of Masculinity in Contemporary Art’,” Third Text, no. 31, Summer, p. 68, “Guide to Romance,” Social Text 42, (back cover photograph)
  • Karcher, Eva, “Marziss and Fegefeuer,” Art – das Kunstmagazin, June, p. 77
  • 1994 De Parle, Jason, “Mary Ann Moore’s Welfare,” The New York Times Magazine, 8 December, p. 42-49 (cover story with accompanying editorial photographs)
  • Harris, Lyle Ashton, “Queen, Alias and Id,” Atlantica 6, p. 70-77 (portfolio of 7 photographs)
  • Tierney, John, “What’s New York the Capital of Now?,” The New York Times Magazine, 20 November, p. 50

 

Bibliography

 

Publications and Interviews

 

  • Harris, Lyle Ashton. “Citywide.” WNYU, New York, NY. 12 Apr. 2011. Radio.
  • “Drag Racing.” Rrose is a Rrose is a Rrose: Gender Performance in Photography. Ed. Jennifer
  • Blessing. New York, NY: Solomon R. Guggenheim Museum, 1997. 190-203. Print.
  • “Queen, Alias and Id.” Atlantica 6, Feb. 1996: 70-7. Print.
  • “Revenge of a Snow Queen.” OutLook Summer 1991: Cover [Untitled #1, 1987-88], photographic essay (unpaginated). Print.
  • Harris, Lyle Ashton et al. Ghana: Who Knows Tomorrow. Accra, Ghana: Dei Centre for the Study of Contemporary African Art, 2010. Print.
  • Harris, Lyle Ashton and Chuck Close. “A Conversation.” Lyle Ashton Harris, Excessive Exposure: The Complete Chocolate Portraits. Okwui Enwezor. New York, NY: Gregory R. Miller, 2010. Print.
  •  “A Conversation.” 20 x 24. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1999. Print.
  • “Chuck Close Master Portraitist: Lyle Ashton Harris at Chuck Close’s Studio in Soho.” aRUDE Winter 1999: 74-6. Print.
  • Harris, Lyle Ashton and Cindy Sherman. “The Sublime, The Grotesque, The Epic: Lyle Ashton Harris Interviews Cindy Sherman.” aRUDE Spring 1999: 50-4. Print.
  • Harris, Lyle Ashton and Holland Cotter. “After Stonewall.” Art in America June 1994: 63. Print.
  • Harris, Lyle Ashton and Marlon Riggs. “Revolutionary Acts—Interview with Marlon Riggs.” Afterimage 18.8 (1991) 8-11. Print.
  • Harris, Lyle Ashton and Senam Okudzeto. “A Conversation: Accra, Ghana 2007.” Lyle Ashton Harris:
  • Blow Up. Ed. Cassandra Coblentz. New York, NY: Gregory R. Miller, 2008. Print.
  • Harris, Lyle Ashton and Thomas Allen Harris. “Black Window: A Conversation.” The Passionate Camera:
  • Photography and Bodies of Desire. Ed. Deborah Bright. London and New York: Routledge,1998. 248-62. Print.
  • Harris, Lyle Ashton and Tommy Gear. “Coco Fusco: English is Broken Here.” aRUDE Fall 1995: 54-5. Print.
  • Harris, Lyle Ashton and William Stern. “Pardon Our Appearance: Masculinity under Construction.” Art
  • Journal 56.2 (Summer 1997): 6-17. Print.

 

Monographs and Catalogues from Solo Exhibitions

 

  • 2010 Enwezor, Okwui. Lyle Ashton Harris, Excessive Exposure: The Complete Chocolate Portraits. New York, NY: Gregory R. Miller & Co., 2010. Print.
  • 2008 Coblentz, Cassandra, ed. Lyle Ashton Harris: Blow Up. New York, NY: Gregory R. Miller & Co.,2008.Print.
  • 2004 Smith, Anna Deavere. Lyle Ashton Harris. New York, NY: Gregory R. Miller & Co., 2004. Print.
  • 1999 Klein, Richard, ed. 20 x 24. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1999. Print.
  • 1998 Brookman, Philip, ed. Alchemy [collaboration with Thomas Allen Harris]. San Francisco, CA:
  • New Langton Arts, 1998. Print.
  • 1996 Gibbons, Sean, et al. Lyle Ashton Harris, Selected Photographs: The First Decade. Caracas,
  • Venezuela: Centro de Arte Euroamericano, 1996. Print.

 

 

 

Critical Reviews, Press/Media Coverage, Creative Work Reproduced in Publication

 

