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Maren Hassinger: Curriculum Vitae

Education

1973

  • University of California, Los Angeles, CA, M.F.A.

1969

  • Bennington College, Bennington, VT, B.A.

Solo Exhibitions

2014

  • Maren Hassinger: A Retrospective, Spelman College, Atlanta, GA

2010

  • Maren Hassinger: Lives, Schmucker Gallery, Gettysburg College, Gettysburg, PA

2005

  • The River, School 33, Baltimore, MD.

2004

  • Rainforest, David Allen Gallery, Brooklyn, NY.
  • Diaries, Loyola College, Julio Art Gallery, Baltimore, MD.

2001

  • My hand, this leaf, David Allen Gallery, Brooklyn, NY.

1996

  • Treachery and Consolation, Trans-Hudson Gallery, Jersey City, NJ.

1993

  • Memory, Benton Gallery, Southampton, NY.

1992

  • Bushes, Fine Arts Gallery, LIU/Southampton Campus, Southampton, NY.

1991

  • Gracie Mansion Gallery, New York, NY.

1989

  • Field, Soho 20 Gallery, New York, NY.

1986

  • Blanket of Branches and Dancing Branches, Contemporary Arts Forum and Alice Keck Park, Santa Barbara, CA.

1985

  • Focus: Environment, Maren Hassinger, Art Gallery, California State University, Northridge, CA.
  • Maren Hassinger, Art Gallery, Los Angeles City College, Los Angeles, CA.

1981

  • Gallery Six: Maren Hassinger, Los Angeles County Museum of Art, Los Angeles, CA.

1980

  • Beach, Just Above Midtown/Downtown Gallery, New York, NY.

Group Exhibitions

Upcoming

  • Now Dig This! Williams College, Williamstown, MA
  • Radical Presence: Black Performance in Contemporary Art, Grey Art Gallery, NYC and The Studio Museum in Harlem, NYC
  • Maren Hassinger and Sonya Clark, University of Delaware Museums, Newark, DE
  • Artpark, Lewiston, NY

2012

  • Now Dig This! PS1, Long Island City, NY, 2012-13
  • Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston, TX, 2012
  • Material Girls, Spelman College, Atlanta, GA
  • Havana Biennial, Havana, Cuba
  • Romare Bearden Centennial, Studio Museum in Harlem, New York, NY

2011

  • Now Dig This! Hammer Museum, Los Angeles
  • Dance/Draw, The Institute of Contemporary Art, Boston, MA, 2011-12
  • Inti, Curated by Clifford Owens, OnStellarRays Gallery, New York, NY
  • Excerpt from In a Quiet Place, from 1985 in "Sculpted Etched and Cut and Collected" and "Beige" and "Green," two videos from the 1990's in "VideoStudio: Playback," Spring Group Exhibition of the Studio Museum in Harlem, New York, NY.
  • Material Girls, The Reginald F. Lewis Museum, Baltimore, MD.

2010

  • Global Africa Project, Museum of Arts and Design, New York City, New York. Will travel to Reginald Lewis Museum, Baltimore, MD. Jan. to June 2012; High Museum, Atlanta, GA, June to Sep. 2012; 3 Museums in the Seattle area Nov. to Feb. 2013.

2009

  • 30 Seconds Off an Inch, The Studio Museum in Harlem, New York City, New York

2008

  • Discursive Acts: African American Art at University of Delaware and Beyond. University Museums, Newark, DE
  • Faculty Show, Decker Gallery, Maryland Institute College of Art, Baltimore, MD
  • Slideshowpotluck, Democratic National Convention, Denver, CO
  • Grimaldis @ Area 405, Area 405, Baltimore, MD
  • The Sondheim Finalists, Baltimore Museum of Art, Baltimore. MD

2007

  • Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College Museum of Fine Art, Atlanta, GA
  • Celebrating Forty Years: Showcasing Forty Artists, Maryland State Arts Council, Baltimore, MD.
  • Mini-Curated-Micro-Books, a project of the Baltimore Book Festival.
  • Janet and Walter Sondheim Prize at MICA - Semi-Finalists Exhibition, Meyerhof Gallery, Marylnd Institute College of Art, Baltimore, MD
  • 21st Annual Critics' Residency Program, Maryland Art Place, Baltimore, MD
  • 15th Annual Lotta Art Benefit, School 33 Art Center, Baltimore, MD
  • Crossing the Line: African American Artists in the Jacqueline Bradley and Clarence Otis, Jr. Collection, The Cornell Fine Arts Museum, Rollins College, Winter Park, FL
  • AGENTS of Change: Women, Art and Intellect, Ceres Gallery, New York, NY 2007
  • At Freedom's Door: Challenging Slavery in Maryland, Maryland Historical Society, Baltimore, MD

2006

  • 181st Annual: An Invitational Exhibition of Contemporary Art, National Academy Museum, New York, NY
  • 14th Annual Lotta Art Benefit, School 33 Art Center, Baltimore, MD
  • Peace and Tranquility, Studio Magazine, a publication of the Studio Museum in Harlem. Spring 2006 Issue, p. 26-29.
  • Riffs and Rhythms: Abstract Forms and Lived Realities, James E. Lewis Museum of Art, Morgan State University, Baltimore, MD

2005

  • Along the Way: MTA Arts for Transit, Celebrating 20 Years of Public Art, UBS Art Gallery, New York, NY
  • City Art: New York’s Percent for Art Program, Center for Architecture, New York, NY

2004

  • Sabbatical Exhibition, Decker Gallery, Maryland Institute College of Art, Baltimore, MD.
  • African American Artists in Los Angeles, A Survey Exhibition: Fade (1990-2003), California State University, Los Angeles, CA.

2003

  • Living With Art: Modern and Contemporary African-American Art from the Collection of Alitash Kebede, traveled nationally, venues in California, Colorado, and Texas.

2002

  • Faculty Show, Maryland Institute College of Art, Baltimore, MD.
  • Unforgettable, Chelsea Studio Gallery, New York, NY. Traveled to Germany.
  • Healing Arts/Art that Heals, Maryland General Hospital, Baltimore, MD.

2001

  • Homecoming, Thomas Segal Gallery, Baltimore, MD.
  • Faculty Exhibition, Meyerhoff Gallery, Maryland Institute College of Art, Baltimore, MD.

2000

  • Snapshot, Contemporary Museum, Baltimore, MD.
  • 2000 Faculty Exhibition, Decker Gallery, Maryland Institute College of Art, Baltimore, MD.
  • Artscape, Baltimore, MD.
  • Sculpture at Evergreen, Baltimore, MD.
  • Nature Trail, Villa Julie, College, Baltimore, MD.

1999

  • Passages, The Studio Museum in Harlem, New York, NY.
  • Through the Fire to the Limit: African American Artists in Maryland, Government House, Annapolis, MD.
  • Traveled to Chicago's Cultural Center and Miami Art Museum in 2000.
  • Faculty Show, Maryland Institute College of Art, Baltimore, MD.

1998

  • The Garden Path, Mediating Nature and Culture, Stone Quarry Hill Art Park, Cazenovia, NY.
  • Footfalls, The Village of Greenport, Greenport, New York.
  • Sculpture on Site, Sculpture Inside, Harford Community College, Chesapeake Gallery, Bel Air, MD.
  • Faculty Show, MICA Baltimore, MD.
  • Out of Actions: Between Performance and the Object, 1949-1979, Geffen Contemporary, Los Angeles Museum of Contemporary Art. Traveled to Vienna and Tokyo.

1997

  • 1997 New Faculty Exhibition, Decker Gallery, Station Building, Maryland Institute College of Art, Baltimore, MD.
  • Faculty Show 1997, University Art Gallery, Staller Center for the Arts, State University of New York at Stony Brook.
  • Introductions - New Faculty Exhibition, Decker Gallery, Station Building, Maryland Institute College of Art, Baltimore, MD.
  • Eight by Eight, Heckscher Museum of Art, Huntington, New York.
  • Neuberger Museum of Art 1997 Biennial Exhibition of Public Art, on the campus of Purchase College, State University of New York.

