Lyle Ashton Harris

  • Herald
    2016
    Archival inkjet print
    78.53 x 59 inches
    Edition of 3

  • Lyle, Gay Pride Parade, San Francisco, 1989
    2015
    Chromogenic print
    15 x 20 1/2 inches
    Edition of 3, 2 AP

  • M. Lamar, Yerba Buena Center for the Arts, San Francisco, 1993
    2015
    Chromogenic print
    15 x 20 1/2 inches
    Edition of 3, 2 AP

  • Gail and Alex, San Francisco, 1992
    2015
    Chromogenic print20 1/2 x 15 inches
    Edition of 3, 2 AP

  • Sleeping Boy Two, Bronx, New York, Circa Late 1980s
    2015
    Chromogenic print
    15 x 20 1/2 inches
    Edition of 3, 2 AP

  • Nan, Berlin, 1992
    2015
    Chromogenic print
    Edition of 3, 2 AP

  • Untitled (Erasure)
    2014
    Pigment print on Kozo tissue
    14 x 20 5/8 inches
    Edition of 12

  • Untitled (Yellow Grid)
    2014
    Pigment print on Kozo tissue
    53 3/4 x 45 inches
    Edition of 3

  • Untitled (Obsession)
    2014

  • Deceivers and Money Boys
    2013
    Pigment print on canvas mounted on aluminum
    82 1/2 x 60 inches
    Edition of 3

  • Untitled (Miss Ghana)
    2010
    C-print mounted on Dibond
    41 1/4 x 33 1/8 inches
    Edition of 10

  • Untitled (Prince)
    2010
    Mirrors, photographs, printed matter, wood and digital print on archival newsprint
    120 x 120 x 62 inches

  • Untitled (Green Field)
    2010
    C-print mounted on Dibond
    32 x 41 inches
    Edition of 10

  • Untitled (Blue Field)
    2010
    C-print mounted on Dibond
    32 x 41 inches
    Edition of 10

  • Silver Blue Billie
    2008
    Archival pigment on silver foil paper mounted on Kozo tissue
    40 x 34 inches
    Edition of 6

  • Untitled (Silver Handcuffs)
    2007
    Digital pigment print on silver foil
    47 x 35 inches
    Edition of 6

  • Blow Up IV (Sevilla)
    2006

  • Ready-Made
    2001
    Pigment print on Kozo paper
    30 x 40 inches
    Edition of 10

  • Untitled (New York Times Pre-Election Self Portrait)
    2000
    Photograph
    47 x 35 inches
    Edition of 10

  • Untitled (Chocolate Handcuffs)
    2000
    Digital ink jet prints on watercolor
    44 x 33 inches
    Edition of 10

  • The Watering Hole II
    1996
    Duraflex print
    40 x 30 inches
    Edition of 6

  • The Watering Hole III
    1996
    Duraflex print
    40 x 30 inches
    Edition of 6

  • The Watering Hole VIII
    1996
    Duraflex print
    40 x 30 inches
    Edition of 6

  • The Watering Hole I – IX
    (6 of 9 panels illustrated)

For more than two decades Lyle Ashton Harris has cultivated a diverse artistic practice ranging from photographic media, collage, installation and performance. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender and desire on the contemporary social and cultural dynamic. Known for his self-portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), Harris teases the viewers’ perceptions and expectations, resignifying cultural cursors, and recalibrating the familiar with the extraordinary.

 

Lyle Ashton Harris spent his formative years in Dar Es Salaam, Tanzania. He currently lives and works in New York City and is an Associate Professor at New York University. Harris was included in the 2017 Whitney Biennial and in the 2016 Sao Paulo Biennial among numerous recent exhibitions. His work has been exhibited internationally, including at the Whitney Museum of American Art, The Solomon R. Guggenheim Museum, and the 52nd Venice Biennale. Solo and group exhibitions include The Studio Museum in Harlem; Corcoran Gallery of Art, D.C.; New Museum, NY; Los Angeles County Museum of Art, L.A.; Contemporary Arts Museum Houston; American Academy in Rome; Museum of Fine Arts Boston; and The Hammer Museum, among others. His commissioned work has been featured in a wide range of publications, including The New York Times Magazine and the New Yorker. His work is in the permanent collections of The Museum of Modern Art, NY; The Guggenheim Museum, NY; Los Angeles County Museum of Art, LA; Miami Art Museum, Miami; Museo de Arte Contemporáneo de Castilla y León, León, Spain; Museum of Contemporary Art, LA; Museum of Fine Arts Boston; The Studio Museum in Harlem, NY; Walker Art Center, Minneapolis, and The Whitney Museum of American Art, NY, among many others.

Born in New York in 1965; lives and works in New York, NY.

