Andrianna Campbell-Lafleur

Hartford, Connecticut 06114 PH: 718-344-3006 E: andriannacampbell@mel.com

Passionate leader with vast knowledge of modern and contemporary art. Strong knowledge in arts administration and collection management. Has a proven track record of organizing performances and exhibitions. Demonstrates the ability to communicate clearly and produce quality results to align organizations with high standards and aims. Perseveres through challenges and thrives in fast-paced environments. Computer skills – Microsoft Word, Excel, Outlook, Teams, Adobe Creative Suite.

CORE COMPETENCIES

EDUCATION

Doctorate PhD and Masters MA

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

365 Fifth Avenue

New York, New York 10016

Bachelors

Bachelor of Fine Art with a Minor in Art History

Printmaking Department and Art History

Rhode Island School of Design

2 College Street, Providence, Rhode Island 02903

Mellon Fellow, Dia Art Foundation, New York City and Beacon, New York. 2014-2015.

· Allora & Calzadilla. Puerto Rican Light (Cueva Vientos). 2015. Researched, edited, and wrote catalogue timeline, for Dia Art Foundation and Para La Naturaleza. Installation in the El Convento Natural Protected Area, Puerto Rico.

· Organized symposium on Carl Andre in Dia Beacon with participants such as Anna Chave, Carl Andre and others to accompany the Carl Andre: A Retrospective curated by Yasmil Raymond.

· Worked with Poetry at Dia and the Organism for Poetic Research to invite poets, authors such as Paul Auster, and many others to read and interact with the audiences.

· Organized a performance and film with Steve Paxton under the guidance of Kelly Kivland.

· Worked on a timeline on Franz Erhard Walther for the upcoming Dia catalogue, the first of chronology in English translated from the German.

· Gave a talk in the Robert Irwin redesigned Nabisco box factory. “Robert Smithson: A Line Between Site and Non-Site/Robert Smithson and Waylon Jennings.” Dia Beacon, Upstate New York, March 14, 2015.

EXHIBITIONS CURATED

Fingerspitzengefühl. Co-curated with John Newman. Klaus von Nichtssagend Gallery. November 3, 2017. December 17, 2017, Lower East Side, New York. The artists exhibited were 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, and Jack Whitten.

· Organized a talk, which Simone Leigh titled a performance with Black Women Artists for Black Lives Matter.

· Reviewed by Tim Barry. “Vanishing Points, curated by Andrianna Campbell.” Brooklyn Rail (April 2017).

· Reviewed by Johanna Fateman. “Vanishing Points.” New Yorker (April 2017).

Woods-Gerry House. 62 Prospect St, Providence, RI 02906. Artists and Squirrel Tape. Rhode Island School of Design. 2000.

· Organized and Installed.

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, Michael Bell-Smith, James Bridle, Tony Cokes, Douglas Coupland, David Kennedy Cutler, N. Dash, Michael Delucia, Jessica Eaton, Franklin Evans, Amy Feldman, Manuel Fernandez, Andrea Geyer, David Gilbert, Ethan Greenbaum, Victoria Greising, Gregor Hildebrandt, Butt Johnson, Travis Hallenbeck, John Houck, Barbara Kasten, Andrew Kuo, Liz Magic Laser, Sara Ludy, Douglas Melini, Ulrike Mohr, Brenna Murphy, John Newman, Gabriel Orozco, Ellington Robinson, Rafaël Rozendaal, Yoshi Sodeoka, Francis Ruyter, Seher Shah, Travess Smalley, Sara VanDerBeek, and Letha Wilson.

· Listed 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 6, 2013).

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, arranged certificates of insurance, and purchased artwork with accounts at Swann Galleries, Sotheby’s, and Christie’s. 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.

CURATORIAL RELATED PROJECTS

Protest Factory. Spring 2018. Consulting curator with Marilyn Minter. Deitch Projects, New York.

Anger Management. Fall 2017. Co-organized with Marilyn Minter. Brooklyn Museum. Protest exhibition of products sold in the gift shop for the benefit of Planned Parenthood and the American Civil Liberties Union. 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.

· Interviewed with Marilyn Minter 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].

· Editorial by Andrianna Campbell. “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].

Anger Management. Fall 2017.

