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CV2026-07-09T19:27:40+00:00Mark Harris
Grants and Residencies
2025
Archie Bray Ceramics Foundation, Visiting Artist
Patricia A. Renick Faculty Grant for International Travel, Society of Caribbean Studies Conference, Bristol University, England
CDRI Scholarly Research Award: The Enduring Impact of the African Plant Diaspora exhibition, Lloyd Library & Museum
2024
Faculty Development Award, University of Cincinnati, West Indian Literature Conference, University of the West Indies, Port of Spain, Trinidad
Haile Foundation Grant, for 2025 Lloyd Library & Museum African Plant Diaspora Symposium and Community Dinner
2024
Lloyd Library Artist in Residence award, research focus: the African plant diaspora
2023
Patricia A. Renick Faculty Grant for International Travel, Society of Caribbean Studies Conference, Leicester University, England
2021
Ohio Arts Council Excellence Award: Non-fiction
2019
University Research Council award, University of Cincinnati
2017
Ohio Arts Council Excellence Award: Interdisciplinary Media
Faculty Development Award, University of Cincinnati
2016
Third Century Research Award, for Sparrow Come Back Home exhibition at ICA, London
Faculty Development Award, University of Cincinnati: Sound Art conferences, England and Denmark
2015
Ohio Arts Council Excellence Award: Interdisciplinary Media
2012
Ohio Arts Council Excellence Award: Critical Writing
2008–11
Principal Investigator for Getty Foundation Grant, research focus: optimal video art conservation methods of restoration of University of Cincinnati’s Nam June Paik installation
2010
Faculty Development Award, University of Cincinnati: College Art Association Conference, New York
2009–10
Warhol Foundation Creative Capital Art Writers Grant, research essay: “Publico–five years of an artist-run space in Cincinnati”
2008
Critic in Residence at the Bau Foundation, Otranto, Italy
Ohio Arts Council Excellence Award: Video and New Media
2006
University Research Council Faculty Award, University of Cincinnati: Utopian-Bands event, Beijing
Faculty Development Grant, University of Cincinnati: research on contemporary art in New York
2005
Arts Council England Fellowship, Long March Project Space, Beijing
1998–2004
UK Arts and Humanities Research Board part-time award for PhD study, research focus: “Revolutionary Intoxications: Theory of the Avant-Garde in the Aesthetics of Nietzsche and Benjamin”
1998
Arts Council England Fellowship, exhibitions abroad: Educating Barbie, Trans Hudson Gallery, New York
1997
Art Omi, New York
1996
British Council Grant, exhibitions abroad: one-person show, Trans Hudson Gallery, Jersey City
1994
Triangle Workshop, Pine Plains, New York
1986
Fulbright Award: study at New York Studio School, New York
Sainsbury Award, Bradford Print Biennale
1984
Mexican Government Award: study mural paintings in Mexico City
British Council Grant, exhibitions abroad, Studio Carlo Grossetti, Milan
1982
Italian Government Scholarship: study at Brera Academy, Milan
Exhibitions
Solo and collaborative exhibitions and performances
2025-26
Sparrow Come Back Home, Weston Art Gallery, Cincinnati
2025
African Plant Diaspora & Predatory Botany, Lloyd Library & Museum, Cincinnati
2023
Let it GO!, tulip planting, public art project, coordinated by Wave Pool Gallery, Camp Washington Gateway, Cincinnati
2022
Flower Boxes, public art project, Wave Pool Gallery, Cincinnati
2020
Camp Street Corner, Wave Pool, Cincinnati
木timbreland木, with Yoshi Nakamura and Froghole?, public art project, Valley Park, Contemporary Arts Center Performance Festival, Cincinnati https://vimeo.com/manage/videos/488379128
2018
Bad Music Seminar: Becoming Animal, The Carnegie, Covington, KY, August 11
2017
Bad Music Seminar 9: Music From the Heartland, The Colloquium for Unpopular Culture, NYU, New York, April
2016
Sparrow Come Back Home, Institute of Contemporary Arts, London
Sparrow Come Back Home, Clay Street Press Gallery, Cincinnati
A Purposeless Play, Wave Pool, Cincinnati, including Bad Music Seminar 7: Punk & DIY https://vimeo.com/manage/videos/237601804
Performance of John Cage’s Variations II, arranged for 5 turntables, The Carnegie, Covington, KY https://vimeo.com/manage/videos/237770474
2015
Kosuth’s “One and Three Chairs” juxtaposed with The Dead Kennedys’ Holiday in Cambodia, Cherry & Lucic, Portland, OR
2014
Sparrow Come Back Home, Delaware Center for Contemporary Arts
2011
Mao Songs, Contemporary Museum, Baltimore, Maryland
2010
Morning Star, Country Club Gallery, Cincinnati, Ohio
2009
Rothko Chapel, University of Cincinnati Music Conservatory–paintings installed as backdrop for performance of Morton Feldman’s Rothko Chapel
2008
Utopian-Bands, Weston Art Gallery, Cincinnati, Ohio
2007
State Fare, Wexner Center, Columbus, Ohio (catalogue)
2006
Utopian-Bands, public performance/concert, 2kolegas, Beijing
2003
Streets of London, 1000000mph, London (with Peter Lloyd Lewis)
