ANDRIANNA CAMPBELL-LAFLEUR
andriannacampbell@gmail.com
Andrianna Campbell-Lafleur
Curriculum Vitae 2024
(Revision in Progress)
_______. ”Dana Schutz.” New York: Petzel Gallery, 2021.
_______. “Devices in Jasper Johns’s Paintings.” Philadelphia Museum of Art and the Whitney Museum of Art. New York, NY, 2020-2021.
_______. “Amoako Boafo on His Incredible Portraits,” Wall Street Journal Magazine. (September 2020).
_______. “Sara VanDerBeek.” In VanDerBeek + VanDerBeek. Asheville, NC: The Black Mountain College Museum, 2020.
_______. ”Basquiat vs. Warhol.” Rain Magazine. (Winter 2020): 94-104.
_______. “Julie Mehretu,” Prestel in collaboration with Los Angeles County Museum (LACMA)and Whitney Museum of Art, 2019. Authors include Christine Y. Kim, Rujeko
Hockley, and Adrienne Edwards. Listed as The New York Times Best Art Books of 2019.
_______. ”Andrianna Campbell on Firelei Báez.” Four Generations: The Joyner/Giuffrida Collection of Abstract Art. Edited by Courtney J. Martin. New York: Gregory R. Miller & Co., 2019.
_______. “Norman Lewis Looking East.” New York: Michael Rosenfeld Gallery, 2019.
_______. ”Stanley Whitney: The Primacy of Color.” In Stanley Whitney: In the Color. New York: Lisson Gallery, 2019.
_______. Andrea Geyer: Dance in a Future with All Present. Edited by Alhena Katsof. Contributors to this volume include Thomas J. Lax, André Lepecki, Soyoung Yoon, Alhena Katsof, Matthew Jeffrey, Juli Carson, Lynne Cooke, Barbara Clausen, Dean Daderko, Saisha Grayson, Sharon Hayes, Megan Heuer, Danielle Jackson, Kristan Kennedy, Ralph Lemon, Renate Lorenz, Josiah McElheny, Fred Moten, Kristin Poor, Yvonne Rainer, Gabriela Rangel and Jeannine Tang. New York and Portland, Ore: Dancing Foxes Press and Portland Institute of Contemporary Art, 2019.
_______. “Thomas Øvlisen: Plastic Possibilities.” Future Techno Fossil Tumbleweed. Copenhagen, Denmark: At Last Books, 2019.
_______. “Walter Price: Makin’ it Funky, Keepin’ it Fresh.” Pearl Lines. Cologne: Kölnischer Kunstverein, 2019.
_______. “Superheroes: Dreaming Utopia in Art.” Men of Steel, Women of Wonder. Edited by Alejo Benedetti. Fayetteville: University of Arkansas Press in collaboration with the Crystal Bridges Museum, 2019. Contributions by Erika Doss and Bart Beaty.
_______. “Loie Hollowell’s bodily landscapes.” Document Journal. (November 14, 2018).
_______. Laurie Simmons: Big Camera/Little Camera. Edited by Andrea Karnes. New York: Prestel in collaboration with the Modern Art Museum of Fort Worth, Texas, 2018. With contributors by Michael Auping, William J. Simmons, and Omar Kholeif.
_______. Dan Colen: Mail order, Mother, Purgatory. New York: Lévy Gorvy, 2018. With contributors by Jeff Koons and Douglas Fogle.
_______. “Alice Neel” frieze International, 2018.
· _______. “Norman Lewis: Linearity, Pedagogy, and Politics in His Abstract Expressionism, 1946–1964.” CENTER 37. Center for Advanced Study in the Visual Arts. Members' Research Report Archive. Washington: National Gallery of Art, 2017.
_______. “Subjektiv” statement. In Objektiv. Edited by Nina Strand. Malmö and Oslo. (November 27, 2017).
_______. “Claes Oldenburg: Shelf Life.” Document Journal. (October 16, 2017).
_______. “Bill Gaskins.” Aperture 228: Elements of Style. (Fall 2017).
_______. Review: “Whitney Biennial 2017.” Mousse magazine. Italy (2017).
_______. “Norman Lewis: City Night,” New York: Museum of Modern Art, 2017.
_______. “Andrianna Campbell Letter to the Editor: A Response to Review of ‘Power’ at Sprüth Magers in Los Angeles.” Art News. (July 12, 2017).
_______. “Interview with Frank Stella.” In Frank Stella, London: Phaidon, 2017.
_______. “Cathedrals from Light to Space.” In Norman Lewis: Cathedral, In Focus, London: Tate Publications, 2016-2017.
_______. “Island Life.” In frieze International. (April 2017).
_______. “Banner Year: Dread Scott Feature.” Art News (March 2017).
_______. ”An Art Historian’s Take on Those Beyoncé Pregnancy Photos: Diving in deep on Bey’s apparent influences beyond The Birth of Venus.” Pitchfork (February 2017).
_______. Previews: “We Wanted a Revolution: Black Radical Women, 1965–85.” Curated by Catherine Morris, Sackler Family Senior Curator for the Elizabeth A. Sackler
Center for Feminist Art, and Rujeko Hockley, Brooklyn Museum. Brooklyn, New York. Artforum (January 2017).
_______. “Souvenirs Without Nostalgia: Gluts in Present Time.” In Robert Rauschenberg: A Retrospective. New York: Museum of Modern Art, 2016.
_______. ”Oscar: A Study in Needling Auditory Perspective.” aCCeSsions No. 2. Edited by Anna Gallagher-Ross and Julie Niemi. Bard College (August 8, 2016).
_______. “Luchita Hurtado.” Park View Gallery in Los Angeles, CA. Artforum.com. (2016).
_______. Co-authored with Ileana Selejean. “Concerned Photography: African Americans in Mexico in the 1950s.” In Collaboration and its Discontents. London:
Courtauld Institute of Art, 2016.
_______. “Dash, Fragment, Bracket.” Even magazine Issue 5. Edited by Rebecca Ann Siegel and Jason Farago.
_______. Interview: “Lorna Simpson.” The Modern Art Museum of Fort Worth. Fort Worth, Texas. Artforum.com. (November 2016).
