SOLO EXHIBITION CATALOGUES

Beckwith, Naomi, and Valerie Cassel Oliver, eds. What Remains To Be Seen. New York and Chicago: DelMonico•Prestel Books and Chicago Museum of Contemporary Art, 2018.

Brewer, Camille Ann. Howardena Pindell: Video Drawings, 1973–2007. Boston: Howard Yezerski Gallery, 2013.

Brownlee, Andrea Barnwell, and Anne Collins Smith. Howardena Pindell. Atlanta: Spelman College Museum of Fine Art, 2015.

Elsas, Ellen F. Traveler’s Memories: Japan ’85. Birmingham, Ala.: Birmingham Museum of Art, 1985.

Greenan, Garth, ed. Howardena Pindell: Paintings, 1974–1980. New York: Garth Greenan Gallery, 2014.

Howardena Pindell: Autobiography. New York: Cyrus Gallery, 1989.

Howardena Pindell: Odyssey. New York: The Studio Museum in Harlem, 1986.

Howardena Pindell: Paintings and Drawings. Potsdam: Roland Gibson Gallery, Potsdam College of the State University of New York, 1992.

BOOKS AND CHAPTERS

Avilez, GerShun. Radical Aesthetics and Modern Black Nationalism. Urbana: University of Illinois Press, 2016.

Broude, Norma, and Mary D. Garrard, eds. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: Abrams, 1994.

Brownlee, Andrea Barnwell, and Valerie Cassel Oliver. Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970. Houston: Contemporary Arts Museum, 2008.

Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. New York: Routledge, 1990.

Copeland, Huey. “In the Wake of the Negress.” In Modern Women: Women Artists at the Museum of Modern Art, ed. Cornelia Butler and Alexandra Schwartz, 480–97. New York: Museum of Modern Art, 2010.

Farrington, Lisa. African-American Art: A Visual and Cultural History. New York: Oxford University Press, 2016.

———. Creating Their Own Image: The History of African-American Women Artists. New York: Oxford University Press, 2005.

King-Hammond, Leslie. Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists. New York: Midmarch Arts Press, 1995.

Lewis, Samella. African American Art and Artists. Berkeley: University of California Press, 1994.

Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. New York: Pantheon, 1990.

McMillan, Uri. Embodied Avatars: Genealogies of Black Feminist Art and Performance. New York: New York University Press, 2015.

Okediji, Moyo. The Shattered Gourd: Yoruba Forms in Twentieth-Century American Art. Seattle: University of Washington Press, 2003.

Painter, Nell. Creating Black Americans: African-American History and Its Meanings, 1619 to the Present. New York: Oxford University Press, 2006.

Patton, Sharon. African-American Art. New York: Oxford University Press, 1998.

Piper, Adrian. Colored People: A Collaborative Book Project. London: Book Works, 1991.

Powell, Richard J. Black Art and Culture in the 20th Century. London: Thames & Hudson, 1997.

Zausner, Toby. When Walls Become Doorways: Creativity and Transforming Illness. New York: Harmony Books, 2006.

GROUP EXHIBITION CATALOGUES

The Afro-American Artist in the Age of Cultural Pluralism. Montclair, N.J.: Montclair Art Museum, 1987.

A.I.R.: Overview, 1972–1977: An Exhibition in Two Parts. New York: A.I.R. Gallery, 1978.

Alexander, Stephen, and Eugene Diserio. Rooms: P.S. 1. Flushing, N.Y.: Institute for Art and Urban Resources, 1976.

American Artists ’76: A Celebration. San Antonio: Marion Koogler McNay Art Institute, 1976.

American Women Artist Show. Hamburg: Kunsthaus, 1972.

Ammer, Manuela, Achim Hochdörfer, and David Joselit, eds. Painting 2.0: Expression in the Information Age. Munich: Prestel, 2015.

Art on Paper. Greensboro: Weatherspoon Art Gallery, University of North Carolina, 1975.

Berger, Maurice. Race and Representation: Art/Film/Video. New York: Hunter College, City University of New York, 1987.

Bhalla, Hans. Introduction to Paintings and Drawings by Howardena Pindell and Vincent Smith. Atlanta: Coordinated Art Program of the Atlanta University Center, 1971.

Blacks: USA: 1973. New York: New York Cultural Center, 1973.

Brincard, Marie-Thérèse, ed. Beauty by Design: The Aesthetics of African Adornment. New York: African-American Institute, 1984.

Butler, Cornelia H., and Lisa Gabrielle Mark. WACK! Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art, 2007.

Campbell, Mary Schmidt. Tradition and Conflict: Images of a Turbulent Decade, 1963–1973. New York: The Studio Museum in Harlem, 1985.

