 |
 |
|
|
| 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 |
|
| 2010 |
• |
Ghana, CRG Gallery, NY |
| 2008 |
• |
Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University,Cambridge, MA |
|
• |
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 |
| 2005 |
• |
Regarding Michael Jackson: Performing Racial, Gender, and Sexual Difference Center Stage, Conference, Yale University, New Haven, CT |
| 2004 |
• |
Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France |
|
• |
Lyle Ashton Harris, 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 |
| 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 |
| 1997 |
• |
The White Face Series, Thomas Erben Gallery, NY |
| 1996 |
• |
The Watering Hole, Jack Tilton Gallery, NY |
|
• |
Select Photographs, 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 |
| 2009 |
• |
The Summer Show, CRG Gallery, NY |
| 2008 |
• |
Expenditure, Busan Biennale 2008, Busan Museum of Modern Art, Busan, South Korea |
|
• |
Sketches from the Shore, Neil L. and Angelica Zander Rudenstine Gallery, Harvard University, Cambridge, MA |
|
• |
S&M: Shines and Masquerades in Cosmopolitan Times, East Galleries, New York University, New York, NY |
| 2007 |
• |
52nd Venice Biennale, Venice, Italy |
|
• |
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 |
|
• |
Bienal de Arte Contemporaneo de Sevilla, Seville, Spain |
|
• |
GAY ART NOW, Curated by Jack Pierson, Paul Kasmin Gallery, New York, NY |
| 2005 |
• |
Male Desire Two, Mary Ryan Gallery, NY |
|
• |
IDENTITÀ & nomadismo, Palazzo delle Papesse, Centro Arte Contemporanea, Siena |
|
• |
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 |
|
• |
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 |
|
• |
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 |
| 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 |
|
• |
Love Supreme, La Criee Centre D’Art Contemporain, Rennes, France |
| 2000 |
• |
Self-Portraits, Kwangju Biennale, Seoul, Korea |
|
• |
Masterminds of Mode: International Fashion Festival in Japan, Mitsukoshi, Tokyo; Kobe Fashion Museum, Kobe; Mitsubishi-Jisho Atrium, Fukuoka |
|
• |
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 |
| 1998 |
• |
816, Galerie Analix B Polla & C Cargnel, Paris |
|
• |
Welcome, Citt...Sant’Angelo, curated by Renato Bianchini |
|
• |
1998 Diana.98, Museum fur Gegenwartskunst, Zurich |
|
• |
Millenovecento, Galerie Analix B Polla & C Cargnel, Paris |
|
• |
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 |
|
• |
Postcards from Black America, De Beyerd Center of Contemporary Art, Breda, Netherlands |
| 1997 |
• |
Scene of the Crime, UCLA/Armand Hammer Museum of Art, Los Angeles, CA |
|
• |
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, Guggenheim Museum |
|
• |
New York. 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 |
• |
Adrift, Bard College, Annandale-on-the-Hudson, New York |
|
• |
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 |
|
• |
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. Traveled to: Wexner Center for the Arts, Columbus, OH and Tampa Museum of Art, Tampa, Florida |
|
• |
Desire - Borealis 7, Helsinki City Museum and The Nordic Arts Centre, Helsinki, Finland |
|
• |
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 |
|
• |
Inside/Out, Aldrich Museum, Ridgefield, CT |
|
• |
Mirage: Enigmas of Race, Difference and Desire, ICA, London, England |
|
• |
Masculine Masquerade, MIT List Art Center, Boston, MA |
|
• |
Narcissistic Disturbance, Otis Gallery, Los Angeles, CA |
|
• |
Pervert, Fine Arts Gallery, University of California/Irvine, Irvine, CA |
|
• |
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. Traveled to: UCLA/Armand Hammer Museum of Art, Los Angeles, CA 1995 |
|
• |
Telling...Stories, Randolph Street Gallery, Chicago, IL |
| 1993 |
• |
Ciphers of Identity, University of Maryland, Baltimore, MD. 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 |
|
• |
42nd Street Art Project: Victory Parade, Times Square, New York |
|
• |
