LYLE ASHTON HARRIS
Lyle Ashton Harris has cultivated a diverse artistic practice ranging from photography and collage to installation and performance art. 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.
Born in the Bronx, New York, raised in Dar es Salaam, Tanzania, and New York, Harris obtained a Bachelor of Arts degree from Wesleyan University, a Master of Fine Arts degree from the California Institute of the Arts, and attended the Whitney Museum of American Art Independent Study Program. Harris is a Professor of Art at New York University and lives in New York.
Harris has been widely exhibited internationally, including most recently in Photography’s Last Century at the Metropolitan Museum of Art, New York; in Basquiat’s ‘Defacement’: The Untold Story and Implicit Tensions: Mapplethorpe Now at the Solomon R. Guggenheim Museum, New York; in United by AIDS at Migros Museum für Gegenwartskunst, Zurich; in Kiss My Genders at the Haywood Gallery, London; in Tell Me Your Story at Kunsthal KaDE, Amersfoort, NL; in Elements of Vogue at the Centro de Arte Dos de Mayo, Madrid (traveled to Museo Universitario del Chopo, Mexico City). Harris’s work was included in the 52nd Venice Biennale (2007), the Busan Biennial, South Korea (2008), the Bienal de São Paulo (2016), the Whitney Biennial (2017), and presented by Cinéma Du Réel at the Centre Pompidou, Paris (2018).
Harris is represented in the permanent collections of The Museum of Modern Art (MoMA), New York; the Metropolitan Museum of Art, New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; The Studio Museum in Harlem, New York; the Hessel Museum of Art at Bard College, Annendale-on-Hudson, New York; the Museum of Contemporary Art (MOCA), Los Angeles; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; Pérez Art Museum, Miami; the Walker Art Center, Minneapolis; the Tate Modern, London, UK; Museo de Arte Contemporáneo de Castilla y León, Spain; Migros Museum für Gegenwartskunst, Zurich, Switzerland, among others.
Harris has also presented performances at a range of venues, most recently at Volksbühne Grüner Salon sponsored by KW Institute for Contemporary Art, Berlin (2019); a lecture/performance on Andy Warhol presented by the DIA Art Foundation, New York (2018); and an installation/performance at Participant Inc., New York (2018); and a lecture/performance on experimentation, politics and sexuality in the work of filmmaker Marlon T. Riggs at Griffin Art Projects, Vancouver BC, Canada (2020).
Harris received a fellowship from the John Simon Guggenheim Memorial Foundation (2016), the David C. Driskell Prize from the High Museum of Art, Atlanta (2014), and the Rome Prize Fellowship (2000) among other awards and honors. Harris joined the Board of Trustees of the American Academy in Rome in 2014 and was appointed a trustee of the Tiffany Foundation in 2016.
Born in New York in 1965; lives and works in New York, NY.
Whitney Museum Independent Study Program, New York, NY
National Graduate Photography Seminar, Tisch School of the Arts, New York University, New York, NY
MFA, California Institute of the Arts, Valencia, CA
BA with Honors, Wesleyan University, Middletown, CT
Once (Now) Again, Centre Georges Pompidou, Paris, France
Lyle Ashton Harris: Photographs, Albert Merola Gallery, Provincetown, MA
Black Power, Stevenson Gallery, Johannesburg, South Africa
Lyle Ashton Harris, Salon 94, New York, NY
Lyle Ashton Harris, Iris Sommer Contemporary Art, Tel Aviv, Israel
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
Lyle Ashton Harris, Adamson Gallery, Washington, DC
Ghana, Kennesaw State University Art Museum, Kennesaw, GA
Lyle Ashton Harris,Adamson Gallery, Washington, DC
Lyle Ashton Harris/Self/Portraits, The Studio Museum in Harlem, New York, NY
Ghana, CRG Gallery, New York, NY
Untitled (Black Power), Cokkie Snoei Gallery, Amsterdam, Netherlands
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
Blow Up, Rhona Hoffman Gallery, Chicago, IL
Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France
Memoirs of Hadrian, CRG Gallery, New York, NY
New Work, Baldwin Gallery, Aspen, CO
20 x 24, Aldrich Museum of Contemporary Art, Ridgefield, CT
Distillation, Galerie Analix Forever, Geneva, Switzerland
Alchemy, New Langton Arts, San Francisco, CA Alchemy, [collaboration with Thomas Allen Harris], Corcoran Gallery of Art, Washington, DC
The White Face Series, Thomas Erben Gallery, New York, NY