  • 2011 Brooks, Kalia. “Photographer Lyle Ashton Harris, best known for turning the camera on himself, turns it on others in an arresting series of ‘Chocolate Portraits.’” theroot.com. The Slate Group, 15 May 2011. Web. 1 June 2011.
  • Campany, David et al. The New York Times Magazine Photographs. New York, NY: Aperture, 2011. Print. [Forthcoming]
  • “Chuck Close and Lyle Ashton Harris Artist Discussion – Excessive Exposure” youtube.com. n.p.n.d. Web. 1 June 2011.
  • “EUR Book Look (Photos): Lyle Ashton Harris’ Excessive Exposure: The Complete Chocolate Portraits.” eurweb.com. n.p. 30 Mar. 2011. Web. 1 June 2011.
  • Hamer, Katy Diamond. “Excessive Exposure: Lyle Ashton Harris & Chuck Close.” eyes-towards-the-dove.blogspot.com. n.p. 25 Mar. 2011. Web. 1 June 2011.
  • “Harris, Lyle Ashton. Excessive Exposure: The Complete Chocolate Portraits (Gregory R. Miller & Co., 2010).” 81press.net. n.p. n.d. Web. 1 June 2011.
  • Laneri, Raquel. “Excessive Exposure: Lyle Ashton Harris’ Extreme Portraits.” blogs.forbes.com. Forbes, 23 Mar. 2011. Web. 1 June 2011.
  • “Lyle Ashton Harris To Lecture Saturday May 7.” clevelandart.wordpress.com. Cleveland Museum of Art, 5 May 2011. Web. 1 June 2011.
  • McCormack, Tom. “Hide/Seek, Culture Wars and the History of the NEA.” idiommag.com.
  • ArtCat/Tristan Media, 4 May 2011. Web. 1 June 2011.
  • Ranaivoarinosy, Sedera. “Lyle Ashton Harris and Excessive Exposure.” citywidewnyu.wordpress.com. WNYU, New York, NY. 14 Apr. 2011. Web. 1 June 2011.
  • Schjeldahl. Peter. “The Art World Unhidden Identities: A Glenn Ligon Retrospective.” The New Yorker 21 Mar. 2011: 77. Print.
  • Wassenberg, Anya. “Lyle Ashton Harris: Excessive Exposure – The Complete Chocolate Portraits.” artandculturemaven.com. n.p. 4 Apr. 2011. Web. 1 June 2011.
  • 2010 Aletti, Vince. “Lyle Ashton Harris.” Review of “Ghana” exhibition. The New Yorker 29 Mar. 2010: 27. Print.
  • “Carla Bruni-Sarkozy, First Lady of France, Arrives at Steinhardt to Announce New Partnership.” facebook.com. NYU Steinhart School of Culture, Education and Human Development, 14 Apr. 2010. Web. 1 June 2011.
  • Cotter, Holland. “Lyle Ashton Harris.” Review of “Ghana” exhibition. The New York Times 2 Apr. 2010: C27. Print.
  • Cudlin, Jeffrey. “Hidden.” Review of “Hide/Seek: Difference and Desire in American Portraiture” Exhibition. washingtoncitypaper.com. Washington City Paper, 31 Dec. 2010. Web. 1 June 2011.
  • Dee, Jonathan. “Rap Tendance Grande Folle.” Courrier International 12 Sept. 2010: 50-3. Print.
  • Gaines, Carl. “Ghana.” Review of “Ghana” exhibition. cityarts.info. City Arts, 10 Mar. 2010. Web. 1 June 2011.
  • Gilbert, Alan, “Lyle Ashton Harris: Ghana.” Review of “Ghana” exhibition. The Village Voice 9 Mar. 2010. Print and web.
  • Gopnik, Blake. “National Portrait Gallery’s ‘Hide/Seek’ finds a frame for sexual identity.”
  • Review of “Hide/Seek: Difference and Desire in American Portraiture” Exhibition. washingtonpost.com. The Washington Post, 5 Nov. 2010. Web. 1 June 2011.
  • Kaufman, Jason Edward. “Carla Bruni announces Paris-New York arts scholarship.” theartnewspaper.com. The Art Newspaper, 30 Mar. 2010. Web. 1 June 2011.
  • “Lyle Ashton Harris @ CRG.” Review of “Ghana” exhibition. news.style.com. Condé Nast Digital, 1 Apr. 2010. Web. 1 June 2011.
  • “Lyle Ashton Harris, the Chocolate Portraits.” theroot.com. The Slate Group, n.d. Web. 1 June 2011.
  • Newkirk, Pamela. “Artalk: His Crowd.” Review of Excessive Exposure by Okwui Enwezor. Artnews Nov. 2010: 41. Print.
  • “NYU Steinhardt Expands Its Global Art Options.” artandeducation.net. Art & Education, 26 Oct. 2010. Web. 1 June 2011.
  • Sanneh, Kelefa. “Beyond the Pale: Is white the new black?” The New Yorker 12 Apr. 2010: 69. Print.
  • Slenske, Michael. “Carla Bruni-Sarkozy Alights at NYU to Promote Arts Exchange.” artinfo.com. Louise Blouin Media, 30 Mar. 2010. Web. 1 Jun 2011.
  • Smith, Albert. “Artist Spotlight: Lyle Ashton Harris.” advocate.com. Here Media, 14 Aug. 2010. Web. 1 June 2011.