· Reviewed by Stephanie Eckardt. “Thongs, Temporary Tattoos, and Other Fun Ways Barbara Kruger, Marilyn Minter, and 70 Other Angry Artists Are Now 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].

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 Lender; 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 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 (Professor CUNY Graduate Center, New York) respondent to English; Joanna Fiduccia PhD Candidate, (Art History, University of California, Los Angeles),"Lacks Worth Having: William Pope.L and Land Art;" Lucy Hunter (Art History, Yale University), "On Curating 'Irregular Rendition': Exhibition-Making as Public Address;” and Chloe Wyma (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." I discussed my Frieze article about 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 Duncan (Collection Specialist, Archives of American Art); Franklin Evans (Artist, New York); Andrea Geyer (Artist, New York); Marilyn Kushner (Curator and Head, 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 (New York Review of Books and City University of New York); ArtNews Critic Brian Droitcour moderated the discussion between artists Ethan Greenbaum, Barbara Kasten, Andrew Kuo, Travess Smalley, and Sara VanDerBeek.

SYMPOSIA AND TALKS ATTENDED

RESPONDENT| ANDRIANNA CAMPBELL| "THE HUGO BOSS PRIZE 2018: SIMONE LEIGH, LOOPHOLE OF RETREAT" GUGGENHEIM MUSEUM| NEW YORK, NY. APRIL 27, 2019.

Presentations by Tina Campt, Saidiya Hartman, Simone White, Sharifa Rhodes-Pitts, Rizvana Bradley, Dionne Brand, Zakiyyah Iman Jackson, Christina Sharpe, Vanessa Agard-Jones, Okwui Okpokwasili, Françoise Vergès, Denise Ferreira da Silva, Grada Kilomba, Lorraine O’Grady, Simone Leigh, and Annette Richter.

ART TALK| ANDRIANNA CAMPBELL| METCALF AUDITORIUM, CHACE CENTER/RISD MUSEUM| PROVIDENCE, RI. MAY 7, 2019. Individual visits with RISD, MFA graduate students. Followed by an auditorium held presentation about my academic and scholarly career.

CONVERSATION| VICTORIOUS PURPLE| WILLIE COLE, ABIGAIL DEVILLE, SHINIQUE SMITH & ANDRIANNA CAMPBELL| RESPONSE TO NARI WARD’S ALCHEMY: FOUND MATERIAL IN

CONTEMPORARY AFRICAN AMERICAN ART. NEW MUSEUM, BOWERY, NEW YORK. May 9, 2019. A conversation on site-specificity and folkways in African American art.

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.

· Researched the history of the park. Delivered a small think piece on Jack Finney’s Time and Again (1970) and the A. Shechet’s invocation of the figure of liberty.

CONVERSATION| PATTERNS FOUND IN THE WORLD: LUCHITA HURTADO AND ANDRIANNA CAMPBELL|ORGANIZED BY ANNE ELLEGOOD| HAMMER MUSEUM, UCLA |JULY 15, 2018.

· Met with Hammer Museum curators Erin Christovale and Anne Ellegood about Hurtado’s involvement in Made in LA (2018). My first public oral conversation with L. Hurtado, who I had interviewed since 2016.

· A discussion of Ben Davis’s book 9.5 Theses on Art and Class.

CONVERSATION| RACHEL VALINSKY Moderator, 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 CAMPBELL| ARC BUILDING, LECTURE HALL, BROOKLYN, NEW YORK| MARCH 21, 2018.

· A discussion with the photographer Sam Contis about their project Deep Springs. Addressing my recent supervision of Bennet Bergman’s laudatory and critical review in apricota, the discussion centered on the American landscape, and the figure.

· Several years ago, I contacted Leigh when I was a Contributing Editor for Collaboration and Its Discontents, a book about artist collaborations published by The Courtauld Institute of Art. I interviewed Leigh and Liz Magic Laser about their 2011 film Breakdown. Because the discussion was highly stimulating, Leigh asked me to interview her for the Herb Alpert Award for Visual Art. She received the Herb Alpert directly on the heels of the prestigious John Simon Guggenheim Fellowship. To follow up, I titled our first public one-to-one discussion, “Years of Seeing Red” based on the vibrant revolutionary red attire of her self-founded collective Black Women Artists for Black Lives Matter. 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. I included a wall-size artist manifesto by Black Women Artists for Black Lives Matter to continue the discussion about brown diasporic people and art.