2001
Hippy, Trans Hudson Gallery, New York
1999
Economist Building, London (with Carmel Buckley, catalogue)
1996
Wall of Sound, Trans Hudson Gallery, Jersey City (with sound by Jem Finer) https://vimeo.com/392114241?fl=pl&fe=vl
1995
Visiting Artist exhibition, Hopkins Hall Gallery, Ohio State University, Columbus
1993
Negative, Eclipse, Sleep and Bloodblack collages, TennisportArts, Long Island City, New York
1991
Collage Paintings, Condeso/Lawler Gallery, New York
1988
Marianne Deson Gallery, Chicago
Collage Paintings, Studio Carlo Grossetti, Milan
1986
Juda Rowan Gallery, London
1985
Marianne Deson Gallery, Chicago
Collage Paintings, Studio Carlo Grossetti, Milan
1983
Collage Paintings, Studio Carlo Grossetti, Milan
Group exhibitions and performances
2025
Beauty is a Blast, in memory of Jeremy Gilbert-Rolfe, Art Cake, Brooklyn, NY (curated by Christian Haub)
Book, Beeler Gallery, Columbus College of Art and Design, Columbus, OH
Better Together, Eisele Gallery, Cincinnati
2024
Cycles, Solar Noon gallery, Cincinnati
2023
Summit Gallery, Cincinnati, curated by Sue Spaid
Monsieur Zohore: MZ.25 (My Condolences), M+B Gallery, Los Angeles, curated by Monsieur Zohore
2022
Flower Box Community Project, Wave Pool Gallery
The Scripts Found in a Bottle, Found in Can, Found in a Discourse, The Green Gallery, Milwaukee, curated by Matt Morris
2021
Speculative Magenta Hauntology, Ruschwoman, Chicago, curated by Matt Morris
2020
Facts ‘n’ Figures, Kunstraum am Schauplatz, Vienna, Curated by Georg Freuenschuh
Flugblätter, Clay Street Press/Cincinnati, Düsseldorf/Germany, Kendall/England, Dordrecht/Holland, Maebashi/Japan, Loitz/Germany, 2017-2020, curated by Birgit Jensen, (catalogue)
2019
Songs the Plants Taught Us, Anytime Dept., Cincinnati
Words, Converso, Milan, curated by Zoe Stillpass
2018
Plastilene, fluc, Vienna, April-May, curated by Gerlind Zeilner
Bad Music Seminar 11: Becoming Animal, The Carnegie, Covington, KY
2017
“Citoyens,” Drawing in a Time of Fear and Lies, Hyperallergic, online exhibition
The Nothing That Is, The Carnegie, Covington, KY, curated by Matt Distel
2016
Bad Music Seminar 8: Plants and the Music of Utopia, UIC Chicago, Greenhouse and Plant Laboratory, Expanded Art History for Plants, “Talk no. 4: The Sound of Utopia,” https://vimeo.com/422166350?fl=pl&fe=vl
Mistaken Impressions, Root Division, San Francisco
2015
Group Show, Modern Makers, Niehoff Urban Studio, Cincinnati, curated by Abby Rae Cornelius
After the Moment: Reflections on Robert Mapplethorpe, Contemporary Arts Center, Cincinnati, curated by Steven Matijcio
2013
Dial Collect, SOMArts Cultural Center, San Francisco, curated by Cal Cullen
2012
London Open, Whitechapel Art Gallery, London, Morning Star paintings and drawings, (catalogue)
Pathway: Drawing In, On and Through the Landscape, at Drawing Now Paris, Carrousel du Louvre, curated by The Drawing Center, New York, curated by Claire Gilman
2011
Utopia, OH, CS13, Cincinnati
Pathway: Drawing In, On and Through the Landscape, The Drawing Center with The Big Screen Project, New York, curated by Claire Gilman
Aloha Means both Hello and Goodbye, U-turn, Cincinnati, curated by Matt Morris, (catalogue)
44, The Contemporary Art Center, Cincinnati (video screening), curated by Aaron Walker
Sculpture Key West 2011, Key West, Florida, curated by Lilly Wei
2010
High Society: Mind-altering drugs in history and culture, Wellcome Collection, London,
curated by Mike Jay
Huxy: Modes of Masculinity, Museum Gallery/Gallery Museum, Cincinnati (performance)
Gesture, Hopkins Hall Gallery, Ohio State University
2009
The Text Show, CS13, Cincinnati
Star Maker, E:ventGallery, London, (catalogue), curated by David Burrows
Joy Divisions, Columbus Metropolitan Library, (catalogue)
2008
Paperchasers, ArtWorks, Cincinnati
American Idyll, The Contemporary Art Center, Cincinnati, curated by Maiza Hixson
Fade To Black, Publico, Cincinnati, (video screening)
2007
UNALINEACONTINUA, Studio Grossetti, Milan
the sneeze 80 x 80, Izilo South Africa National Gallery, Cape Town, and Durban Art Gallery, South Africa, curated by Peter Lloyd Lewis, (catalogue)
Text, Image, Form, Hopkins Hall Gallery, Ohio State University
Skirting the Line, New Museum of Contemporary Art, Louisville, Ohio, curated by Steven Matijciao and Linda Schwartz
DePauw Biennial, Peeler Art Center, DePauw University, Greencastle, Indiana
Special Arrangements, Publico, Cincinnati
2006
Year_06, Keith Talent Gallery, London
ReDetatch, Locker 50B, Richmond, Virginia
Bad Drawing: malevolent, misbehaving, misunderstood, University Galleries on Sycamore, Cincinnati
Ever and Over, Publico, Cincinnati
Artists Throwing Money Out the Window (A.T.M.O.T.W.), PLP Gallery, New York, curated by Ken Montgomery (GenKen)
2005
OMap, Modern Art Oxford, Oxford, curated by Jem Finer
2004
Group exhibition, Studio Grossetti, Milan
the sneeze 80 x 80, Gallery Gazon Rouge, Athens, (catalogue)