 

EDUCATION

 

1992
Whitney Museum Independent Study Program, New York, NY

 

1991
National Graduate Photography Seminar, Tisch School of the Arts,
New York University, New York, NY

 

1990
MFA, California Institute of the Arts, Valencia, CA

 

1988
BA with Honors, Wesleyan University, Middletown, CT

 

SOLO EXHIBITIONS

 

2017
Lyle Ashton Harris: Photographs, Albert Merola Gallery, Provincetown, MA
Lyle Ashton Harris, Stevenson Gallery, Johannesburg, South Africa

 

2016
Lyle Ashton Harris, Iris Sommer Contemporary Art, Tel Aviv, Israel

 

2015
Lyle Ashton Harris: Ektachrome Archive 1986-96: Part I – Recovering Identity and Desire, David Castillo Gallery, Miami, FL
Project Room: Lyle Ashton Harris, Sommer Gallery, Tel Aviv, Israel

 

2014
Lyle Ashton Harris, Adamson Gallery, Washington, DC

 

2013
Ghana, Kennesaw State University Art Museum, Kennesaw, GA
Lyle Ashton Harris,Adamson Gallery, Washington, DC

 

2011
Lyle Ashton Harris/Self/Portraits, The Studio Museum in Harlem, New York, NY

 

2010
Ghana, CRG Gallery, New York, NY
Untitled (Black Power), Cokkie Snoei Gallery, Amsterdam, Netherlands

 

2008
Lyle Ashton Harris: Blow Up, Scottsdale Museum of Contemporary Art, Scottsdale, AZ
Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University. Cambridge, MA
Lyle Ashton Harris, Adamson Gallery, Washington, DC

 

2004
Blow Up, Rhona Hoffman Gallery, Chicago, IL
Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France

 

2003
Memoirs of Hadrian, CRG Gallery, New York, NY

 

2002
New Work, Baldwin Gallery, Aspen, CO

 

1999
20 x 24, Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue)

 

1998
Distillation, Galerie Analix Forever, Geneva, Switzerland
Alchemy, New Langton Arts, San Francisco, CA
Alchemy, Corcoran Gallery of Art, Wasghinton, DC

 

1997
The White Face Series, Thomas Erben Gallery, New York, NY

 

1996
The Watering Hole, Jack Tilton Gallery, New York, NY
Lyle Ashton Harris, Selected Photographs: The First Decade, Centro de Arte Euroamericano, Caracas, Venezuela (catalogue)

 

1994
The Good Life, Jack Tilton Gallery, New York, NY

 

1993
Americas, Simon Watson’s Living Room, New York, NY
Face, New Museum of Contemporary Art, Broadway Window, New York, NY

 

GROUP EXHIBITIONS

 

2017
Whitney Biennial, Whitney Museum of American Art, New York, NY
Blue Black, curated by Glenn Ligon, Pulitzer Arts Foundation, St. Louis, MO
This Is Not A Selfie: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of Art, San Jose, CA
Regarding the Figure, Studio Museum in Harlem, New York, NY
20/20, Carnegie Museum of Art, Pittsburgh, PA
Picture Industry, curated by Walead Beshty, CCS Bard Hessel Museum, New York, NY
Mirrors/Reflections, Daniel Cooney Fine Arts, New York, NY
About Face, Southampton Arts Center, Southampton, NY

 

2016
tête-à-tête, curated by Mickalene Thomas, David Castillo Gallery, Miami Beach, FL
Live Uncertainty, São Paulo Bienal, São Paulo, Brazil
The Grace Jones Project, Museum of the African Diaspora, San Francisco, CA
Public, Private, Secret, International Center of Photography, New York, NY
All New Women, Colorado Springs Fine Arts Center, Colorado Springs, CO
Still/Moving: Photographs and Video Art from the DeWoody Collection, Norton Museum of Art, West Palm Beach, FL
In Context: Africans in America, Goodman Gallery, Johannesburg, South Africa
The Quiet Violence of Dreams, Stevenson Gallery, Johannesburg, South Africa
ReSignifications: Imagining the Black Body and Re-Staging Histories, Villa La Pietra, NYU, Florence, Italy
Muse: Mickalene Thomas Photographs and tête-à-tête, Aperture Gallery, New York, NY
Human Interest: Portraits from the Whitney’s Collection, Whitney Museum of American Art, New York, NY

 

2015
Mistakes Were Made, Kiev Biennial, Kiev, Ukraine
Nero su Bianco, American Academy in Rome, Rome, Italy

 

2014
American Photography: Recent Acquisitions from the Museum of Modern Art, New York, Paris Photo, Paris, France
Amerika, David Castillo Gallery, Miami, FL
Metabolic Bodies, David Castillo Gallery, Miami, FL
Fútbol: The Beautiful Game, Los Angeles County Museum of Art, Los Angeles, CA
Bad Conscience, Metro Pictures, New York, NY
Radical Presence: Black Performance in Contemporary Art – Part 2, The Studio Museum in Harlem, New York, NY

 

2013
Image Search: Photography from the Collection, Perez Art Museum Miami, Miami, FL
Radical Presence: Black Performance in Contemporary Art – Part 1, Grey Art Gallery, New York, NY
Lunch with Olympia, Edgewood Gallery, Yale University, New Haven, CT
Glyphs: Acts of Inscription, Pitzer College Art Galleries, Claremont, CA