APRIL 22, 2018. THE PHILLIPS COLLECTION. “Between Two Points: Norman Lewis and Paul Klee.” Ten Artists After Paul Klee. Organized by Elsa Smithgall and Fabienne Eggelhoffer. Washington DC.

· A discussion of the art protests and organizing in New York. Including co-founders Shabd Simon-Alexander and Tova Carlin of Two Hours a Week, Black Women Artists for Black Lives Matter, and Anger Management at the Brooklyn Museum.

· 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.

ART TALK| ANDRIANNA CAMPBELL LED ARTTABLE WALKTHROUGH AND CURATOR TOUR OF “VANISHING POINTS” AT JAMES COHAN GALLERY|BEFORE MY PANEL DISCUSSIONWITH

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.

· I 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.

ART TALK | HOSTED BY ARTSY DIRECTOR MATTHEW ISRAEL. A WALKTHROUGH WITH CHRIS WILEY AND ANDRIANNA CAMPBELL OF LEE MULLICAN| JAMES COHAN GALLERY|NEW

YORK, NEW YORK | JUNE 2, 2016.

· Chris Wiley and I walked through the Lee Mullican exhibition. I discussed my essay on general audience publishing, pedagogy, topography, and mapping.

CONVERSATION | ANDRIANNA CAMPBELL, ANDREA GEYER AND WILSON SHERWIN| THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY| CUNY GRADUATE CENTER|NEW

YORK, NEW YORK | March 9, 2016.

· I organized this talk with Andrea Geyer, from my Decenter exhibition. It was the fourth in a series of conversations at The Center for the Humanities about Geyer’s film, which documented her research about women and modernism.

CONVERSATION | ANDRIANNA CAMPBELL, IMAN ISSA AND WILSON SHERWIN | THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY| CUNY GRADUATE CENTER|NEW

YORK, NEW YORK| FEBRUARY 25, 2016.

· I organized this talk with Iman Issa. It was 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.

CONVERSATION | WILSON SHERWIN, RACHEL VALINSKY AND LANCE WAKELING | THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY| CUNY GRADUATE CENTER|NEW

YORK, NEW YORK| FEBRUARY 17, 2016.

· I organized this talk with film maker Lance Wakeling. It was 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 her imprisonment in the United States.

CONVERSATION | ANDRIANNA CAMPBELL, STEFFANI JEMISON AND WILSON SHERWIN| THE CENTER FOR THE HUMANITIES & THE JAMES GALLERY| CUNY GRADUATE CENTER | NEW

YORK, NEW YORK | FEBRUARY 10, 2016.

· I organized this talk with film maker Lance Wakeling. It was the first in a series of conversations at The Center for the Humanities about Jemison’s short films about insanity and fugitive black men. Wilson Sherwin was a graduate student in the CUNY Graduate Center Sociology Department.

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. Led through the Noah Purifoy exhibition with staff at the Wexner Center for the Arts.

· Interviewed artist John Newman.

CONVERSATION | ON ROBERT SMITHSON “POP:” A CONVERSATION WITH ANDRIANNA CAMPBELL AND BROOKLYN MUSEUM OF ART CURATOR EUGENIE TSAI | JAMES COHAN GALLERY | NEW YORK, NEW YORK |JANUARY 2016.

· A discussion of Smithson’s newly exhibited drawings. I prepared a conversation about Eugenie Tsai’s acclaimed 2005 exhibition Robert Smithson. (Tsai received first place from the International Association of Art for a superb monographic exhibition.)

· Ryan Good invited me to examine Lee Mullican’s paintings, computer prints and ceramics. Mullican was a member of Norman Lewis’s Willard Gallery.

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.

· The talk focused on the dichotomies of site/non-site starting with Smithson’s show at Cornell University’s White Museum. Travelling west, a seeming destabilization of the tenets of Manifest Destiny as evidenced in the tree stump, here come to life in the untamed landscapes of the parking lot.

ART TALK | NORMAN LEWIS: ARTIST AS TEACHER| ART STUDENT’S LEAGUE | NEW YORK, NEW YORK | JANUARY 2015.

· With my, Helen Shannon, and Jacqueline Francis’s archival research on Lewis’s students, this talk examined Lewis’s role at the Art Students League as an accomplished artist and as a teacher.

