Curriculum Vitae & List of Publications

Torres8

Anthony Torres, “Corona Dura”, 7″ x 8″, 2012.

CURRICULUM VITAE

PROFESSIONAL EXPERIENCE

1994-present
Art Writer & Independent Curator

2004-pesent
Art Appraiser

Research and writing critical reviews for San Francisco Examiner, Oakland Tribune, Northside Publications, Art Papers, New Art Examiner, Artweek, Whitehot Magazine of Contemporary Art.  Conceptualization and development of exhibitions, exhibition design, delivering educational talks, and art historical research.

1997-2001
University of California, Santa Cruz
Teaching Associate, “Introduction to Architecture,” Art History, Spring 2000.  This course focuses on architectural history through the study of structural drawings, discussion of form, and the ideological signification of various buildings from various cultures.

Graduate Research Fellowship, Department of Anthropology, Winter, 1999.  Art and Material Culture as Manifestation of Diverse Cosmologies; specifically the impact of Euro-centric definitions and interpretations of “art” on cultural practices of non-Western peoples (Northwest American Coast, Yoruba, and Mexico).

Teaching Associate, “Society and Culture: Transculturation,” Latin American/Latino Studies, Spring 1998.  This course looks at issues of of art and culture in relation to globalization, biculturation, transculturation, cross-cultural communication, identity, gender, race within syncretic/hybridized social formations.

1994-96
Ohio State University, Columbus, Ohio
Instructor, “Writing Art Criticism,” Spring 1995, Academic year 1995-96.  This course focuses on writing about contemporary American art by a variety of artists, and various modes of interpretation.Instructor of “Ethnic Arts as a Means of Intercultural Communication,” Academic year 1994-95. This course locates art, culture and aesthetics within various social, economic, political and historical contexts, in effort to build shared understanding of community, social identity and self-identity through varying interpretations of cultural phenomena.

1993
Arts Midwest Fellow, King Arts Complex, Columbus, Ohio (July – December) Responsible for the conceptual development and solidification of a three day jazz festival and related programming, including: an exhibition on the history of jazz in Columbus through photographs and didactic wall text, designing a model for a regional art competition of work inspired by jazz history and music, developing a docent orientation program, identifying funders, drafting grant narratives, drafting performance program text, identifying and coordinating potential partners, and serving as program liaison.

1993
Arts Midwest Fellow, Museum of Contemporary Art, Chicago (February – July) Responsible for the conceptualization and development of Diverse Legacies: Cultural Issues in Contemporary Latin American Art, a symposium of internationally recognized artists and scholars.  Worked on the development of “Fluxus Chicago,” a collaboration of Fluxus activities with the MCA, Northwestern University, University of Illinois, Chicago Arts Club, School of the Art Institute, and the University of Chicago.  Helped coordinate a one-year study plan for school reform through the arts with Chicago Opera Theater and two south Chicago schools.  Delivered public talks on the exhibition Hand Painted Pop, conducted docent briefings, and drafted the grant proposal for Diverse Legacies symposium.

1991-1992
Traveling Exhibitions Coordinator, The Mexican Museum, San Francisco.  Coordination of all aspects of Traveling Exhibitions from the museum’s permanent collection and special exhibition projects, including conceptualization, coordination and implementation of off-site exhibitions and special projects; marketing of program; contract negotiation, site visits, scheduling, crating and shipping, registration, invoicing; writing and production of publicity and educational materials.

1988-1991
Executive Director/Curator, San Jose Art League Downtown Gallery, San Jose, California.  Responsible for conceptualization, development, curation, and installation of ongoing schedule of 10-12 exhibitions annually (including two statewide competitions); developing and writing curatorial statements, bimonthly newsletters, publicity materials, exhibition brochures and announcements, drafting prospectus for competitions; overseeing organizational budget, fundraising, and grant writing; acting as board liaison; recruiting and supervising gallery volunteers; developing educational programs and classes; organizing events and receptions.

1986-1988
Assistant Director, Eloise Pickard Smith Gallery, Cowell College, University of California, Santa Cruz.  Assistance with curating and planning exhibitions; design and installation of exhibitions, including assisting artists with site-specific works; hiring, organizing and managing schedules and activities of staff of six; organizing and cataloguing slides for jurying; registration of works; planning and organization of meetings and opening receptions; record-keeping.

EDUCATION

1996-2001
University of California, Santa Cruz. Masters of Arts, History of Consciousness (interdisciplinary philosophy degree) 2001.  Art making as a means of cultural contestation and social transformation.