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, NY |
|
• |
In The World, 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 |
|
• |
Schwarze Kunst: Konzepte zu Politik and Identital, NGBK, Berlin, Germany |
| 1991 |
• |
Acquired Visions: Seeing Ourselves Through AIDS, Studio Museum of Harlem, NY |
|
• |
AutoPortraits, Camerawork, London, England |
|
• |
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 |
|
| Published Photographs |
|
| 2004 |
• |
Hannaham, James, "Beyond the Pale," New York Magazine, Summer Issue, June 28-July 5, p.99 |
|
• |
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) |
|
• |
Harris, Lyle Ashton, "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) |
|
• |
Harris, Lyle Ashton, "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 |
|
• |
"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) |
|
• |
"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) |
|
• |
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 |
| 1993 |
• |
Harris, Lyle Ashton, "Man and Woman #1," Transition, press no. 58, New York, Oxford University (cover photograph) |
|
• |
Hunter, B. Michael, ed. Sojourner, New York: Other Countries Press |
|
• |
Watson, Simon, "Seksuaalisuus ja vastarinta," Ahl Seksualistunden Vuosi, p. 46 |
| 1992 |
• |
Dent, Gina, ed. Black Popular Culture, Seattle: Bay Press (photo illustration) |
|
• |
Harris, Lyle Ashton, "In a land that loves its blond, blue-eyed children, who weeps for the dreams of a black girl?," Framework 4.3, p.40-41 |
| 1991 |
• |
Harris, Lyle Ashton, "Untitled #1," Outlook 13, p. 26-31 |
|
• |
Walker, Christian, "The Miscegenated Gaze," San Francisco Camerawork, Fall, p. 12-14 |
|
• |
"Reflections of a Past Life through Glass," TEN.8, cover and portfolio, Spring |
| 1990 |
• |
Hayes, William, "Out with the Boys," Mother Jones, July/August, p. 47-49 |
|
| Selected Bibliography (Books) |
|
| 2008 |
• |
Enwezor, Okwui with foreward by Henry Louis Gates Jr. Lyle Ashton Harris, Excessive Exposure: The Complete Chocolate Portraits. New York: Gregory R Miller & Company. |
|
• |
Coblentz, Cassandra with essays by Kwame Anthony Appiah, Lyle Ashton Harris, Susan Krane, Sarah Lewis, Senam Okudzeto. Lyle Ashton Harris: Blow Up. Scottsdale: Scottsdale Museum of Contemporary Art. New York: Gregory R Miller & Company. |
| 2007 |
• |
Angier, Roswell. Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography. New York: Watson-Guptil Publications, pp. 86 – 87. |
| 2006 |
• |
Jones, Amelia. Self Image: Technology, Representation and the Contemporary Subject. London and New York: Routledge, pp. 56 – 57. |
| 2005 |
• |
Monterosso, Jean-Luc. Atelier Adamson. Paris: Steidl Publications, pp. 96 – 105. |
|
• |
Friedman, Martin. Close Reading: Chuck Close and the Artist Portrait. New York: |
|
• |
Harry N. Abrams, pp. 212 – 25. |
|
• |
Mahon, Alyce. Eroticism and Art. New York: Oxford University Press, pp. 226, 254 – 57. |
|
• |
McDaniel, Craig and Jean Robertson. Themes of Contemporary Art: Visual Art after |
|
• |
1980. New York: Oxford University Press, pp. 112 – 16, 146. |
| 2004 |
• |
Smith, Anna Deavere. Lyle Ashton Harris. New York: Gregory R. Miller & Co. |
| 2003 |
• |
Fusco, Coco and Brian Wallis. Only Skin Deep: Changing Visions of The American Self. |
|
• |
New York: International Center of Photography and Harry N. Abrams, pp. 260, 328 – 29. |
| 2001 |
• |
Hall, Stewart and Mark Sealy. Different: Contemporary Photographers and Black |
|
• |
Identity. London: Phaidon Press, pp. 47 – 48, 117 – 18. |
|
• |
Willis, Deborah. Reflections in Black: A History of Black Photographers 1840 to the |
|
• |
Present. New York: W.W. Norton & Company, pp. 187 – 88, 292 – 93. |
| 1998 |
• |
Bright, Deborah. The Passionate Camera. London and New York: Routledge, cover and pp. 11, 15, 248 – 61, 299, 312. |
|
• |
Doy, Gen. Materializing Art History. New York: Berg Publications, cover and pp. 16 – 17, |
|
• |
236, 245 – 49. |
|
• |
Jones, Ameila. Body Art/Performing the Subject. Minneapolis: University of Minnesota |