Compound Interest, Collaborative Creative Concepts, Beacon, NY
2003
Science Fiction–Double Feature, Icon Gallery and Mattress Factory, Birmingham
15/1(2), 1000000mph, London
Hair the Show, Tablet Gallery, London
LIFTARCHIVE, with Szuper Gallery, Kreisverwaltungsreferat, Munich, curated by Suzanne Clausen
2002
Tabula Rasa, Croydon town centre video projections, curated by Skyline Projections
Critical Video Lounge, Artspace, Peterborough, Canada; Govett-Brewster Art Gallery
Contemporary Art Museum, New Plymouth, New Zealand, curated by David Mabb, (catalogue)
Strike, Wolverhampton Art Gallery, curated by Gavin Wade, (catalogue)
The Difference Between You & Us, Five Years, London
Song Poems, Rosamund Felsen Gallery, Los Angeles; Angstrom Gallery, Dallas,
curated by Steven Hull, (catalogue)
2001
Song Poems, Cohan, Leslie & Browne, New York, (catalogue), curated by Steven Hull
Critical Video Lounge, York City Art Gallery, curated by David Mabb
Deadwall Reverie, Five Years, London
Snapshot, Beaver College, Philadelphia
Big Blue, Century City, Tate Modern
Other People’s Gardens, Bridport Museum
2000
Snapshot, Contemporary Museum, Baltimore
Inroads, Sharjah Museum, UAR
Dream Machines, Hayward Gallery touring exhibitions, Dundee Contemporary Arts Centre;
Mappin Gallery, Sheffield; Camden Arts Centre, London; Glynn Vivian Art Gallery, Swansea, curated by Susan Hiller, (catalogue)
1999
Get Together–Art as Teamwork, Kunsthalle, Vienna, curated by Wolfgang Fetz, (catalogue)
relocation, 18 Museum House, London
The Blood Show, Five Years, London, (catalogue)
Dream Centenary, Aizu Wakamatsu City, Japan
Kunst in der Stadt, Naturally Art, Bregenz Kunstverein, curated by Wolfgang Fetz, (catalogue)
The Manchurian Candidate, 30 Paris Street, London
Imaginative Liberties, Workspace, New York
Dumbfounded, BAC, London, (catalogue)
Klega’s flat, Sali Gia Gallery, London
Stretching the Intimate, MOTA gallery, London
1998
Educating Barbie, Trans Hudson Gallery, New York, (catalogue)
I’m Still in Love with You, 20th Century Women’s Club, Los Angeles, curated by Steven Hull, (catalogue)
Host, Tramway, Glasgow, curated by Peter Lewis and Peter Fillingham
Estirando lo Intimo, Centro Cultural Salar, La Paz, Bolivia, curated by Fabian Cereijido
1997
Quirk, Serge Sorokko Gallery, New York
Craft, Richard Salmon, London; Kettle’s Yard, Cambridge, (catalogue)
Variations of Structure, Trans Hudson Gallery, New York
recurrence, Gallery Korea, New York, curated by Theresa Chong
Bad August, Richard Salmon, London
Cereijido’s Summer Video Festival, Tricia Collins Grand Salon, New York; Gallery Idea, Mexico City; Centro Jacopo Borges, Buenos Aires
The Big Blue, Coins Cafe, London, Cafe Adler/Cafe Fix, Berlin, curated by Peter Lewis
Group Show, Studio Carlo Grossetti, Milan
Irredeemable Skeletons, Shillam+Smith 3, London
After the Fall: Aspects of Abstract Painting since 1970, Snug Harbor Cultural Center, Staten Island, New York, curated by Lilly Wei, (catalogue)
FHOH, Gasworks, London
Cause and Defect, Spencer Brownstone Gallery, New York
1996
Lines and Dots, 450 Broadway Gallery
Continua, Studio Carlo Grossetti, Milan
Current Geometries in Abstraction, Trans Hudson Gallery, New York
The Great Pretender, Penine Hart Gallery, New York
Painting in an Expanding Field, Bennington College, Vermont, curated by Saul Ostrow
1995
Ha!, Knotts Mill, Manchester
1994
Painting and Sculpture, Studio Carlo Grossetti, Milan
Abstraction, discipline, freedom, Trans Hudson Gallery, Jersey City
Installations, Trans Hudson Gallery, Jersey City
1993
The Return of the Exquisite Corpse, The Drawing Center, New York
1992
The Radio Show, Four Walls at Artists’ Space, New York
Representing Death, Four Walls, Brooklyn, New York
Three installations, TennisportArts, New York, curated by Christian Haub
Water Bar/Vox Vendor, Jack Tilton, New York
1991
Art Fair, Los Angeles, Studio Carlo Grossetti
Today, Studio Carlo Grossetti, Milan
1989
Quadriennale, Palazzo del Permanente, Milan
Condeso/Lawler Gallery, New York
1988
At home for the holidays, A.I.R. Gallery, New York
1987
Gray Art Gallery, East Carolina University, Greenville, North Carolina
British Open, Bradford Print Biennale, Bradford, England
Contemporanea, Studio Carlo Grossetti, Milan
1986
Henry Moore Gallery, Royal College of Art, London
1984
British and German painters, Bruna Soletti Gallery, Milan
Five Painters, Riverside Studios, London
Selected Bibliography
R. Alan Wight, “The African Plant Diaspora,” pp26-27, Cincinnati’s Foodshed: An Art Atlas, 2024
“Let It Go!,” The Welcome Handbook, pp18-27, Wave Pool and The Welcome Project, 2024
Sukhdev Sandhu, The Wire, review of Sonic Wilderness: Wild Vinyl Records, February, 2022
The Guardian Guide, in print, “The 10: Your at-a-glance guide to the best in culture this week,”
Sparrow Come Back Home, 31 December 2016 – 6 January 2017, page 5
Skye Sherwin, The Guardian Guide, in print, “Exhibitions,” review, Sparrow Come Back Home,