 

2012
The Progress of Love, The Menil Collection, Houston, TX
Radical Presence, Contemporary Arts Museum Houston, Houston, TX
The Bearden Project, The Studio Museum in Harlem, New York, NY

 

2011
Hide/Seek: Difference and Desire in American Portraiture, Brooklyn Museum of Art, Brooklyn, NY (catalogue)
30 Years of The New York Times Magazine, Eglise Sainte Anne, Arles. France

 

2010
Hide/Seek: Difference and Desire in American Portraiture, Smithsonian National Portrait Gallery, Washington, DC
Off the Wall, Whitney Museum, New York, NY
The Global Africa Project, Museum of Arts and Design, New York, NY
Traveling 2010 – 2013 to Reginald Lewis Museum, Baltimore, ME; High Museum,Atlanta, GA; Seattle Art Museum, Seattle, WA; Tacoma Art Museum, Tacoma, WA; Bellevue Art Museum, Bellevue, WA
Ghana: Who Knows Tomorrow, Dei Centre for the Study of Contemporary African Art, Accra, Ghana

 

2009
The Summer Show, CRG Gallery, New York, NY
Kreyol Factory, Grande Hale de la Villette, Paris, France

 

2008
Expenditure, Busan Biennale 2008, South Korea
S & M Shrines and Masquerades in Cosmopolitan Times, 80 Washington Square East Galleries, New York University, New York, NY

 

2007
Think with the Senses, Feel with the Mind, 52nd Venice Biennale, Italy (catalogue)
For the Love of the Game: Race and Sport in America, The Wadsworth Atheneum Museum of Art, Hartford, CT
Photography of the Self: The Legacy of F. Holland Day, Whitney Museum of American Art, New York, NY

 

2006
Crossing the Line: African American Artists in the Jacqueline Bradley and Clarence Otis, Jr. Collection, Cornell Fine Arts Museum, Winter Park, FL
Other Families, Palazzo Cavour, Turin, Italy
(Not) Gay Art Now, Paul Kasmin Gallery, New York, NY
Shoot the Family, Cranbrook Art Museum, Bloomfield Hills, MI
Traveled to Knoxville Museum of Art, Knoxville, TN; Western Gallery, Western Washington University, Bellingham, WA; David and Sandra Bakalar Gallery, Massachusetts College of Art, Boston, MA; Contemporary Art Museum St. Louis, MO; Columbus College of Art and Design, Columbus, OH.
The Unhomely: Phantom Scenes in Global Society, 2nd International Biennial of Contemporary Art of Seville, Spain

 

2005
African Queen, The Studio Museum in Harlem, New York, NY
Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX
Earth and Memory: African and African American Photography, Elizabeth Stone Harper Gallery, Presbyterian College, Clinton, SC
Identità & Nomadismo, Palazzo delle Papesse, Centro Arte Contemporanea, Siena, Italy (catalogue)
Male Desire Two, Mary Ryan Gallery, New York, NY

 

2004
Disparities and Deformations: Our Grotesque, SITE Santa Fe’s Fifth International Biennial, Santa Fe, NM (catalogue)
Male Body Image, Storrs Gallery, University of Connecticut, Storrs, CT
Neoqueer, Center on Contemporary Art, Seattle, WA
The Muse, Leslie Tonkonow Artworks + Projects, New York, NY

 

2003
African American Artists in Los Angeles – A Survey Exhibition: Fade (1990-2003), Luckman Gallery, California State University Los Angeles, Los Angeles, CA
The Alumni Show, Zilkha Gallery, Wesleyan University, Middletown, CT
American Tableaux: Many Voices, Many Stories, Miami Art Museum, Miami, FL
Love Supreme, La Criée Centre d’Art Contemporain, Rennes, France
Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York, NY (catalogue), traveled to Seattle Art Museum, Seattle, WA; Museum of Photographic Arts, San Diego, CA; San Diego Museum of Art, San Diego, CA
The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN

 

2002
Goddess, Galerie Lelong, New York, NY
Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow, Scotland

 

2001
Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Institution, Washington, DC
Rome Prize Fellows Show, The American Academy in Rome, Rome, Italy

 

2000
Faith, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Man & Space, Kwangju Biennale, South Korea
Masterminds of Mode, International Fashion Festival, Mitsukoshi Nihonbashi, Tokyo, Japan
Traveled to Kobe Fashion Museum, Kobe, Japan; Mitsubishi-Jisho Atrium, Fukuoka, Japan

 

1999
Ghost in the Shell: Photography and the Human Soul, 1850 – 2000, Los Angeles County Museum of Art, Los Angeles, CA
Les Mondes du Sida: Entre Resignation et Espoir, Centre d’Art Contemporain, Geneva, Switzerland, Traveled to Dialogai, Geneva, Switzerland; Centro d’Arte Contemporanea, Bellinzona, Switzerland
Postcards from Black America, De Beyerd Center of Contemporary Art, Breda, Netherlands