|
• |
Press, pp. 214 – 15, 217, 219 – 220, 222, 225 – 226. |
| 1997 |
• |
Blessing, Jennifer. “Rrose is a Rrose is a Rrose: Gender Performance in Photography.” In Rrose is a Rrose is a Rrose: Gender Performance in Photography, ed. Jennifer Blessing. |
|
• |
New York: The Solomon R. Guggenheim Museum, pp. 107 – 111. |
|
• |
Harris, Lyle Ashton. “Drag Racing.” In Rrose is a Rrose is a Rrose: Gender Performance |
|
• |
in Photography, ed. Jennifer Blessing. New York: The Solomon R. Guggenheim Museum, |
|
• |
pp. 190 – 203. |
|
• |
Powell, Richard. Black Art and Culture in the 20th Century. London: Thames & Hudson, |
|
• |
pp. 129, 161, 163, 166. |
|
• |
Wilson, Sarah. “Femininities – Masquerades.” In Rrose is a Rrose is a Rrose: Gender |
|
• |
Performance in Photography, ed. Jennifer Blessing. New York: The Solomon R. Guggenheim |
|
• |
Museum, pp. 147 – 49. |
| 1996 |
• |
De Salvo, Donna. Face Value: American Portraits. New York: Flammarion, pp. 31 – 34. |
|
• |
hooks, bell. Art on My Mind: Visual Politics. New York: The New Press, pp. 110, 136 – 37, |
|
• |
210 – 12. |
|
• |
Perchuk, Andrew and Helaine Posner. The Masculine Masquerade: Masculinity and |
|
• |
Representation. Cambridge, Massachusetts: MIT Press, pp. 20, 29, 108 – 109. |
| 1994 |
• |
Golden, Thelma. Black Male: Representations of Masculinity in Contemporary |
|
• |
American Art. New York: Harry N. Abrams, pp. 33, 83, 137 – 38, 140. |
|
|
Selected Bibliography (Articles and Reviews) |
|
| 2010 |
• |
Smith, Albert, "Artist Spotlight: Lyle Ashton Harris." advocate.com, August 14, 2010 |
|
• |
Cotter, Holland, Lyle Ashton Harris, New York Times, April 2, 2010 |
|
• |
Gilbert, Alan, Ghana, Village Voice, March 9, 2010 |
| 2008 |
• |
Cotter, Holland. “A Multicultural Swirl of Africa, The Americas and Even Outer Space.” The New York Times, December 3. McQuaid, Cate. “Documenting Life on Ghana shore.” Boston Globe, December 10. |
|
• |
Baer, Ulrich. “Deep in the Archive.” Aperture, Winter 2008, p 54-59. |
|
• |
Dawson, Jessica. “He Is Some Body: Lyle Ashton Harris’s Enigmatic Self-Portraits.” Washington Post. February 1. |
| 2007 |
• |
Feitelberg, Rosemary. “Bravo Biennale: A New View of Africa.” WWDScoop, Summer, p. 43. |
|
• |
Glueck, Grace. “Self-Portraits that Obscure the Self.” The New York Times, January 5. |
|
• |
Morgan, Jessica. “Categorical Impertives.” Artforum 46, 1 (September), p. 391. |
|
• |
Riley, Cheryl R. “Lyle Ashton Harris: A Look at His Camera’s Lens.” Ebony Magazine |
|
• |
(July), pp. 196 – 99. |
|
• |
Simula, Carlo. “Lyle Ashton Harris.” L’Uomo Vogue, May-June, p. 304. |
| 2006 |
• |
Green, Roger. “Review: Artists Photograph Their Interpretations of Family Values.” |
|
• |
http://www.mLive.com, March 10. |
| 2005 |
• |
Fyfe, Joe. “Lyle Ashton Harris.” Art on Paper 9, 3 (January-February), p. 94. |
| 2004 |
• |
Fyfe, Joe. “Lyle Ashton Harris at Nathalie Obadia Gallery, Paris.” Art on Paper 8, 6 |
|
• |
(July-August), p. 53. |
|
• |
Jefferson, Margo. “Photo Dynamics.” The New York Times Book Review, February 15. |
|
• |
Liu, Timothy. “Memoirs of Hadrian.” Artpapers, January-February, p. 48. |
|
• |
Northcross, Wayne. “Blood, Sweat and Tears.” Genre, September, p. 93. |
|
• |
Perrëe, Rob. “Lyle Ashton Harris.” Kunstbeeld, December 2003-January 2004, pp. 72 – 73. |
|
• |
Rexer, Lyle. “Only Skin Deep.” Art on Paper 8, 4 (March-April), pp. 60 – 63. |
|
• |
Reyes, Damaso. “Anna Deavere Smith at The Studio Museum.” Amsterdam News, |
|
• |
December 27. |
|
• |
Workman, Michael. “Lyle Ashton Harris, Rhona Hoffman Gallery.” Flash Art, March, |
|
• |
pp. 118 – 19. |
| 2003 |
• |
Aletti, Vince. “Lyle Ashton Harris.” The Village Voice, October 8. |
|
• |
Cotter, Holland. “When the I is the Subject and It’s Always Changing.” The New York |
|
• |
Times, September 12. |
|
• |
Cotter, Holland. “Cameras as Accomplices, Helping Race Divide America Against Itself.” |
|
• |
The New York Times, December 19. |
|
• |