  • Starr, Penny. ““Smithsonian Christmas-Season Exhibit Features Ant-Covered Jesus, Naked Brothers Kissing, Genitalia, and Ellen DeGeneres Grabbing Her Breasts.” Review of “Hide/Seek: Difference and Desire in American Portraiture” Exhibition. cnsnews.com. CNSNews, 29 Nov. 2010. Web. 1 June 2011.
  • 2009 Harris, Lyle Ashton. Adbusters 6.17, No. 86 (Nov.-Dec. 2009): Cover [Untitled, 2004]. Print.
  • 2008 Baer, Ulrich. “Deep in the Archive.” Aperture, Winter 2008: 54-9. Print.
  • Cotter, Holland. “A Multicultural Swirl of Africa, The Americas and Even Outer Space.” Review of “S & M: Shrines and Masquerades” exhibition. The New York Times, 3 Dec. 2008: C1. Print.
  • Dawson, Jessica. “He Is Some Body: Lyle Ashton Harris’s Enigmatic Self-Portraits.” Review of “Lyle Ashton Harris” exhibition. Washington Post. 1 Feb. 2008: C2. Print.
  • Dykas, Donn. “From the Muses: Two Influential Photographers.” Echo Magazine 7 Feb. 2008. Print.
  • Lovell, Whitfield. Whitfield Lovell: All Things Time. Yonkers, NY: Hudson River Museum, 2008. 6. Print.
  • “Lyle Ashton Harris.” E-flux.com. E-flux, n .pag. 22 Feb. 2008. Web. 1 June 2011.
  • “Lyle Ashton Harris at the Scottsdale Museum of Contemporary Art.” Review of “Blowup” exhibition. Art Knowledge News Feb. 2008. Print.
  • “Lyle Ashton Harris: Blow Up.” Review of “Blowup” exhibition. The Scottsdale Republic 23 Jan. 2008: Z9. Print.
  • “Lyle Ashton Harris: Blow Up at Scottsdale Museum of Contemporary Art.” Artdaily.org. n.p. 11 Feb. 2008. Web. 1 June 2011
  • McQuaid, Cate. “Documenting Life on Ghana Shore.” Review of “Sketches from the Shore” exhibition. Boston Globe, 10 Dec. 2008: G4. Print.
  • Pela, Robert L. “Camera Obscura.” Review of “Blowup” exhibition. Phoenix New Times 7 Feb. 2008. Print.
  • Peres, Michael R. The Concise Encyclopedia of Photography: From the first photo on paper to the digital revolution. Burlington, MA: Focal, 2008. 137. Print.
  • 2007 Bishop, Philip E. “Art Review: Exhibit explores history, hipness.” Review of “Crossing the Line” exhibition. Orlando Sentinel, 19 Apr. 2007: F5. Print.
  • Feitelberg, Rosemary. “Bravo Biennale: A New View of Africa.” WWDScoop, Summer 2007: 43. Print.
  • Glueck, Grace. “Self-Portraits that Obscure the Self.” Review of “Photography of the Self” exhibition. The New York Times, 5 Jan. 2007: E41. Print.
  • Morgan, Jessica. “Categorical Imperatives.” Review of 52nd Venice Biennale. Artforum 46.1 (Sept. 2007): 391. Print.
  • • Riley, Cheryl R. “Lyle Ashton Harris: A Look at His Camera’s Lens.” Ebony Magazine (July 2007: 196-99. Print.
  • Lyle Ashton Harris Curriculum Vitae – page 28 of 44
  • Ringle, Hayley. “SMoCA helps Valley, Ghana students compare lives via photos.” The Scottsdale Tribune 28 Dec. 2007: A4. Print.
  • Simula, Carlo. “Lyle Ashton Harris.” L’Uomo Vogue May-June 2007: 304. Print.
  • Yablonsky, Linda. “In the Studio: Kara Walker.” Art & Auction Feb. 2007: 46, 48. Print. 2006
  • Green, Roger. “Review: Artists Photograph Their Interpretations of Family Values.” mLive.com. mLive, n. pg. 10 Mar. 2006. Web. 1 June 2011.
  • Jones, Amelia. A Companion to Contemporary Art Since 1945. Malden, MA: Blackwell, 2006. 299, 432, 455. Print.
  • 2005 Fyfe, Joe. “Lyle Ashton Harris.” Art on Paper 9.3 (Jan.-Feb. 2005): 94. Print.
  • Massengill, Reed. Self-Exposure: The Male Nude Self-Portrait. New York, NY: Universe, 2005. Print. Plates 38-9.
  • 2004 Fyfe, Joe. “Lyle Ashton Harris at Nathalie Obadia Gallery, Paris.” Review of “Lyle Ashton Harris” exhibition. The Art on Paper 8.6 (July-Aug. 2004): 53. Print.
  • Hannaham, James. “Beyond the Pale.” New York Magazine 28 Jun. 2004: 99. Print.
  • Hedegaard, Erik. “The Entertainer.” New York Magazine 18 Oct. 2004: 36-9. Print.
  • Jefferson, Margo. “Photo Dynamics.” ”Review of “Only Skin Seep” exhibition. The New YorkTimes Book Review 15 Feb. 2004: 41. Print.
  • Liu, Timothy. “Memoirs of Hadrian.” Artpapers Jan.-Feb. 2004: 48. Print.