_______. Press Release: Ethan Greenbaum. Galerie Pact. Paris, France.
_______. ”Douglas Melini: You Have To Peer Into The Sky To See The Stars.” New York: 11 R. Gallery, October 2016.
_______. Review: “TeamLab.” Pace Gallery, Palo Alto, California. Artforum.com. (May 2016).
_______. Review: “Jonathan Lasker.” Cheim and Read, Chelsea, New York. Artforum.(April 2016).
_______. “First Work Set,” Franz Erhard Walther. New York: Dia Art Foundation, 2016.
_______. Press Release. Amy Feldman: Moon Decorum. Brand New Gallery, Italy. January 2016.
_______. Review: “Of Echo Systems” Altman Siegel, Los Angeles, CA. Artforum.(January 2016).
_______. Interview: ”EGB: Ethan Greenbaum by Andrianna Campbell.” Bomb Magazine (January 2016).
_______. ”Butt Johnson: Panes of Quaint Device.” In Quaint Abstractions. New York: CRG Gallery, 2016.
_______. “One World or None: Hints of the Future in Norman Lewis’s Abstract Expressionism.” In Procession: The Art of Norman Lewis. November 2015 - April
2016. Edited by Ruth Fine. Berkeley: University of California Press, 2015.
_______. “Lee Mullican.” Pamphlet essay for Lee Mullican: Shatter Special. Curated by Ryan A. Good and Ellie Lee. Exhibition held at Equitable Vitrines, Los Angeles
(October 3-November 15, 2015).
_______. “Alphabet of the Revolution: Art & Activism in Cuba.” frieze International.(November 2015).
_______. Review: “Nari Ward.” Sun Splashed. The Pérez Museum of Art, Miami, FL. Artforum.com.(November 2015).
_______. Review: “Frank Stella.” Whitney Museum of Art. Artforum.com.(November 2015).
_______. Review: “Ralph Lemon.” The Kitchen. Chelsea, New York. Artforum.com.(November 2015).
_______. Interview: “Andrea Geyer.” Museum of Modern Art, New York, NY. Artforum.com.(November 2015).
_______. Review: “Kill All Zombies.” The Property Gallery, Los Angeles, CA. Artforum.com.(November 2015).
_______. “Frederic Church’s Cotopaxi.” Traveler Artists to Latin America. Edited by Katherine E. Manthorne. New York: Colección Patricia Phelps de Cisneros, 2015.
_______. Interview: “Jack Whitten.” The Museum of Contemporary Art, San Diego, CA, the Wexner Center for the Arts in Columbus, Ohio, and the Walker Art Center in Minneapolis, Minn. Artforum.com. (October 2015).
_______. Review of “Elaine Lustig Cohen at the Philip Johnson Glass House.” Art in America. (September 2015): 153.
_______. Interview: Elaine Lustig Cohen. The Glass House, New Canaan, Connecticut. (August 2015).
_______. Interview: “Nick Cave.” Cranbrook Art Museum, Detroit, MI. Artforum.com. (July 2015).
_______. Interview: “Stanley Whitney.” The Studio Museum in Harlem, New York. Artforum.com. (July 2015).
_______. Review: “Ruth Root.” Andrew Kreps Gallery. Chelsea, New York. Artforum.com. (July 2015).
_______. Review: “All Watched Over.” James Cohan Gallery, Chelsea, New York. Artforum.com. (July 2015).
_______. Interview: “Glenn Ligon: Encounters and Collisions.” Nottingham Contemporary and Tate Modern. Artforum.com. (June 2015).
_______. Interview: “Shirin Neshat.” Hirshhorn in Washington, DC. Artforum.com. (May 2015).
_______. “Dealing with the Fragment: Caves, Diasporas and the Ana-Archive.” La Startup. Curated by Dorothée Dupuis. Marseilles: Les Ateliers des Arques, 2015.
_______. Interview: “Laurie Simmons.” Jewish Museum, New York. Artforum.com. (May 2015).
_______. Interview: “Barbara Kasten.” Bortolami Gallery. Chelsea, New York. Artforum.com. (January 2015).
_______. Review: “Lucy Kim.” Lyles and King. Lower East Side, New York. Artforum.com. (January 2015).
_______. Review: “Martin Puryear.” Matthew Marks Gallery, Chelsea New York. Artforum.com. (January 2015).
_______. Review: “Geoffrey Farmer.” Casey Kaplan, Chelsea, New York. Artforum.com. (December 2014).
_______. Review: “Tatiana Kronberg and Anne Eastman.” Essex Flowers. Lower East Side, New York. Artforum.com. (November 2014).
_______. Review: “David Hockney.” Pace Gallery, Chelsea, New York. Artforum.com.(October 2014).
_______. Review: “Bill Lynch.” Curated by Matthew Higgs, White Columns, New York. Artforum.com.(September 2014).
_______. Review: “Witness.” Witness: Art and Civil Rights in the Sixties. Organized by Teresa A. Carbone and Kellie Jones, Brooklyn Museum. Artforum.com.(March 2014).
_______. “Sylvia Plimack Mangold: Invention and Transmutation.” In Hudson River Contemporary. Edited by Katherine E. Manthorne and James L. McElhinney,2011.
Interviews with and articles about Andrianna Campbell-LaFleur
James Crump. Documentary. Spit Earth: Who is Jordan Wolfson?
(May 1, 2020).
§ Reviewed by Taylor Dafoe. ‘He’s a Psycho. He’s a Monster’: A New
Documentary on Jordan Wolfson Paints a Dark Portrait of the Art World’s Enfant
Terrible. Artnet News (April 28, 2020).
Susan Dunne, “Van Gogh’s ‘Vase with Poppies’ is back on the walls at Wadsworth
Atheneum.” Hartford Courant (April 25, 2019).
Jason Bailer Losh. “Seeing is Forgetting 049: NY-Based Art Historian, Writer and
Curator Andrianna Campbell.” Podcast. [2019].
Alina Cohen. “The 7 Most Influential Art Critics Today.” The New York Observer. [M9,
2018]. Alongside Jason Farago, Carolina Miranda, Jerry Saltz, Peter Schjeldahl, Martha
Schwendener, and Sebastian Smee.
Catherine G. Wagley. “At Sprüth Magers in Los Angeles, a Necessary—and Immensely
Flawed—Exhibition Showcased Black Women Artists.” ArtNews. July 7, 2017.
• Andrianna Campbell. “Letter to the Editor: A Response to ‘Power’ at Sprüth
Magers in Los Angeles.” ArtNews. July 12, 2017.