Genocchio, Benjamin. “Old Faces Inaugurate a Renovated Gallery for Wesleyan.” The |
|
• |
New York Times, November 16. |
|
• |
Leffingwell, Edward. “Lyle Ashton Harris at CRG.” Art in America 91, 11 (November), |
|
• |
pp. 166 – 67. |
|
• |
Rickels, Laurence A. “Lyle Ashton Harris.” Art US, November-December, p. 32. |
|
• |
Schwendener, Martha. “Lyle Ashton Harris, CRG Gallery.” Artforum 42, 3 (November), |
|
• |
pp. 189 – 90. |
| 2001 |
• |
Shamray, Katherine. “Go-Go Photographer Slows Down in Eternal City.” Italy Daily/ |
|
• |
Herald Tribune, May 28. |
| 1999 |
• |
Harris, Lyle Ashton. “Chuck Close Master Portraitist: Lyle Ashton Harris at Chuck |
|
• |
Close’s Studio in Soho.” aRUDE, Winter, pp. 74 – 76. |
|
• |
Harris, Lyle Ashton. “The Sublime, The Grotesque, The Epic: Lyle Ashton Harris |
|
• |
Interviews Cindy Sherman.” aRUDE, Spring, pp. 50 – 54. |
| 1998 |
• |
Bonetti, David. “Art.” San Francisco Examiner, February 4. |
|
• |
Fitzsimons, Casey. “‘Alchemy’ at New Langton Arts.” Artweek 29, 3 (March), p. 27. |
|
• |
Helfand, Glen. “‘Rhapsodies in Black’ and ‘Alchemy’ Look to the Sources of African |
|
• |
American Art.” The San Francisco Bay 32, 19 (February), pp. 11 – 17. |
|
• |
Salvioni, Daniela. “Lyle Ashton Harris, Thomas Allen Harris.” Artforum 36, 9 (May), p. 154. |
| 1997 |
• |
Smith, Roberta. “Decoding la Difference: Gender as Dress and Pose.” The New York |
|
• |
Times, January 17. |
|
• |
Turner, Grady T. “Lyle Ashton Harris at Jack Tilton.” Art in America 85, 3 (March), |
|
• |
pp. 99 – 100. |
|
• |
Woolery, Reggie. “The Watering Hole.” Fuse Magazine 20, 3 (June), pp. 37 – 39. |
|
• |
Woolery, Reggie. “Body of Knowledge.” Artnews 96, 10 (November), p. 54. |
| 1996 |
• |
Artner, Alan G. “Persona Non Grata.” The Chicago Tribune, March 17. |
|
• |
Aletti, Vince. “Lyle Ashton Harris.” The Village Voice, September 24. |
|
• |
Anderson, Frances. “The Gallery Strikes Back: The Commercial Scene, Los Angeles.” |
|
• |
The Art Newspaper, July-August, p. 34. |
|
• |
Clothier, Peter. “Lyle Ashton Harris.” Artnews 95, 9 (October), p. 137. |
|
• |
Cohen, Michael. “Lyle Ashton Harris.” Flash Art 29, 188 (May-June), p. 107. |
|
• |
Harris, Thomas Allen. “False Assumptions Flaw Criticism.” The Los Angeles Times, |
|
• |
August 26. |
|
• |
Smith, Roberta. “Finding Art in the Artifact of the Masses.” The New York Times, |
|
• |
December 1. |
|
• |
Smith, Roberta. “Lyle Ashton Harris.” The New York Times, September 27. |
|
• |
Wiggins, Cynthia. “Liberty, Fraternity, Inequality: Race, Rage, Regret.” LA Weekly, |
|
• |
August 16 – 22, pp. 43 – 44. |
| 1995 |
• |
Brooks, Rosetta. “Narcissistic Disturbance at Otis Art Gallery.” Artforum 33, 10 |
|
• |
(Summer), p. 112. |
|
• |
Budney, Jen. “Spotlight: Black Male.” Flash Art 180 (February), p. 91. |
|
• |
Cork, Richard. “Mirage Show of Wit.” The London Times, June 27. |
|
• |
Enwezor, Okwui. “The Body in Question: Whose Body? ‘Black Male’: Representations |
|
• |
of Masculinity in Contemporary American Art.” Third Text 31 (Summer), p. 69. |
|
• |
Flett, Kathryn. “Arena Recommends.” Arena, July-August, p. 26. |
|
• |
George, Lynell. “The ‘Black Male’ Debate.” The Los Angeles Times, February 22. |
|
• |
Green, David A. “Narcissistic Disturbance.” Art Issues, March-April, p. 40. |
|
• |
Halard, François. “Portraits of the Artists as Young Men.” GQ, February, p. 164. |
|
• |
Harris, Lyle Ashton and Tommy Gear. “Coco Fusco: English is Broken Here.” aRUDE, |
|
• |
Fall, pp. 54 – 55. |
|
• |
Haye, Christian. “Myth and the Man.” Frieze, January-February, p. 24. |
|
• |
Knight, Christopher. “LACMA’s ‘P.L.A.N.’ Isn’t Your Standard Photo Show.” The Los |
|
• |
Angeles Times, July 8. |
|
• |
Knight, Christopher. “‘Narcissistic’: Art for Artist’s Sake.” The Los Angeles Times, |
|
• |
February 14. |
|
• |
Mejias, Jordon. “Wer Hat Angst vor Schwarzen Man.” Feuilleton, January 24. |
|
• |
Murphy, Anthony C. “Art Scene.” American Vision, December-January, p. 10. |
|
• |
Nochlin, Linda. “Learning from ‘Black Male.’” Art in America 83, 3 (March), p. 86. |