 

1998
1998 Diana.98, Museum fur Gegenwartskunst, Zurich, Switzerland
816, Galerie Analix B, Paris, France
Black Nudes: New Identities, Gay Games, Amsterdam, Netherlands
Millenovecento, Galerie Analix B Polla & C Cargnel, Paris, France
Welcome, Città Sant’Angelo, Pescara, Italy

 

1997
Adrift, Bard College, Annandale-on-Hudson, NY (catalogue)
Bang! The Gun as Image, Museum of Fine Arts, Florida State University, Tallahassee, FL
Face & Figure: Contemporary Art, Museum of Fine Arts, Boston, MA
Rrose is a Rrose is a Rrose: Gender Performance in Photography, The Solomon R. Guggenheim Museum, New York, NY (catalogue), Traveled to The Andy Warhol Museum, Pittsburgh, PA
Scene of the Crime, Hammer Museum, 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
This End Up: Selections from the collection of Robert J. Shiffler, Cleveland Center for Contemporary Art, Cleveland, OH

 

1996
Hotter than July, Margo Leavin Gallery, Los Angeles, CA
Interzones, Kunstforeningen, Copenhagen, Denmark, Traveled to Konstmuseum, Uppsala, Sweden
Persona, Renaissance Society at the University of Chicago, Chicago, IL
Portraits, James Graham and Sons, New York, NY
The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA

 

1995
Desire – Borealis 7, Helsinki City Museum and The Nordic Arts Centre, Helsinki, Finland , Traveled to Louisiana Museum of Modern Art, Humlebæk, Denmark
Face Value: American Portraits, The Parrish Art Museum, Southampton, NY , Traveled to Wexner Center for the Arts, Columbus, OH; Tampa Museum of Art, Tampa, FL
Hard Comforts, Zilkha Gallery, Wesleyan University, Middletown, CT
Human / Nature, New Museum of Contemporary Art, New York, NY
In a Different Light, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA
Inside Out: Psychological Self Portraiture, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Masculine Masquerade, List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA
Mirage: Enigmas of Race, Difference, and Desire, Institute of Contemporary Art, London, UK
Narcissistic Disturbance, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA
Pervert, University of California Irvine Art Gallery, 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, Rome, Italy

 

1994
Black Male: Representations of Masculinity in Contemporary American Art, Whitney Museum of American Art, New York, NY , Traveled to Hammer Museum, Los Angeles, CA
Sincerity and Other Peccadillos, – LAX/’94, The Los Angeles Exhibition Gallery at Barnsdall Art Park, Los Angeles, CA
Telling . . . Stories, Randolph Street Gallery, Chicago, IL

 

1993
42nd Street Art Project: Victory Parade, Times Square, New York, NY
Ciphers of Identity, University of Maryland, Baltimore, ME
Dress Codes, Institute of Contemporary Art, Boston, MA
Identifications and Desires, Real Art Ways, Hartford, CT
In Out of the Cold, 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 This World: Robert Flack, Lyle Ashton Harris, Denise Lessard”
Vancouver: Contemporary Art Gallery, Vancouver, Canada (catalogue)

 

1991
Acquired Visions: Seeing Ourselves Through AIDS, Studio Museum of Harlem, NY
Disputed Identities, Camerawork, San Francisco, CA, Traveled to Contemporary Arts Center, New Orleans, LA
Schwarze Kunst: Konzepte zu Politik und Identitat, NGBK (Neue Gesellschaft für Bildende Kunst), Berlin, Germany
Situation, New Langston Arts, San Francisco, CA
Someone/Somebody, Meyers/Bloom Gallery, Los Angeles, CA

 

1990
AutoPortraits, Camerawork, London, UK

 

BIBLIOGRAPHY

 