Andrew Durham. “Women in the Arts: Andrianna Campbell” frieze International. [April 5,
2018].
Camila Peterson and Acacia O’Connor. “2Way: Andrianna Campbell on the Emmett Till
Painting at Whitney Biennial Uptown Radio.” Reporting New York: A Project of
Columbia University Graduate School of Journalism. [March 24, 2017].
Jonathan Patkowski, “Andrianna Campbell at Creative Time Summit.” CUNY
ACADEMIC COMMONS. [November 14, 2014].
Rebecca Nison, ADHT. “Spotlight on Andrianna Campbell.” Insights. [October 3, 2013].
Janosch Delcker. Documentary short. Urban Observations: Andrianna Campbell,
[2010].
Exhibitions Curated and Curatorial Experience
Fingerspitzengefühl. Co-curated with John Newman. Klaus von Nichtssagend Gallery.
November 3, 2017. December 17, 2017, Lower East Side, New York. The artist
included are Eva LeWitt, Jackie Winsor and Nari Ward.
Vanishing Points: space and bodies in perspective. James Cohan. March 23 – April
22, 2017. Chelsea, New York. Marina Adams, Black Women Artists for Black Lives
Matter, Lucas Blalock, Alex Dodge, Carroll Dunham, RJ Messineo, Beatriz Milhazes,
Matt Mullican, Adam Novak, Toyin Ojih Odutola, Laura Owens, Trevor Paglen, Hanna
Sandin, Robert Smithson, Joseph Stabilito, Ruth Vollmer, Peixuan Wang, Jack Whitten.
· Reviewed by Tim Barry. “Vanishing Points, curated by Andrianna Campbell.” Brooklyn
Rail (April 2017).
· Reviewed by Johanna Fateman. “Vanishing Points.” The New Yorker (April 2017).
Decenter: An Exhibition on the Centenary of the 1913 Armory Show, Abrons Arts
Center, Henry Street Settlement (February 2013-May 2013). Luther W. Brady Art
Gallery, George Washington University (September 2013- January 2014). Artists
included Cory Arcangel, Tony Cokes, Douglas Coupland, David Kennedy Cutler, N.
Dash, Michael Delucia, Jessica Eaton, Franklin Evans, Amy Feldman, Andrea Geyer,
David Gilbert, Ethan Greenbaum, Gregor Hildebrandt, Butt Johnson, John Houck,
Barbara Kasten, Andrew Kuo, Liz Magic Laser, Douglas Melini, Ulrike Mohr, Brenna
Murphy, John Newman, Gabriel Orozco, Rafaël Rozendaal, Seher Shah, Travess
Smalley, and Sara VanDerBeek.
· Promoted on Timeout.com. “Decenter: An Exhibition on the Centenary of the 1913
Armory Show. (February 13, 2013).
· Reviewed by BWW News Desk. Abrons Arts Center Presents “Decenter: An Exhibition
on the Centenary of the 1913 Armory Show Today.” Broadwayworld (February 17,
2013).
· Reviewed by Will Heinrich, “‘Decenter’ at Abrons Arts Center.” New York Observer,
Observer.com Gallerist (March 5, 2013).
· James Panero, “Gallery Chronicle.” The New Criterion. (March 2013).
· Reviewed by Roberta Bosco and Stefano Caldana, “Celebración cubista y el net.art
como nueva modernidad” El País (March 11, 2013).
· Reviewed by Jillian Steinhauer. “Tracing a Path from Cubism to Digital Art.”
Hyperallergic. (April 2, 2013).
· Reviewed by Wendy Vogel.Artforum.com. (April 7, 2013).
· Reviewed by Leah Sandals, “Who’s Bringing the CanCon to Armory Week in NYC.”
Canadian Art (2013).
· Reviewed by Mark Jenkins. “Decenter NY/DC.” Washington Post (December 2013).
· Reviewed by Mark Jenkins. “Decenter NY/DC.” Washington Post (December 2013).
Pedagogy
LECTURER | AFRICAN AMERICAN STUDIES AND ART HISTORY | YALE
UNIVERSITY, NEW HAVEN, CONNECTICUT| [2021-2022].
· Current 2022 courses: Venice Biennale, Art Fairs and Foundations and Art Protests,
Entrepreneurship and Praxis.
LECTURER | HARTFORD ART SCHOOL, UNIVERSITY OF HARTFORD, WEST
HARTFORD, CONNECTICUT| [2017 – 2019].
· MFA Graduate Seminar: Contemporary Issues in Photography.
LECTURER | YALE ART SCHOOL, YALE UNIVERSITY, NEW HAVEN,
CONNECTICUT| [2016].
· MFA Graduate Seminar: The Enigmatic Body: Rethinking Identity and Art.
ADJUNCT PROFESSOR | PARSONS, THE NEW SCHOOL FOR DESIGN, NEW
YORK, NEW YORK | [2010-2014].
· I taught the art history survey for 4 years and designed: Collaboration: The Marriage
of Reason and Squalor.
GRADUATE TEACHING FELLOW | LEHMAN COLLEGE. BRONX, NEW YORK |
[2010-2014].
· I taught the art history survey for 3 years and also designed: Fooling Around in Art:
Jokes, Playing and Slapstick; Power, Knowledge and Vision in Contemporary Art;
African-American Art & Politics 1920-1968.
ADJUNCT PROFESSOR | KINGSBOROUGH COMMUNITY COLLEGE, BROOKLYN,
NEW YORK | [2009-2014].
· For 5 years, I taught 3 different art history surveys: One was a general introduction to
the field from pre-history to modern art; the other was a standard year-long division
with the fall semester devoted to pre-history to medieval art, and spring semester
covering late-medieval/Renaissance to contemporary art.
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Editorial Experience
FOUNDING CO-EDITOR | APRICOTA | EDITED WITH JOANNA FIDUCCIA | [2017 –
2019].
· I co-founded the arts journal apricota, published by Secretary Press and New Draft
Collective. Our apricota commissioned peer-reviewed articles, poetry, long-form and
short-form essays from scholars, artists, art writers, curators and art critics.
· I secured funding for the publication from donors associated with the Baxter Street
Camera Club of New York.
· I organized an editing team of a managing editor from Art in America, the head graphic
designer for Artforum, a copyeditor from ArtNews. Along with the publishers, printers,
and twelve-person editorial committee, they fabricated a stellar journal.