A Celebration of American Women Artists: Part II: The Recent Generation. New York: Sidney Janis Gallery, 1984.

Chassman, Gary Miles, ed. In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr. Washington, D.C.: Smithsonian Institution, 2002.

Contemporary Black Artists in America. New York: Whitney Museum of American Art, 1971.

Drawing and Collage: Selections from the New York University Collection. New York: Grey Art Gallery, 1977.

DuBois Shaw, Gwendolyn. Represent: 200 Years of African American Art in the Philadelphia Museum. Philadelphia: Philadelphia Museum of Art, 2014.

Dziedzic, Erin, and Melissa Messina. Magentic Fields: Expanding American Abstraction, 1960s to Today. Kansas City, Mo.: Kemper Museum of Contemporary Art, 2017.

An Exuberant Bounty: Prints and Drawings by African Americans. Philadelphia: Philadelphia Museum of Art, 2000.

Fine, Ruth. Full Spectrum: Prints from the Brandywine Workshop. Philadelphia: Philadelphia Museum of Art, 2012.

Fine, Ruth, Molly Donovan, and Jean Westmacott. Women Artists in the Vogel Collection. Gainesville, Ga.: Brenau University, 1998.

Five on Fabric. Austin: Laguna Gloria Art Museum, 1981.

Flam, Jack, and Daniel Schapiro. Western Artists/African Art. New York: Museum for African Art, 1994.

Frankel, David. Sniper’s Nest: Art That Has Lived with Lucy R. Lippard. Annandale-on-Hudson, N.Y.: Center for Curatorial Studies, Bard College, 1996.

Franks, Pamela. Embodied: Black Identities in American Art from the Yale University Art Gallery. New Haven: Yale University Art Gallery, 2010.

Godfrey, Mark, and Zoé Whitley. Soul of a Nation: Art in the Age of Black Power. London: Tate Gallery Publishing, 2017.

Goldin, Amy. Patterning and Decoration. Miami: Museum of the American Foundation for the Arts, 1977.

Goode-Bryant, Linda, and Marcy S. Philips. Contextures. New York: Just Above Midtown, 1978.

The Handmade Paper Object. Santa Barbara: Santa Barbara Museum of Art, 1976.

Herzberg, Julia P. The Decade Show: Frameworks of Identity in the 1980s. New York: Museum of Contemporary Hispanic Art, 1990.

Howardena Pindell. Albany: Grove Gallery, State University of New York, 1990.

Jones, Kellie. 9 Uptown. New York: Harlem School of the Arts, 1987.

———. Energy/Experimentation: Black Artists and Abstraction, 1964–1980. New York: The Studio Museum in Harlem, 2006.

King-Hammond, Leslie, and Lowery Stokes Sims. Art as a Verb: The Evolving Continuum. Baltimore: Maryland Institute College of Art, 1988.

Kingsley, April. Afro-American Abstraction: An Exhibition of Contemporary Painting and Sculpture by Nineteen Black American Artists. Flushing, N.Y.: P.S. 1, Institute for Art and Urban Resources, 1980.

Lippard, Lucy R. 26 Contemporary Women Artists. Ridgefield, Conn.: Aldrich Museum of Contemporary Art, 1971.

Mendieta, Ana, ed. Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States. New York: A.I.R. Gallery, 1980.

Morris, Catherine, and Rujeko Hockley, eds. We Wanted a Revolution: Black Radical Women 1965–85/A Sourcebook. Brooklyn: Brooklyn Museum of Art, 2017.

New American Graphic Art. Cambridge, Mass.: Fogg Art Museum, Harvard University, 1973.

A New Vitality in Art: The Black Woman. South Hadley, Mass.: John and Norah Warbeke Gallery, Mount Holyoke College, 1972.

New Ways with Paper. Washington, D.C.: National Collection of Fine Arts, Smithsonian Institution, 1978.

1972 Annual Exhibition: Contemporary American Painting. New York: Whitney Museum of American Art, 1972.

Oliver, Valerie Cassel, and Franklin Sirmans. Double Consciousness: Black Conceptual Art Since 1970. Houston: Contemporary Arts Museum, 2005.

On Trial: Yale School of Art. New York: 22 Wooster Gallery, 1982.

Outside the Lines. Houston: Contemporary Arts Museum, 2014.

Painting, Drawing, and Sculpture of the ’60s and ’70s from the Dorothy and Herbert Vogel Collection. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1975.

Painting and Sculpture Today, 1974. Indianapolis: Indianapolis Museum of Art, 1974.

Pérez-Oramas, Luis. An Atlas of Drawings: Transforming Chronologies. New York: Museum of Modern Art, 2006.

Pindell, Howardena, Judith Wilson, and Moira Roth. Autobiography: In Her Own Image. New York: INTAR Latin American Gallery, 1988.