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.

· Developed in collaboration with the Vera List Center, Public Art Fund Assistant Curator Andria Hickey and I discussed art, migration, and public installation in contemporary socially-engaged art practices.

NOVEMBER 7-8, 2014. THE ENDS OF AMERICAN ART. “Space-Time is Fleeting: Norman Lewis’s Abstract Expressionism.” Stanford University. 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 and a complement of fellow graduate students. Organized by Elizabeth Bennett in conjunction with the Stanford University Art History faculty, Palo Alto, California.

· Discussed co-curated exhibition Decenter: NY/DC and the future of digitally mediated art.

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, Georgia.

AUGUST 2011. POLLOCK-KRASNER HOUSE. “Watching Diego Rivera.” East Hampton, New York.

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, Massachusetts.

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.

PROFESSIONAL AFFILIATIONS

2017-2019. BOARD MEMBER. Shandaken and Paint School. New York, New York.

2017-2020. ART ADVISORY COMMITTEE FOR AWARDS AND RESIDENCY. Civitella

Ranieri Foundation. New York, New York and Umbria, Italy.

2017-2020. AFRICAN AMERICAN ART HISTORY INITIATIVE. Participated in public programing and acquisition advisory committee meetings. Getty Research Institute. Los Angeles, California.

2014-2015. STUDENT REPRESENTATIVE ON THE ADMISSIONS COMMITTEE. The CUNY Graduate Center. New York, New York.

2004-2024. COLLEGE ART ASSOCIATION. New York, New York.

UNIVERSITY POSTS: Panels Moderated as an Advising Non-Ladder Faculty Member

WOMAN/ARTIST. YALE HISTORY OF ART DEPARTMENT, [UPCOMING DECEMBER 2-4, 2021]. Organized by Carol Armstrong. Participants include Anne Wagner, Barbora Bartunkova, Andrianna Campbell-LaFleur, Vanessa Chung, Rizana Bradley, Esther da Costa Meyer, Robin Dembroff, Michelle Donnelly, Marni Kessler, Adela Kim, Sarah Lewis, Marina Molarsky-Beck, Jill Richards, Audrey Sands, Jenni Sorkin, Alexandra M. Thomas, Laura Wexler, Ann Hamilton, Jenni Sorkin, Leslie Hewitt, Courtney Martin, Howardena Pindell, Kymberly Pinder, Marie Watt, Anna Smist, Julia Trotta, Joanna Fiduccia, Margaret Homans, and Jennifer Raab.

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, (Curatorial Fellow in Photography at Davis Museum at Wesleyan University).

· Suggested and invited several of the participants. Went over the talking points of the panel with J. 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 inspired by Gerhard Richter’s ’48 Portraits’ (1972).

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. The panel focused on identity and post-colonial theory in the arts of artists from 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.

· Professor Murray and I invited panelists to present. We 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 NORTH 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.

LECTURER AND ASSOCIATE RESEARCH SCHOLAR. ART HISTORY AND AFRICAN AMERICAN STUDIES. YALE UNIVERSITY | New Haven, Connecticut | 2021-2022.

· Classes included: Undergraduate Lecture, A Sense of Place, in the History of Art Department and Now, a seminar in the African American Studies Department.

VISITING LECTURER| HARTFORD ART SCHOOL, UNIVERSITY OF HARTFORD| West Hartford, Connecticut| 2017 – 2019.

· MFA Graduate Seminar: Contemporary Issues in Photography.

VISITING CRITIC and LECTURER| YALE ART SCHOOL, YALE UNIVERSITY, | New Haven, Connecticut| 2016.

· MFA Graduate Seminar: The Enigmatic Body: Rethinking Identity and Art.

ADJUNCT LECTURER | PARSONS, THE NEW SCHOOL FOR DESIGN | New York, New York| 2010 – 2014.

· MFA Graduate Seminar: Contemporary Issues in Photography.

· I taught an art history survey for 4 years. I also designed Collaboration: The Marriage of Reason and Squalor.

GRADUATE TEACHING FELLOW | LEHMAN COLLEGE | Bronx, New York| 2010 – 2014.

· I taught an 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 LECTURER | 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: I devoted the fall semester to date ranges from pre-history to medieval art. In the spring semester, I lectured on the late-medieval and High Renaissance through contemporary art.