COMMISSIONING EDITOR AND EDITOR | IN FOCUS: Norman Lewis:
Cathedral | LONDON: TATE PUBLICATIONS| [2016-2017].
· Commissioned essays from scholars Claire Brandon and Raffaele Bedarida.
· Worked with Tate Collection Research Editors Mark Godfrey, Alex Taylor, Julia Bailey,
and Celia White to finish an e-book devoted to Norman Lewis.
CONTRIBUTING EDITOR | COLLABORATION AND ITS (DIS)CONTENTS. LONDON:
COURTAULD INSTITUTE OF ART, 2016 | EDITED BY MEREDITH BROWN AND
MICHELLE MILLAR FISHER. [2014-2016].
· Commissioned artists and scholars for the book. This included art by Katherine
Bernhardt, Sarah Crowner, David Kennedy Cutler, TM Davy, Andrea Geyer, Michelle
Grabner, Joanne Greenbaum, Sharon Hayes, Liz Magic Laser, Simone Leigh, Sara
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Greenberger Rafferty, Michael Mahalchick, Eddie Martinez, Yuri Masnyj, Sam Moyer,
Ian Pedigo, Kate Shepherd, and B. Wurtz. I commissioned the contributing scholars
including Claire Bishop, Richard Meyer and Alexander Nemerov.
· We decided to interview artists about the process involved in their collaborations.
· We worked with the editors to edit the artist interviews.
CO-EDITOR SHIFT |GRADUATE JOURNAL OF VISUAL AND MATERIAL CULTURE |
EDITED WITH RACHAEL GUYNN WILSON AND JONATHAN PATKOWSKI. [2014-
2016].
· We commissioned artists and scholars for the journal. This included a redesign by
Alex Dodge and cover art by sculptor Iman Issa.
· Jonathan Patkowski and I organized a symposium in conjunction with Shift titled
Space, Alterity, Art at the CUNY Graduate Center. The conference featured speakers
included Darby English and Tania Bruguera.
CO-EDITOR INTERNATIONAL REVIEW OF AFRICAN AMERICAN ART (DEDICATED
TO NORMAN LEWIS) | HAMPTON, VIRGINIA | EDITED WITH JACQUELINE
FRANCIS| [2015].
· We commissioned artists and scholars for the journal. This included Dora Ashton,
David Bindman, Mark Bradford, David Carbone, Darby English, Henry Louis Gates Jr.,
Rashid Johnson, Katy Siegel, Joyce Wellman, and Jack Whitten.
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Grants & Awards
CoVid-19 Emergency Award | The CUNY Graduate Center| New York, New York|
[2020].
Rauschenberg Foundation Writer-in-Residence| Captiva, Florida | [2018].
Mahler & LeWitt Writer-in-Residence| Spoleto, Italy | [2017].
Chester Dale Fellow and Travel Awardee| CASVA, National Gallery of Art |
Washington DC| [2016-2017].
Shandaken, Resident at Storm King Museum and Sculpture Park | Windsor, New
York| [2016].
The Schomburg Center for Research in Black Culture, New York Public Library |
Dissertation Fellowship| Harlem, New York | [2015-2016].
Andrew W. Mellon Fellow | Dia Art Foundation |New York, New York | [2014-2015].
Library Fellow | American Philosophical Society | Philadelphia, Pennsylvania | [2015].
Provost Research Award | The CUNY Graduate Center| New York, New York |
[2014].
Publication Grant | Society for the Preservation of American Modernists |Charlotte,
Vermont | [2014].
Dean K. Harrison Fellowship | The Graduate Center, CUNY | New York, New York |
[2008-2013].
Graduate Teaching Fellowship | The Graduate Center, CUNY | New York, New York
| [2011-2013].
Office of Educational Opportunity and Diversity Programs | Parsons, The New
School for Design| New York, New York | [2011].
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Fellowship for London Summer Program, The Victorian Society | Montclair, New
Jersey | [2010].
Andrew W. Mellon Fellow | Rhode Island School of Design Museum | Providence,
Rhode Island | [1999].
Full Education Scholarship | Rhode Island School of Design | Providence, Rhode
Island | [1997-2001].
Education Scholarships | Windsor High School Art Department for Rhode Island
School of Design | Providence, Rhode Island| [1997-2001].
Essays, Articles, Reviews and Interviews
Assistant Registrar, The Forbes Collection, New York, New York. 2006-2008.
· Curated Melcarth in His Own Words and Images. 2007. The Forbes
Galleries. New York, New York.
· Accessioned artwork, reviewed contracts, certificates of insurance, and purchased
artwork with accounts at Swann Galleries, Sotheby’s and Christies. The Forbes
Galleries. New York, New York.
· Organized fundraisers for The Victorian Society Scholarship Fund, 2005-2008. The
Forbes Galleries. New York, New York.
· Promoted from Curatorial Assistant. The Forbes Collection, New York, New York. 2004-
2006.
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Curatorial Related Projects
Protest Factory. Spring 2018. Consulting curator with Marilyn Minter, Dale Peck of
Evergreen Magazine, Andrew Durham of frieze, Job Piston of Public Art Fund, public
affairs organizer Gina Nanni, Sophie Wise and many others. Deitch Projects, New York.
Anger Management. Fall 2017. Co-curated with Marilyn Minter. Brooklyn Museum.
Protest exhibition of products in the giftshop for the benefit of Planned Parenthood and
the ACLU. Participating artists included Marina Adams, Cory Arcangel, Lisa Anne
Auerbach, Black Women Artists for Black Lives Matter, John Baldessari, Eric Beare,
Trudy Benson, Stephen Brockelman, Zoe Buckman, Peter Coffin, Dan Colen and Kalup
Linzy, Sara Cwynar, TM Davy, Shannon Ebner, Nicole Eisenman, Keltie Ferris, Charles
Gaines, Robert Geller, Andrea Geyer, David Gilbert, Ethan Greenbaum, Jenna Gribbon,
Katie Herzog, Loie Hollowell, Katie Holten, Jenny Holzer, Jonathan Horowitz, Shara
Hughes, Jeremyville, Butt Johnson, Rashid Johnson, Joan Jonas, Deborah Kass, Jon
Kessler, Barbara Kruger, Andrew Kuo, Louise Lawler, Glenn Ligon, Robert Longo,
Daniel Joseph Martinez and Julie Mehretu, Holly Meyers, Marilyn Minter, Aleksandra
Mir, Mike Mitchell, Zane Morris, Sam Moyer, Donald Moffet, Carter Mull, John Newman,
Adam Novak, Laura Owens, Trevor Paglen, Jack Pierson, Rob Pruitt, Sara Greenberger
Rafferty, Faith Ringgold, Alan Ruiz, Harriet Salmon, Hanna Sandin (Samma Samma),
Adam Schecter, Laurie Simmons, Xaviera Simmons, Mary Ping (Slow and Steady Wins
the Race), Daniel Gordon and Ruby Sky Stiler, Hank Willis Thomas, Mickalene
Thomas, Rirkrit Tiravanija, Justin Valdes, Sara Vanderbeek, Chris Wiley, and Jordan
Wolfson.