1996

  • Twentieth Century American Sculpture at the White House, Exhibition IV, The First Lady's Sculpture Garden, The White House, Washington, D.C.
  • 4 Who Teach, Omni Gallery, Uniondale, NY.
  • Whisper, Stomp, Shout! A Salute to African-American Performance Art, Colorado Springs Fine Arts Center, Colorado Springs, CO.

1995

  • Required Nuance: Three Contemporary Sculptors, The Studio Museum in Harlem, NewYork, NY.
  • Black Pearls: Treasures of African-American Women Artists, Cinque Gallery, New York, NY.
  • Listening to the Earth: Artists and the Environment, Emerson Art Gallery, Hamilton College, Clinton, NY.
  • Rainbow: Prints from Bob Blackburn's Printmaking Workshop, travelled to nine galleries in Sub-Saharan African cities.

1994

  • Robert Blackburn: Inspiration and Innovation in American Printmaking, Kenkeleba Gallery, New York, NY.
  • Inspired by Nature, Neuberger Museum of Art, Purchase, NY.
  • African-American Women Prints, The Printed Image Galleries, Firehouse Art Center, Philadelphia, PA.
  • The Faculty Show '94, University Art Gallery, Staller Center for the Arts, State University of New York at Stony Brook.
  • 27th Annual Artists of the Springs Invitational Exhibition, Ashawagh Hall, East Hampton, NY.
  • Light and Lightness, Trans-Hudson Gallery, Jersey City, NJ.
  • Sightings, The Parrish Art Museum, Southampton, NY.
  • Maren Hassinger and Cynthia Hawkins, Peg Alston Fine Arts, New York, NY.
  • Black Prints, Elsa Mott Ives Gallery, New York, NY.

1993

  • Travel, Benton Gallery, Southampton, NY.
  • Forms of Life?, Trans Hudson Gallery, Jersey City, NJ.
  • Multiples, Benton Gallery, Southampton, NY.

1992

  • Wall to Wall, Benton Gallery, Southampton, NY.
  • The Printmaking Workshop: Bob Blackburn's Collection, The Cleveland Institute of Art, Cleveland, OH.
  • 5 Artists at the Airport, Insights into Public Art, Wood Street Galleries, Pittsburgh Cultural Trust, Pittsburgh, PA.
  • Volume: 6 Contemporary Sculptors, Guild Hall, East Hampton, NY. Aycock, Benglis, Hassinger, Holt, Kendrick, Newman.
  • Environmental Terror, Fine Arts Gallery, University of Maryland, Baltimore, MD (Touring Maryland and Virginia).

1991

    5 From Bennington, Krasdale Foods Art Gallery, Bronx, NY. Three Installations: Renee Green, Maren Hassinger, Greg Henry, Jamaica Art Center, Jamaica, NY.

1990

  • Out/In Queens: A Sculpted View, Queensborough Community College Art Gallery, Bayside NY.
  • In the Public Eye: Beyond the Statue in the Park, Euphrat Gallery, De Anza College, Cupertino, CA.
  • The Decade Show, New Museum of Contemporary Art, New York, NY.
  • New History: Beverly Buchanan, Mel Edwards, Maren Hassinger, The Atlanta College of Art, Atlanta, GA.
  • Artists for Amnesty, Blum Helman Gallery, New York, NY.
  • Nature & Humanity, Borough of Manhattan Community College, New York, NY.
  • Hunt's Point Sculptors: Gallery Works, Krasdale Foods Art Gallery, Bronx, NY.
  • Benefit Sale, Sculpture Center, New York, NY.
  • Hassinger, McCarthy, Rodgers, Ziegler, The Sculpture Center, New York, NY.

1989

  • Artists at Hunter, Voorhees Gallery, Hunter College, New York, NY.
  • Tropical Rain Forest, Sundered Ground Gallery, New York, NY.
  • Hassinger, McKeown, Mancini, Cyrus Gallery, New York, NY.
  • American Resources: Selected Works of African-American Artists, Bernice Steinbaum Gallery, New York, NY - traveled to Nashville.
  • Outside the Clock: Beyond Good & Elvis, Scott Hansen Gallery, New York, NY – curated by Robert Longo.
  • Lines of Vision: Drawings by Contemporary Women, Blum Helman Warehouse, New York, NY - toured.
  • A Debate on Abstraction, Hunter College, New York, NY - curated by Maurice Berger.
  • Transformations and Traditions: Contemporary Afro-American Sculpture, The Bronx Museum, Bronx, NY.
  • Airlines, Hillwood Art Gallery, Long Island University, C. W. Post Campus, Brookville, NY.
  • The Appropriate Object, Albright-Knox Art Gallery, Buffalo, NY.

1988

  • Coast to Coast: A Woman of Color National Artist's Book Project, Center for Book Arts, New York, NY - in collaboration with Senga Nengudi - toured.
  • Art as a Verb, Maryland Institute, College of Art, Baltimore, MD - traveled to the Studio Museum in Harlem and Metropolitan Life Insurance, New York, NY.
  • Workspace '88, Jamaica Arts Center, Jamaica, NY.
  • Unity: A Collaborative Process, Goddard Riverside Community Center, New York, NY.
  • Lava, onetwentyeight, New York, NY.
  • Who's Uptown: Harlem '87, Schomburg Gallery, New York, NY.

1987

  • Blue Angel: The Decline of Sexual Stereotypes in Post-Feminist Sculpture, Long-wood Art Gallery, Bronx, NY - traveled to Space 111, Birmingham, AL and A.I.R. Gallery, New York, NY.
  • Los Angeles Collects, The Museum of African-American Art, Los Angeles, CA.
  • Art in Public Places, The Museum of African-American Art, Los Angeles, CA.
  • P.S. 1, The Clocktower National & International Studio Artists' Exhibition, The Clocktower Gallery, New York, NY.

1986

  • Choosing: An Exhibition of Changing Perspectives in Modern Art and Art Criticism by Black Americans, 1925-1985, The Chicago Museum of Science and Industry, Chicago, IL.
  • Visions of the World, Women's Center for Education and Career Advancement, New York, NY.
  • Artists Select: Contemporary Perspectives by Afro-American Artists, Arizona State University Art Collections, Tempe, AZ.
  • Progressions: A Cultural Legacy, The Clocktower, New York, NY.

1985

  • From the Studio: Artists-in-Residence, 1984-1985, the Studio Museum in Harlem, New York, NY.
  • Beyond 1984: Contemporary Perspectives on American Art, Ohio University, Athens, OH – traveled to the University of Palermo, Palermo, Sicily in 1990.
  • The Mattress Factory Show, The Scripto Pen Factory, Atlanta, GA.
  • Artists and the Landscape, Guggenheim Gallery, Chapman College, Orange, CA.
  • To the Astonishing Horizon, Design Center of Los Angeles, The Theater Art Gallery, New York, NY - a collaborative project with Candida Alvarez.

1984

  • 4th Holiday Invitational Exhibit, A.I.R. Gallery, New York, NY.
  • Sticks and Stones: Modern/Post-Modern Sculpture, Kenkeleba Gallery, New York, NY.
  • East/West: Contemporary American Art, inaugural exhibition of the California Afro-American Museum, Los Angeles, CA.
  • The Cotton Exchange Show, Cotton Exchange Building, sponsored by the LACE Gallery, Los Angeles, CA.
  • Transformation of the Minimal Style: Craft and Meaning, The Sculpture Center, New York, NY.

1983

    Visual Conversations - East Coast/West Coast, Social and Public Arts Resource Center, Venice, CA. At Home, Long Beach Museum of Art, Long Beach, CA. Beasley, Hassinger, Honeyword, Saar, Los Angeles Southwest College Art Gallery, Los Angeles, CA. Exchange of Sources: Expanding Powers, California State University, Stanislaus, CA.