31 December 2016 – 6 January 2017, page 32.
Sophie Hastings, GQ British, in print, review, “Navigator: Set your cultural compass to this month’s pole stars,” section, “Carmel Buckley and Mark Harris: Sparrow Come Back Home at the ICA Reading Room,” January 2017
Peter Mason, Morning Star, “On the Record, Peter Mason recommends an exhibition of album covers by the legendary Mighty Sparrow which catalogues turbulent times,” Sparrow Come Back Home at the Institute of Contemporary Arts, London, December 17th, 2016, https://morningstaronline.co.uk/a-6efe-on-the-record-1
Amar Ediriwira, Vinyl Factory, “Legendary calypso singer Mighty Sparrow celebrated in new exhibition at the ICA,” December 9th, 2016, http://thevinylfactory.com/news/mighty-sparrow-come-back-home-ica/
Chris May, Jocks and Nerds, “Brief,” “Sparrow Come Back Home,” Winter 2016, page 23
Kirsty Ogg, 2012, The London Open, Whitechapel Gallery, London, catalogue
Nicholas Warner, September 2011, Art Monthly, London, review of The London Open, Whitechapel Art Gallery
Molly Donnermeyer, Matt Morris, Patricia Murphy, Zach Rawe and Eric Ruschman,
Aloha Means both Hello and Goodbye, catalogue, U-turn, Cincinnati, 2011
C.S. Gilbert, Solares Hill, February 2011 issue, review of Sculpture Key West
Will Gompertz, November 10, 2010, BBC TV News at Ten, featuring Marijuana in the UK, (High Society)
Maria Seda-Reeder, “Traditional Approaches to Radical Art”, AEQAI, September 2010
Jackie Demaline, “Painter preserves spirit of the psychedelic ‘60s”, Cincinnati Enquirer, August 13, 2010
Eva Ball, Joy Divisions, (catalogue), 2009
Melissa Starker, alive!, (Columbus, Ohio), May 28, 2009, (Joy Divisions)
Sue Spaid, review of Weston Art Gallery exhibition Utopian–Bands, artUS, Summer 2008
State Fare, Wexner Center, Sean Foley, 2007
the sneeze 80 x 80, ARTicle Press, 2006
Drug Dealer, artist pages, Miser & Now magazine, Issue 8, London, 2006
Jon Cambell, “Midnite in China”, Contemporary, November, 2005
Jon Cambell, “Singing the Praises of Chairman Mao”, Toronto Globe and Mail, November 1, 2005
Jon Cambell, “Stanzas of a Struggle”, South China Morning Post, July 19, 2005
Miser & Now, London, issue 2, 2004 spread on Streets of London project
Sally O’Reilly, review of 15/12 at 1000000mph, London, Art Monthly, September 2003
Critical Home Video (catalogue), Govett-Brewster Art Gallery, Contemporary Art Museum, New Plymouth, New Zealand, 2003
Gavin Wade, Strike (catalogue), Wolverhampton Art Gallery, 2002
Joe Hill, review of Hippy, one-person show at Trans Hudson Gallery, Art in America, November 2001
Mark Currah, review of Dead-wall Reverie, Five Years, London, Time Out, July 4–11, 2001
Stephen Hull, Song Poems (catalogue), group show at Cohan, Leslie & Browne, New York, June 2001
Oliver Karlin, review of Wall of Sound, one-person show at Trans Hudson Gallery, NY Arts, April, 2001
Kim Levin, review of Wall of Sound at Trans Hudson Gallery, Village Voice, New York, Feb 28-March 6, 2001
Richard Cork, review of Dream Machines, The Times, October 4, 2000
Dream Machines, (catalogue) Hayward Galley, London, 2000
Get Together–Art as Teamwork, (catalogue) Kunsthalle, Vienna, 1999
The Blood Show, (catalogue) Five Years, London, 1999
Jonathan Jones, review of The Blood Show, The Guardian, August 6, 1999
Michael Wilson, review of The Blood Show, Art Monthly, September 1999
Polly Staple, review of The Blood Show, Time Out, August 18-25, 1999
Wendy Shillam and Contemporary Arts Society, (catalogue) Economist Building, London, 1999
Maria Walsh, review of Economist show, Art Monthly, September 1999
Martin Coomer, review of Economist show, Time Out, August 26-September 1, 1999
Jonathan Jones, Economist show, Thursday Guide, The Guardian, September 2, 1999
Dream Centenary, (catalogue) Aizu Wakamatsu City, Japan, 1999
Naturally Art, (catalogue) Kunst in der Stadt, Bregenz, 1999
Alison Green, (catalogue) Dumbfounded, BAC, London, 1999
Stephen Hull, (catalogue) I’m Still in Love with You, 20th Century Women’s Club, Los Angeles, 1999
Ken Johnson, review of Educating Barbie, The New York Times, September 11, 1998
Carol Kino, review of Educating Barbie, Time Out, New York, September 17-24, 1998
Elisabeth Mahoney, review of Host, Contemporary Visual Arts, London, issue 1998
Emmanuel Cooper, review of Craft, Crafts UK, London January/February, 1998
Joan Key, Simon Watney, Janis Jefferies and Roy Voss, catalogue for Craft, Richard Salmon Gallery, London, 1997
Tania Guha, review of Bad August, Time Out, London, August 20-27, 1997
Lilly Wei, After the Fall: Aspects of Abstract Painting since 1970, (catalogue), The Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Staten Island, NY, April 1997
Gilda Williams, review of curated show Irredeemable Skeletons, Art Monthly, May 1997
Vivien Raynor, review of curated show Material Abuse, The New York Times, March 1995
Paola Morsiani, review of Condeso Lawler exhibition, Juliet, Trieste, May/June 1991
Michael Brenson, review of Condeso Lawler exhibition, The New York Times, February 1, 1991
Gabriele Perretta, review, Juliet, Trieste, October/November 1988
Gian Piero Vincenzo, review, Flash Art, Italian Edition, October/November 1988