Page 18
• Interview on French 24 television. “Anger Management” The Pop-Up Shop with a
Difference. Reporting by Jeanne Lavenant, Genie Godula, Joanna Cockerell, and
Stéphanie Cheval. [August 11, 2017].
• Reviewed by Nicole Miller “Anger Management.” The Brooklyn Rail [November
2017].
• Reviewed by ACLF. “Marilyn Minter On How Instagram Is Revolutionizing
Activism: Much like cheap newspapers at the time of Daumier, Instagram has
become the voice of the people, write Marilyn Minter and Andrianna Campbell,
curators of the pop-up shop "Anger Management" at the Brooklyn Museum.”
Garage [October 11, 2017].
• Reviewed by Ricky Scricca. “SAAH alumna co-curates Brooklyn Museum pop-up
shop with themes of hope, resistance, protest” Alumni News, In the Loop,
University of Florida [October 9, 2019].
• Vogue.com, “Swing Left Hosts a Summertime Fund-Raiser. The Goal? To Turn
Congress Blue.” [July 18, 2018].
• Reviewed by Hillary Moss, “Artists Who Peddle Products — and Politics,” T
Magazine, New York Times. [October 2, 2017].
• Reviewed by Matenia Altikatis, “‘Anger Management’ @ Brooklyn Museum.”
[September 29, 2017].
• Reviewed by Claire Valentine “New Marilyn Minter Pop-Up Shop at the Brooklyn
Museum Offers Hope for Resistance” Paper Magazine. [September 28, 2017].
• Reviewed by Stephanie Eckardt, “Thongs, Temporary Tattoos, and Other Fun
Ways Barbara Kruger, Marilyn Minter, and 70 Other Angry Artists Are Now
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Resisting Donald Trump by Stephanie Eckardt” W Magazine. [September 28,
2017].
• Reviewed by Julia Halperin. “Need a Protest Thong? Marilyn Minter Has Opened
an Unusual Pop-Up Store to Arm the Resistance: The products are available at a
pop-up gift shop at the Brooklyn Museum courtesy Marilyn Minter and Andrianna
Campbell” Artnet.com. [September 27, 2017].
• Reviewed by Hannah Ongley. “Marilyn Minter’s protest pop-up features
temporary tattoos and resistance underwear. The outspoken artist has recruited
Jenny Holzer, Barbara Kruger, and John Baldessari for a radical resistance art
pop-up at the Brooklyn Museum.” I-D Magazine. [September 27, 2017].
• Reviewed by Christina Cacouris. “On the Frontline: Marilyn Minter Rebels
Against Trump in Pop-up shop: Minter’s ‘Anger Management’ pop-up is hosted
by the Brooklyn Museum and features works from over 70 artists to raise money
for Planned Parenthood and the ACLU.” V Magazine [September 29, 2017].
Allora & Calzadilla. Puerto Rican Light (Cueva Vientos). 2015. Research Assistant for Dia
Art Foundation and Para La Naturaleza installation. El Convento Natural Protected Area, Puerto
Rico.
ART HISTORY PODCAST | HEATHER FLOW ART ADVISORY | NEW YORK, NEW
YORK. [2015-2018].
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Symposia Organized
REFRACTING ABSTRACTION: AFRICAN-AMERICAN ARTISTS AT MIDCENTURY.
Stanford University. Palo Alto, California. [January 27-28, 2017]. Organized with Jason
Linetzky, Director, Anderson Collection and Aimee Shapiro, Director of Programming
and Engagement, Anderson Collection. Participants included Jeff Chang, Executive
Director, Institute for Diversity in the Arts, Stanford University; Deena Chalabi,
Associate Curator of Public Programs, SFMOMA; Pamela Joyner, Collector and
TRUSTEE; Norman Kleeblatt, Chief Curator, The Jewish Museum; Marci Kwon,
Assistant Professor, Stanford University; Courtney J. Martin, Assistant Professor,
Brown University; Richard Meyer, Professor, Stanford University; Alexander Nemerov,
Department Chair of Art and Art History; Professor, Robert Slifkin, Associate
Professor, NYU; Stanley Whitney, Artist; Presenters included: Elizabeth Buhe, PhD
candidate, NYU; Abbe Schriber, PhD candidate, Columbia University; Teresia Bush,
former Assistant Professor, Howard University; Sarah Louise Cowan, PhD candidate,
UC Berkeley; Jacqueline Francis, Associate Professor, CCA; Lauren Kroiz, Assistant
Professor, UC Berkeley; Yinshi Lerman-Tan, PhD candidate Stanford University;
Courtney J. Martin, Assistant Professor, Brown University; Lucy Partman, PhD
candidate, Princeton University and Curatorial Assistant, Jewish Museum; Kristina
Wilson, Chair, Department of Visual and Performing Arts, Clark University; Tobias
Wofford, Assistant Professor, Santa Clara University.
Shift: Space, Alterity, Art. CUNY Graduate Center. New York, New York. [March
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17, 2016]. Co-organized with Jonathan Patkowski. Presenters included: Darby
English, (Professor University of Chicago and MoMA Curator-at-Large), “The Painter
and the Police;” David Joselit responded to English; Joanna Fiduccia (PhD Candidate,
Art History, University of California, Los Angeles), "Lacks Worth Having: William
Pope.L and Land Art;" Lucy Hunter (PhD Student, Art History, Yale University), "On
Curating 'Irregular Rendition': Exhibition-Making as Public Address;” and Chloe Wyma
(PhD Student Art History, CUNY Graduate Center, New York), "Partial, Incoherent and
Divided Imbeciles: The Situationist International and the Action in Belgium Against the
International Assembly of Art Critics." Andrianna Campbell discussed her frieze article
on Tania Bruguera and then introduced Bruguera and Claire Bishop for their
conversation.