The Watering Hole, Jack Tilton Gallery, New York, NY
Lyle Ashton Harris, Selected Photographs: The First Decade, Centro de Arte Euroamericano, Caracas, Venezuela
The Good Life, Jack Tilton Gallery, New York, NY
Americas, Simon Watson’s Living Room, New York, NY
Face, New Museum of Contemporary Art, Broadway Window, New York, NY
Photography’s Last Century: The Collection of Ann Tenenbaum and Thomas H. Lee, Met Museum, New York, NY
Tell Me Your Story, Kunsthal KAde, Amersfoort, Netherlands
The Sodomite Invasion, Griffin Arts Project, North Vancouver, Canada
Black Refractions: Highlights from the Studio Museum in Harlem, Smith College
Museum of Art, Northampton, MA; Frye Art Museum, Seattle, WA; Utah Museum of Fine Arts, Salt Lake City, UT
Unseen: 35 Years of Collecting Photographs, The J. Paul Getty Museum, Los Angeles, CA
Fotofest Biennial 2020 African Cosmologies Photography, Time, and the Other, Fotofest, Houston, TX
Black Refractions: Highlights from the Studio Museum in Harlem, Museum of the
African Diaspora, San Francisco, CA; Gibbes Museum of Art, Charleston, SC;
Kalamazoo Institute of the Arts, Kalamazoo, MI
Implicit Tensions, Guggenheim Museum, New York, NY
American African American, Phillips Collection, New York, NY
The World’s Game: Futbol and Contemporary Art, The Perez Art Museum, Miami, FL
Moving Visuals, The David C. Driskell Center, College Park, MD
Michael Jackson: On the Wall, Grand Palais, Paris, France
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
American African American, Phillips Auctioneers, London, UK
Elements of Vogue: A Case Study of Radical Performance, Centro de Arte Dos de Mayo, Madrid, Spain
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
Mistakes Were Made, Kiev Biennial, Kiev, Ukraine
Nero su Bianco, American Academy in Rome, Rome, Italy
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
Image Search: Photography from the Collection, Pérez 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
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
Hide/Seek: Difference and Desire in American Portraiture, Brooklyn Museum of Art, Brooklyn, NY
30 Years of The New York Times Magazine, Eglise Sainte Anne, Arles. France
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
The Summer Show, CRG Gallery, New York, NY
Kreyol Factory, Grande Hale de la Villette, Paris, France
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
Think with the Senses, Feel with the Mind, 52nd Venice Biennale, Italy
For the Love of the Game: Race and Sport in America, The Wadsworth Atheneum Museum of Art, Hartford, CTPhotography of the Self: The Legacy of F. Holland Day, Whitney Museum of American Art, New York, NY
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
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
Male Desire Two, Mary Ryan Gallery, New York, NY
Disparities and Deformations: Our Grotesque, SITE Santa Fe’s Fifth International Biennial, Santa Fe, NM
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
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 (catalogue)
Goddess, Galerie Lelong, New York, NY
Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow, Scotland
Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Institution, Washington, DC (catalogue)
Rome Prize Fellows Show, The American Academy in Rome, Rome, Italy
Faith, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Man & Space, Kwangju Biennale, South Korea (catalogue)
Masterminds of Mode, International Fashion Festival, Mitsukoshi Nihonbashi, Tokyo, Japan (catalogue)
Traveled to Kobe Fashion Museum, Kobe, Japan; Mitsubishi-Jisho Atrium, Fukuoka, Japan
Ghost in the Shell: Photography and the Human Soul, 1850 – 2000, Los Angeles County Museum of Art, Los Angeles, CA (catalogue)
Les Mondes du Sida: Entre Resignation et Espoir, Centre d’Art Contemporain, Geneva, Switzerland (catalogue), Traveled to Dialogai, Geneva, Switzerland; Centro d’Arte Contemporanea, Bellinzona, SwitzerlandPostcards from Black America, De Beyerd Center of Contemporary Art, Breda, Netherlands (catalogue)
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
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 (catalogue)
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
Hotter than July, Margo Leavin Gallery, Los Angeles, CA
Interzones, Kunstforeningen, Copenhagen, Denmark, Traveled to Konstmuseum, Uppsala, Sweden