1994-1996
Ohio State University, Columbus. Master of Arts, Art Education, 1996.  Writing art criticism as a means of art education.

1986-1988
Porter College, University of California, Santa Cruz. Bachelor of Arts, Art History, Emphasis in Contemporary Aesthetic Theory, Pop Art, 18th Century French Realism, and Leonardo da Vinci.

1980-1985
Merrill College, University of California, Santa Cruz. Bachelor of Arts, Visual Political Theory: Dialectical Film Form and Capitalism (individual major), Emphasis in Capitalist Development in Europe, Capitalist Penetration in Latin America, Development and Underdevelopment Theory, Social Theory, and Russian and Cuban Cinema.

ADDITIONAL COURSEWORK:

2003-2004
American Society of Appraisers Appraisal Studies Program: Personal Property Valuation, Rhode Island School of Design.

Spring 2004
“Personal Property Valuation, The Legal and Commercial Environment” (Studies the policies, methods, legal terms, the roles of appraisers as qualified expert witnesses, arbiters, consultants, and limiting legal exposures through due diligence).

Spring 2004
“Report Writing” (Concrete construction of an appraisal report).

Winter 2004
“Methodology: Research and Analysis” (Investigates modes of research and analysis to determine values).

Fall 2003
“Introduction to Personal Property Valuation” (History of appraisal, relating economic to appraisal practices).

AWARDS / SPEAKER INVITATIONS / LECTURER / PANALIST / EXHIBITIONS CURATED

2012
Selected to present an academic paper  “Toward a Basis for Marxian Aesthetics” at the conference “Marx and the Aesthetic” held at the Goethe Institute, University of Amsterdam, Netherlands, May 10-13.

2011
Guest speaker presenting “Critical Engagements: Negotiating Intercultural Sight/Site Specificities,” at Miami University, Oxford, Ohio, September. Sponsored by the Center for American and World Culture and the Miami University Art Museum.

2010
Selected to present at the conference “Latino Art Now! The New Wave/La Nueva Ola”, November 10 – 13, 2010, in Los Angeles sponsored by the University of California, Los Angeles and University of Notre Dame, Indiana. Participated in the panel “Latinidad” along with Tomas Ybarra (Frausto, Independent Scholar, San Antonio, TX);  Arlene Davila (New York University, New York); and E. Carmen Ramos (Smithsonian American Art Museum, Washington, DC).

Selected to lecture on “Contemporary Criticism” at the 2010 Art Criticism Conference, San Francisco Art Institute, California. Organized by Mark Van Proyen, SF Art Institute.

Selected  to present at a special events round table discussion on the exhibition curated by Anthony Torres “The Question is Known: (W)here is Latin American/Latino Art?” at the conference “The Task of the Curator: Translation, Intervention, and Innovation in Exhibitionary Practice” held at University of California, Santa Cruz. Organized and Moderated by Lissette Olivares, History of Consciousness Department, UC, Santa Cruz.

2009
Invited to participate in a panel conversation at University of Texas, Pan American, Edinburg, Texas with artist Theophilus Brown and gallerist Esteban Ortega Brown in cunjunction with the exhibition “Theophilus Brown, Rendering the Male Nude: Tradition or Provocation” at the ArtHouse in McAllen, Texas. Introductory remarks by Matt Gonzalez and Maria Elena Macias, UTPA Assistant Professor.

2008
Lewis DeSoto: Tales of Power, di Rosa Preserve, Napa. The artist in Conversation with writer and curator Anthony Torres.

Homage and Remenbrance: The Past is Present, Sonoma Valley Museum of Art:
Helene Aylon,artist
Claudia Bernardi, artist and human rights activist
Victor Cartagena, artist
Rob Keller, Artist
Anthony Torres, Moderator, Curator, Homage and Remenbrance: The Past is Present

The Question is Known: (W)here is Latin American/Latino Art?
An all-day Symposium at the San Francisco Art Institute with discussion of ideas raised by the exhibition, featuring the participation of:
Claudia Bernardi, artist and human rights activist
Judith Bettleheim, Professor of Art History, San Francisco State University
Hou Hanru, Director, Museum Studies Program, San Francisco Art Institute
Gerardo Mosquera, art historian, Adjunct Curator, New Museum of Contemporary Art, New York
Alma Ruiz, Curator, The Museum of Contemporary Art, Los Angeles
Anthony Torres, Moderator, Curator, “The Question is Known: (W)here is Latin American/Latino Art?”