|
• |
Owen, David. “The Straddler.” The New Yorker, January 30. |
|
• |
Onedera, Shinichiro. “Art of the Absolute Nude.” Brutus, January 1 – 15, pp. 58 – 65. |
|
• |
Philips, Anthony. “Postmodern Vamp: Living the Good Life with Photographer Lyle |
|
• |
Ashton Harris.” aRUDE, Spring, pp. 20 – 21. |
|
• |
Rugoff, Ralph. “Vanity Fare: Artists and the N Word.” LA Weekly, February 17. |
|
• |
Sladen, Mark. “Black on Black.” Art Monthly, July-August, p. 13. |
|
• |
Temin, Christine. “Seeing the Man behind the Mask.” The Boston Globe, January 24. |
|
• |
Udé, Iké. “On Lyle’s Case: Mask and Embrace in the Work of Lyle Ashton Harris.” |
|
• |
THRESHOLDS: Viewing Culture 9, pp. 67, 72. |
|
• |
Zellen, Jody. “The Good Life.” Artpress, January, p. 66. |
|
• |
Zook, Kristal Brent. “Longing for Tribe, The Storm over ‘Black Male’ and the Persistence |
|
• |
of Nationalist Design.” LA Weekly, April 12. |
| 1994 |
• |
Aletti, Vince. “It’s a Family Affair.” The Village Voice, September 27. |
|
• |
Aletti, Vince. “Voice Choices.” The Village Voice, November 9. |
|
• |
Atkins, Robert. “From Preppie to Orange Hair in an Amsterdam Minute.” The New York |
|
• |
Times, September 25. |
|
• |
Avgikos, Jan. “Ciphers of Identity.” Artforum 32, 8 (April), p. 91. |
|
• |
Canning, S.M. “The Good Life.” New Art Examiner, December, p. 44. |
|
• |
Cotter, Holland. “Art after Stonewall: 12 Artists Interviewed.” Art in America 82, 6 |
|
• |
(June), p. 63. |
|
• |
Cotter, Holland. “Art in Review: Lyle Ashton Harris, ‘The Good Life.’” The New York |
|
• |
Times, September 30. |
|
• |
Cotter, Holland. “Gay Pride (and Anguish) Around the Galleries.” The New York Times, |
|
• |
June 14. |
|
• |
Hapgood, Susan. “Lyle Ashton Harris.” Art in America 82, 11 (November), p. 106. |
|
• |
Helfand, Glen. “Lyle Ashton Harris.” VIBE, October, p. 102. |
|
• |
Hovagimyan, G.H. “Black Male Show.” Manhattan File, November, p. 104. |
|
• |
Kimmelman, Michael. “Constructing Images of the Black Male.” The New York Times, |
|
• |
November 11. |
|
• |
Levin, Kim. “Voice Choices.” The Village Voice, November 9. |
|
• |
Mercer, Kobena. “Fear of a Black Penis.” Artforum 32, 8 (April), pp. 80 – 81. |
|
• |
Pedersen, Victoria. “Black Male.” Paper, November, p. 110. |
|
• |
Seward, Keith. “Lyle Ashton Harris.” Artforum 33, 4 (December), p. 83. |
|
• |
Solomon, Deborah. “Whitney Solves U.S. Race Problem.” The Wall Street Journal, |
|
• |
November 11. |
|
• |
Stevens, Mark. “Black Like Them.” New York Magazine, September, p. 52. |
|
• |
Wilson, Judith. “Beauty Rites: Towards an Anatomy of Culture in African American |
|
• |
Women’s Art.” The International Review of African American Art 11, 3, pp. 11 – 17. |
| 1993 |
• |
Sirmans, Franklin. “Best to Protect your Neck: Love One Another.” Ace Magazine, July, p. 14. |
|
• |
Spindler, Amy. “As Street Goes, So Goes Style.” The New York Times, September 19. |
|
• |
White, Bethany. “About Face.” Tribes, Fall-Winter, editor’s page, pp. 55 – 59. |
| 1992 |
• |
Bleckner, Ross. “Emerging Artists.” Out, Fall, p. 47. |
|
• |
Bonami, Francesco. “Schwarze Art Trouble.” Flash Art 25, 163 (May-June), p. 132. |
|
• |
Bonami, Francesco. “Body Politic.” Los Angeles Times, December 11. |
|
• |
Bonami, Francesco. “Disputed Identities US/UK.” Parachute 65 (January-March), pp. 59 – 60. |
|
• |
Conwill, Kinshasha Holman and Lorna Simpson. “Valuing Difference in a Multicultural/ |
|
• |
Multiracial Society.” ArtPapers, March-April, p. 27. |
|
• |
Harris, Lyle Ashton. “Revolutionary Acts—Interview with Marlon Riggs.” Afterimage, |
|
• |
March, pp. 8 – 11. |
|
• |
Hess, Elizabeth. “Give Me Fever.” The Village Voice, December 29. |
|
• |
Hess, Elizabeth. “Art and Politics: A Pre-Election Symposium.” Art in America 80, 10 |
|
• |
(October), p. 43. |
|
• |
Kotz, Liz. “The Body You Want.” Artforum 31, 3 (November), p. 82. |
|
• |
Rosenberg, Ann. “Sexual Images.” Vancouver Sun, May 2. |
|
• |
Temin, Christine. “ICA’s Provocative ‘Dress Codes.’” The Boston Globe, March 10. |