Carr, Erin & Lyle Ashton Harris. “These Deeply Personal Photos Explore the Two Artists’ Experiences of a Polarized World”, Vice Magazine, August 7, 2017.
Segal, Mark. “Contemporary Portraiture at Southampton Arts”, The East Hampton Star, July 27, 2017.
Eckardt, Stephanie. “A First Look at Some Eclectic Faces in the Hamptons, From Cindy Sherman to Leonardo DiCaprio”, W Magazine, July 22, 2017.
Catalano, Katie. “The Contemporary Portraiture Explored In ‘About Face’”, Hamptons, July 2017.
Smith, Zadie. “Who owns black pain? Getting In and Out”, Harper’s Magazine, July 2017.
Young, Allison. “The Whitney Biennial in counterpoint”, Apollo Magazine, April 12, 2017.
Laneri, Raquel. “There’s something rotten at the new Whitney Biennial”, New York Post, March 17, 2017.
Pobric, Pac. “Snapshot from a brighter moment: the 2017 Whitney Biennial reflects a pre-Trump America”, The Art Newspaper, March 16, 2017.
“Whitney Biennial 2017”, NY Arts, March 2017.
Bischoff, Dan. “The 2017 Whitney Biennale is one of the best in many years”, NJ.com, March 2017.
Russeth, Andrew. “The 2017 Whitney Biennial Is a Moving, Forward-Looking Tour de Force—a Triumph”, ArtNews, March 14, 2017.
Davis, Ben. “The Whitney Nails a Balancing-Act Biennial”, ArtNet News, March 14, 2017.
Lehrer, Adam. “10 Art Works You Must See At The 2017 Whitney Biennial”, Forbes, March 13, 2017.
Plagens, Peter. “Whitney Biennial 2017 Review: Aesthetics Are Alive Downtown”, The Wall Street Journal, March 13, 2017.
Stapley-Brown, Victoria. “Whitney Biennial expands definition of American art”, The Art Newspaper, March 3, 2017.
Kinsella, Eileen. “Bienal De Sao Paulo Explores Themes of Chaos and Uncertainty”, ArtNet News, September 6, 2016.
Estrin, James. “Reclaiming the Photographic Narrative of African-Americans”, The New York Times, May 10, 2016.
Rosen, Miss. “Pull Up! Curator Nicole J. Caruth Discusses “The Grace Jones Project””, Crave, May 10, 2016.
Davis, Ryan. “A tribute to Grace Jones, exploration of black masculinity in new exhibitions”, Examiner.com, April 23, 2016.
Sullivan, John Jeremiah. “’Shuffle Along’ and the Lost History of Black Performance in America”, The New York Times Magazine, March 24, 2016.
Scwendener, Martha. “Museum & Gallery Listings for Feb. 19-25”, The New York Times, February 18, 2016.
“Muse: Mickalene Thomas Photographs”, Aperture, November 24, 2015. Print.
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Bajac, Quentin, Lucy Gallun, Roxana Marcoci, & Sarah Hermanson. “Photography at MoMA:1960 to Now”, MoMA Publications, October 27, 2015.
Visual-AIDS. “Lyle Ashton Harris photographs the 2014 Last Address Tribute Walk,” Visual-AIDS, August 21, 2015.
“Bomb Specific by Lyle Ashton Harris,” Bomb Magazine, June, 2015.
Patel, Alpesh. “Lyle Ashton Harris,” May 22, 2015.
O’Brien, Conor.”Lyle Ashton Harris: Ektachrome Archive 1986-96: Part 1 – Recovering Identity and Desire,” Musee Magazine, April 23, 2015.
Smith, Albert. “Artist Spotlight: Lyle Ashton Harris,” Out Magazine, February 10, 2015.
Brusselsdiplomatic. “Lyle Ashton Harris in ‘Maruani Mercier’ Gallery,” BrusselsStar, November 9, 2014.
Artsy Editorial. “A Group Show Considers Kafka’s ‘Amerika’ and Otherness in Art,” Artsy, 2014.
Matos, Dennys. “Metabolic Bodies una reflexion en torno a practicas artisticas,” El Nuevo Herald, May 3, 2014.
Artsy Editorial. “Hybrid Bodies and Charged Narratives at David Castillo Gallery,Artsy, Spring 2014.
Farago, Jason. “Bad Conscience,” Art Forum, February 2014.
Elder, Adam. “Lacma Celebrates Soccer’s World Cup: A Los Angeles museum’s exhibition, ‘Futbol: The Beautiful Game,’ features such artists as Andy Warhol with his silk-screen of Brazil’s Pele,” The Wall Street Journal, February 5, 2014.
Johnson, Reed. “Soccer ball as globe in ‘Futbol: The Beautiful Game’ at LACMA,” Los Angles Times Arts & culture, January 20, 2014.
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Miano, Leonora. Afro. Paris: La Martiniere, 2012
Brooks, Kalia. “Photographer Lyle Ashton Harris, best known for turning the camera on himself, turns it on others in an arresting series of ‘Chocolate Portraits.’” theroot.com. Slate Group, 15 May 2011. 1 June 2011
Campany, David, et al. The New York Times Magazine Photographs. New York: Aperture, 2011.