EDITORIAL EXPERIENCE

Founding Co-Editor | apricota | Co-edited with Joanna Fiduccia | 2017-2019.

· I co-founded the arts journal apricota, published by Secretary Press and New Draft Collective. apricota commissioned peer-reviewed articles, poetry, long-form and short-form essays from scholars, artists, and art writers. Criticism from curators and working art critics supplemented our art reviews.

· I secured funding for the publication from donors.

We organized an editing team of a managing editor from Art in America, the lead graphic designer for Artforum, a copyeditor from Artforum and a twelve-person national editorial committee.

COMMISSIONING EDITOR AND EDITOR | IN FOCUS: Norman Lewis: Cathedral | LONDON: TATE PUBLICATIONS | 2016-2017.

· Commissioned essays from scholars Claire Brandon and Raffaele Bedarida.

· Edited with Tate Collection Research Editors Alex Taylor, Julia Bailey, and Celia White to finish the e-book.

COMMISSIONING EDITOR AND 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 and interviewed artists about their collaborations. 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 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.

· Worked with the editors to edit the artist interviews.

CO-EDITOR | SHIFT: GRADUATE JOURNAL OF VISUAL AND MATERIAL CULTURE | Edited with Rachael Gunn Wilson and Jonathan Patkowski. 2014-2016.

· Rachael Guynn Wilson and I commissioned artists and scholars for Shift. I spearheaded a redesign by Alex Dodge.

· I set up a series of conversations at the Center for Humanities with scholars and artists including sociologist Wilson Sherwin, filmmaker Lance Wakeling, artist Steffani Jemison, artist Andrea Geyer, and artist Iman Issa.

· Jonathan Patkowski and I organized a symposium in conjunction with Shift titled Space, Alterity, Art at the CUNY Graduate Center. Featured speakers included Darby English, Claire Bishop, Tania Bruguera, Joanna Fiduccia, Lucy Hunter, and Chloe Wyma.

CO-EDITOR | INTERNATIONAL REVIEW OF AFRICAN AMERICAN ART (dedicated to Norman Lewis) | Hampton, Virginia| Ed. with Jacqueline Francis| 2015.

· Commissioned artists and scholars for the IRAAA. 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.

GRANTS AND AWARDS

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.

Fellowship for London Summer Program, The Victorian Society| Montclair, New Jersey| 2010.

Fellowship for Newport Summer Program, The Victorian Society| Newport, Rhode Island| 2006.

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.

ARTICLES, REVIEWS AND INTERVIEWS

Campbell-LaFleur, Andrianna. Preview Merryl H. and James S. Tisch Curator at Large, Denise Murrell's Metropolitan Museum of Art exhibition, “Harlem Renaissance and Transatlantic Modernism.” Vanity Fair: February 2024.

_______. “Devices in Jasper Johns’s Paintings.” Jasper Johns: Mind/Mirror. Philadelphia Museum of Art and the Whitney Museum of Art. New York, NY, 2021-2022.

_______. “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, 2018.

_______. (Three Interviews with Jack Whitten 2016-2018.) Jack Whitten: Notes from the Woodshed. Edited by Katy Siegel. New York: Hauser and Wirth. August 28, 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. 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.” ArtNews. (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. (April 2017).

_______. “Banner Year: Dread Scott Feature.” ArtNews (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 and Whitney Museum of Art. 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. 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.

_______. Press Release: 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 & 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” Claudia 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. (November 2015).

_______. Review: “Nari Ward.” 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 Start-up. 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.

ANDRIANNA CAMPBELL IN INTERVIEWS

· James Crump. Documentary. Andrianna Campbell-Lafleur, Jack Banofsky and others on J. Wolfson. 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).

· Meghan N. Liberty. “Jack Whitten’s Newly Published Journals Chronicle a Troubled Path to Success.” Hyperallergic.com [August 8, 2018].

· Alina Cohen. “The 7 Most Influential Art Critics Today.” The New York Observer. [May 9, 2018]. Alongside Jason Farago, Carolina Miranda, Jerry Saltz, Peter Schjeldahl, Martha Schwendener, and Sebastian Smee.

· Andrew Durham. “Women in the Arts: Andrianna Campbell” frieze. [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].