|
• |
Vogel, Sabine. “Jeder ist eine Minderheit.” Der Tagesspiegel, January 8. |
| 1991 |
• |
George, Eddie. “Black Body and Public Enemy.” TEN.8 2, 1 (Spring), pp. 68 – 71. |
|
• |
Harris, Lyle Ashton. “Revenge of a Snow Queen.” OutLook, Summer, cover and portfolio. |
|
• |
Harris, Lyle Ashton. “Revolutionary Acts.” Afterimage, March, pp. 8 – 11. |
|
• |
Mercer, Kobena. “Dark and Lovely: Notes on Black Gay Image-Making.” TEN.8 2, 1 |
|
• |
(Spring), pp. 78 – 85. |
|
• |
Rosenberg, Ann. “Icons of Identity.” Vancouver Sun, May 25. |
|
• |
Snow, Shauna. “L.A. Area Artists Win Four Arts Federation Fellowships.” Los Angeles |
|
• |
Times, July 14. |
|
• |
Walker, Christian. “The Miscegenated Gaze.” San Francisco Camerawork, Fall, pp. 12 – 14. |
| 1990 |
• |
Hayes, William. “Out with the Boys.” Mother Jones, July-August, pp. 47 – 49. |
|
• |
Sebestyen, Amanda. “Black Narcissus.” New Statesman, April 6. |
|
| Comissioned Portraits and Photographic Essays |
|
| 2007 |
• |
Yablonsky, Linda. “In the Studio: Kara Walker.” Art & Auction, February, pp. 46, 48. |
| 2006 |
• |
Appiah, Kwame Anthony. “The Case for Contamination.” The New York Times |
|
• |
Magazine, January 1, pp. 4, 30 – 31, 34. |
| 2005 |
• |
Hodgman, John. “Antony Finds His Voice.” The New York Times Magazine, September 4, |
|
• |
p. 25. |
| 2004 |
• |
Hedegaard, Erik. “The Entertainer: Al Sharpton.” New York Magazine, October 18, pp. |
|
• |
37, 38. |
|
• |
Stoddard, Grant. “Sex/steria.” New York Magazine, November 22, pp. 37, 39. |
| 2002 |
• |
Kuper, Simon. “The World’s Game Is Not Just a Game.” The New York Times Magazine, |
|
• |
May 26, pp. 37 – 41. |
| 2001 |
• |
Hyland, John. “Hot Chicks, Cool Rooms.” The New York Times Magazine’s Fashions of |
|
• |
the Times, Spring, p. 185. |
|
• |
Max, D.T. “To Sleep No More.” The New York Times Magazine, May 6, pp. 74 –75. |
|
• |
Stanley, Alessandra. “Berlusconi, The Return.” The New York Times Magazine, April 15, |
|
• |
p. 40. |
| 2000 |
• |
Ex, Kris. “The Art of War.” VIBE, August, pp. 24, 145. |
|
• |
Ogunnaike, Lola. “Next: Rappers and Proteges.” VIBE, September, pp. 128 – 32. |
|
• |
Ogunnaike, Lola. “What’s Really on the Minds of Americans: A Special Photography |
|
• |
Issue.” The New York Times Magazine, May 7, p. 65. |
|
• |
Ogunnaike, Lola. “Hollywood: Special Collector’s Issue.” Code Magazine, March, p. 58 |
|
• |
Wallach, Amei. “The Widow Peaks.” The New York Times Magazine, September 24, p. 59. |
| 1999 |
• |
Elie, Paul. “The Next Cardinal.” The New York Times Magazine, October 10, pp. 70 – 73. |
|
• |
Dent, David. “The Gospel According to Conrad Muhammad.” VIBE, November, pp. 142 – 46. |
| 1997 |
• |
Bruni, Frank. “Reconstructing Marky Mark.” The New York Times Magazine, August 31, |
|
• |
pp. 26 – 29. |
|
• |
DeParle, Jason. “Welfare to Work: A Sequel.” The New York Times Magazine, December 28. |
|
• |
Ferguson, Russell, ed. Uncommon Sense. Los Angeles: Museum of Contemporary Art |
|
• |
Publications, pp. 53 – 76. |
|
• |
Johnson, Roy. “The New Black Power.” Fortune, August 4, cover and p. 47. |
|
• |
Johnson, Roy. “Times Square: A Special Photography Issue.” The New York Times |
|
• |
Magazine, May 18, pp. 61, 64 – 65. |
| 1996 |
• |
Harris, Lyle Ashton. “Queen, Alias and Id.” Atlantica 6, pp. 70 – 77. |
|
• |
Maslin, Janet. “The Unnominated.” The New York Times Magazine, March 17, pp. 38 – 39. |
| 1994 |
• |
DeParle, Jason. “Mary Ann Moore’s Welfare.” The New York Times Magazine, December 8, |
|
• |
cover and pp. 42 – 49. |
| 1991 |
• |
Akomfrah, John. “On the Borderline.” TEN.8 2, 1 (Spring), cover and pp. 50 – 61. |
|
| Professional Activities |
|
| 2008 |
• |
Lecturer, Arthur M. Sackler Museum, Harvard University, Cambridge, MA |
|
• |
Lecturer, University at Buffalo Art Gallery, Buffalo, NY |
| 2007 |
• |
Jurer for the African Pavillion. 52nd Venice Biennale, Venice, Italy. |
| 2006 |
• |
Co-organized NYU Colloquium on Contemporary Art with Joe Nkrumah. Production, Presentation, Conservation and Collection, Ghana. |