1982

  • Magnus/Hassinger, Art Space Gallery, Los Angeles, CA.
  • Four, Art Gallery, Los Angeles City College, Los Angeles, CA.

1981

  • Forever Free - Art by African-American Women, 1862-1980, national tour opening at Illinois State University.
  • Ten California Artists, California Museum of Science and Industry, Los Angeles, CA.

1980

  • Project Grand Central, Waiting Room, Grand Central Station, New York, NY.
  • Outlaw Aesthetics, Just Above Midtown/Downtown Gallery, New York, NY.
  • In-Sites, The Woman's Building, Los Angeles, CA.
  • Afro-American Abstraction, P.S. 1, L.I.C., NY, national tour 1982-1984.

1979

  • Transformation: UCLA Alumni in Fiber, Wight Art Gallery, University of California, Los Angeles, CA.
  • Secrets & Revelations II, William Grant Still Community Arts Center, Los Angeles, CA.

1978

  • New Talent Show, Zabriskie Gallery, New York, NY.
  • Pocket Art, Just Above Midtown Gallery, New York, NY.
  • Double X Plus, LACE Gallery, Los Angeles, CA.
  • Art, California Museum of Science & Industry, Los Angeles, CA.
  • Abstract Concerns, Art Space Gallery, Los Angeles, CA.

1977

  • Festival in Black, Otis Art Institute, Los Angeles, CA.
  • Tension/Line, Libra Gallery of the Claremont Colleges, Claremont, CA.
  • Studio Z, Long Beach Museum of Art, Long Beach, CA.

1976

  • Hassinger/Mahan, Arco Center for Visual Art, Los Angeles, CA.

1975

  • Group Show, Newspace Gallery, Los Angeles, CA.
  • Artists Choose Artists, Art Rental Gallery, Los Angeles County Museum of Art, Los Angeles, CA.

1973

  • Fiberworks, Lang Art Gallery, Scripps College, Claremont, CA.

Selected Public Sculpture

2004 - 05

  • "Art in the Garden," Grant Park, Chicago Park District and the Department of Cultural Affairs, Chicago, IL.

2001

  • "Message from Malcolm," Arts for Transit, 110th St. IRT, New York, NY.

1996

  • "Ancestor Walk," P.S. 176, Percent for Art Program, Department of Cultural Affairs, New York, NY.

1995

  • "Fence of Leaves," P.S. 8, Percent for Art Program, Department of Cultural Affairs, NewYork, NY.
  • "The Forest People," Set Design, Wendy Perron Dance Company, St. Mark's Church, New York, NY.

1993

  • "Evening Shadows," University Art Museum, California State University, Long Beach, CA.
  • "Window Boxes," Whitney Museum at Philip Morris, New York, NY.

1992

  • Monument in memory of Malcolm X for M.T.A. and D.O.T., New York, NY (in progress) Commission for the Greater Pittsburgh International Airport, Pittsburgh, PA.

1991

  • Installation of "Circle of Bushes" for C. W. Post, Long Island University, Brookville, NY.

1989 - 90

  • "Hunt's Point Sculptors," Tall Grasses, Bronx, NY - moved to Roosevelt Island, New York, NY.

1989

  • "Rend," Set Design, Donald Byrd Dance Foundation, New York, NY.

1988

  • "Bushes," Socrates Sculpture Park, Astoria, Queens, NY.

1987

  • "Oasis," Artpark, Lewiston, NY.

1986 - 90

  • Plaza Planters and Tree Grates, Commissions for Downtown Seattle Transit Project, Seattle, WA.

1986

  • "Weeds," The Houston Festival, Houston, TX.

1985 - 86

  • "Necklace (of Trees)," Atlanta Festival for the Arts, Atlanta, GA.

1982

  • "Pink Paths," Foundation for Art Resources - Transitional Use, Lynwood, CA.
  • "Pink Trash," Art Across the Park, New York, NY.
  • "Chorus," Commission for Arco, elevator foyer of Anaconda Industries offices, Rolling Meadows, IL.

1980

  • "Forest," Creative Time - Art on the Beach, Battery Park City, New York, NY.

1979

  • "Twelve Trees #2," Mulholland Drive off-ramp, San Diego Freeway, northbound, Los Angeles, CA.

1978

  • "Twelve Trees," Vermont Avenue on-ramp, Hollywood Freeway, southbound, Los Angeles, CA (destroyed).

1977

  • "Branches," storefront facade, 1115 North La Brea Ave., Inglewood, CA.

Performances

2013

  • Together, performed as a part of the Now Dig This! From Los Angeles to New York Symposium, Museum of Modern Art, New York, NY, February 8.
  • Kiss, with Ulysses Jenkins and Senga Nengudi, ongoing performance project by Ulysses Jenkins, MoMA PS1, Long Island City, NY, February 10.

2012

  • Women's Work, as a part of Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston, TX, November 17.
  • Boxes, Performed as a part of a day of performance curated by Clifford Owens. PS1, Long Island City, NY

2011

  • Kiss A collaboration with Ulysses Jenkins and Senga Nengudi in Senga's Remake of Kiss from the 1980s, Hammer Museum, Blackbox Theater, October 2.
  • Dancing in the Street. A Matriarch project for Be Black Baby, Recess Gallery, New York. NY. April 1st.
  • See Lifes A Matriarch project for Flux This! Curated by Pope L. Museum of Modern Art Education Department, New York, NY. March 25.
  • Africa. four 30-second performances at the opening of Material Girls, Reginald Lewis Museum, Baltimore, MD.

2010

  • Contributed "score" to performance artist Clifford Owens called "Repose."
  • LACE gallery, taped and transcribed interview and map of performance experience in Los Angeles.

2009

  • Africa, three 30-second performances at the opening of 30 seconds Off an Inch, The Studio Museum, Harlem, NY.
  • Quiet as Kept: Change A performance ritual written and directed by Ulysses Jenkins. California African American Museum, Los Angeles, CA

2006

  • Side by Side, mixed media performance with Senga Nengudi, Les Soirées Nomades, cycle Nuits Noires, Fondation Cartier pour l’art contemporain, Paris, France

2004

  • Film: "Daily Mask," first shown at Loyola College, Julio Art Gallery, Baltimore, MD.

2002

  • Participatory survey of 9/11 at MICA and Chelsea Studio Gallery, NY, NY, called, "Why Did This Happen?".

2000

  • Untitled Presentation for "Golden Door, Golden Floor," Evergreen House, Baltimore, MD.

1997

  • "Herd," an evening with trustees at Rinehart School of Sculpture, Maryland Institute, College of Art, Baltimore, MD.

1995

  • "More Notes," for The Studio Museum in Harlem, New York, NY.

1994

  • "A Day at the Beach," for The Victor D'Amico Institute of Art, Amagansett, NY.
  • "Where's Mommy?" for opening of "Sightings" at the Parrish Art Museum, Southampton, NY.
  • "Reir is to Laugh," for the series "Conversations with Contemporary Artists, the Museum of Modern Art, New York, NY.

1993

  • "Notes," for the Whitney Museum at Philip Morris, New York, NY.

1986

  • "Nature's Way," a piece by Senga Nengudi performed for the Contemporary Arts Forum, Santa Barbara, CA.

1985

  • "Solitude," SPARC Gallery, Venice, CA
  • "Voices," L.A. City College, and The Women's Building, Los Angeles, CA in 1984.

1983

  • "The Spooks Who Sat by the Door," Long Beach Museum of Art, Long Beach, CA.
  • "At Home," videotape, Long Beach Museum of Art, Long Beach, CA.

1982

  • "Flying," Barnsdall Municipal Art Gallery, Los Angeles, CA.
  • "Still Wind," Just Above Midtown/Downtown Gallery at Stilwende, New York, NY.

1980

  • "Games," I.D.E.A., Santa Monica, CA.

1979

  • "Lives," and "Vanities," Vanguard Gallery, Los Angeles, CA.