Alan Artner, review, Chicago Tribune, May 27, 1988
Andrew Brighton, Art Expo’s class act, New Art Examiner, Summer 1988
Alistair Hicks, review, The Spectator, London, October 4, 1986
Phoebe Tait, review, Flash Art, Italian Edition, November 1985
Phoebe Tait, review, Financial Times, International Edition, August 12,1985
Alan Artner, review, Chicago Tribune, April 25, 1985
Elio Grazioli, Young Artists in Milan, Flash Art, Italian Edition, January 1985
Caroline Collier, Five Painters, Flash Art International, May 1984
Flavio Belocchio, review, Flash Art, Italian Edition, March/April 1984
Mel Gooding, Five Painters, Riverside Studios, Arts Review, March 1984
Waldemar Januszcak, Five Painters, Riverside Studios, The Guardian, March 1984
Elio Grazioli, review, Flash Art, Italian Edition, spring 1984
Publications
2026
forthcoming: “I must be given words—Brathwaite’s fashioning of languages adequate to Caribbean histories and futures,” Routledge anthology of essays on Kamau Brathwaite’s The Arrivants
forthcoming: “Noise is that decorative energy: realizations of silence and sound in postcolonial Caribbean poetics,” for Routledge Companion to Literature and Sound
2024
“Songs the Plants Taught us: strange entanglements of vinyl records and horticulture” The Cultures of Entanglement. On Nonhuman Life Forms in Contemporary Art, Transcript Verlag, Germany
Review of Thomas Crow’s The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge, 2023, Princeton: Princeton University Press, Aesthetic Investigations January, 2024
2022
Sonic Wilderness: Wild Vinyl Records, AADR (Art Architecture Design Research, Spurbuchverlag), monograph
2021
“Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow,” Small Axe
2020
“A Note on Hallucinatory Film,” Hungarian Journal of English and American Studies
“A great chaos of sound: alternative practices of working through madness, alienation, and the aesthetics of
“Rebellious Type: the visual acoustics of Kamau Brathwaite’s typographic derangements,” Manifold: Experimental Criticism
Évasion: What Strategies Enable Women Artists’ Self-Determination Today?, C21 RECENT HISTORY—An Archive of six collaborative projects by Alison Jones & Milly Thompson, LGP, Coventry, 2016, ISBN 978-1-84600-0591
“Another Minimalism: Art after California Light and Space,” Fruitmarket Gallery, Edinburgh, Art Monthly, February
“Phase Shift,” MFA exhibition, The Ohio State University, Fall
Review of “Magic Mirror: Sarah Pucill and Claude Cahun”, Nunnery Gallery, London, Art Monthly, June
“Catherine Opie”, Wexner Center, Columbus OH, Critic’s Choice, Artforum.com, June 2015
“Ryoji Ikeda: supersymmetry”, Vinly Factory, London, Critic’s Choice, Artforum.com, May 2015
2014
“Mighty Sparrow’s Calypsos”, Sparrow Come Back Home, Delaware Center for the Contemporary Arts, Wilmington, 2015, ISBN 0-9785927-6-X
2013
“Cinema, Studio, Tools”, Proto-tools I, edited by Colm Lally, Event Media Projects Ltd., 2013, ISBN 9780957662711
Review of “The Universal Addressability of Dumb Things”, Hayward Travelling Show, Art Monthly, September
Review of “Circle of Fifths”, Reactor Space, Nottingham, Art Monthly, August
“Theresa Chong,” catalogue essay for Holly Johnson Gallery, Dallas, March
2012
Review of “The Sacred Modernist: Joseph Albers as a Catholic Artist”, Lewis Glucksman Gallery, Cork, Art Monthly, June
Review of “The Indisicipline of Painting”, Tate St. Ives, Art Monthly, February
2011
“Countercultural Intoxication: an Aesthetics of Transformation”, book chapter in West of Center: Art and the Counterculture Experiment in American Art, 1965-1977, University of Minnesota Press, 2011 (to accompany exhibition West of Center at the Museum of Contemporary Art, Denver, Colorado)
“A Local Culture: Tradition and Risk in Cincinnati,” aeqai, Cincinnati, November
“A Local Culture: Tradition and Risk in Cincinnati,” catalogue essay for here., Pennsylvania Academy of Fine Arts, Philadelphia
“Marcia Hafif: Glaze Paintings”, catalogue essay for U-turn, Cincinnati
2009
“Thirty-billon years from now…,” catalogue essay for Star Maker, E:vent Gallery, London
“Chelsea Hotel: March 14, 2008”, book chapter in Marcia Farquhar–12 Shooters, South London Art Gallery
“Pipilotti Rist’s Music”, catalogue essay for Pipilotti Rist at Contemporary Arts Museum, Houston
“Heather Phillipson–The City Rings”, catalogue essay, University of the Arts, London College of Fashion
2007
Review of Sympathy For The Devil, MCA, Chicago, Art Monthly, November
“Tony Luensman, Arenas”, catalogue essay for Cincinnati Art Museum
“Porn, Performance and Objectification: New Forms of Desire”, book chapter in Frozen Tears 3, ARTicle Press https://shop.john-russell.org/product/frozen-tears-i
2006
Book review of Charles Harrison, Painting The Difference: Sex and Spectator in Modern Art; Alyce Mahon, Surrealism and the Politics of Eros, 1938-1968; Alyce Mahon Eroticism & Art, Art Monthly
Review of Mary Jo Bole solo exhibition, Weston Art Gallery, Cincinnati, Untitled, Spring
Review of Part Object Part Sculpture, Wexner Center, Columbus, Art Monthly, February
MFA catalogue essay, Indiana University, Bloomington
2005