2002
Dominican College, San Rafael, California. Guest Speaker, “Ansel Adams: The Politics of Installation Design,” March.

2001
Selected “25th Annual Graduate Art History Symposium,” Representing Subalterity, University of British Columbia, Vancouver.

San Jose State University, San Jose, California. Guest Speaker, “Art and Social Criticism,” April.

2000
Selected “First Annual Graduate Art History Symposium,” Enrique Chagoya: Art as a Form of Social Contestation, H.M. de Young Museum, Golden Gate Park, San Francisco.

Presentation Grant, History of Consciousness, University of California, Santa Cruz.

1998
University of California, Santa Cruz, MECHA Conference, “Pursuing the Dream: Issues of Access in Education,” May.

Instituto Filosofía, Havana, Cuba, Conference on “Social Emancipation in a Contemporary Cultural Context,” April.  Panelist, “Art and Social Contestation,” February.

1997
University of California, Santa Cruz.  Panelist, “Career Planning for People of Color in the Arts”

1996
Finalist, Graduate Teaching Associate Distinguished Teaching Award, Department of Art Education, Ohio State University, Columbus.

1995
Finalist, Graduate Teaching Associate Distinguished Teaching Award, Department of Art Education, Ohio State University, Columbus.

1995
Columbus Museum of Art, Columbus, Ohio.  Guest Speaker, “Cultural Prejudice in the Arts,” July.

University of Michigan Museum of Art, Ann Arbor. Guest Lecturer, “Challenging Assumptions: Museums and People of Color,” March 21.

1993
1993 Arts Midwest Fellow, Arts Midwest, Minneapolis, Minnesota.

1993-96
Ohio State University, Columbus. Guest Lecturer, “Ethnic Arts as a Means of Cross-Cultural Communication.”

JUROR

1991
Benefit Exhibition and Auction, Bay Area Arts and Crafts Guild, San Jose, California.  Invited Juror.

1991
Los Gatos Art Association Art Competition, Los Gatos, California.  Invited Juror.

Santa Clara County Fair, San Jose, California.  Invited Juror, Watercolor.

CONSULTANT

1995
“Contemporary Art in Mexico and Latin America: Critical and Curatorial Perspectives,” Symposium Consultant, The Robert Gumbiner Foundation for the Arts, Los Angeles.

1993
National Endowment for the Arts, Expansion Arts Program, Site Evaluator.

AFFILIATIONS

2005-2013
American Society of Appraisers

1992-2002
CAA (College Art Association)
NAEA (National Art Education Association)
AAM (Association of American Museums)

                 

LIST OF PUBLICATIONS by ANTHONY TORRES


This is a partial list of published reviews/essays and it is not current.  Additionally, I published other reviews and essays, including researching and writing the “Illustrated Chronology” and essay “Negotiating Space: The Sketch Books,” for the book, Frank Lobdell: The Art of Making and Meaning (Beacon Hill Press and The Fine Arts Museums of San Francisco, 460 pp., 2003), the brochure essay for “The Question is Known: (W)here is Latin American Art?” (2008), an essay in “New Images of Man and Woman” at Alphonse Berber Gallery (Berkeley, 2010), and the catalogue essay for “Theophulis Brown: Nudes” at Thomas Reynolds Gallery, San Francisco, (2010) and others.

PUBLICATIONS

“Resistance and Constraint in Contemporary Art.”  San Jose State University Alumni News, Spring 1990.

Art as Actualization: The Work of Diane Roby.  Exhibition brochure, Atkinson Art Gallery, Santa Barbara, California, February 1994.

“Linkage: Generation/Relation at MACLA Gallery.”  Artweek, vol. 25, no. 13, July 7, 1994.

“Helpless: Gilles Peress and George Legrady at New Langton Arts.”  Artweek, vol. 25, no.    17,  September 8, 1994, p. 18.

“Thesis/Antithesis: Enrique Chagoya at the M. H. de Young Museum.”  Artweek, vol. 25, no. 20.  October 20, 1994, p. 15.

“Stephanie Johnson’s ‘Underground Railroad’ at Intersection for the Arts.”  Artweek, vol. 26, no. 1, January 1995, p. 28.

“‘Art of the Other Mexico: Sources and Meanings’ at Center for the Arts.”  Artweek, vol. 26, no. 5, May 1995, p. 22.