  • Northcross, Wayne. “Blood, Sweat and Tears.” Genre Sept. 2004: 93. Print.
  • Perrëe, Rob. “Lyle Ashton Harris.” Kunstbeeld Dec. 2003-Jan. 2004: 72-3. Print.
  • Petry, Michael. Hidden Histories: 20th Century Male Same Sex Lovers in the Visual Arts. London, UK: Artmedia, 2004. Print.
  • Rexer, Lyle. “Only Skin Deep.” Art on Paper 8.4 (Mar.-Apr.): 60-3. Print.
  • Reyes, Damaso. “Anna Deavere Smith at The Studio Museum.” Amsterdam News 27 Dec. 2004: 37. Print.
  • Stoddard, Grant. “Sex/steria.” New York Magazine 22 Nov. 2004: 36-9. Print.
  • Workman, Michael. “Lyle Ashton Harris, Rhona Hoffman Gallery.” Review of “Blowup” exhibition. Flash Art Mar. 2004: 118-19. Print.
  • 2003 Aletti, Vince. “Lyle Ashton Harris.” Review of “Memoirs of Hadrian” exhibition. The Village Voice, 8 Oct. 2003. Print and web.
  • Cotter, Holland. “Cameras as Accomplices, Helping Race Divide America Against Itself.” Review of “Only Skin Deep” exhibition. The New York Times 19 Dec. 2003: E2, 37. Print.
  • “When the I is the Subject and It’s Always Changing.” Review of “Memoirs of Hadrian” exhibition. The New York Times 12 Sept. 2003: E2, 34. Print.
  • CRG Gallery. “Memoirs of Hadrian” Artforum (Sept. 2003): 58. Print. [advertisement]
  • Genocchio, Benjamin. “Old Faces Inaugurate a Renovated Gallery for Wesleyan.” Review of “The Alumni Show” exhibition. The New York Times 16 Nov. 2003: 14CN, 10. Print.
  • Kenner, Rob and George Pitts. VX: 10 Years of VIBE Photography. New York, NY: Abrams, 2003. Print. 119.
  • • Leffingwell, Edward. “Lyle Ashton Harris at CRG.” Review of “Memoirs of Hadrian” exhibition. Art in America 91.11 (November 2003): 166-7. Print.
  • Otfinoski, Steve. African-Americans in the Visual Arts. New York, NY: Facts on File, 2003. 92, 186. Print.
  • Rickels, Laurence A. “Lyle Ashton Harris.” Review of “Memoirs of Hadrian” exhibition. Art US Nov.-Dec. 2003: 32. Print.
  • Schwendener, Martha. “Lyle Ashton Harris, CRG Gallery.” Review of “Memoirs of Hadrian” exhibition. Artforum 42.3 (Nov. 2003):189-90. Print.
  • 2002 Gore, Al and Tipper Gore with Gail Buckland and Katy Homans. The Spirit of Family. New York, NY: Henry Holt, 2002: 89. Print.
  • 2001 Antonini, Maria Chiara. “Con gli occhi dell’America.” Architectural Digest July 2001: 48-50. Print.
  • Di Giampaolo, Pansa. “Ghe Pensi Mi, Atto Primo.” L’Espresso 24 May 2001: 43. Print.
  • Shamray, Katherine. “Go-Go Photographer Slows Down in Eternal City.” Italy Daily/Herald Tribune 28 May 2001. Print.
  • Vibe Hip Hop Divas. New York, NY: Three Rivers, 2001. 148. Print.
  • 2000 “Academy Announces Winners of Rome Prize.” The New York Times 8 May 2000: E4. Print.
  • Arata, Tani, et al. “Kwangju Biennial: The Curators’ Gossip.” Flash Art Summer 2000: 98-9. Print.
  • Field, Genevieve. Nerve: The New Nude. San Francisco, CA: Chronicle, 2000. 146-7. Print.
  • Kennedy, Erika, et al.. “Next: Rappers and Protégés.” VIBE Magazine Sept. 2000: 128-34. Print.
  • Prose, Francine. “Till Death Do Us Part.” Aperture Spring 2000: 59. Print.
  • 1998 Fitzsimons, Casey. “‘Alchemy’ at New Langton Arts.” Review of “Alchemy” exhibition. Artweek 29.3 (Mar. 1998): 27. Print.
  • Helfand, Glen. “‘Rhapsodies in Black’ and ‘Alchemy’ Look to the Sources of African American Art.” Review of “Alchemy” exhibition. The San Francisco Bay 32.19 (Feb. 1998): 11-17. Print.
  • Salvioni, Daniela. “Lyle Ashton Harris, Thomas Allen Harris.” Review of “Alchemy” exhibition. Artforum 36.9 (May 1998): 154. Print.
  • Bonetti, David. “Art.” Review of “Alchemy” exhibition. San Francisco Examiner 4 Feb. 1998: Print.
  • 1997 Montesano, Gian Marco. “The Final Journey: An Artistic Reflection on the Deaths of Elizabeth of Bavaria (Sissi) and Lady Diana.” Flash Art Nov.-Dec. 1997: 80. Print.
  • Petry, Michael, ed. A Thing Of Beauty Is . . . [originally published in Art & Design 12.5/6 (1997)]. Hoboken, NJ: John Wiley & Sons, 1997. Print.