1977

  • "Diaries," Vanguard Gallery, Los Angeles, CA.
  • "Ten Minutes," Studio Z, Los Angeles, CA.

1976

  • "High Noon," Arco Center for Visual Art, Los Angeles, CA.

Selected Bibliography

  • Sally Frater, "Critic's Picks: 'Radical Presence: Black Performance in Contemporary Art," Artforum.com, February 11, 2013
  • Amanda Parmer, "Critic's Picks: 'Material Girls: Contemporary Black Women Artists," Artforum.com, October 25, 2012
  • Stephanie Cash, "Review: Tires, love letters, hair combs and more are stuff of art or Spelman's seven 'Material Girls,'" artsatl.com, September 28, 2012
  • Felicia Feaster, "Material Girls show strong works of art," accessAtlanta.com, September 13, 2012
  • Peggy Phelan, “Live Art in LA: Performance in Southern California, 1970-1983,” Routledge, NY, 2012
  • Dr. Tukufu Zuberi, “Now Dig Kellie Jones Talking About Black Art and Los Angeles,” Huffington Post, January 12, 2012 Here
  • Helen Molesworth, "Dance/Draw" The Institute of Contemporary Art, Boston,2011Page 88-9.
  • Kamau Daáood. “Poet Kamau Daáood Explains the Rhyme and Reason of Art in Black Los Angeles,” Neon Tommy, Annenberg Digital News, December 30, 2011 Here
  • Jori Finkel, “Q&A: Maren Hassinger and Senga Nengudi,” Los Angeles Times, November 27, 2011 Here
  • Constance Malinson, “Inside the Artist’s Studio—Maren Hassinger,” Times Quotidian, October 19, 2011 Here
  • Kellie Jones. “Black West, Thoughts on Art In Los Angeles,” in “New Thoughts on the Black Art Movement,” Lisa Gail Collins and Margo Natalie Crawford , eds., Rutgers University Press, New Brunswick, NJ 2006, pages 43-74.
  • "Spelman's Andrea Barnwell Brownlee readies for Havana Biennial debut" Creative Loafing, May 7, 2012. Here
  • "The Bearden Project" The New Yorker; Goings on About Town, January 16, 2012. Here
  • Sandra Bertrand, "The One Hundred Children of Romare Bearden." Galo Magazine, December 29, 2011. Here
  • Linda Yablonsky, "Close Encounters/NOW DIG THIS!" artnet.com, Here
  • Holland Cotter, "A Griot for a Global Village" New York Times, December 8, 2011 Here
  • Jori Finkle, "Their Past Is Now Present." Los Angeles Times/Calender, November 27, 2011, Page E-9.
  • Roberta Smith, "A New Pin on the Art Map." New York Times/Arts and Leisure, November 13, 2011, Page 22.
  • Christopher Knight, "Putting LA in the Front Seat," Los Angeles Times/calendar, September 18, 2001. Page E-11.
  • Constance Mallinson, "Now Dig Into This" http://www.timesquotidian.com/, October 19 2011. Here
  • Dylan Rodgers, "Art of Harlem: Maren Hassinger" http://marcussamuelsson.com/. September 22 2011. Here
  • Jacqueline Trescott, "3 ‘Material Girls’: 8 African American artists update a tradition." Washington Post. Augest 12 2011. Reprinted online Here
  • Allison Channing Jones, "Studio Visit - Maren & Ava Hassinger," Studio(a publication of the Studio Museum in Harlem), Summer-Fall 2011, Page 47 & 48.
  • Alex Castro, "Eye to Eye: Maren Hassinger." Urbanite, September 10, 2010, Page 98.
  • Lyn Kienholz, "LA Rising: SoCal Artists Before 1980." an encyclopedia, The California/International Arts Foundation, 2010.
  • Siri Lise Doub and Wayne Arnold, "Baltimore Counts." Collaboration with Ava Hassinger on "15" highlighting lacrosse. Holland Brown Books, LLC, 2010.
  • Ara H. Merjian, "30 Seconds off an Inch." Frieze Magazine. Issue 130, April 2010. Reprinted online http://www.frieze.com/issue/review/30_seconds_off_an_inch/
  • Thelma Golden, "30 Seconds off an Inch." The Studio Museum in Harlem Magazine. Winter-Spring 2010, page 2.
  • Roberta Smith, "A Beating Heart of Social Import." The New York Times. December 10, 2009, page C29.
  • Kate Noonan, "Grimaldis @ 405." The Baltimore City Paper, July 23, 2008. p. 32. Reprinted online http://classifieds.citypaper.com/arts/story.asp?id=16032
  • Martin L. Johnson, "The Sondheim Prize." The Baltimore Citypaper, July 9, 2008
  • Mike Giuiliano, "Artscape makes a detour to BMA." The Baltimore Messenger, July 3, 2008, p 10.
  • Edward Gunts, “Sondheim Finalsts’ Work Reflect Changing World.” The Baltimore Sun, June 29, 2008
  • Jessica Novak, "Answer the $25,000 question." The Baltimore Examiner, June 21, 2008. Reprinted online http://www.citypaper.com/arts/story.asp?id=15963
  • Jessica Choi, "Natural Works of Art." The Baltimore Sun, June 19, 2008
  • Hassinger, Maren and Leslie King-Hammond. "Arlene Raven: Critic, Advocate, Arts Activist, and Friend," Critical Matrix: The Princeton Journal of Women, Gender and Culture, Arlene Raven's Legacy (2008) Volume 17 Spring 2008, pages 132-135.
  • Bret McCabe, "Top 10: The Year in Art," The Baltimore City Paper, December 12, 2007. Reprinted online http://www.citypaper.com/special/story.asp?id=14961
  • Rebecca Cochran, "Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970." Artforum.com, October 17, 2007.
  • Max Weiss, et al, "Best of Baltimore 2007." Baltimore Magazine, August 2007, p 222
  • Deborah McLeod, "MAP's Annual Reidency Program Offers a Nuanced Chance to Look at The Thinking That Shapes Looking," The Baltimore City Paper May 30, 2007, reprinted online www.citypaper.com/printStory.asp?id=13683.
  • Jessica Novak, "We've come a long way baby… to get where?" The Baltimore Examiner, April 28, 2007. p. 33.
  • Deborah McLeod, “Never Forget,” The Baltimore City Paper, March 21, 2007, reprinted online www.citypaper.com/printStory.asp?id=13407.
  • Holland Cotter, “Remembrance of Downtown Past,” The New York Times, Weekend Arts, Friday, September 1, 2006, pages 21 and 26.
  • Ken Johnson, “For a Broad Landscape, an Equally Wide Survey,” The New York Times, May 31, 2006, page B5.
  • Violet Glaze, "The River, New Work, Ex Libris: Rethinking the Library," City Paper, July 27, 2005, page 34.
  • Glenn McNatt, "River flows with heavy burdens of a family's past," Baltimore Sun, July 17, 2005, page 3F.
  • Jonathan Goodman, "Maren Hassinger," Sculpture Magazine, April 2005, April 2005, Volume 24, Number 3, pages 73 and 74.
  • Jan Razauskas, "Maren Hassinger," Radar Review, December 2004, Issue 12 (Inside/Outside), page 49.
  • John Dorsey, :Maren Hassinger, Artist," Roland Park News, Summer 2002, Volume 6, pages 3 and 4.
  • Donna M. Owens, "An Artful Legacy," Baltimore Magazine, June, 2002, pages 78 and 79.
  • Judith Page, "New York Maren Hassinger, "Sculpture Magazine, May, 2002, page 71.
  • Glenn McNatt, "African-American art's 'Old Masters' Meet in Exhibit," The Baltimore Sun, November 18, 2001, page 3E.
  • Peter Plagens, "Harlem Goes 'Freestyle'," Newsweek, May 14, 2001, page 60.
  • National Endowment for the Arts, A Creative Legacy: A History of the National Endowment for the Arts Visual Artists' Fellowship Program, Abrams, Inc. New York, 2001, page 176.