DECENTER: NY/DC. [November 21, 2013]. Panel organized with Director Lenore
Miller and Olivia Kohler-Maga of the Luther Brady Gallery at George Washington
University and Judy A. Greenberg. Director of The Kreeger Museum of Art, Washington
DC. Participating panel artists included: David Kennedy Cutler, Ethan Greenbaum,
Corin Hewitt, Ellington Robinson and Francis Ruyter.
SHATTERED SPACE: EXAMINING THE LEGACY OF THE 1913 ARMORY SHOW &
PERCEPTION IN THE DIGITAL AGE. [February 2013]. Panel organized with Daniel S.
Palmer, Adriana Saldaña, and Jonathan Durham. Henry Street Settlement. Introduction
by Andrianna Campbell and Daniel S. Palmer. Presenters included Charles Haven
Duncan (Collection Specialist, Archives of American Art); Franklin Evans (Artist, New
York); Andrea Geyer (Artist, New York); Marilyn Satin Kushner (Curator and Head,
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Department of Prints, Photographs, and Architectural Collections, New-York Historical
Society and Co-curator of The Armory Show at 100); Mary Murray (Curator of Modern
and Contemporary Art, Munson Williams Proctor Arts Institute); Panel Discussion:
Perception and Art in the Digital Age: Introduced by: Israel Rosenfield (City University of
New York); Critic Brian Droitcour moderated the discussion between artists Ethan
Greenbaum, Barbara Kasten, Andrew Kuo, Travess Smalley, and Sara VanDerBeek.
Panels Moderated and Advising Faculty
PHOTOGRAPHY + ETHICS PANEL, YALE PHOTOGRAPHY DEPARTMENT, [APRIL
17, 2016]. Organized by John Edmonds. Matthew Connors, (Photographer + Chair of
Photography at MassArt); Dru Donovan, (Photographer); Elle Pérez, Photographer;
Hannah Price, (Photographer); Ileana Selejan, (Assistant Professor University of
London).
· Invited several of the participants.
· Went over the talking points of the panel with Edmonds.
· ORGANIZER. KATIE HERZOG ON HER 2013 NIGHT GALLERY SHOW
TRANSTEXUALITY (SENATE BILL 48), VISITING ARTIST TALK, YALE ART
SCHOOL, [APRIL 17, 2016].
· Herzog addressed her 48 transgender portraits of individuals in science, philosophy
and literature.
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RESONANT SPACES: TRAVEL NARRATIVES, IDENTITY, AND HYBRIDITY.
CARIBBEAN STUDIES ASSOCIATIONS. 39TH ANNUAL CONFERENCE. MERIDA,
MEXICO. [May 26-28, 2014].
· Led panel with simultaneous translators in French and Spanish on the subject of
identity and post-colonial theory in the Caribbean diaspora.
CO-CHAIRED WITH DEREK CONRAD MURRAY, UNIVERSITY OF CALIFORNIA,
SANTA CRUZ, CONTEMPORARY BLACK ART AND THE PROBLEM OF RACIAL
FETISHISM, COLLEGE ART ASSOCIATION, 102ND ANNUAL CONFERENCE,
CHICAGO, ILLINOIS, [February 12, 2014].
· Invited panelists to present and chose papers on self-adornment, and self-fashioning
in art of the African-American diaspora.
CO-CHAIRED WITH MONICA STEINBERG, PARAFICTION AND PARAFACT: THE
SPACE BETWEEN, VICTORIA A, SOUTHEASTERN COLLEGE ART CONFERENCE
(SECAC), UNIVERSITY OF CAROLINA AT GREENSBORO,GREENSBORO, NC.
[NOVEMBER 1, 2013].
Panel designed by Monica Steinberg. Panelists included Beauvais
Lyons, R. M. Wolff, Samuel Ewing, and Joanna Fiduccia.
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Academic Talks
JUNE 5-6, 2015. TERRA FOUNDATION CONFERENCE. “Potential and Devastation in
Norman Lewis’s Abstract Expressionism.” Crash and Burn: Destruction in American Art, The
Courtauld Institute of Art. London, United Kingdom.
NOVEMBER 7-8, 2014. THE ENDS OF AMERICAN ART. “Space-Time is Fleeting: Norman
Lewis’s Abstract Expressionism.” Stanford University, Palo Alto, California. Seniors Scholars
included Francois Brunet, Wanda Corn, Vanessa Schwartz, Michael Leja, Andrei Molotiu, Chon
Noreiga, Alison Syme, Bryan J. Wolf, Scott Bukatman, Richard Meyer, Alex Nemerov, Eduardo
Cadava, and Huey Copeland. Organized by Elizabeth Bennett in conjunction with the Stanford
University Art History faculty.
FEBRUARY 14, 2013. COLLEGE ART ASSOCIATION (CAA). “Spiral: Outside of Black and
White (Romare Bearden, Norman Lewis, Frank Bowling).” The Particularities of Postidentity.
Organized by Jessica Horton and Cherise Smith. New York, New York.
NOVEMBER 9-12, 2011. SOUTHEASTERN COLLEGE ART CONFERENCE (SECAC).
“Flung Far Ashore: Saint Dominguans Abroad.” The Dressed Head in Art and Practice.
Organized by Jessica Stephenson. Savannah, Ga.
AUGUST 2011. POLLOCK-KRASNER HOUSE. “Watching Diego Rivera” East Hampton, New
York.
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MARCH 2011. NEW ENGLAND AMERICAN STUDIES ASSOCIATION (NEASA). “Portrait of
America: Diego Rivera’s Injection of the Black Figure as Counter History.” Massachusetts
Historical Society, Boston, MA.
June 2010. BELIEF AND DISBELIEF IN THE SPACE BETWEEN 1914-1945. “Toss the Meat
to the Hounds: Andre Masson’s La Curée as a Practice in Levi-Straussean Aesthetics,”
Moderated by Erika Doss. University of Portland, Oregon.
Presentations
ART TALK | ANDRIANNA CAMPBELL | METCALF AUDITORIUM, CHACE
CENTER/RISD MUSEUM | PROVIDENCE, RI. [MAY 7, 2019].
· Individual visits with RISD, MFA graduate students. Followed by a conversation about
my academic and scholarly career in the large auditorium.