  • Smith, Roberta. “Decoding la Difference: Gender as Dress and Pose.” Review of “A Rrrose is a Rrose is a Rrose” exhibition. The New York Times 17 Jan. 1997: C1. Print.
  • Turner, Grady T. “Lyle Ashton Harris at Jack Tilton.” Review of “The Watering Hole” exhibition. Art in America 85.3 (May. 1997): 99-100. Print.
  • Woolery, Reggie. “Body of Knowledge.” Review of “The Watering Hole” exhibition. Artnews 96.10 (Nov. 1997): 54. Print.
  • —. “The Watering Hole.” Review of “The Watering Hole” exhibition. Fuse Magazine 20.3 (June 1997): 37-9. Print.
  • 1996 Aletti, Vince. “Lyle Ashton Harris.” Review of “The Watering Hole” exhibition. The Village Voice 24 Sept. 1996. Print.
  • Anderson, Frances. “The Gallery Strikes Back: The Commercial Scene, Los Angeles.” The Art Newspaper (July-Aug. 1996): 34. Print.
  • Artner, Alan G. “Persona Non Grata.” Review of “Persona” exhibition. The Chicago Tribune 17 Mar. 1996: 3. Print.
  • Clothier, Peter. “Lyle Ashton Harris.” Review of “The Watering Hole” exhibition. Artnews 95.9 (Oct. 1996): 137. Print.
  • Cohen, Michael. “Lyle Ashton Harris.” Flash Art May-June 1996: 107. Print.
  • Gaines, Charles. “Hotter Than July.” Review of “Hotter Than July” exhibition. Art+Text Oct. 1996: 84. Print.
  • Harris, Thomas Allen. “False Assumptions Flaw Criticism.” The Los Angeles Times 26 Aug. 1996: F3. Print.
  • Khan, Omar I. “Negro en Colores.” Review of “Lyle Ashton Harris, Selected Photographs: The First Decade” exhibition. El Universal 22 May 1996. Print.
  • Maloney, Martin. “Mirage Season: Enigmas of Race, Difference, and Desire.” Review of “Mirage” exhibition. Flash Art Jan.-Feb. 1996: 47. Print.
  • Myers, Bob E. “Fine Young Cannibals.” OUT Magazine Sept. 1996: 60. Print.
  • Smith, Roberta. “Finding Art in the Artifact of the Masses.” The New York Times 1 Dec. 1996: H43. Print.
  • —. “Lyle Ashton Harris.” Review of “The Watering Hole” exhibition. The New York Times 27 Sept. 1996: C29. Print.
  • Wiggins, Cynthia. “Liberty, Fraternity, Inequality: Race, Rage, Regret.” LA Weekly Aug. 16-22, 1996: 43-4. Print.
  • Camhi, Leslie. “Masculine Feminine.” Review of “A Rrrose is a Rrose is a Rrose” exhibition. Village Voice 4 Feb. 1997: 91. Print.
  • 1995 Alston, Johnetta A. “Family Portrait.” POZ Dec. 1994-Jan. 1995: 29. Print.
  • Brooks, Rosetta. “Narcissistic Disturbance at Otis Art Gallery.” Review of “Narcissistic Disturbance” exhibition. Artforum 33.10 (Summer 1995): 112. Print.
  • Budney, Jen. “Spotlight: Black Male.” Review of “Black Male” exhibition. Flash Art Feb. 1995: 91. Print.
  • Cork, Richard. “Mirage Show of Wit.” Review of “Mirage” exhibition. The London Times 27 June 1995: 1. Print.
  • “Dialogue with Lyle Ashton Harris and Jack Pierson by Jerry Saltz.” A Tale of Three Cities. Intervista Productions. NHK, Tokyo, Japan. 1995. Television.
  • Enwezor, Okwui. “The Body in Question: Whose Body? ‘Black Male’: Representations of Masculinity in Contemporary American Art.” Review of “Black Male” exhibition. Third Text 31 (Summer 1995): 69. Print.
  • Flett, Kathryn. “Arena Recommends.” Arena July-Aug. 1995: 26. Print.
  • George, Lynell. “The ‘Black Male’ Debate.” The Los Angeles Times 22 Feb. 1995: 1. Print.
  • Green, David A. “Narcissistic Disturbance.” Review of “Narcissistic Disturbance” exhibition. Art Issues Mar.-Apr. 1995: 40. Print.
  • Gregersen, Anne-Marie. “Fotokunst: Sex I Underetagen.” Avis Udklip 7 Nov. 1995. Print.
  • Halard, François. “Portraits of the Artists as Young Men.” GQ Magazine Feb. 1995: 164. Print.
  • Haye, Christian. “Myth and the Man.” Review of “Black Male” exhibition. Frieze, Jan.-Feb. 1995: 24. Print.
  • Karcher, Von Eva. “Narzib und Fegefeuer.” Art June 1995: 77. Print.
  • Knight, Christopher. “LACMA’s ‘P.L.A.N.’ Isn’t Your Standard Photo Show.” The Los Angeles Times 8 July 1995: F1. Print.
  • —. “‘Narcissistic’: Art for Artist’s Sake.” Review of “Narcissistic Disturbance” exhibition. The Los Angeles Times 14 Feb. 1995: F1. Print.
  • Mejias, Jordon. “Wer Hat Angst vor Schwarzen Man.” Feuilleton 24 Jan. 1995. Print.