  • Gatto, Porter, and Selleck, Exploring Visual Design, The Elements and Principles, 3rd Edition, Davis Publications Inc., Worcester, MA, 2000, page 31.
  • Vincent L. Wimbush, editor, African-Americans and The Bible, Sacred Texts and Social Textures, Continuum, New York, 2000, page 428, colorplate #13.
  • Sherri Winston, "Passport to Expression", Sun-Sentinel, South Florida, Lifestyle Section, October 7, 2000, page 1, 5D.
  • Turner, Elisa, "Images in Transition," The Miami Herald, Sunday, September 17, 2000, pages 5M and 12M.
  • Selby, Holly, "Hide and Seek…," The Baltimore Sun, Sunday, September 17, 2000, page 6F.
  • Karen Hayes, Freedom On Our Minds, An Educational Resource, The Education Department of the California African American Museum, Los Angeles, CA, 1999, Lesson 10, pages 139-151.
  • John Dorsey, "Cutting Up With: Maren Hassinger, Chief of Sculpture at MICA", The Baltimore Sun, Sunday, December 20, 1998, Section F, page 3F.
  • Sharon F. Patton, African-American Art, Oxford University Press, Oxford, New York, 1998, pages 250; 253-4.
  • Sherry Chayat, "Is It Art or Nature?", Syracuse Herald American, July 5, 1998, Stars Section, page 1, 14.
  • Arlene Raven, "New York Story," Sculpture Magazine, January, 1998, page 22.
  • Judith H. Dobrzynski, "Anonymous Gifts, So Women Artists Won't Be," New York Times, Sunday, October 12, 1997, pages 1 and 24.
  • Rhonda Cooper, "Faculty Artists Exhibit New Works at the Staller Center Art Gallery," The Stony Brook Statesman, Monday, September 22, 1997, page 8.
  • John Dorsey, "Sizing up New Faculty, Sizing up Their Art," The Baltimore Sun, September 2, 1997, Section D, page 1.
  • Maureen Megerian, "Entwined with Nature -- The Sculpture of Maren Hassinger," Woman's Art Journal, Fall 1996/Winter 1997, pages 21-25.
  • Eric Maisel, Affirmations for Artists, G.P. Putnam's Sons, 1996, page on "Identity."
  • Patsy Southgate, "Maren Hassinger, Sculpting Life's Fibers," The East Hampton Star, August 29, 1996, pages III-1 and III-8.
  • Lilly Wei, "Maren Hassinger at TransHudson," Art in America, June, 1996, pages 106-7.
  • Vivien Raynor, "Contradictions and Questions, Unresolved," The New York Times, Sunday, February 11, 1996, N.J. p. 12.
  • Daniel Goldman, "Whisper, Stomp, Shout! Black Performance Art at the Colorado Springs Fine Arts Center," The Independent, January 10-16, 1996, page 26.
  • Abbeville Press, We Wear the Mask: The Ethos of Spirituality in AFRICAN AMERICAN ART, 1994.
  • Dr. Leslie King-Hammond, Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists, 1994.
  • Marion Wolberg Weiss, "Art Commentary," Dan's Papers, Aug. 12, 1994, p. 91.
  • Marjory Jacobson, Art for Work, Harvard Business School Press, 1994.
  • Paul Gardner, "Who Are the Most Underrated and Overrated Artists?", ARTnews, Feb., 1994, p. 115.
  • Curtia James, "Interview with Maren Hassinger," Artpapers, Atlanta, GA, Jan. and Feb., 1994,pp. 6-8.
  • Vivien Raynor, "Galleries That Art Neighbors," The New York Times, Sunday, Nov. 21,1993, N.J. p. 17.
  • Phyllis Braff, "Four Artists, The New York Times, Sunday, Sept. 12, 1993, L.I., p. 18.
  • Rose C.S. Slivka, "From the Studio," The East Hampton Star, Sept. 9, 1993, p. II-8.
  • Marlena Donohue, "Spray Can Art..." San Pedro News Pilot, Aug. 13, 1993.
  • Kate Hensler, "Pittsburgh International Airport," Sculpture, July-Aug., 1993, pp. 18-19.
  • Becky Godwin, Interview, Quadrille, Spring, 1993, p. 39.
  • Mary Jean Kenton, "Lines, Forms, Colors and Planes," (Pittsburgh's New Midfield Terminal)
  • New Art Examiner, April, 1993, pp. 23-25.
  • _____,"Happy Landings," Artnews, Nov., 1992, p. 46.
  • _____,"Airport Art for Pittsburgh," Art in America, Oct., 1992, p. 176.
  • Jennifer Cross, "Nature Coaxed Out of a Cable," The Southampton Press, Oct. 8, 1992, pp. B1 and B7.
  • Phyllis Braff, "6 East End Sculptors at Mid-career," The New York Times, Sunday, July 26, 1992, L.I., p. 11.
  • Elizabeth Hess, "Say Good Night, Gracie," The Village Voice, May 21, 1991, p. 40.
  • Kim Levin, "Choices," The Village Voice, April 9, 1991, p. 96.
  • Elizabeth Hess, "Get Rid of 'Political Art'?," The Village Voice, April 9, 1991, p. 16.
  • Michael Brenson, "Maren Hassinger," The New York Times, March 29, 1991, p. C19.
  • Anna M. Bloomfield, "New History: Beverly Buchanan, Mel Edwards, Maren Hassinger, Art Papers, Nov./Dec., 1990.
  • Eric Reyes, "Art in the Open," Metro, Santa Clara Valley's Weekly Newspaper, Nov. 15-21, 1990, v. 6, no. 37.
  • Joe Aytch, "What Does My Eye See? Public Art at the De Anza College's Euphrat Gallery," The Buffalo Soldier, Nov. 15-30, 1990, Arts section, p. 1.
  • Curtia James, "New History, Artnews, Oct. 1990, p. 203.
  • Esther Iverem, "Art in Unexpected Places, Newsday, Oct. 30, 1990, Part II, pp. 11, 14.
  • John Garcia, "Studios, Artists will be Accessible," Daily News, Oct. 19, 1990, p. 4XQ.
  • Judith Berdy, "Tall Grasses Installed at Garage," The Main Street Wire, Oct. 12, 1990, v. XI, no. 2, frontpage.
  • Maurice Berger, "Art Art Museums Racist," Art in America, Sept. 1990, pp. 69-77.
  • Michael Brenson, "Taking on the World From 125th Street," The New York Times, Sunday, Sept. 23, 1990, pp. 35, 40.
  • Catherine Fox, "Form, Materials Unit 'New History' Exhibition," The Atlanta Journal and Constitution, Aug. 10, 1990, p. E-2.
  • Vivien Raynor, "A Show of Shapes from 10 Sculptors," The New York Times, Sunday, July 8, 1990, Westchester ed., Art Section.
  • Lilly Wei, "Making Art, Making Money - 13 Artists Comment," Art in America, July 1990, pp. 133-141.
  • Ann Butler, "Up in the Clouds," The Pittsburgh Press, June 29, 1990.
  • Donald Miller, "Models of Art Unveiled at Airport," Pittsburgh Post-Gazette, June 29, 1990.
  • Ken Johnson, "Maren Hassinger at Soho 20," Art in America, May 1990, pp. 244-45.
  • Michael Kimmelman, "The Force of Conviction Stirred by the 80s," The New York Times, May 27, 1990, pp. H25, 34.
  • Roberta Smith, "Three Museums Collaborate to Sum up a Decade," The New York Times, May 25, 1990.
  • Holland Cotter, "Black Artists: Three Shows," Art in America, March 1990, p. 164.
  • Joanne Milani, "Artists' Work Reflects Black Life," The Tampa Tribune, Monday, Feb. 12, 1990.
  • Gretchen Faust, "Review," Arts Magazine, Feb. 1990, p. 96.
  • Blanche Hubbert, "A Sculptress Molds Her Own Career," New York Voice, Inc., v. XXX, no. 43, Sat., Jan. 20, 1990, p. 26.
  • Michael Brenson, "Quiet Art Need Not Be Boring or Wimpish," The New York Times, Nov. 26, 1989, pp. 35, 43.
  • _____,"Review," The New York Times, Sept. 29, 1989, p. C30.
  • _____,"Choice," on "Outside the Clock: Beyond Good and Elvis," The Village Voice, July 25, 1985.