Persona, Renaissance Society at the University of Chicago, Chicago, IL (catalogue)
Portraits, James Graham and Sons, New York, NY
The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA
Desire – Borealis 7, Helsinki City Museum and The Nordic Arts Centre, Helsinki, Finland (catalogue), Traveled to Louisiana Museum of Modern Art, Humlebæk, Denmark
Face Value: American Portraits, The Parrish Art Museum, Southampton, NY (catalogue), 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 (catalogue)
Inside Out: Psychological Self Portraiture, The Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue)
Masculine Masquerade, List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA (catalogue)
Mirage: Enigmas of Race, Difference, and Desire, Institute of Contemporary Art, London, UK (catalogue)Narcissistic Disturbance, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA (catalogue)Pervert, University of California Irvine Art Gallery, Irvine, CA (catalogue)
Picture Thoughts, Ambrosino Gallery, Miami, FL
P.L.A.N. (Photography Los Angeles Now), Los Angeles County Museum of Art, Los Angeles, CA
Traces: The Body in Contemporary Photography, Bronx Museum of Art, Bronx, NY
Uncertain Identity II, Galerie Analix at Basel Art Fair, Geneva, Switzerland
Video: Immagine e Poggetto- Artisti degli Stati Uniti, Museo Laboratorio Di Arte, Rome, Italy
Black Male: Representations of Masculinity in Contemporary American Art, Whitney Museum of American Art, New York, NY (catalogue), 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 (catalogue)
Telling . . . Stories, Randolph Street Gallery, Chicago, IL
42nd Street Art Project: Victory Parade, Times Square, New York, NY
Ciphers of Identity, University of Maryland, Baltimore, ME (catalogue), Traveled to Ronald Feldman Fine Arts, New York. NY; University of South Florida Contemporary Art Museum, Tampa, FL; Fine Arts Gallery, University of California, Irvine, CA; Contemporary Art Center, New Orleans, LA; Woodruff Art Center, Atlanta College of Art, GA; Kemper Museum of Contemporary Art and Design, Kansas City, MO
Dress Codes, Institute of Contemporary Art, Boston, MA (video catalogue)
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
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)
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 (catalogue)
Situation, New Langston Arts, San Francisco, CA
Someone/Somebody, Meyers/Bloom Gallery, Los Angeles, CA
AutoPortraits, Camerawork, London, UK
Blanch, Andrea. “Ruptures From Paris: Lyle Ashton Harris”, Musée Magazine, November 2020.
Palumbo, Jacqui. “A trove of old Ektachrome slides shows artists, friends and lovers in the 1980s and ’90s”, CNN, November 6, 2020.
Lau, Charlene K. “FIVE.” The Brooklyn Rail, July 2020.
“Angeleti, Gabriella. “Lyle Ashton Harris revisits archival images of black joy and resistance amid lockdown,” The Art Newspaper, June 19, 2020.
Wark, McKenzie. “ Lyle Ashton Harris with McKenzie Wark,” The Brooklyn Rail, June 2020.
Bruno, Gilda. “Get witchy! How a new exhibition is invoking the supernatural”, Dazed, March 6, 2020.
Armstrong, Annie. “76 Artists Brought Out Their Witchiest Work for Laurie Simmons and Dan Nadel’s New Deitch Projects Show”, Vice Garage Magazine, February 23, 2020.
Goldstein, Caroline. “Legendary Art Philanthropist Agnes Gund Is Lauded as a Quiet, Yet Powerful, Force for Good in a New Documentary”, Artnet News, February 21, 2020.
“Fotofest Binnial Releases 2020 Artist List”, Artforum, December 11, 2019.
“Price Check! Here’s What Sold—and for How Much—at Art Basel in Miami Beach 2019”, Artnet News, December 9, 2019.
Yerebakan, Osman Can. “Eight Highlights From Miami Art Week”, Thew New York Times Style Magazine, December 4, 2019.
Duron, Maxximiliano. “A Look Inside the New MoMa: Part 3”, Artnews, October 11, 2019.
Cascone, Sarah. “Editors’ Picks: 23 Things Not to Miss New York’s Art World This Week”, Artnet News, October 7, 2019.
“SCAD Museum of Art Announces Frederick Douglas: Embers of Freedom”, Hyperallergic, October 3, 2019.
Desmond, Matthew. “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation”, The New York Times Magazine, August 14, 2019.
“Air-conditioning Included: Four Museum Shows That Don’t Require SPF”, Cultured, August, 13, 2019.
“Guggenheim Launches Photography Fellowship with Gift from Robert Mapplethorpe Foundation”, Artforum, July 25, 2019
Lubow, Arthur. “Has Robert Mapplethorpe’s Moment Passed?”, The New York Times, July 25, 2019.