  • Murphy, Anthony C. “Art Scene.” American Vision Dec. 1994-Jan. 1995: 10. Print.
  • Nochlin, Linda. “Learning from ‘Black Male.’” Review of “Black Male” exhibition. Art in America 83.3 (Mar. 1995): 86. Print.
  • Onedera, Shinichiro. “Art of the Absolute Nude.” Brutus 1 Jan. 1995: 58-65. Print.
  • Owen, David. “The Straddler.” Review of “Black Male” exhibition. The New Yorker 30 Jan. 1996: 37. Print.
  • Philips, Anthony. “Postmodern Vamp: Living the Good Life with Photographer Lyle Ashton Harris.” aRUDE (Spring 1995): 20-1. Print.
  • Lyle Ashton Harris Curriculum Vitae – page 32 of 44
  • Rugoff, Ralph. “Black Like Us: Moving from Stereotypes to Archtypes.” LA Weekly 12 May 1995: 49. Print.
  • —. “Vanity Fare: Artists and the N Word.” LA Weekly 17 Feb. 1995. Print.
  • Sladen, Mark. “Black on Black.” Art Monthly July-Aug. 1995: 13. Print.
  • Smith, Richard. “‘Black Male: Representations of Black Masculinity in Contemporary Art’ at UCLA at the Armand Hammer Museum of Art and Cultural Center.” Artweek July 199. Print.
  • Steen, Alex. “Venus pa Louisiana.” Avis Udklip 6 Nov. 1995. Print.
  • Temin, Christine. “Seeing the Man behind the Mask.” Review of “Black Male” exhibition. The Boston Globe 24 January 24 1995: 23. Print.
  • Udé, Iké. “On Lyle’s Case: Mask and Embrace in the Work of Lyle Ashton Harris.” THRESHOLDS: Viewing Culture 9 (1995): 67, 72. Print.
  • Zellen, Jody. “The Good Life.” Review of “The Good Life” exhibition. Artpress Jan. 1995: 66. Print.
  • Zook, Kristal Brent. “Longing for Tribe, The Storm over ‘Black Male’ and the Persistence of Nationalist Design.” LA Weekly 12 Apr. 1995. Print.
  • 1994 Aletti, Vince. “It’s a Family Affair.” Review of “The Good Life” exhibition. The Village Voice 27 Sept. 1994. Cover [Brotherhood, Crossroads, and Etcetera #3, 1994]. Print.
  • —. “Voice Choices.” The Village Voice 9 Nov. 1994. Print.
  • Atkins, Robert. “From Preppie to Orange Hair in an Amsterdam Minute.” The New York Times 25 Sept. 1994: H40. Print.
  • Avgikos, Jan. “Ciphers of Identity.” Review of “Ciphers of Identity” exhibition. Artforum 32.8 (Apr. 1994): 91. Print.
  • Canning, S.M. “The Good Life.” Review of “The Good Life” exhibition. New Art Examiner Dec. 1994: 44. Print.
  • Cose, Ellis and Peter Plagens. “Black Like Whom?” Review of “Black Male” exhibition. Newsweek 14 Nov. 1994: 64-6. Print.
  • Cotter, Holland. “Art after Stonewall: 12 Artists Interviewed.” Art in America 82.6 (June 1994): 63. Print.
  • —. “Art in Review: Lyle Ashton Harris, ‘The Good Life.’” Review of “The Good Life” exhibition. The New York Times 30 Sept. 1994: C31. Print.
  • —. “Gay Pride (and Anguish) Around the Galleries.” The New York Times 14 June 1994: C14. Print.
  • Cronstrom, Kendall. “Definitions of Black.” Elle Nov. 1994. Print.
  • Hapgood, Susan. “Lyle Ashton Harris.” Art in America 82.11 (Nov. 1994): 106. Print.
  • Helfand, Glen. “Lyle Ashton Harris.” VIBE Oct. 1994: 102. Print.
  • Hess, Elizabeth. “Visible Man.” The Village Voice 22 Nov. 1994: 31-7. Print.
  • Lyle Ashton Harris Curriculum Vitae – page 33 of 44
  • Hovagimyan, G.H. “Black Male Show.” Manhattan File Nov. 1994: 104. Print.
  • Kimmelman, Michael. “Constructing Images of the Black Male.” Review of “Black Male” exhibition. The New York Times 11 Nov. 1994: C1. Print.
  • Levin, Kim. “Voice Choices.” The Village Voice 9 Nov. 1994. Print.
  • Mercer, Kobena. “Fear of a Black Penis.” Artforum 32.8 (Apr. 1994): 80-1. Print.
  • Pedersen, Victoria. “Black Male.” Paper Nov. 1994: 110. Print.
  • Seward, Keith. “Lyle Ashton Harris.” Review of “The Good Life” exhibition. Artforum 33.4 (Dec. 1994): 83. Print.
  • Solomon, Deborah. “Whitney Solves U.S. Race Problem.” Review of “Black Male” exhibition. The Wall Street Journal 11 Nov. 1994: A12. Print.
  • Stevens, Mark. “Black Like Them.” New York Magazine Sept. 1994: 52. Print.
  • Tate, Greg. “Start Black-Owned: Golden Rules.” VIBE Oct. 1994: 34. Print.