  • _____,"Bold Sculpture for Wide Open Space," The New York Times, Fri., July 21, 1989, pp. C1, C24.
  • Helen A. Harrison, "Drawing: A Term Rich in Meanings," The New York Times, Sunday, June 11, 1989, L.I., p. 30.
  • Joy Hakanson Colby, "Object Lessons," Accent, June 5, 1989, pp. 1B, 5B.
  • Marsha Miro, "Freedom Theme Unifies Show by Seven Black Artists," Detroit Free Press, Sunday, June 4, 1989, pp. 1, 7C.
  • _____,"Maren Hassinger in DIA's 'Appropriate Object' Exhibition," the Michigan Chronicle, June 3, 1989, p. 6C.
  • Angela Wibking, "Color of Skin Overshadows Color of Canvas," Nashville Business Journal, May 29-June 2, 1989.
  • Phyllis Braff, "Lines Redefining Space," The New York Times, Sunday, April 9, 1989, L.I., p. 22.
  • Michael Brenson, "Split Show of Black Artists Using Nontraditional Media," The New York Times, April 7, 1989, p. C23.
  • Patricia Failing, "Black Artists Today, A Case of Exclusion," Artnews, March 1989, pp. 124-131.
  • Arlene Raven, "Mojotech," The Village Voice, March 28, 1989, p. 93.
  • _____,"Goings on About Town," The New Yorker, March 27, 1989, p. 14.
  • Vivien Raynor, "Modern Sculpture of 11 Black Artists at Bronx Museum," The New York Times, Sunday, March 26, 1989, Westchester Art Section.
  • Michael Brenson, "Black American Art: Overlooked Essential," The International Herald Tribune, March 17, 1989, p. 9.
  • Kathie Beals, "Tradition and Beyond," Gannett Westchester Newspapers, March 16, 1989, E Section, p. 3.
  • Michael Brenson, "Black Artists: A Place in the Sun," The New York Times, March 12, 1989, pp. C1, C36.
  • Katie Seiden, "'Air Lines' Exhibit at Hillwood Art Gallery," Boulevard, March 4, 1989.
  • Michael Brenson, "Going Beyond Slickness: Sculptors Get Back to the Basics," The New York Times, March 3, 1989.
  • Steve Purchase, "13 Artists Act Out Their Work," The Sun, Thurs., Nov. 24, 1988.
  • John Dorsey, "Works Unfettered by Tradition Boldly Explore Experiences of Racism and Sexism," The Sun, Nov. 21, 1988, pp. 1D, 8D.
  • Arlene Raven, "Geography and Genealogy," The Village Voice, April 12, 1988, p. 104.
  • Michael Brenson, "Blue Angel: The Decline of Sexual Stereotypes in Feminist Sculpture," The New York Times, Apr. 1, 1988, p. C32.
  • _____,"Blue Angel Opens at Longwood," Bronx Arts, Oct. 1987, v. 2, no. 2, pp. 1-2.
  • _____,"Sculpture Tests its Muscles Outdoors," The New York Times, Sunday, Sept. 6, 1987, pp. H25, H27.
  • Richard Huntington, "Artpark Sculpture Needs Direction," The Buffalo News, Sunday, Aug. 16, 1987, pp. G1, G3.
  • Josine Ianco-Starrels, "Art News," Los Angeles Times, calendar, Sunday, July 13, 1986, p. 99.
  • Josef Woodward, "Aura of Audacity in Installations 'Blanket of Branches'," Santa Barbara, California, News-Press, Sat., July 12, 1986.
  • Carrie Radlo, "Contemporary Arts Forum: Hanging Around," The Weekly, June 25, 1986, p. 22.
  • Bill Anderson, "A Poem as Lovely as a Tree," Santa Barbara News & Review, June 25, 1986.
  • _____,"Sculpture, Performance at Arts Forum," Santa Barbara, California, News-Press, Sat., June 14, 1986, p. D4.
  • _____,"CAF Announces Sculptural Installations," Santa Barbara Arts, June, 1986.
  • _____,"Wire Rope Trees Grow in Houston," Wire Rope News & Sling Technology, June, 1986, pp. 16-17, cover.
  • Maren Hassinger, "Preserving Rose Leaves," Issue, A Journal for Artists, Spring, 1986, v. 6, pp. 36-37.
  • _____,"Photo of "Weeds" with lengthy caption, Quadrille, Winter, 1986, v. 19, no. 2, p. 12.
  • Howard Pousner, "Artist Hopes Tree Sculpture to Leave a Lasting Imprint at Piedmont Park," The Atlanta Constitution, April 5, 1985, p. 14A.
  • _____,"Arizona State University: Other Exhibits Explore Blacks' Artistic Past Present," The PhoenixGazette, Sat., Feb. 15, 1986, p. 21.
  • Marge Bulmer, "The Gardens of Winter," Artweek, Feb. 11, 1985.
  • Haleemon Z. Anderson and Linda McLaughlin, "Nature's Design Inspires Artist," Los Angeles City College Collegian, Feb. 8, 1985, v. CXII, no. 2, p. 5.
  • Brent Novick, "Environment Becomes Art Medium," Daily Sundial, Feb. 7, 1985.
  • _____,"Maren Hassinger," The International Review of African American Art, v. 6, no. 1, 1984, pp. 34-41.
  • Amy Slaton, "Sticks & Stones at Kenkeleba," East Village Eye, Nov. 1984, p. 35.
  • Suzanne Muchnic, "California Afro-American Museum Striving to Show High Profile," Los Angeles Times, calendar section, Nov. 10, 1984, pp. 1, 7.
  • Robert L. Pincus, "A Downtown Building's Last Hurrah," Los Angeles Times, May 10, 1984, Part VI, p. 2.
  • Judith Hart-Stone, "An Artist Looking for Dangerous Ground," The Museum of California, Nov./Dec., 1982.
  • Black Currant, Vol. 2, No. 1, Published by Just Above Midtown, Inc., New York, NY, Fall, 1982.
  • Constance Mallinson, "Nature Gone Mad," Images & Issues, Nov./Dec., 1982, p. 53.
  • D. Francine Farr, "Civilization and Nature," Artweek, Sept. 4, 1982.
  • Suzanne Muchnic, "Creativity Transforms Century Freeway Ruins," Los Angeles Times, Sept. 4, 1982, Part V, pp. 1, 2.
  • Christopher Knight, "Afro-American Abstraction: More Abstract than African," Los Angeles Herald Examiner, July 14, 1982, p. D6.
  • Katherine Hart, "Gallery Six - Maren Hassinger: On Dangerous Ground," Los Angeles County Museum of Art, brochure, May, 1981.
  • William Wilson, "Of Cables & Collages in Artists' Wonderland," Los Angeles Times, May 27, 1981, Part VI, p. 1.
  • Judith Wilson, "Advanced Placement Tests," The Village Voice, Dec. 24, 1980, p. 79.
  • William Zimmer, "Not So Grand Central," The Soho News, Oct. 1, 1980, p. 64.
  • Kay Larson, "Beached at Battery Park: Creative Time's Second Biennial Beach Art Show," The Village Voice, July 23-29, 1980, pp. 3, 71.
  • Judith Wilson, "Afro-American Abstraction," Art In America, Summer, 1980.
  • Lawrence Alloway, "Afro-American Abstraction," The Nation, April 12, 1980.
  • Carrie Rickey, "Singular Work, Double Bind, Triple Threat," The Village Voice, March 3, 1980,
  • p. 71.
  • _____,"Sculptor's Trees Are Forged," Independent Press-Telegram, Combined News Services, Dec. 3, 1979, p. A2.
  • Mark Stein, "Steel Trees Grow Along Freeways," Los Angeles Times, Nov. 22, 1979.
  • _____,"I Think That I Shall Never See. . .," Evening Outlook, Oct. 18, 1979, p. B1, photo by Bob Smith.
  • Dinah Portner, "Evidence of Illusion," Artweek, Nov. 11, 1978.
  • Peter Frank, "Prepositional Space," The Village Voice, Oct. 2, 1978, p. 12.
  • Ruth Askey, "Double X Curates Women's Show," Artweek, July 29, 1978, p. 4.
  • Sandy Ballatore, "Hassinger and Mahan: Works in Transition," Artweek, Sept. 4, 1976, p. 4.
  • William Wilson, "Sculpture with a Poetic Fiber," Los Angeles Times, Aug. 16, 1976, Part IV, p. 6.