NEW MUSEUM CONVERSATION | VICTORIOUS PURPLE | WILLIE COLE, ABIGAIL
DEVILLE, SHINIQUE SMITH & ANDRIANNA CAMPBELL|RESPONSE TO NARI
WARD’S ALCHEMY: FOUND MATERIAL IN CONTEMPORARY AFRICANAMERICAN
ART. NEW MUSEUM, BOWERY, NEW YORK. [May 9, 2019].
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VISITING CRITIC| ANDERSON RANCH ARTS CENTER|ASPEN, COLORADO |
[2019].
· Reviewed applications to the Anderson Ranch Arts Center residency.
· Spent two days visiting with artists in their studios.
· Delivered a talk on the publications as places of inhabitation and reform.
ART TALK|ARLENE SHECHET & ANDRIANNA CAMPBELL | MADISON PARK
CONSERVANCY | MADISON SQUARE PARK | NEW YORK, NEW YORK.
[NOVEMBER 7, 2018].
CONVERSATION | PATTERNS FOUND IN THE WORLD: LUCHITA HURTADO
AND ANDRIANNA CAMPBELL |HAMMER MUSEUM, UCLA [JULY 15, 2018].
· My first public conversation with Hurtado, who I had been interviewing since 2016.
CONVERSATION | THE SOCIO-ECONOMIC STRUCTURE OF THE ART WORLD |
BEN DAVIS, ANDRIANNA CAMPBELL, BRIAN BOUCHER, & MARTHA
SCHWENDENER|ART STUDENTS LEAGUE (ASL)| THE PHYLLIS HARRIMAN
MASON GALLERY | NEW YORK, NEW YORK | [NOVEMBER 6, 2018].
· A lively discussion of Ben Davis’s book 9.5 Theses on Art and Class.
CONVERSATION | FRED WILSON & ANDRIANNA CAMPBELL| ART21 | NYU
DEPARTMEN OF ART AND ART PROFESSIONS|BARNEY BUILDING, EINSTEIN
AUDITORIUM |NEW YORK, NEW YORK | [JULY 11, 2018].
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· A discussion with Fred Wilson on his exhibition Afro Kismet at Pace Gallery and critical
museology as art practice.
CONVERSATION| RACHEL VALINSKY, CHLÖE BASS, DAVID THOMSON &
ANDRIANNA CAMPBELL | THE KITCHEN LAB | NEW YORK, NEW YORK | [APRIL
17, 2018].
· A discussion with the artists about recent site-specific installations.
CONVERSATION | SAM CONTIS & ANDRIANNA CAMPBEL L| ARC BUILDING,
E@ LECTURE HALL, BROOKLYN, NE YORK| MARCH 21, 2018.
· A discussion with the photographer Sam Contis about their project Deep Springs.
Following Bennet Bergman’s laudatory and critical review in apricota, the discussion
centered on who has the “right” to photograph bodies.
CONVERSATION: YEARS OF SEEING RED|SIMONE LEIGH & ANDRIANNA
CAMPBELL | INDEPENDENT CURATORS INTERNATIONAL (ICI) | ICI
CURATORIAL HUB | NEW YORK, NEW YORK| [January 9, 2018].
· Several years ago, I contacted her when I was a Contributing Editor for Collaboration
and Its Discontents, a book about artist collaborations published by The Courtauld
Institute of Art. I decided to interview Leigh and Liz Magic Laser about their 2011 film
Breakdown. Because the discussion had been so fluid, Leigh then asked me to
interview her for the Herb Alpert Award for Visual Art. It was 2016 and Leigh had had a
stunning year. She received the Herb Alpert directly on the heels of the prestigious
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John Simon Guggenheim Fellowship. She could have asked anyone to interview her,
but she contacted me. “Years of Seeing Red” was our first one-on-one talk. Early last
year, I curated the critically acclaimed exhibition Vanishing Points exploring the
visibility and invisibility of identity in our proto-digital and digital ages. Included was a
wall-size artist manifesto by Black Women Artists for Black Lives Matter, a collective
founded by Leigh.
ART TALK |ANDRIANNA CAMPBELL | SVA FINE ARTS BUILDING | BFA FINE
ARTS DEPARTMENT | 335 W16TH STREET| NEW YORK, NEW YORK. [OCTOBER
2, 2017].
ART TALK | ANDRIANNA CAMPBELL | SVA FINE ARTS BUILDING | BFA FINE
ARTS DEPARTMENT | 335 W16TH STREET | NEW YORK, NEW YORK. [SUMMER
2017].
· Invited by Eric Sutphin, Manager, Special Programs, Division of Continuing Education,
School of Visual Arts to visit with artists in their studio.
· A reflection on artists dealing with identity and recent exhibitionary examples.
Audience members such as critic Jarrett Earnest compared this moment less to the
1960s and more to the 1990s with the artwork of Nikki S. Lee and others, who have
been overlooked in recent surveys.
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ART TALK | ARTTABLE WALKTHROUGH AND CURATOR-LED TOUR OF
“VANISHING POINTS” WITH ANDRIANNA CAMPBELL AT JAMES COHAN
GALLERY|BEFORE MY PANEL DISCUSSION WITH BLACK WOMEN ARTISTS FOR
BLACK LIVES MATTER | JAMES COHAN GALLERY | NEW YORK, NEW YORK |
[MARCH 31, 2017].
Invited by Sonel Breslav National Chapter and Programs Manager.
ORGANIZER | READINGS IN HONOR OF MARTIN LUTHER KING JR. DAY | 8 BALL
EVENTS | NEW YORK, NEW YORK | [ JANUARY 16, 2017 ]. Invited Connor
Crawford, Sarah Wang, Eva Munz, Allie Rowbottom and many others not featured to
read excerpts from their writing that reflect on the current Black Lives Matter crisis.
LECTURE | CENTER FOR EXPERIMENTAL LECTURES | NEW YORK, NEW YORK
| [SEPTEMBER 4, 2016].
· Invited over twenty artists to write descriptions for imaginary projects at Storm King,
Windsor, New York.
· The talk and publication were presented in collaboration with Shandaken Project.
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ART TALK | HOST ARTSY DIRECTOR MATTHEW ISRAEL. WALKTHROUGH BY
CHRIS WILEY AND ANDRIANNA CAMPBELL OF LEE MULLICAN | JAMES COHAN
GALLERY | NEW YORK, NEW YORK | [JUNE 2, 2016].