“9 Art Events to Attend in New York City: ‘Mapplethorpe Now,’ Jerron Herman, Danny Lyon, and More”, Artnews, July 24, 2019.
Estiler, Keith. “Guggenheim Explores ‘Implicit Tensions’ In Upcoming Robert Mapplethorpe Exhibit”, Hypebeast, July 17, 2019.
“Art After Stonewall, 1969-1989” st Leslie-Lohman Museum, New York”, Blouin Artinfo, June 12, 2019.
France-Presse, Agence. “New Exhibition on Basquiat’s Social Activism Opening at NY Guggenheim Museum”, The Jakarta Post, June 2, 2019
“Kiss My Genders Review”, Time Out, June 2019.
Rimanelli, David. “Basquiat’s ‘Defacement’: The Untold Story”, Artforum, May 2019.
Avery, Daniel. “5 Queer Art Shows to See in New York City Right Now”, Newsweek, April, 30, 2019.
Artinfo, Blouin. “Solomon R. Guggenheim Museum to host ‘Basquiet’s Defacement: The Untold Story’”, Blouin Artinfo, April 12, 2019.
Duron, Maximiliano. “ Out Side In: In His Arresting Work, Lyle Ashton Harris Looks to the Recent Past for New Ways Forward”, Artnews, April 2, 2019.
Harrity, Christopher. “6 Artworks Celebrate the Impact of LGBTQ Civil Rights Post-Stonewall”, Advocate, April 2019
Duron, Maximiliano. “The Name of This Issue Is Not Queer Art Now: An Introduction to the Spring 2019 Issue of ARTnews”, Artnews, March 14, 2019.
Manatakis, Lexi. “Art Shows to Leave the House for this Month”, Dazed, March 15, 2019.
Knoblauch, Loring. “Photography Highlights from the Armory Show 2019”, Collector Daily, March 8, 2019.
Gural, Natasha. “Rarely Viewed Basquiat Exposes Timely Exploration of Racial Identity, Activism, and Police Brutality”, Forbes, December 13, 2018.
Rodriguez, Cecilia. “New Blockbuster Paris Exhibition Celebrates Michael Jackson”, Forbes, November 26, 2018.
“Black Refractions: Highlights from The Studio Museum in Harlem to Begin National Tour in 2019”, ARTFIXdaily, November 20, 2018.
Lescaze, Zoe. “8 Artists on the Influence of Carrie Mae Weems”, The New York Times Style Magazine, October 17, 2018.
Harris, Gareth. “Can’t beat it? Michael Jackson’s impact on contemporary art explored in London show”, The Art Newspaper, June 27, 2018.
“’Michael Jackson: On the Wall’ at National Portrait Gallery”, Blouin Art Info, June 21, 2018.
“’The World’s Game: Futbol and Contemporary Art’ at Perez Art Museum Miami”, Art News, June 25, 2018.
Estiler, Keith. “Monumental Miami Exhibition Explores Why Football Is ‘The World’s Game’”, Hypebeast, June 25, 2018.
Sheets, Hilarie M. “Want a Warehouse of Art? Try the Installment Plan”, The New York Times, May 22, 2018.
“Morning Links: 468,926-Image Edition”, Art News, February 2, 2018.
Viglucci, Andres. “Is Art Basel bigger and better than ever? The early reviews are in”, The Miami Herald, December 7, 2017.
Gottschalk, Molly. “The 15 Best Booths at Art Basel in Miami Beach”, Artsy, December 6, 2017.
O’Driscoll, Bill. “20/20: The Studio Museum in Harlem and Carnegie Museum of Art at the Carnegie Museum of Art”, Pittsburgh City Paper, November 15, 2017.
Valentine, Victoria. “Culture Talk: Arnold Lehman on Curating ‘American African American,’ a Selling Exhibition at Phillips London”, Culture Type, November 1, 2017.
Gefter, Philip. “The Place Beyond the Fire Island Pines”, The New York Times Style Magazine, October 23, 2017.
Taylor, Robert. “Photographers spin their own illusions in ‘Not a Selfie’ at San Jose Museum of Art”, The Mercury News, September 11, 2017.
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.
“Body of Art”, Phaidon, October 12, 2015. Print.
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,” Artforum, May 22, 2015.
O’Brien, Conor. “Lyle Ashton Harris, Ektachrome Archive 1986-96: Part I – 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 practices 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 Angeles Times Arts & Culture, January 30, 2014.
Kokur, Zoya, and Simon Leung. Theory in Contemporary Art Since 1985. 2nd ed. Oxford:
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.