 

Invited Presentations, Visiting Lectures, Panels, Juries, and Other Activities

 

  • 2011 Conversation with Lyle Ashton Harris and Chuck Close. Artist Dialogue Series, New York Public Library, New York, NY
  • Guest Artist/Lecturer, Cleveland Museum of Art, Cleveland, OH
  • Juror (Photography), Scholastic Art & Writing Awards, Alliance for Young Artists & Writers, New York, NY
  • Juror, Rome Prize Jury (Robert Storr, Chair), American Academy in Rome, New York, NY
  • 2010 Guest Artist/Panelist, Annual Porter Colloquium on African American Art, Howard University, Washington, DC
  • Guest Artist/Panelist, “Venus 2010: They called her ‘Hottentot’”, New York University, New York, NY
  • Guest Artist/Panelist, “Photography and Diaspora: A Critical Discourse on Africa, Visual Culture and Modernity”, W.E.B. Du Bois Institute for African and African American Research, Harvard University, Cambridge, MA
  • 2008 Guest Artist/Lecturer, Arthur M. Sackler Museum, Harvard University, Cambridge, MA
  • Guest Artist/Lecturer, University at Buffalo Art Gallery, Buffalo, NY
  • 2007 Juror, Rome Prize Jury (Laurie Simmons, Chair), American Academy in Rome, New York, NY
  • 2006 Guest Artist/Panelist, Rollins College, Winter Park, FL
  • 2005 Conversation between Anna Deavere Smith and Lyle Ashton Harris, Hammer Museum, Los Angeles, CA
  • Conversation between Anna Deavere Smith and Lyle Ashton Harris, The Studio Museum in Harlem, New York, NY
  • Juror, Rome Prize Jury (Chuck Close, Chair), American Academy in Rome, New York, NY
  • 2002 Guest Artist/Lecturer, San Francisco Art Institute, San Francisco, CA
  • 2000 Guest Artist/Lecturer, California Institute of the Arts, Valencia, CA
  • 1999 Guest Artist/Lecturer, Mason Gross School of Arts, Rutgers, NJ
  • Guest Artist/Lecturer, Museum of Contemporary Art, San Diego, CA
  • Guest Artist/Lecturer, New York University, New York, NY
  • 1998 Guest Artist/Lecturer, The Corcoran Gallery of Art, Washington, DC
  • 1997 Guest Artist/Lecturer, University of Califorinia, Los Angeles, CA
  • 1996 Guest Artist/Lecturer, Colgate University, New York, NY
  • Guest Artist/Lecturer, SIUC, Carbondale, IL
  • Guest Artist/Lecturer, Yale University, New Haven, CT
  • Guest Artist/Lecturer, Columbia University, New York, NY
  • Guest Artist/Lecturer, Rhode Island School of Design, Providence, RI
  • Guest Artist/Lecturer, University of California, Los Angeles, CA
  • 1995 Guest Artist/Lecturer, International Center for Photography, New York, NY
  • Guest Artist/Lecturer, Hammer Museum, Los Angeles, CA
  • Guest Artist/Lecturer, Parsons School of Art, New York, NY
  • Guest Artist/Lecturer, University of California, Santa Barbara, CA
  • Guest Artist/Lecturer, Wesleyan University, Middletown, CT
  • Guest Artist/Lecturer, University of California, San Diego, CA
  • Guest Artist/Lecturer, College Art Association 1995, San Antonio, TX
  • Guest Artist/Panelist, “Pervert”, University of California, Irvine, CA
  • Guest Artist/Panelist, “Narcissistic Disturbance”, Otis College of Art and Design, Los Angeles, CA
  • Guest Artist/Panelist, “Face Value: American Portraits”, The Parrish Museum of Art, Southampton, NY
  • Guest Artist/Panelist, “Black Male”, Hammer Museum, Los Angeles, CA
  • Photographer, “Black Nations, Queer Nations” Conference, College for Lesbian and Gay Studies, City University of New York, New York, NY
  • 1994 Guest Artist/Panelist, “Queer Collaboration”, Society for Photographic Education 94, Chicago, IL
  • Guest Artist/Lecturer, University of California, Santa Barbara, CA
  • Guest Artist/Panelist, “Queer Art”, New School of Social Research, New York, NY
  • 1993 Photographer, Black Is/Black Ain’t, Documentary film (directed by Marlon Riggs)
  • Guest Artist/Panelist, “Cross-Dressers, Gender-Benders and Trouble-Makers: New Examinations in Transvestitism”, Occidental College, Los Angeles, CA
  • Guest Artist/Panelist, “Image Wars: The Role of Photography in the Creation of Culture”, University of Colorado, Boulder, CO
  • Guest Artist/Panelist, “Dresscodes”, Institute of Contemporary Art, Boston, MA
  • 1992 Guest Artist/Lecturer, Foundation for Art Resources, Los Angeles, CA
  • Guest Artist/Lecturer, “Diva Deluxe”, Humanities Research Institute, University of California, Irvine, CA
  • Guest Artist/Panelist. “Expanding American Art History to Reflect Multi-ethnic Diversity”, San Francisco Art Institute, San Francisco, CA
  • 1991 Photographer, “Black Popular Culture” Conference, DIA Center for the Arts and Studio Museum in Harlem, New York, NY
  • Guest Artist/Panelist, “Passionate Desires”, San Francisco Museum of Modern Art, San Francisco, CA
  • Guest Artist/Panelist, “Black Men in America: Changing Reality?”, Los Angeles Contemporary Exhibitions, Los Angeles, CA
  • Guest Artist/Panelist, “Lesbian and Gay Culture: Part of the African-American Community”, University of California, Irvine, CA
  • Guest Artist/Panelist, “Queer Perspectives: Art, Literature and Community Now”, Lesbian and Gay Outwrite, Boston, MA
  • Guest Artist/Panelist, “Disputed Identities”, Camerawork, San Francisco, CA
  • 1990 Project Associate, Black C.A.R.E. Project (Community AIDS Research and Education), Department of Psychology, University of California, Los Angeles, CA