Selected Catalogues

  • Valerie Cassel Olivier, ed. Radical Presence: Black Performance in Contemporary Art," Contemporary Arts Museum Houston, New York: DAP, 2012.
  • Harrell Fletcher, 2012 Hammer Yearbook, Hammer Museum, 2012, pages 134-135.
  • “The Louis Comfort Tiffany Foundation: 2011 Awards in Painting, Sculpture, Printmaking, Photography, Video and Craft Media,” Louis Comfort Tiffany Foundation, New York, NY, 2012 pages 26-27.
  • Helen Molesworth, "Dance/Draw" The Institute of Contemporary Art, Boston,2011 Page 88-9.
  • Kellie Jones, "Now Dig This!: Art and Black Los Angeles, 1960-1980," Hammer Museum, October 2011.
  • Connie Rogers Tilton and Lindsay Charlwood, "L.A. Object & David Hammons Body Prints," Tilton Gallery, September 2011, Page 44, 48-53, 49, 58, 75.
  • Abbe Schriber, “VideoStudio: Playback.” the Studio Museum in Harlem, NY, 2011.
  • Lowery Stokes Sims, Leslie King-Hammond, "The Global Africa Project." Museum of Arts and Design, NY, et al, 2010. Page 6.
  • Shannon Egan, Ph.D., Director, Schmucker Art Gallery, Gettysburg College, Maren Hassinger: Lives. Gettysburg College, Gettysburg, PA, 2010.
  • Samir S. Patel, 30 Seconds Off an Inch, The Studio Museum in Harlem, 2009.
  • Anne Swartz, editor, Women's Caucus for Art: Honor Awards for Lifetime Achievement in the Visual Arts. WCA publisher Karin Luner, 2009, pages 4-7
  • Olga Garay, African American Artists in Los Angeles, A Survey, City of Los Angeles Department of Cultural Affairs, 2009.
  • Dr. Andrea Barnwell Brownlee and Valerie Cassel Oliver, Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970, Contemporary Arts Museum Houston, Spellman College Museum of Fine Arts, Atlanta, 2008.
  • Johanna Burton and Anne Swartz, Arlene Raven's Legacy, Critical Matrix, Princeton Journal of Women, Gender, and Culture, Volume 17, Spring 2008, pages 132-135
  • Heartney, Sandler, Miner, and Ren, Art Today in Words and Images, 21st Annual Critics' Residency Program, Maryland Art Place, Baltimore, MD, 2007.
  • Franklin Sirmans, Crossing the Line: African American Artists in the Jacqueline and Clarence Otis, Jr. Collection. Cornell Fine Arts Museum, Rollins College, Winter Park, FL, 2007.
  • Eleanor Heartney and Irving Sandler, Maryland Art Place: Art Today in Words and Images. Maryland Art Place, Baltimore, MD.,April 2007, pages 10-12, 21, 37
  • Sandra Bloodworth and William Ayres, Along the Way: MTA Arts for Transit, Monacelli Press, New York, NY, 2006.
  • Marvin Heiferman, editor, City Art: New York's Percent for Art Program, Merrell, NY, 2005.
  • Cindy Kelly, Sculpture at Evergreen, Evergreen House, The Johns Hopkins University,Baltimore, MD, 2000.
  • Valerie Cassel Oliver and Franklin Sirmans, "Double Consciousness: Black Conceptual Art Since 1970," Contemporary Arts Museum, Houston, TX, 2005.
  • Mary E. Murray, The Garden Path: Mediating Nature and Culture, Stone Quarry Hill Art Park, Cazenovia, New York, 1998.
  • Schimmel, Paul, Kristine Stiles, and Museum of Contemporary Art, Out of Actions: Between Performance and the Object, 1949-1979, The Museum of Contemporary Art, Los Angeles, CA and Thames and Hudson, NY, 1998.
  • Susana Torre, Footfalls, Site Specific Sculptures, "Footfalls 98: Mapping the Walk," Greenport, New York, 1998.
  • Judy Collischan, Ph.D., Neuberger Museum of Art 1997 Biennial Exhibition of Public Art, Purchase College, State University of New York, 1997.
  • Ann Cohen De Pietro, Eight by Eight, Heckscher Museum of Art, Huntington, NY, 1997.
  • Marcia Tucker, Twentieth Century American Sculpture at the White House, Exhibition IV, The White House, Washington, D.C., 1996.
  • Carl E. Hazlewood, Guest Curator, Required Nuance: Three Contemporary Sculptors, The Studio Museum in Harlem, New York, NY, 1995.
  • Dr. Judy Collischan, Exhibition Director and Noah Jemisin, Exhibition Curator, Rainbow: Prints from Bob Blackburn's Printmaking Workshop, A Cultural Presentation of the United States of America, Printmaking Workshop, New York, NY, 1994, pp. 48.
  • Constance W. Glenn, ed., Reconfiguring Boundaries/Defining Spaces, "Insite/Centric," University Art Museum, California State University, Long Beach, CA, 1994, pp. 6-9.
  • Hatch-Billops Collection, Artist and Influence, Lorraine O'Grady, interviewer, March 12, 1993, pp. 20-32.
  • Elaine A. King, Five Artists at the Airport, Insights into Public Art from the show of the same name at the Wood Street Galleries of the Pittsburgh Cultural Trust, Pittsburgh, PA, 1992.
  • Christina M. Strassfield, "Volume: 6 Contemporary Sculptors," from the show of the same name at Guild Hall Museum, East Hampton, NY, 1992.
  • Maurice Berger, Environmental Terror, from show of the same name at the University of Maryland, Baltimore, MD, 1992.
  • Judy Collischan Van Wagner, Maren Hassinger, published by Long Island University, C. W. Post Campus, Hillwood Art Gallery, 1991, 48 pages.
  • Peraza, Tucker & Conwill, The Decade Show, from show of the same name at the Museum of Contemporary Art and The Studio Museum in Harlem, 1990, p. XXXIII.
  • Robert L. Douglas, African American Contemporary Art, from show of the same name at Universita di Palermo, Cibellina, Museo Civico d'Arte Contemporanea, 1990, pp. 78-79.
  • Beryl Wright, The Appropriate Object from show of the same name, Albright-Knox Gallery, Buffalo, NY, Detroit Institute of the Arts, Detroit, MI, San Jose Museum of Art, San Jose, CA, J. B. Speed Museum, Louisville, KY, 1989, pp. 1, 12-19.
  • Bernice Steinbaum, American Resources: Selected Works of African American Artists, from the show of the same name at Bernice Steinbaum Gallery, New York, NY, and Fisk University, Downtown Arts Gallery and Vanderbilt University, Nashville, TN, from June 18 - Aug. 18, 1989.
  • Published in 1989.
  • John Yau, Air Lines, from show of same name, Hillwood Art Gallery, Long Island University, C. W. Post Campus, Brookville, NY, March 1-April 16, 1989, pp. 7, 9-10, 25.
  • Philip Verre, Traditions and Transformations: Contemporary Afro-American Sculpture, from show of same name at The Bronx Museum of The Arts, Feb. 21-May 27, 1989, pp. 7,
  • 9, 12, 30-33, 59, 62, 70.
  • Dierdre L. Bibby, Who's Uptown: Harlem '87, show of same name, The Schomburg Center for Research in Black Culture, March 11-April 16, 1988, pp. 17, 52, 54.
  • Edwards, Longo, Berger, Krauss, A Debate on Abstractions, 4-part abstraction exhibition at The Bertha and Karl Leubsdorf Art Gallery, Hunter College, NYC, published in 1988, pp. 47-
  • 61 ("Anti-Simulation: Materialism and Abstraction").
  • Leslie King-Hammond and Lowery Stokes Sims, Art As a Verb, show of same name, Maryland Institute College of Art, Baltimore, MD, Nov. 21, 1988-Jan. 8, 1989.
  • Enrico Martignoni, Sculptors Working Socrates Sculpture Park, May 22, 1988-March 15, 1989.
  • Juli Carson, Howard McCalebb, Blue Angel: The Decline of Sexual Stereotypes in Post-Feminist Sculpture, show of same name, Oct. 10-Nov. 14, 1987, Longwood Arts Gallery, Bronx, NY and Jan. 2-31, 1988, Space 111, Birmingham, AL, 1987, pp. 11, 16-17.
  • Alanna Heiss, National and International Studio Programs 1986-1987, The Institute for Art and Urban Resources, Inc., P.S. 1 and The Clocktower, NYC, published 1987, pp. 36, 37.
  • Museum of African American Art, Art in Public Places, April 15-Aug. 30, 1987.
  • Judd Tully, '87 Artpark Visual Arts Program, summer, 1987.
  • Lucinda H. Gedeon, Artists Select: Contemporary Perspectives by Afro-American Artists, Arizona State University Art Collections, Tempe, AZ, published 1986, p. 16.
  • Ronald J. Onorato, 33rd Arts Festival of Atlanta, 1986, summer 1986 (see chapter "NEA site works"), pp. 5, 8, 9, 13.
  • Ethel Moore and William D. Paul, Jr., 32nd Arts Festival of Atlanta, 1985, summer 1985 (see chapter "NEA site works"), pp. 9, 16, 17, 27.
  • Robert L. Douglas and Jeff Donaldson, Beyond 1984: Contemporary Perspectives on American Art, show of same name, Trisolini Gallery, Ohio University, Athens, OH, Oct.
  • 19-Nov. 15, 1985.
  • Jacqueline Fonvielle-Bontemps, Choosing: An Exhibit of Changing Perspectives in Modern Art and Art Criticism by Black Americans, 1925-1985, show of same name, published 1985, pp. 42, 89.
  • Howard McCalebb, Sticks + Stones: Modern/Post Modern Sculpture, show of same name, Oct. 14-Nov. 25, 1984, Kenkeleba Gallery, New York City, published 1984.
  • Sharon F. Patton, East/West: Contemporary American Art, show of same name, California Afro-American Museum, July 22, 1984-Jan. 15, 1985, published 1984.