Ratcliff, Carter. Thick Paint. Chicago: Renaissance Society, 1978.

Rattermeyer, Volker. Lines, Grids, Stains, Words: Minimal Art Drawings from the Collection of the Museum of Modern Art, New York. New York: Museum of Modern Art, 2008.

Ravenal, John B. Outer and Inner Space: A Video Exhibition in Three Parts. Richmond: Virginia Museum of Fine Arts, 2002.

Rifkin, Ned. Stay Tuned. New York: New Museum of Contemporary Art, 1981.

Robinson, Jontyle Theresa. Bearing Witness: Contemporary Works by African American Women Artists. New York: Rizzoli, 1997.

Rosen, Randy, and Catherine Coleman Brawer. Making Their Mark: Women Artists Move into the Mainstream, 1970–1985. New York: Abbeville Press, 1989.

Sajet, Kim. The Chemistry of Color: African-American Artists in Philadelphia, 1970–1990. Philadelphia: Pennsylvania Academy of the Fine Arts, 2005.

Siegel, Katy, ed. High Times, Hard Times: New York Painting 1967–1975. New York: Independent Curators International, 2006.

Something to Look Forward To. Lancaster, Pa.: Phillips Museum of Art, Franklin & Marshall College, 2004.

Strassfield, Christina. Aspects of Collage. East Hampton, N.Y.: Guild Hall Museum, 1991.

Sugarman, Lydia Behr. On the Cutting Edge: 10 Curators Choose 30 Artists. Hempstead, N.Y.: Fine Arts Museum of Long Island, 1989.

Sundell, Nina. The Turning Point: Art and Politics in 1968. Cleveland: Cleveland Center for Contemporary Art, 1988.

Television’s Impact on Contemporary Art. Flushing, N.Y.: Queens Museum, 1986.

Tilley, Mark. Exchanges I. New York: Henry Street Settlement Urban Life Center, 1979.

Tucker, Marcia, Lynn Gumpert, and Ned Rifkin. Language, Drama, Source, and Vision. New York: New Museum of Contemporary Art, 1983.

Tuttle, Lisa. 1938–1988: The Work of Five Black Women Artists. Atlanta: Atlanta College of Art, 1988.

Van Devanter, Ann C. American Self-Portraits, 1670–1973. Washington, D.C.: International Exhibitions Foundation, 1974.

Walczak, Larry. The Nancy Reagan Fashion Show. New York: Printed Matter, 1982.

Wye, Deborah. Thinking Print: Books to Billboards, 1980–95. New York: Museum of Modern Art, 1996.

INTERVIEWS

“Howardena Pindell.” In Since the Harlem Renaissance: 50 Years of Afro-American Art, 34–36. Lewisburg, Pa.: The Center Gallery, Bucknell University, 1985.

Jones, Kellie. “Interview with Howardena Pindell.” In EyeMinded: Living and Writing Contemporary Art, 215–34. Durham, N.C.: Duke University Press, 2011.

Miller, Lynn F., and Sally S. Swenson. “Howardena Pindell.” In Lives and Works: Talks with Women Artists, vol. 1, 130–56. Metuchen, N.J.: Scarecrow Press, 1981.

ARTICLES AND REVIEWS

Alloway, Lawrence. “Art.” The Nation, April 12, 1980, 441–42.

Barnwell, Andrea D. “Been to Africa and Back: Contextualizing Howardena Pindell’s Abstract Art.” International Review of African American Art 13, no. 3 (1996): 42–49.

Cotter, Holland. “Art in Review: Howardena Pindell.” New York Times, July 28, 2006.

Crimp, Douglas. “New York Reviews: Howardena Pindell.” Art News 73, no. 3 (1974): 99.

Glueck, Grace. “Howardena Pindell: Social and Political Work, 1980–93.” New York Observer, June 14, 1993.

Holmes, Jessica. “Howardena Pindell: Paintings, 1974–1980.” Brooklyn Rail, June 5, 2014.

Lippard, Lucy. “Color Scheming.” The Village Voice, April 22–28, 1981.

Lorber, Richard. “Women Artists on Women in Art.” Portfolio Magazine (February–March 1980): 68–73.

Moffitt, Evan. “Howardena Pindell.” Frieze, no. 175 (2015): 166–67.

Perreault, John. “Artbreakers: New York’s Emerging Artists.” Soho News, September 17–23, 1980, 42–43, 45.

Ratcliff, Carter. “The Paint Thickens.” Artforum 14, no. 10 (1976): 43–47.

Rubinstein, Raphael. “The Hole Truth.” Art in America 102, no. 10 (2014): 128–35.