Review of John Stezaker solo exhibition at The Approach, London, Art in America, May
“Walter Benjamin’s Hashish Intoxications”, /seconds, www.slashseconds.org
Review of Go Between, Palais Thurn & Taxis and Magazin 4, Bregenz, Art Monthly, October
Review of seminar “Sculpting in Time and Space: New Approaches to Sculpture and Film”, Henry Moore Institute Newsletter, Issue No. 59, April
Interview with SIMPARCH, Miser & Now
“How does your geographic location affect your practice?,” Grouper, Publico gallery, Cincinnati
“Mel Jackson: Made in China”, catalogue essay for Matt’s Gallery, London
2004
Review of Mel Jackson solo exhibition at Matt’s Gallery, London, Art in America, February
“Suite Amerika: Kafka, Kippenberger and Furniture Row”, Miser & Now
“Christopher Wool: Image as Noise”, catalogue essay for Camden Art Centre
2003
Review of Mike Kelley and Tony Oursler exhibition, The Curve Gallery, Barbican Art Centre, London, Art Monthly, July/August 2003
Review of Blinky Palermo solo exhibition, Serpentine Gallery, London, Art Monthly, May 2003
Review of Milena Dragicevic solo exhibition at ArtLab, Imperial College, London, Art in America, December
2002
Reviews of “Aristocracy” at Gallery Westland Place, and “Euthanasia” at Plummet, for 100 Reviews Backwards, ed. Matthew Arnatt, Alberta Press
Review of Oliver Herring solo exhibition, Rhodes + Mann Gallery, London, Art Monthly, October
Review of Helio Oiticica/Liam Gillick exhibition, The Whitechapel Gallery, London, Art Monthly, June
2001
Review of Merlin Carpenter solo exhibition at Magnani, London, Art in America, July
Review of Mary Heilmann solo exhibition, Camden Arts Centre, London, Art Monthly, May
Review of Multiple Store (at Central St. Martins College) and HOAX (at Lux and The Juggler Cafe), Art Monthly, May
Review of Simon Starling solo exhibition, Camden Arts Centre, London, Art in America, May
Review of “Becks Futures,” ICA, London, NY Arts, May
Review of Jemima Stehli solo exhibition, Chisenhale Gallery, London, Art in America, April
Review of Ian Breakwell and Nick Stewart video projects for the BFI, Art Monthly, December
Introduction to 100 Reviews, by Matthew Arnatt and David Mollin
“London pats itself on the back”, NY Arts, April
2000
Review of Robert Melee solo exhibition, White Cube, London, Art Monthly, September
Review of Conrad Atkinson solo exhibition, Bluecoat Gallery, Liverpool, Art Monthly, February
1999
Review of Intimate House exhibition, South London Art Gallery, London, Art Monthly, December
Book review of Performing the Body/Performing the Text, Eds. Amelia Jones and Andrew Stephenson, Art Monthly, November
Review of BANK exhibition, Galerie Poo-Poo, London, Art in America, February
“Introducing Nick Bolton, video artist”, exhibition essay for The Harris Museum, Preston
1998
“The Press Release and Alternative Spaces”, essay in Who’s Afraid of Red, White and Blue?, ARTicle Press
“Noises Off”, Art Monthly, September
Review of Accelerator exhibition, Southampton Art Gallery, London, Art Monthly, December
Review of Rose Finn-Kelcey solo exhibition, Camden Arts Centre, London, Art in America, July
Review of Tim Noble and Sue Webster exhibition, 20 Rivington Street, London, Art in America, July
Review of Keith Edmier solo exhibition, Sadie Coles HQ, London, Art Monthly, June
“BANK’s Death”, New Observations, #117, New York, 1998
“Like a dog biting its own tail”, Make, the magazine of Women’s Art, March-May
Review of Sarah Lucas solo exhibition, St. John’s Lofts and Sadie Coles HQ, London, Art in America, January
“Drawing”, catalogue essay for Wimbledon College of Art, Drawing MA
1997
Review of Charles Long solo exhibition, London Projects, London, Art Monthly, July
“Immaterial Culture,” Art Monthly, June
Review of Angela Bulloch solo exhibition, Robert Prime, London, Art in America, May
Review of Joan Key solo exhibition, Richard Salmon, London, Art in America, March
“Trading Up or Selling Out”, Art Monthly, February
“On your bike!”, Untitled, Spring
1996
Review of Sally Heard solo exhibitions, 12 Aberdeen Road and Whitechapel Public Library, London, Art Monthly, December
Review of Angus Fairhurst solo exhibition, White Cube, London, Art Monthly, December
Review of Jake and Dinos Chapman exhibition, I.C.A., London, Art in America, October
“Possessed in a most puzzling way of intelligibility, yet very hard to grasp”, catalogue essay on Roxy Walsh, Shillam + Smith 3, London
Review of Chris Burden solo exhibition, London Projects, London, Art Monthly, October
Book review of Gargantua by Julian Stallabrass, Art Monthly, September
Review of Simon Patterson solo exhibition at the Lisson Gallery, London, Art in America, July
“Putting on the Style: avant-garde style in New British art”, Art Monthly, February
1995
Review of Robert Wilson/Hans Peter Kuhn exhibition, Clink Street, Art Monthly, November
“Material Abuse”, catalogue essay, Trans Hudson Gallery, Jersey City, 1995
“Uncovering the Visible”, Yoon Gallery, Seoul, catalogue essay on Beom Kim, 1995
Conferences/Talks
2025
Sparrow Come Back Home–Calypso, Mighty Sparrow & Caribbean Diaspora, with Carmel Buckley and Kyle Salandy, Weston Art Gallery, Cincinnati, November.