Awards & Recognition

2013

  • Panelist with Ken Johnson, Michael Brenson and Joan Waltemath, "The Position of the Critic," Maryland Institute College of Art, Baltimore, MD
  • Artist in Residence, University of Delaware, Newark, DE
  • Juror, Target Gallery, Alexandria, VA

2012

  • Juror, Fulbright Foundation
  • Visiting Lecturer, Queens College, New York, NY

2011

  • The Louis Comfort Tiffany Foundation.
  • "Opportunities for Sculpture," Lecture about my work at Arttable, New York, NY. March 18.

2010

  • Presenter, Education Panel, Second Transformations Conference, Maryland Institute College of Art

2009

  • Lifetime Achievement Award, Women's Caucus for the Arts
  • Ten Best Baltimore Artists of 2008, Bmoreart.blogspot
  • Juror, Baltimore Sculpture Project, Office for Promotion and the Arts, Baltimore, MD

2008

  • "African American Avant-Gardes 1965-1990," panel and oral history project, Getty Research Institute, Los Angeles, CA
  • Lecture and slide presentation for the Joshua Johnson Council at the Baltimore Museum of Art, Baltimore, MD
  • Lecture and critique, Bennington College, Bennington, VT

2007

  • Juror, Baltimore Sculpture Project, Office of Promotion and the Arts, Baltimore, MD
  • Pollock-Krasner Foundation, Artist's Grant
  • Panelist, "Modern Art in Los Angeles: Feminist Art in Southern California," Getty Research Institute, Los Angeles, CA
  • Presenter, "Education Panel," International Sculpture Center Conference, Cincinnati, Ohio
  • "Figure It Out: Interpreting Form in a Public Space," led tour of the Hirschhorn Museum Sculpture Garden, Washington, DC

2006

  • Lecture and critique, Otis Art Institute, Los Angeles, CA
  • Juror, Fulbright National Screening Committee, Sculpture Panel, New York, NY
  • Panelist, Arts Education Round Table, International Sculpture Center Conference, Cincinnati, OH
  • Panelist, 36th Annual Meeting of the Jean Piaget Society on "The Arts and Human Development," Baltimore, MD
  • Conducted Residents’ Critiques, Creative Alliance, Baltimore, MD

2005

  • Residency ASAP (Arcadia Summer Art Program, Kippy's Kamp), Bar Harbor, ME.
  • Judge, "Images: A Festival of the Arts," for the Atlantic Center for the Arts, New Smyrna Beach, FL.

2004

  • Co-Curator with Chezia Thompson, "Phenomenology," Artscape, Baltimore, MD.
  • Panel lecture/ discussion for The Art Seminar Group, "David Smith's Workstream: Integrating Art and Life," Suburban Club of Baltimore County, MD.
  • Artist in Residence, Nature Conservancy/ Andy Warhol Estate, East Hampton, NY.

2003

  • Adolph and Esther Gottlieb Foundation Individual Support Grant.

2002

  • Member External Review Team for the Art Department of the State University of New York at Stony Brook.

2001

  • Panel discussion: "The Love/ Hate Relationship of Art Schools and the Art World Blur," National Council of Arts Administrators, Virginia Commonwealth. University, VA
  • MacDowell Colony Residency, Peterborough, New Hampshire.
  • Presentation of work to Art Department, University of Maryland, College Park, MD.

1997

  • Artists' Grant, Anonymous Was A Woman, New York, NY.
  • Panelist, "Abstraction or Essence: Three African American Perspectives," The Museum of Modern Art, New York, NY.
  • Visiting Artist, Randolph-Macon College, Lynchburg, VA.
  • Visiting Artist, Mason Gross School of the Arts (Graduates), Rutgers University, New Brunswick, NJ.
  • Inclusion in the National Endowment for the Arts permanent archive.

1996

  • International Association of Art Critics Award, Best Show by an Emerging Artist (Second Place) for solo show at Trans Hudson Gallery Joan Mitchell. Foundation, Grant for Artists.

1995

  • Panel discussion: "Nature, Landscape, and Contemporary Sculpture" (Moderator Michael Brenson), The New School, New York, NY.
  • Discussion: "Rubber Bob," video short film by filmmakers Peter and Maren Hassinger, The Southampton Cultural Center, Southampton, NY.

1994

  • Panel discussion: "Feminism and Art Production," The Parrish Art Museum, Southampton, NY.
  • Visiting Artist Fellowship, The Brandywine Workshop, Philadelphia, PA.
  • Panel discussion: "Opportunities for the Future - Careers for Women Artists," State University of New York at Stony Brook.

1991

  • Visiting Artist, University of Iowa, Iowa City.
  • Visiting Artist, Southern Illinois University at Carbondale.

1990

  • Lecture Panel, "Shifting the Mainstream: Multi-Cultural Identity in the Arts," San Jose Museum of Art, San Jose, CA.