|
• |
Panelist. Rollins College, Winter Park, FL. |
| 2005 |
• |
Conversation between Anna Deavere Smith & Lyle Ashton Harris. Hammer Museum, Los Angeles, CA. |
|
• |
Conversation between Anna Deavere Smith & Lyle Ashton Harris. The Studio Museum in Harlem, New York, NY. |
| 2002 |
• |
Visiting Artist. San Francisco Art Institute, San Francisco, CA. |
| 2000 |
• |
Lecturer. California Institute of the Arts,Valencia, CA. |
| 1999 |
• |
Lecturer. Mason Gross School of Arts, Rutgers, NJ. |
|
• |
Lecturer. MOCA San Diego, CA. |
|
• |
Lecturer. New York University, New York, NY. |
| 1998 |
• |
Lecturer. The Corcoran Gallery of Art, Washington, DC. |
| 1997 |
• |
Lecturer. UCLA, Los Angeles, CA. |
| 1996 |
• |
Lecturer. Colgate University, New York, NY. |
|
• |
Lecturer. SIUC at Carbondale, IL. |
|
• |
Lecturer. Yale University, New Haven, CT. |
|
• |
Lecturer. Royal College, Sweden. |
|
• |
Lecturer. Columbia University, New York, NY. |
|
• |
Lecturer. Rhode Island School of Design, Providence, RI. |
|
• |
Lecturer. University of California, Los Angeles, CA. |
|
• |
Consultant. Banff Centre for the Arts, Alberta, Canada. |
| 1995 |
• |
Lecturer. International Center for Photography, New York, NY. |
|
• |
Lecturer. Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA. |
|
• |
Lecturer. Parsons School of Art, New York, NY. |
|
• |
Lecturer. University of California, Santa Barbara, CA. |
|
• |
Lecturer. Wesleyan University, Middletown, CT. |
|
• |
Lecturer. University of California, San Diego, CA |
|
• |
Panelist. College Art Association 1995, San Antonio, TX |
|
• |
Panelist. Mirage. ICA, London, England. Moderated by Homi K. Bhabha |
|
• |
Panelist. Pervert. University of California, Irvine, CA |
|
• |
Panelist. Narcissistic Disturbance. Otis College of Art and Design, Los Angeles, CA. Organized by Michael Cohen. |
|
• |
Panelist. Face Value: American Portraits. The Parrish Museum of Art, Southampton,NY. Organized by Donna DeSalvo. |
|
• |
Panelist. Black Male. Armand Hammer Museum of Art, Los Angeles, CA. |
|
• |
Still photographer. Black Nations, Queer Nations, conference, College for Lesbian |
|
• |
and Gay Studies, City University of New York, NY. |
|
• |
Television Interview. A Tale of Three Cities: Dialogue with Lyle Ashton Harris and Jack |
|
• |
Pierson. by Jerry Saltz for Intervista Productions, NHK, Japan. |
| 1994 |
• |
Panelist. Queer Collaboration. Society for Photographic Education 94, Chicago, IL. |
|
• |
Lecturer. University of California, Santa Barbara, CA. |
|
• |
Panelist. Queer Art. New School of Social Research, New York, NY. Organized by Robert Atkins. |
| 1993 |
• |
Still Photographer. Black Is/Black Ain't. film directed by Marlon Riggs. |
|
• |
Panelist. Cross-Dressers, Gender-Benders and Trouble-Makers: New Examinations in |
|
• |
Transvestitism. Occidental College, Los Angeles, CA. |
|
• |
Panelist. Image Wars: The Role of Photography in the Creation of Culture. University of |
|
• |
Colorado, Boulder, CO. Organized by Lucy Lippard. |
|
• |
Panelist. Dresscodes. Institute of Contemporary Art, Boston, MA. Moderated by Marjorie Garber and Simon Watson. |
| 1992 |
• |
Lecturer. Foundation for Art Resources, Los Angeles, CA. |
|
• |
Lecturer. Diva Deluxe. Humanities Research Institute, University of California, Irvine, CA. |
|
• |
Panelist. Expanding American Art History to Reflect Multiethnic Diversity. San Francisco Art Institute, San Francisco, CA. |
|
• |
Lecturer. Interrogating Difference. Vancouver Art Gallery, Vancouver, BC, Canada. |
| 1991 |
• |
Still photographer. "Black Popular Culture." DIA Center for the Arts, New York, and |
|
• |
Studio Museum of Harlem, New York, NY. |
|
• |
Panelist. Passionate Desires. San Francisco Museum of Modern Art, San Francisco, CA. |
|
• |
Panelist. Black Men in America: Changing Reality? L.A. Contemporary Exhibitions, CA. |
|
• |
Panelist. Lesbian and Gay Culture: Part of the African-American Community. University of California, Irvine, CA. |