· Wiley and I walked through the Mullican exhibition. I discussed my essay on the
influence of military topography and mapping on the artwork of Lee Mullican at his
exhibition at James Cohan Gallery.
CONVERSATION | ANDREA GEYER, WILSON SHERWIN & ANDRIANNA
CAMPBELL | THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY |
CUNY GRADUATE CENTER | NEW YORK, NEW WORK | [March 9, 2016].
The fourth in a series of conversations at The Center for the Humanities about Geyer’s
film documenting her research about women and modernism.
CONVERSATION | IMAN ISSA, WILSON SHERWIN & ANDRIANNA CAMPBELL |
THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY | CUNY
GRADUATE CENTER| NEW YORK, NEW WORK | [FEBRUARY 25, 2016].
· The third in a series of conversations at The Center for the Humanities about Issa’s
sculpture. Her war monuments are abstractions that obscure their painful referents.
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ORGANIZER OF CONVERSATION | LANCE WAKELING, WILSON SHERWIN &
RACHEL VALINSKY | THE CENTER FOR THE HUMANITIES & THE JAMES
GALLERY | CUNY GRADUATE CENTER | NEW YORK, NEW WORK | [FEBRUARY
17, 2016].
· The second in a series of conversations at The Center for the Humanities about
Wakeling’s 2014 film Field Visits for Chelsea Manning, 2014. The film follows Manning
from Iraq to imprisonment in the United States.
CONVERSATION | STEFFANI JEMISON, WILSON SHERWIN & ANDRIANNA
CAMPBELL | THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY |
CUNY GRADUATE CENTER | NEW YORK, NEW WORK| [FEBRUARY 10, 2016].
· The first in a series of conversations at The Center for the Humanities about Steffani
Jemison’s short films about fugitive black men.
CONVERSATION|JOHN NEWMAN & ANDRIANNA CAMPBELL | BEELER
GALLERY | CANZANI CENTER AUDITORIUM COLUMBUS COLLEGE OF ART &
DESIGN | COLUMBUS, OHIO | [FEBRUARY 4, 2016].
· Visited students in their studios.
· Toured the collection and met with CCAD Director Michael Goodson and Assistant
Director Ian Ruffino at the Beeler Gallery and the Noah Purifoy exhibition with staff at
the Wexner Center for the Arts.
· Developed a gallery talk with artist John Newman for a large audience.
CONVERSATION | ON ROBERT SMITHSON “POP”: A CONVERSATION WITH
EUGENIE TSAI AND ANDRIANNA CAMPBELL. | JAMES COHAN GALLERY| NEW
YORK, NEW YORK | [JANUARY 2016].
· Prepared a conversation with Brooklyn Museum curator Eugenie Tsai about her
acclaimed 2005 exhibition Robert Smithson. (She got first place from the International
Association of Art for a superb monographic exhibition.)
· Also discussed Smithson’s new drawings.
ART TALK | LED CONVERSATION ON LEE MULLICAN’S ART WITH SHANNON
EBNER| LEE MULLICAN SHATTER SPECIAL| CURATED BY RYAN A. GOOD AND
ELLIE LEE | EQUITABLE VITRINES, LOS ANGELES, CALIFORNIA | [OCTOBER 3-
NOVEMBER 15, 2015].
ART TALK | ANDRIANNA CAMPBELL ON ROBERT SMITHSON: A LINE BETWEEN
SITE AND NON-SITE: ROBERT SMITHSON AND WAYLON JENNINGS | DIA ART
FOUNDATION | BEACON, NEW YORK| [March 14, 2015].
· A talk about a Western fashioning in the dress of Robert Smithson, a fascination with
Western lands in Utah, Nevada and New Mexico. I compare Smithson’s
romanticization of the West (not as a fashion statement) rather as a concurrent resitedness
of Western ideas of place, people, and freedom also prevalent in Waylon
Jennings’s lyrics in the period.
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ART TALK | NORMAN LEWIS: ARTIST AS TEACHER | ART STUDENT’S LEAGUE
| NEW YORK, NEW YORK. [JANUARY 2015].
· Based on Jacqueline Francis’s archival research with Lewis’s students, this talk
examined Lewis’s role at the Art Students League as an accomplished (though
impoverished) artist at the end of his career and as a teacher.
CONVERSATION ACTIVIATING PUBLIC SPACE |ANDRIA HICKEY & ANDRIANNA
CAMPBELL | CREATIVE TIME SUMMIT | STOCKHOLM PUBLIC ART FUND,
SWEDEN. |NEW SCHOOL | NEW YORK, NEW YORK | NOVEMBER 10, 2014.
· Developed in collaboration with the Vera List Center, then Public Art Fund Assistant
Curator Andria Hickey and I discussed art, migration, and public installation in
contemporary socially-engaged art practices.
CONVERSATION REIMAGINING THE DIGITAL EXHIBITION THATCamp | American
Art and Digitalization Workshop | Archives of American Art | SMITHSONIAN
INSTITUTION |WASHINGTON DC | NOVEMBER 2013.
· Discussed co-curated exhibition Decenter: NY/DC and the future of digitally mediated
art.
Professional Service
2017-2020. ART ADVISORY COMMITTEE FOR AWARDS AND RESIDENCY. Civitella
Ranieri Foundation. New York, NY and Umbria, IT.
2017-2019. BOARD MEMBER. Shandaken and Paint School. New York, NY.
2017-2020. AFRICAN AMERICAN ART HISTORY INITIATIVE. Leadoff Public Program
and Advisory Committee Meetings. Getty Research Institute. Los Angeles, California.
2014-2015. STUDENT REPRESENTATIVE ON THE ADMISSIONS COMMITTEE. The
CUNY Graduate Center. New York, NY.
PROFESSIONAL AFFILIATIONS
2004-2018. COLLEGE ART ASSOCIATION. New York, NY and New Haven,
Connecticut.
EDUCATION
Doctorate and Masters
Dissertation Title: Norman Lewis: Linearity, Pedagogy and Politics in his Abstract Expressionism, 1946-1964
Areas of Study: Modern and Contemporary Art History
ART HISTORY DEPARTMENT, THE GRADUATE AND UNIVERSITY CENTER OF THE CITY UNIVERSITY OF NEW YORK
Bachelors
Bachelor of Fine Art | Printmaking Department and Art History
Rhode Island School of Design, Providence, RI