“Chuck Close and Lyle Ashton Harris Artist Discussion – Excessive Exposure” youtube.com. N.p., n.d. 1 June 2011.
“EUR Book Look (Photos): Lyle Ashton Harris’ Excessive Exposure: The Complete Chocolate
Portraits.” eurweb.com. N.p., 30 Mar. 2011. Web. 1 June 2011.
Hamer, Katy Diamond. “Excessive Exposure: Lyle Ashton Harris & Chuck Close.” Eyes
towards-the-dove.blogspot.com. N.p. 25 Mar. 2011. Web. 1 June 2011.
“Harris, Lyle Ashton. Excessive Exposure: The Complete Chocolate Portraits (Gregory R. Miller
& Co., 2010).” 81press.net. N.p., n.d. Web. 1 June 2011.
Laneri, Raquel. “Excessive Exposure: Lyle Ashton Harris’ Extreme Portraits.”
blogs.forbes.com. Forbes, 23 Mar. 2011. Web. 1 June 2011.
“Lyle Ashton Harris To Lecture Saturday May 7.” clevelandart.wordpress.com. Cleveland
Museum of Art, 5 May 2011. Web. 1 June 2011.
McCormack, Tom. “Hide/Seek, Culture Wars and the History of the NEA.” idiommag.com.
ArtCat/Tristan Media, 4 May 2011. Web. 1 June 2011.
Ranaivoarinosy, Sedera. “Lyle Ashton Harris and Excessive Exposure.”
citywidewnyu.wordpress.com. WNYU,14 Apr. 2011. Web. 1 June 2011.
Schjeldahl. Peter. “The Art World Unhidden Identities: A Glenn Ligon Retrospective.” The New
Yorker 21 Mar. 2011: 77.
Wassenberg, Anya. “Lyle Ashton Harris: Excessive Exposure – The Complete Chocolate
Portraits.” artandculturemaven.com. N.p. 4 Apr. 2011. Web. 1 June 2011.
Dickel, Simon. Black/Gay: The Harlem Renaissance, the Protest Era, and Constructions of
Black Gay Identity in the 1980s and 90s. East Lansing: Michigan State UP, 2011. 50.
Fleetwood, Nicole R. Troubling Vision: Performance, Visuality, and Blackness. Chicago: U of
Chicago, 2011. Cover [La Natura Morta, 2001].
Schneider, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment.
New York: Routledge, 2011. 142.
Aletti, Vince. “Lyle Ashton Harris.” Review of “Ghana” exhibition. The New Yorker 29 Mar.
Dee, Jonathan. “Rap Tendance Grande Folle.” Courrier International 12 Sept. 2010
Gaines, Carl. “Ghana.” Review of “Ghana” exhibition. cityarts.info. City Arts, 10 Mar. 2010.
Web. 1 June 2011.
Gilbert, Alan, “Lyle Ashton Harris: Ghana.” Review of “Ghana” exhibition. villagevoice.com.
The Village Voice, 9 Mar. 2010. Web. 1 June 2011.
Gopnik, Blake. “National Portrait Gallery’s ‘Hide/Seek’ finds a frame for sexual identity.”
Review of “Hide/Seek: Difference and Desire in American Portraiture” Exhibition.
washingtonpost.com. The Washington Post, 5 Nov. 2010. Web. 1 June 2011.
Kaufman, Jason Edward. “Carla Bruni announces Paris-New York arts scholarship.”
theartnewspaper.com. The Art Newspaper, 30 Mar. 2010. Web. 1 June 2011.
“Lyle Ashton Harris @ CRG.” Review of “Ghana” exhibition. news.style.com. Condé Nast
Digital, 1 Apr. 2010. Web. 1 June 2011.
“Lyle Ashton Harris, the Chocolate Portraits.” theroot.com. The Slate Group, n.d. Web. 1 June
Newkirk, Pamela. “Artalk: His Crowd.” Review of Excessive Exposure by Okwui Enwezor.
Artnews Nov. 2010: 41.
“NYU Steinhardt Expands Its Global Art Options.” artandeducation.net. Art & Education, 26
Oct. 2010. Web. 1 June 2011.
Sanneh, Kelefa. “Beyond the Pale: Is white the new black?” The New Yorker 12 Apr. 2010: 69.
Slenske, Michael. “Carla Bruni-Sarkozy Alights at NYU to Promote Arts Exchange.”
artinfo.com. Louise Blouin Media, 30 Mar. 2010. Web. 1 Jun 2011.