 

Appointments Abroad/International Collaborations

 

  • 1992 Director, Dei Centre for the Study of Contemporary African Art, Accra, Ghana
  • Board Member, Art in Social Structures (AISS), Accra, Ghana
  • Curator, “Nsorma: The Cultural Legacy of Joe Nkrumah”, Dei Centre for the Study of Contemporary African Art, Accra, Ghana
  • Co-Organizer, “Journalist Art Criticism Workshop”, Art in Social Structures (AISS), Accra, Ghana
  • Juror, Africa Pavilion, 52nd Venice Biennale, Venice, Italy
  • Guest Artist/Lecturer, Royal College, Stockholm, Sweden
  • Arts Consultant, Banff Centre for the Arts, Alberta, Canada
  • Panelist, “Mirage”, ICA, London, UK
  • Guest Artist/Lecturer, “Interrogating Difference”
  • Vancouver Art Gallery, Vancouver, Canada

 

Professional Affiliations

 

  • Member, College Art Association, New York, NY
  • Society Fellow, American Academy in Rome, New York, NY

 

Teaching

 

  • 2007-2011 Assistant Professor – Tenure Track (Joint Appointment), Steinhardt School of Culture, Education, and Human Development and Office of Global Education ProgramsNew York University, New York, NY. Courses taught: MFA Graduate Studio Critique (New York); Advanced Projects in Art and Media (New York); Post Colonial Projects in Studio Art (Ghana); Projects in Photography (Ghana).
  • Summer Program Director, School of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY.
  • 2008-2011 Core Crtitic School of Art, Graduate Program – Spring Semester, Yale University, New Haven, CT
  • 2006 Assistant Professor – Clinical (Joint Appointment), Steinhardt School of Culture, Education, and Human Development and Office of Global Education Programs, New York University, New York, NY. Course taught: MFA Graduate Studio Critique (New York); Advanced Projects in Art and Media (New York); Photography and Theory Seminar (Ghana)
  • 2005 Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development and Office of Global Education Programs, New York University, New York, NY. Course taught: Graduate Seminar – Spring Semester (New York); Photography and Theory Seminar – Fall Semester (Ghana)
  • 2004 Adjunct Professor, Department of Art and Art Professions, International Center of Photography/Bard College, New York, NY. Course taught: MFA Master Class – Fall Semester
  • Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY. Course taught: Graduate Seminar – Spring Semester
  • 2000 Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY. Courses taught: Fundamentals of Photography; Graduate Projects: Advanced Color; Undergraduate Projects: Autobiography & Representation – Fall Semester
  • Adjunct Professor, Cooper Union School of Art, New York, NY. Course taught: Advanced Photography – Fall Semester
  • Adjunct Professor, Department of Art, School of Art and Architecture, University of California, Los Angeles, CA. Course taught: Graduate Tutorial – Spring Semester
  • Adjunct Professor, School of Art, California Institute of the Arts, Valencia, CA. Course taught: Special Projects and Independent Studies – Spring Semester
  • 1998 Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY. Courses taught: Photo One; Photo Two; Sophomore Praxis; Junior Seminar – Spring Semester
  • 1997 Adjunct Professor, Fine Arts Department, Art Center College of Design, Pasadena, CA. Course taught: Undergraduate Seminar – Fall Semester
  • Adjunct Professor , School of Art, University of California, San Diego, San Diego, CA. Courses taught: Photo Two; Graduate Seminar – Spring Semester
  • 1994 Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, Course taught: Graduate Seminar – Spring Semester
  • Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY, Courses taught: Fundamentals of Photography; Graduate Projects: Advanced Color; Undergraduate Projects: Autobiography & Representation – Fall Semester
  • Adjunct Professor, Cooper Union School of Art, New York, NY. Course taught: Advanced Photography – Fall Semester
  • Adjunct Professor, Department of Art, School of Art and Architecture, University of California, Los Angeles, CA. Course taught: Graduate Tutorial – Spring Semester
  • Adjunct Professor, School of Art, California Institute of the Arts, Valencia, CA. Course taught: Special Projects and Independent Studies – Spring Semester
  • Adjunct Professor, Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY. Courses taught: Photo One; Photo Two; Sophomore Praxis; Junior Seminar – Spring Semester
  • Adjunct Professor, Fine Arts Department, Art Center College of Design, Pasadena, CA. Course taught: Undergraduate Seminar – Fall Semester
  • Adjunct Professor, School of Art, University of California, San Diego, San Diego, CA. Courses taught: Photo Two; Graduate Seminar – Spring Semester
  • Lecturer, School of Fine Arts, Otis College of Art and Design, Los Angeles, CA. Course taught: Photography Praxis – Fall Semester

 

Public Collections

 

  • JPMorgan Chase Art Collection, New York, NY
  • Los Angeles County Museum of Art, Los Angeles, CA
  • Miami Art Museum, Miami, FL
  • Museo de Arte Contemporáneo de Castilla y León, Spain
  • Museum of Contemporary Art, Los Angeles, CA
  • Museum of Contemporary Art, San Diego, CA
  • Nasher Museum of Art at Duke University, Raleigh-Durham, NC
  • The Progressive Corporation, Mayfield Village, OH
  • Walker Art Center, Minneapolis, MN
  • The Whitney Museum of American Art, New York, NY