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Kaufman, Jason Edward. “Carla Bruni announces Paris-New York arts scholarship.” theartnewspaper.com. The Art Newspaper, 30 Mar. 2010. Web. 1 June 2011.
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Willis, Deborah. Black Venus 2010: They Called Her “Hottentot.” Philadelphia: Temple UP, 2010. Cover [Venus Hottentot 2000, 1994], 7, 89-90, 98, 226, g26.
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Contemporary African Art, 2010.
Iles, Chrissie. “Off the Wall.” New York: Whitney Museum: 2010.
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Sims, Lowery and Leslie King-Hammond, eds. The Global Africa Project. New York: Museum of Arts and Design and Prestel Publishing, 2010
Harris, Lyle Ashton, and Chuck Close. “A Conversation.” Lyle Ashton Harris, Excessive
Exposure: The Complete Chocolate Portraits. Okwui Enwezor. New York: Miller, 2010.
Enwezor, Okwui. Lyle Ashton Harris, Excessive Exposure: The Complete Chocolate Portraits. New York: Miller, 2010.
Harris, Lyle Ashton, et al. Ghana: Who Knows Tomorrow. Accra: Dei Centre for the Study of Contemporary African Art, 2010.
Harris, Lyle Ashton. Adbusters 6.17, No. 86 (Nov.-Dec. 2009): Cover Untitled, 2004.
Miller, Monica L. Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. Durham: Duke UP, 2009.
Newkirk, Pamela. Letters from Black America. New York: Farrar, 2009
Francesca T. “Feeling like a woman, Looking like a man, sounding like a no-no: Grace Jones and the performance of Strange in the Post-Soul Moment.” Journal of Feminist Theory 19.1 2009
Walcott, Rinaldo. “Reconstructing Manhood; Or, The Drag of Black Masculinity.” Small Axe Journal 28, Mar. 2009
Bedford, Christopher. Mixed Signals: Artists Consider Masculinity in Sports. Los Angeles: Los
Angeles County Museum of Art; New York: Independent Curators International, 2009.
De Farcy, Elisabeth, and Francoise Chabbert. Kreyol Factory. Paris: Editions Gallimard, 2009.
Baer, Ulrich. “Deep in the Archive.” Aperture, Winter 2008
Cotter, Holland. “A Multicultural Swirl of Africa, The Americas and Even Outer Space.”
Review of “S & M: Shrines and Masquerades” exhibition. The New York Times, 3 Dec. 2008: C1.
Dawson, Jessica. “He Is Some Body: Lyle Ashton Harris’s Enigmatic Self-Portraits.” Review of
“Lyle Ashton Harris” exhibition. Washington Post. 1 Feb. 2008: C2.
Dykas, Donn. “From the Muses: Two Influential Photographers.” Echo Magazine 7 Feb. 2008.
Lovell, Whitfield. Whitfield Lovell: All Things Time. Yonkers: Hudson River Museum, 2008. 6.
“Lyle Ashton Harris.” e-flux.com. E-flux, 22 Feb. 2008. Web. 1 June 2011.
“Lyle Ashton Harris at the Scottsdale Museum of Contemporary Art.” Review of “Blow Up” exhibition. Art Knowledge News, Feb. 2008
“Lyle Ashton Harris: Blow Up.” Review of “Blow Up” exhibition. The Scottsdale Republic 23 Jan. 2008: Z9
“Lyle Ashton Harris: Blow Up at Scottsdale Museum of Contemporary Art.” artdaily.org. N.p. 11 Feb. 2008
McQuaid, Cate. “Documenting Life on Ghana Shore.” Review of “Sketches from the Shore”exhibition. Boston Globe, 10, Dec. 2008
Pela, Robert L. “Camera Obscura.” Review of “Blow Up” exhibition. Phoenix New Times 7 Feb.
Peres, Michael R. The Concise Encyclopedia of Photography: From the first photo on paper to the digital revolution. Burlington: Focal, 2008
Imesch, Kornelia. Inscriptions/Transgressions: Histoire de l’art et etudes genre.Germany: Die Deutsche Bibiothek, 2008
Pasternak, Anne, and Lucy Lippard. Creative Time: The Book: 33 Years of Public Art in New York City. New York: Creative Time, 2008
Powell, Richard J. Cutting a Figure: Fashioning Black Portraiture. Chicago: U of Chicago P, 2008
Thomas, Kylie. “Selling Sorrow: Testimony, Representation and Images of HIV-Positive South
American Women.” Social Dynamics: A Journal of African Studies 34.2 (2008): 219.
Wonbang, Kim. Busan Biennale 2008: Expenditure – As it is always and already excessive.
Busan: Busan Bienniale Organizing Committee, 2008.
Coblentz, Cassandra, ed. Lyle Ashton Harris: Blow Up. New York: Miller, 2008.
Harris, Lyle Ashton, and Senam Okudzeto. “A Conversation: Accra, Ghana 2007.” Lyle Ashton
Harris: Blow Up. Ed. Cassandra Coblentz. New York: Miller, 2008.
Bishop, Philip E. “Art Review: Exhibit explores history, hipness.” Review of “Crossing the Line” exhibition. Orlando Sentinel, 19 Apr. 2007