|
• |
Panelist. Queer Perspectives: Art, Literature and Community Now. Lesbian and Gay |
|
• |
Outwrite, Boston, MA. |
|
• |
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. |
|
| Teaching |
|
| 2008 |
• |
Yale University School of Art, Core Critic |
|
• |
New York University Steinhardt School of Culture, Education, and Human Development, New York, NY, Summer Program Director, Clinical Assistant Professor, joint appointment with Global Education, Courses Taught: MFA Graduate Studio Critique, Advanced Projects in Art and Media |
| 2007 |
• |
New York University Steinhardt School of Culture, Education, and Human Development, New York, NY. Summer Program Director, Clinical Assistant Professor, joint appointment with Global Education, Courses Taught: MFA Graduate Studio Critique, Advanced Projects in Art and Media |
| 2006 |
• |
New York University Steinhardt School of Culture, Education, and Human Development, NewYork, NY., Clinical Assistant Professor, joint appointment with Global Education, Course taught: Photography and Theory Seminar |
| 2005 |
• |
New York University, Ghana Program, Accra, Ghana., Department of Art and Art Professions, Adjunct Professor, Course taught: Photography and Theory Seminar |
|
• |
New York University Steinhardt School of Culture, Education, and Human Development, New York, NY., Department of Art and Art Professions, Adjunct Professor, Course taught: Graduate Seminar |
| 2004 |
• |
International Center of Photography/Bard College, New York, NY., Department of Art and Art Professions, Adjunct Professor, Course taught: MFA Master Class |
|
• |
New York University Steinhardt School of Culture, Education, and Human Development, New York, NY., Department of Art and Art Professions, Adjunct Professor, Course taught: Graduate Seminar |
| 2000 |
• |
New York University Steinhardt School of Culture, Education, and Human Development, New York, NY., Department of Art and Art Professions, Adjunct Professor, Courses taught: Fundamentals of Photography, Graduate Projects: Advance Color , Undergraduate Projects: Autobiography & Representation |
|
• |
University of California, School of Art and Architecture, Los Angeles, CA., Department of Art, Adjunct Professor, Course taught: Graduate Tutorial |
|
• |
California Institute of the Arts, Valencia, CA., School of Art, Adjunct Professor, Course taught: Special Projects and Independent Studies |
|
• |
Cooper Union School of Art, New York, NY., Adjunct Professor, Course taught: Advanced Photography |
| 1998 |
• |
New York University, Steinhardt School, New York, NY., Adjunct Professor, Courses taught: Photo One, Photo Two, Sophomore Praxis class and Junior Seminar Committees: Chair Search Committee, Fine Arts Curriculum Committee and Academi Assembly |
| 1997 |
• |
Art Center College of Design, Pasadena, CA., Fine Arts Department, Adjunct Professor, Course taught: Undergraduate Seminar |
|
• |
University of California, San Diego, San Diego, CA., School of Art, Adjunct Professor, Courses taught: Photo Two and Graduate Seminar |
| 1994 |
• |
Otis College of Art and Design, Los Angeles, CA. |
|
| Grants/Fellowships/Residencies |
|
| 2000 |
• |
Rome Prize Fellowship: Harold M. English/Metropolitian Museum of Art -Jacob H. Lazarus Rome Prize Fellowship in Visual Arts |
|
• |
American Photography Award (Vol. 16) for portrait that illustrated "The Gospel According to Conrad Muhammad," Vibe magazine |
|
• |
Society of Publication Designers Merit Award for photograph that illustrated "The Next Cardinal," The York Times Magazine |
| 1996 |
• |
Banff Art Center Residency Fellowship, Alberta, Canada |
| 1995 |
• |
Art Matters Grant |
|
• |
Ernst Haas, "Top 100 Photographers" Award |
| 1993 |
• |
Helena Rubinstein Whitney Museum Independent Study Program Fellowship Art Matters Grant |
| 1992 |
• |
Brody Arts Fund Fellowship |
| 1991 |
• |
WESTAF/NEA Regional Fellowship for the Visual Arts |
|
• |
Art Matters Grant |
|
| 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 |
|