Schor, Mira, Emma Amos, Susan Bee, Johanna Drucker, Maria Fernandez, Amelia Jones, Shirley Kaneda, et al. “Contemporary Feminism: Art Practice, Theory, and Activism—An Intergenerational Perspective.” Art Journal 58, no. 4 (1999): 8–29.

Sheets, Hilarie M. “The Changing Complex Profile of Black Abstract Painters.” Art News 113, no. 6 (June 2014): 62.

Sims, Lowery Stokes. “Howardena Pindell’s Memory Works: Postcards on the Edge.” New Observations, no. 97 (1993): 16–21.

———. “The Mirror/The Other.” Artforum 28, no. 7 (1990): 111–15.

Smith, Roberta. “Arts Reviews: Howardena Pindell.” Arts Magazine 47, no. 4 (1973): 78.

Sturgis, Ingrid. “Censorship by Omission: Black Art Faces More Than Jesse Helms.” Emerge (March 1991): 42–43.

Weathers, Diane. “Artists and the ‘Fine Art’ of Survival.” Black Enterprise (December 1975): 18–24.

White, Clarence D., and Howardena Pindell. “For Inclusion: Howardena Pindell’s Media Persona.” Art Papers 15, no. 4 (1991): 34–37.

Whitehead, Jessie L. “Theorizing Experience: Four Women Artists of Color.” Studies in Art Education 50, no. 1 (2008): 22–35.

Wilson, Judith. “Coming of Age: A Look at Three Contemporary Artists—Howardena Pindell, Jeanne Moutoussamy-Ashe, Beverly Buchanan.” Essence (May 1986): 120–22.

———. “Howardena Pindell Makes Art That Winks at You.” Ms. Magazine 8, no. 6 (1980): 66–70.

———. “Private Commentary Goes Public.” The Village Voice, April 15–21, 1981, 84.

Yau, John. “The Beauty of Howardena Pindell’s Rage.” Hyperallergic, May 11, 2014, at hyperallergic.com/125403/the-beauty-of-howardena-pindells-rage/.

FILMS

Irving, David, dir. Howardena Pindell: Atomizing Art. Chappaqua, N.Y.: L&S Video, 2006. DVD.

Leeson, Lynn Hershman, dir. ! Women Art Revolution. New York: Zeitgeist Films, 2011. DVD.

WRITINGS BY THE ARTIST
“Jan Groth and the Constructed Line.” Craft Horizons (August 1972): 12–15, 63.

“Words with Ruscha,” The Print Collector’s Newsletter 3, no. 6 (January–February 1973): 125–28.

“Notes from Africa.” The Print Collector’s Newsletter 5, no. 1 (1974): 8–9.

“Robert Rauchenberg’s Link.” MoMA, no. 1 (Autumn 1974): 7.

“Tales of Brave Ulysses: Alan Shields in Conversation with Howardena Pindell,” The Print Collector’s Newsletter V, no. 6 (January–February 1975), 138.

“Alternative Space: Artists’ Periodicals,” The Print Collector’s Newsletter 8, no. 4 (September/October 1977): 96–109, 120–21.

“Criticism/or/Between the Lines.” Heresies, no. 8 (1979): 2.

“Paul Klee Centennial: Prints and Transfer Drawings.” In Paul Klee Centennial: Prints and Transfer Drawings, 3–8. New York: Museum of Modern Art, 1979.

“Artists’ Periodicals: An Event for 1984 or Page 2001.” Art Journal 39, no. 4 (1980): 282–83.

“An American Black Woman Artist in a Japanese Garden,” Heresies, no. 15 (1982): 54–55.

“Breaking the Silence.” New Art Examiner 18, no. 3 (1990): 23–27, 50–51.

“To Extinguish Once and for All the Possibility of Independent Thought.” The Spirit of January Monthly (January 1992): 3–4, 6.

Who Do You Think You Are? One of Us? (1992). From Howardena Pindell: Paintings and Drawings, 1972–1992. (Kansas City, Mo.: Exhibits USA, 1992).

The Heart of the Question: The Writings and Paintings of Howardena Pindell. New York: Midmarch Arts Press, 1997.

“Diaspora/Strategies/Realities” n.paradoxa, no. 7 (July 1998): 12–26.

“Contemporary Feminism: Art Practice, Theory, and Activism—An Intergenerational Perspective,” Art Journal 58, no. 4 (Winter 1999): 8, 22–23.

“Numbering: Counting on My Fingers and Toes.” International Review of African American Art 19, no. 3 (2004): 42–43.

“Letters to a Young Artist,” Art on Paper 9, no. 6 (July/August 2005): 32–33, 45–46.

Kara Walker—No, Kara Walker—Yes, Kara Walker—? New York: Midmarch Arts Press, 2009.