Feitelberg, Rosemary. “Bravo Biennale: A New View of Africa.” WWDScoop, Summer 2007
Glueck, Grace. “Self-Portraits that Obscure the Self.” Review of “Photography of the Self” exhibition. The New York Times, 5 Jan. 2007
Morgan, Jessica. “Categorical Imperatives.” Review of 52nd Venice Biennale. Artforum 46.1, Sept. 2007
Riley, Cheryl R. “Lyle Ashton Harris: A Look at His Camera’s Lens.” Ebony Magazine, July 2007
Ringle, Hayley. “SMoCA helps Valley, Ghana students compare lives via photos.” The
Scottsdale Tribune 28, Dec. 2007
Simula, Carlo. “Lyle Ashton Harris.” L’Uomo Vogue, May-June 2007
Yablonsky, Linda. “In the Studio: Kara Walker.” Art & Auction Feb. 2007
Angier, Roswell. Train Your Gaze: A Practical and Theoretical Introduction to Portrait
Photography. New York: Watson-Guptil, 2007
Chika Okeke-Agulu. “Venice and Contemporary Art.” African Arts 40.3 ,2007
Hall, Roz. “Young Queer Artists in the Classroom.” International Journal of Art and Design
Education 26.1, 2007
Parens, Henri. The Future of Prejudice: Psychoanalysis and the Prevention of Prejudice. New York: Rowman & Littlefield, 2007
Roncero, Rafael Doctor. The Musac Collection: Volume II. León: Musac, 2007
Stohler, Peter. Radar: Texte zur Gegenwartskunst/Texts on Contemporary Art. Stuttgart: Arnoldsche, 2007
Storr, Robert, ed. 52nd Venice Biennale: Think with the Senses, Feel with the Mind. Venice: Marsilio Editori, 2007
Green, Roger. “Review: Artists Photograph Their Interpretations of Family Values.” mlive.com. mLive, 10 Mar. 2006
Jones, Amelia. A Companion to Contemporary Art Since 1945. Malden: Blackwell, 2006.
Jones, Amelia. Self Image: Technology, Representation and the Contemporary Subject. London: Routledge, 2006
Nisco, Maria Cristina. “Dark Histories, Bright Revisions: Writing the Female Black Body.”Nebula 3.1, 2006
Teelucksingh, Cheryl. Claiming Space: Racialization in Canadian Cities. Ontario: Wilfrid Laurier UP, 2006
Enwezor, Okwui. The 2nd International Biennial of Contemporary Art of Seville – Unhomely:
Phantom Scenes in Global Society. Seville: Fundacion BIACS, 2006
McKinnon, E. Luann, ed. Crossing the Line: African American Artists in the Jaqueline Bradley and Clarence Otis, Jr. Collection. Winter Park: Cornell Fine Arts Museum, 2006.
Other Families. Turin: Palazzo Cavour, 2006
Rugoff, Ralph, ed. Shoot the Family. Bloomfield Hills: Cranbrook Art Museum, 2006.
Fyfe, Joe. “Lyle Ashton Harris.” Art on Paper 9.3, Jan.-Feb. 2005
Massengill, Reed. Self-Exposure: The Male Nude Self-Portrait. New York: Universe, 2005
Atkinson, Dennis, and Paul Dash. Social and Critical Practices in Art Education. London: Trentham, 2005.
Brodsky, Joyce. “Cezanne Paints: ‘Whole Body’ Practices and the Genre of Self-Portrayal.” Visual Studies Journal 20.1, 2005
Friedman, Martin. Close Reading: Chuck Close and the Artist Portrait. New York: Abrams, 2005. 212-25.
Kaplan, Craig. “No More Separate Spheres! A Next Wave American Studies Reader.” American Literature 77.4 (2005): 856.
Mahon, Alyce. Eroticism and Art. New York: Oxford UP, 2005. 226, 254-7.
McBride, Dwight A. Rev. of Constructing the Black Masculine: Identity and Ideality in African American Men’s Literature and Culture, 1775-1995 by Maurice O. Wallace. American Literature Dec. 2005: 861-2..
McDaniel, Craig, and Jean Robertson. Themes of Contemporary Art: Visual Art after 1980. New York: Oxford UP, 2005. 112-6, 146.
Monterosso, Jean-Luc. Atelier Adamson. Paris: Steidl, 2005. 96-105.
Naguschewski, Dirk, and Flora Veit-Wild. Body, Sexuality, and Gender: Versions and Subversions in African Literatures 1. Amsterdam: Rodopi, 200
Body, Sexuality, and Gender: Versions and Subversions in African Literatures 2. Amsterdam: Rodopi, 2005. Cover [Man and Woman #2, 1987-88].
Netto, Priscilla. “Reclaiming the body of ‘Hottentot’: The Vision and Visuality of the Body Speaking with Vengeance in Venus Hottentot 2000.” European Journal of Women’s Studies 12.2 (200)
Binni, Lanfranco, et al., eds. Identità & Nomadismo. Siena: Regione Toscana, 2005.
Oliver, Valerie Cassell, ed. Double Consciousness: Black Conceptual Art Since 1970. Houston: Contemporary Arts Museum, 2005.
Orlando, Margo. Remixed Collections. Bronx: Bronx Museum of the Arts, 2005
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Harris” exhibition. The Art on Paper 8.6 (July-Aug. 2004): 53.