Smith, Albert. “Artist Spotlight: Lyle Ashton Harris.” advocate.com. Here Media, 14 Aug.
2010. Web. 1 June 2011.
Starr, Penny. ““Smithsonian Christmas-Season Exhibit Features Ant-Covered Jesus, Naked
Brothers Kissing, Genitalia, and Ellen DeGeneres Grabbing Her Breasts.” Review of
“Hide/Seek: Difference and Desire in American Portraiture” Exhibition. cnsnews.com.
CNSNews, 29 Nov. 2010. Web. 1 June 2011.
Amariglio, Jack. “Kitsch as Kitsch Can, or Can’t: An Introduction to a Symposium of Kitsch, Class, and Aesthetics.” Rethinking Marxism: A Journal of Economics, Culture & Society 22.1 (2010): 23.
Eaton, Nicole D. “Transgressions: Drag and Contemporary Self-Portrait Photography.” Diss. U of Columbia-Missouri, 2010.
Golden, Thelma, et al. Re:Collection, Selected Works from The Studio Museum in Harlem. New York: Studio Musum in Harlem, 2010. 60-3.
Levin, Nobunye N. “I am Saartjie Baartman: Re-imagining Part of a Life.” Diss. U of Witwatersrand, 2010. 2.
Thrailkill, J.F. “Aesthetic Materialism: Electricity and American Romanticism; Passions for Nature: Nineteenth-Century America’s Aesthetics of Alienation.” American Literature 82.3 (2010): 659.
Willis, Deborah. Black Venus 2010: They Called Her “Hottentot.” Philadelphia: Temple UP, 2010. Cover [Venus Hottentot 2000, 1994], 7, 89-90, 98, 226, g26.
Harris, Lyle Ashton, et al. Ghana: Who Knows Tomorrow. Accra: Dei Centre for the Study of
Contemporary African Art, 2010.
Iles, Chrissie. “Off the Wall.” New York: Whitney Museum: 2010.
Katz, Jonathan D., and David C. Ward. Hide/Seek: Difference and Desire in American Portraiture. Washington, DC: Smithsonian, 2010.
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:
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
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,
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,
Riley, Cheryl R. “Lyle Ashton Harris: A Look at His Camera’s Lens.” Ebony Magazine, July
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:
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:
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, 2005
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 (2005
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
Fyfe, Joe. “Lyle Ashton Harris at Nathalie Obadia Gallery, Paris.” Review of “Lyle Ashton
Harris” exhibition. The Art on Paper 8.6 (July-Aug. 2004): 53.
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
Reyes, Damaso. “Anna Deavere Smith at The Studio Museum.” Amsterdam News 27 Dec. 2004:
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.
Hodges, Bill. “Lyle Ashton Harris.” African-American Artists-IV. New York: Bill Hodges
Storr, Robert. SITE Santa Fe’s Fifth International Biennial, Disparities and Deformations: Our
Grotesque. Sante Fe: Distributed Art Publishers, 2004
Smith, Anna Deavere. Lyle Ashton Harris. New York: Miller, 2004
Aletti, Vince. “Lyle Ashton Harris.” Review of “Memoirs of Hadrian” exhibition.
The Village Voice, 8 Oct. 2003. Web. Web. 1 June 2011.
Cotter, Holland. “Cameras as Accomplices, Helping Race Divide America Against Itself.”
Review of “Only Skin Deep” exhibition. The New York Times 19 Dec. 2003: E2, 37.
“When the I is the Subject and It’s Always Changing.” Review of “Memoirs of Hadrian”
exhibition. The New York Times, 12 Sept. 2003
Genocchio, Benjamin. “Old Faces Inaugurate a Renovated Gallery for Wesleyan.” Review of
“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.
Leffingwell, Edward. “Lyle Ashton Harris at CRG.” Review of “Memoirs of Hadrian”
exhibition. Art in America 91.11, Nov. 2003
Otfinoski, Steve. African-Americans in the Visual Arts. New York: Facts on File, 2003. 92, 186.
Rickels, Laurence A. “Lyle Ashton Harris.” Review of “Memoirs of Hadrian” exhibition. Art US
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
Smalls, Jane. American Art: Voicing New Critical Perspectives. Washington DC: Smithsonian,
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.
Davison Art Center, Wesleyan University, Middletown, CT
Guggenheim Museum, New York, NY
High Museum of Art, Atlanta, GA
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
Studio Museum in Harlem, New York, NY
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