Noise is that decorative energy: realizations of silence and sound in postcolonial Caribbean poetics, Society for Caribbean Studies conference, Bristol, England, July
The African Plant Diaspora, symposium at the Lloyd Library, April, organizer and speaker https://www.youtube.com/watch?v=NwuEU9HH5do
Noise is that decorative energy: realizations of silence and sound in postcolonial Caribbean poetics, Caribbean Poetics panel, Louisville Conference on Literature and Culture, University of Louisville, February
2024
“Kamau Brathwaite’s Sycorax Video Style typographic assemblages,” West Indian Literature Conference, University of the West Indies, St. Augustine, Trinidad and Tobago, 9-12 October
“The botanical color line in slave societies: plant illustration in the eighteenth-century Caribbean,” Society for Caribbean Studies Association conference, online, July
“How a Caribbean soundscape of complex noise indicates prosperity and health,” Caribbean Studies Association conference, St. Lucia, June
“The botanical color line in slave societies: plant illustration in the eighteenth-century Caribbean,” Lloyd Library, Cincinnati, March 16 https://www.youtube.com/watch?v=8FPLIilXlGk
2021
“Hallucinations & the Nature of Perception,” Swing House, Cincinnati, Institute for Research in Sensing, Alloy discussion, December 9
“minnie root gullyroot lignum vitae: the African plant diaspora in Caribbean song and poetry” Society for Caribbean Studies, July
“The Literary Visual” with Madeleine Longman, Peter Szendy, and Tatina Vásquez Estrada, Manifold: Experimental Criticism, https://www.youtube.com/watch?v=aq-oEMXJO-4, February 23
2019
“Offshore conceptual art: a first world luxury or critically engaged practice?”, Rex Nettleford Conference, Edna Manley College of Art, Kingston, Jamaica
“Caribbean DIY Sonic and Linguistic Resistances,” English Literature Conference, University of Debrecen, Hungary
“…belonging to or in the lawful possession of Edward Huggins Senior…,” The Centre for Caribbean and Diaspora Studies Conference, Slavery and its Afterlives: Blackness, Representation, Social Justice Vision, Greenwich Maritime Museum and Goldsmiths College, London
“Caribbean linguistic and sonic inventions as models for DIY resistance,” Deskilling in the Age of Donald Trump, CAA conference, New York, February
2018
“Songs the Plants Taught Us”, The Hothouse Archives: Plants, Pods and Panama Red, School of Visual Arts, New York, November
“Rebellious Type: lived temporalities of historical memory and the visual acoustics of Kamau Brathwaite’s typographic derangements”, Memory and Performance in African-Atlantic Futures, University of Leeds, August/September
“Rebellious Type: the visual acoustics of Kamau Brathwaite’s typographic derangements”, University of London, 42nd Annual Conference of the Society for Caribbean Studies, July
“Music To Die To: a performance seminar on bad music about plane crashes,” Eno’s Music for Airports, Ambient@40, Huddersfield University, February
“Machine-gun sonics and whispering tides: how sound and language in the work of Kamau Brathwaite and Mighty Sparrow provide acoustic inoculation against insecurities”, Caribbean Insecurities Conference, University of the West Indies, Mona Campus, Kingston, Jamaica, January
2017
“The Imagery of Intoxicating Music,” Sound-Image Colloquium, University of Greenwich, London, November
“Shimmer,” “Painters Out of Work: Remodeling Late Modernism,” with Alison Green and Michael Corris, Royal College of Art, February, https://www.youtube.com/watch?v=iAK66-tBVgA
“Calypso Soundscapes: intimate acoustics and defiant language in Kamau Brathwaite and Mighty Sparrow,” Caribbean Insecurities Conference, The British Library, June
2016
“Turntable Materialities,” Sound Art Matters conference, Aarhus, Denmark, June https://vimeo.com/manage/videos/174838461
“Turntable Materialities,” International Zizek Studies Conference, Materialism and Materiality, University of Cincinnati, May
2015 American Society for Aesthetics, Philadelphia, 2015, paper titled “Orpheus in the Artworld: the consensus of jumbled intentionalities in contemporary practice”
2014
“The Materiality of Water: Annea Lockwood, Hildegard Westerkamp and Jana Winderen,” CRISAP conference Sound Gender Feminism Activism, LCC, London
Proto-tools I seminar, Flat-Time House, London, paper titled “Cinema, Studio, Tools”
“Benjamin’s Hashish Protocols,” Hallucinatory Theatres Symposium, Goldsmiths College
2012
“Strategies for Self-Determination,” The Herbert Museum, Évasion conference, 2012, Coventry
2010
“Creative Research Literature,” College Art Association Annual Conference, 2010, Chicago, session title Practice-Based Research
2009
College Art Association Annual Conference, 2009, Los Angeles, Student and Emerging Professionals Committee, Chair for seminar on professsional practice
2008
“Thirty-billon years from now…,” South Eastern Graphics Conference, 2008, Richmond, speaker on keynote panel Command Print
2007
“Electric Orange Paisley,” College Art Association Annual Conference, 2007, New York, session title: The Field of Abstraction and the Thickness of Paint
2006
Royal Academy of Art, London, speaker on panel discussing exhibition USA Today
2005
Speed Art Museum, Louisville, Kentucky, speaker on panel discussing television series Art21
“Intoxicated alienation as aesthetic strategy: from Diderot to young British artists,” Midwest Art Historians Society Conference, Cincinnati, paper:
2003
Whitworth Gallery, Manchester, conference Fantasy Space: Surrealism and Architecture; paper: “Aragon in the Arcades”
2001
Camden Arts Centre, London, gallery talk on Gordon Matta-Clark and Mary Heilmann in the context of 1970s New York
2000
National Museum & Gallery of Wales, Cardiff, conference title: The Subject of the Artist; paper: “Consistently Inappropriate: BANK and Four Walls in the face of avant-gardism”
Camden Arts Centre, London, speaker on panel discussing exhibition Dream Machines
1999
“Hegel and abstraction,” New York Abstract Artists’ Association
New York Studio School, New York, speaker on panel discussing Monochrome Painting
“Pornography, contemporary art and 1970’s feminist performance” Goldsmiths College, London, 1999
1998
“Press releases of alternative spaces,” University of Central England, Birmingham, conference title: Who’s Afraid of Red, White and Blue?