Hannaham, James. “Beyond the Pale.” New York Magazine 28 Jun. 2004: 99.
Hedegaard, Erik. “The Entertainer.” New York Magazine 18 Oct. 2004: 36-9.
Jefferson, Margo. “Photo Dynamics.” “Review of “Only Skin Seep” exhibition. The New York Times Book Review, 15 Feb. 2004
Liu, Timothy. “Memoirs of Hadrian.” Artpapers Jan.-Feb. 2004
Northcross, Wayne. “Blood, Sweat and Tears.” Genre Sept. 2004
Perrëe, Rob. “Lyle Ashton Harris.” Kunstbeeld, Dec. 2003-Jan. 2004
Petry, Michael. Hidden Histories: 20th Century Male Same Sex Lovers in the Visual Arts.
Rexer, Lyle. “Only Skin Deep.” Art on Paper 8.4, Mar.-Apr
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Stoddard, Grant. “Sex/steria.” New York Magazine 22 Nov. 2004
Workman, Michael. “Lyle Ashton Harris, Rhona Hoffman Gallery.” Review of “Blowup” exhibition. Flash Art Mar. 2004
Qureshi, Sadiah. “Displaying Sara Baartman, The Hottentot Venus.” History of Science 42 (2004): 233.
Tawadros, Gilane. Changing States: Contemporary Art and Ideas in an Era of Globalisation. London: Inst. of International Visual Artists, 2004. 158.
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Smith, Anna Deavere. Lyle Ashton Harris. New York: Miller, 2004
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“The Alumni Show” exhibition. The New York Times 16 Nov. 2003.
Kenner, Rob, and George Pitts. VX: 10 Years of VIBE Photography. New York: Abrams, 2003.
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Schwendener, Martha. “Lyle Ashton Harris, CRG Gallery.” Review of “Memoirs of Hadrian exhibition. Artforum 42.3 ,Nov. 2003
Alonzo, Juan Jose. “Derision and Desire: The Ambivalence of Mexican Identity in American Literature and Film.” Diss. U of Texas, Austin, 2003 Hoppner, Annika. Geschlechterkonstruktion und Interkulturalität in der Gegenwartskunst: Die Ausstellung “Black Male” 1994 in New York. Marburg: Philipps-Universitat Marburg, 2003.
Rodriguez, Juana Maria. Queer Latinidad: Identity Practices, Discursive Spaces. New York: New York UP, 2003
Trifonas, Peter Pericles. Pedagogies of Difference: Rethinking Education for Social Change.
New York: Routledge Falmer, 2003
Andrews, Richard, et al. Short Stories on Photography: The Joseph and Elaine Monsen Collection at the Henry Art Gallery. Seattle: Henry Art Gallery, 2002
Felshin, Nina. The Alumni Show: In Celebration of the Thirtieth Anniversary of the Center for the Arts. Wesleyan: Wesleyan UP, 2003
Fusco, Coco, and Brian Wallis. Only Skin Deep: Changing Visions of the American Self. New York: Abrams, 2003
Ilesanmi, Olukemi. The Squared Circle: Boxing in Contemporary Art. Minneapolis: Walker Art Center, 2003.
Smalls, Jane. American Art: Voicing New Critical Perspectives. Washington DC: Smithsonian, 2003
Zabunyan, Elvan. Love Supreme. Rennes: La Criée Centre d’Art Contemporain, 2003
Brown, Elizabeth A., et al. Short Stories on Photography: The Joseph and Elaine Monsen
Collection at the Henry Art Gallery. Seattle: U of Washington P, 2002. 9.
Harris, Laura A. “Black Feminism and Queer Families: A Conversation with Thomas Allen Harris.” African American Review 36.2 (2002): 273.
Smith, Sidonie, and Watson, Julia. Interfaces: Women/Autobiography/Image/Performance. Ann Arbor: U of Michigan P, 2002. 36.
Wallace, O. Maurice. Constructing the Black Masculine: Identity and Ideality in African American Men’s Literature and Culture, 1775-1995. Durham: Duke UP, 2002. 48-9.
Willis, Deborah, and Carla Williams. The Black Female Body: A Photographic History. Philadelphia: Temple UP, 2002. 179-80.

 

SELECTED COLLECTIONS

 

Davison Art Center, Wesleyan University, Middletown, CT
Guggenheim Museum, New York, NY
JPMorgan Chase Art Collection, New York, NY
Los Angeles County Museum of Art, Los Angeles, CA
Perez Art Museum, Miami, FL
Museo de Arte Contemporáneo de Castilla y León, León, Spain
Museum of Contemporary Art, Los Angeles, CA
Museum of Contemporary Art, San Diego, CA
Museum of Modern Art, New York, NY
Museum of Fine Arts, Boston, MA
Nasher Museum of Art at Duke University, Raleigh-Durham, NC
Princeton University Art Museum, Princeton, NJ
The Progressive Corporation, Mayfield Village, OH
The Scottsdale Museum of Contemporary Art, Scottsdale, AZ
The Studio Museum in Harlem, New York, NY
Walker Art Center, Minneapolis, MN
The Whitney Museum of American Art, New York, NY