Tramway, Glasgow; speaker on panel Collaborative practice
“Pollock and Fontana; abstraction in excess,” College Art Association Conference, Toronto, title of session: Off-Color
Panels chaired/organized
2025
The African Plant Diaspora, symposium organizer and speaker, symposium at the Lloyd Library
2021
Green activism, permaculture, and community gardens, coordinated outdoor seminar in Camp Washington Urban Farm, including urban gardeners, farmers, horticulturalists: Cary Brodie, Deborah Grayson, Aliesha Hildebrand, Sophie Revis, Chris Smyth, Tanner Yess, and Peter Huttinger, July
2016
Sparrow Calypso Genius, panel organizer and Chair ICA, London, December 2016, speakers: Joan Anim-Addo, Anthony Joseph, Mykaell Riley
2010
Nam June Paik and the Conservation of Video Sculpture, organizer and principal investigator for symposium; DAAP, University of Cincinnati, speakers included Tobias Berger, Lisa Dorin, Chrissie Iles, Joanna Phillips, Glenn Wharton, Alan Rath, Julia Scher, Siebren Versteeg
Nam June Paik Round Table organizer and principal investigator; DAAP, University of Cincinnati, speakers included Bill Horrigan, Bruce Jenkins, Paola Morsiani, Raphaela Platow, Carl Solway, Jud Yalkut
2006
The Business of Sculpture, session Chair, International Sculpture Center Conference, Cincinnati
2004
It’s More Than the Making: Educating Artists in the 21st Century, keynote session Chair, Barnett Symposium, Wexner Center, Columbus
1999
Pollock and Automatism, panel Chair, Tate Britain London, speakers included Mike Bidlo and Susan Hiller
1998
Space and Installation, panel Chair, I.C.A., London; speakers included John Frankland, Michael Petry, Tomoko Takahashi
Alternative Spaces, panel Chair, I.C.A., London, 1998, speakers included Malcolm Dixon, Mark Hutchinson, Stefan Kálmar, Kim Sweet
1987
Art and Intentionality, co-organizer and Chair, New York Studio School, New York, speakers included Lucio Pozzi, Mel Bochner, Jed Perl, Nancy Spero
Working from Observation, co-organizer and Chair, New York Studio School; speakers included Leland Bell, John Alexander, Jane Freilicher, Deborah Rosenthal and Jane Wilson
Visiting artist lectures
2018
Maryland Institute College of Art
2011
Wimbledon College of Art, University of the Arts London
2010
Slade School of Art, University of London
2006
University of Minnesota, Minneapolis Regis Center for Art
2000
University of Kent, Canterbury
1999
Manchester Metropolitan University
University of Central England, Birmingham
University of Newcastle upon Tyne
1998
Manchester Metropolitan University
1997
University of Central England, Birmingham
University of Newcastle upon Tyne
1996
University of Newcastle upon Tyne
1986
Winchester College of Art
1985
School of the Art Institute of Chicago
Exhibitions Curated
2025
Caroline Anderson and Neil Orians, 2861 Colerain Avenue, Cincinnati
2024
Kim Burleigh paintings, 2861 Colerain Avenue, Cincinnati
2023
Cal Cullen drawings, 2861 Colerain Avenue, Cincinnati
2011
here., Pennsylvania Academy of Fine Art, Philadelphia, 2011 (curated Cincinnati region selection)
2009
Star Maker, E:vent Gallery, London, (curated with David Burrows)
2007
Once Upon A Time In The Midwest, University of Cincinnati, Reed Gallery
2006
Bad Drawing: malevolent, misbehaving, misunderstood, University Galleries on Sycamore, Cincinnati
1999
Dumbfounded, Battersea Arts Centre, London, 1999, artists included Yinka Shonibare, Susan Hiller, Nick Bolton, Janette Parris, Leila Galloway, Phyllida Barlow, (curated with Alison Green and Carmel Buckley)
1998
Educating Barbie, Trans Hudson Gallery, New York, 1998, artists included Mary Ellen Carroll, Cheryl Donegan, Graham Durward, Kirten Mosher, Louise Lawler, Jim Shaw, (curated with Peter Lloyd Lewis)
1997
Irredeemable Skeletons, Shillam+Smith 3, London, artists included Simon Patterson, Charles Long, Christine & Irene Hohenbüchler, Susan Hiller, Fred Wilson (curated with Carmel Buckley and Peter Lloyd Lewis)
1995
Material Abuse, Trans Hudson Gallery, Jersey City, artists included James Hyde, Drew Dominick, Elana Herzog, Beom Kim, Suzanne McClelland, Lauren Szold, Dominique Figarella
1984
Corso Garibaldi, 89, Casa degli Artisti, Milan
Web references
Education
Degree studies
1998–2006
Goldsmiths College, University of London: PhD in Philosophy, Thesis: “Radical Intoxications: Theory of the Avant-Garde in the Aesthetics of Nietzsche and Benjamin”
1995-97
University of Warwick, Coventry: MA in Continental Philosophy, Dissertation: “Adorno’s Aesthetics in relation to Kant and Heidegger”
1979-82
Royal College of Art, London: MA in Painting
1977-78
Edinburgh College of Art, Edinburgh: Postdiploma in Painting
1973-77
Edinburgh College of Art, Edinburgh: Diploma in Painting
Further studies
1994-95
Hunter College, New York: non-matriculating courses in Kant and Heidegger
1986-87
New York Studio School, New York: Fulbright Award
1984
Academia de San Carlos, Mexico City: Mexican Government Scholarship
1982-83
Brera Accademia di Belle Arti, Milan: Italian Government Scholarship
Professional Experience
2011–
Professor, School of Art, DAAP, University of Cincinnati
2014-
Artist in Residence, Mount Royal Interdisciplinary MFA, MICA, Baltimore
2017–18
Coordinator Critical Studies Digital Arts Computing, BSc, Goldsmiths College, London
2013-14
Coordinator Critical Studies MFA, Goldsmiths College, London
2012–18
Lecturer, Critical Studies, Fine Art BA, Goldsmiths College, London
2004–11
Director, School of Art, College of Design, Architecture, Art, & Planning, University of Cincinnati, Ohio
2003-04
Visiting Artist, Sculpture, Painting and Printmaking Departments,
Virginia Commonwealth University, Richmond
2002–04
Programme Leader, Fine Art BA, Loughborough University
2000–02
Programme Leader, Painting and Printmaking BA, Loughborough University
2000
Visiting Artist, Ohio State University, Columbus
1997–2000
Senior Lecturer, BA Art & Aesthetics, University of Wales Institute, Cardiff,
1998-99
Seminar lecturer, MA Fine Art, Goldsmiths College of Art, London
1995
Visiting Artist, Ohio State University, Columbus
1989
Visiting Artist, BA Painting, Princeton University, New Jersey
1987
Visiting Artist, BA Painting, East Carolina University, Greenville, North Carolina
1982
Foundation Lecturer, Maidenhead College of Art, Surrey