“A Variety of Landscapes.”  Artweek, vol. 26, no. 6, June 1995, p. 14.

“‘After Art: Rethinking 150 Years of Photography’ at the Ansel Adams Center.”  Artweek, vol.     26, no. 7, July 1995, p. 18.

“Jim Campbell and Marie Navarre’s ‘Unforeseeable Memories’ at Capp Street Project.” Artweek, vol. 26, no. 8, August 1995, p. 19.

“Helene Aylon at the University Art Museum, Berkeley.”  Artweek, vol. 26, no. 9, September 1995, p. 24.

“Patssi Valdez at the San Jose Museum of Art.”  Artweek, vol. 26, no. 10, October 1995, p. 20.

“Chikako Okada at Olga Dollar Gallery.”  Artweek, vol. 27, no. 1, January 1996, cover & p. 20.

“‘Measured Movement: The Art of Labor’ at San Jose State University’s Gallery One.” Artweek, vol. 27, no. 5, May 1996, p. 23.

“‘Face Value: American Portraits’, Wexner Center for the Arts.”  New Art Examiner, April 1996.

“‘An Ocean Apart: Contemporary Vietnamese Art from the United States and Vietnam’ at the San Jose Museum of Art.”  Artweek, vol. 27, no. 8, August 1996, p. 29.

“‘Waveforms: Skate(board)ing the Urban Forest’ at the Museum of Art and History at the McPherson Center.” Artweek, vol. 27, no. 12, December 1996, p. 21.

“‘Survival System Train and other Sculptures by Kenji Yanobe’ at Center for the Arts Yerba Buena Gardens in San Francisco.” New Art Examiner, May 1997.

“‘Icons: Magnets of Meaning’ at the San Francisco Museum of Modern Art.” New Art Examiner, July/August 1997, p. 48.

“‘Identity Crisis’ at the Fine Arts Museums of San Francisco.”  New Art Examiner, February 1998.

“‘Art and Ethnography’ at the M. H. de Young Museum.”  Art Papers, September/October 1998.

“Cesar Carlos DiAngelo.’ Rosy’s Gallery, San Francisco,” The New Fillmore, January 2002.

“Ken Auster: Slices of Life,’ at The Thomas Crown Gallery,” New Fillmore, February 2002.

“Dreaming with Open Eyes: Dada and Surrealist Art,” at California Palace of the Legion of Honor, New Fillmore, March 2002.

“Artist Marco Sassone: Painting the Homeless at Ground Level,” New Fillmore, March 2002.

“Henry Villierme: The Bay Area Figurative Movement Lives On,” at Thomas Reynolds Gallery, New Fillmore, April 2002.

“Ansel Adams at One Hundred’ at the Museum of Modern Art.” Art Papers,  April 2002.

“Visions of Utopia: Chinese Propaganda Posters from the 1960s and 1970s,” Big Pogoda Gallery, New Fillmore, May 2002.

“Caren Lorber,” at Sweet Inspiration Gallery, New Fillmore, June 2002.

“Yes Yoko Ono,” at San Francisco Museum of Modern Art, New Fillmore, July 2002.

“Art on a Daily Basis,” New Fillmore, August 2002.

“Homage: New Paintings by Terry Miura,” at Thomas Reynolds Gallery, New Fillmore, September 2002.

“Gerhard Richter: 40 Year of Painting,” at the San Francisco Museum of Modern Art, New Fillmore, November 2002.

“Real Hot Rods,” at the San Francisco Museum of Modern Art Rental Gallery, New Fillmore, December 2002.

“American Art of the 20th Century: 10th Anniversary Exhibition,” at George Krevsky Gallery, Marina Times, and New Fillmore, January 2003.

“Black Artists: Creation 2003” at African American Historical and Cultural Society, Marina Times, and New Fillmore, February 2003.

“Manuel Neri, Metamorphosis: Recent Figurative Sculpture,” at Hackett Freedman Gallery, New Fillmore, March 2003.

“The Continuity of Creativity [Frank Lobdell:The Art of Making and Meaning, and The Evolution of Imagery:The Sketchbooks of Frank Lobdell]” at Legion of Honor in Lincoln Park, New Fillmore, April 2003.

“The New Asian Art Museum,” New Fillmore, May 2003.

“Cultural Treasures and Barbarism” New Fillmore, June 2003.

“Artists Frank Lobdell’s Half-century Journey of Creativity” New Fillmore, July 2003.

“Discovering Hidden Dialogues [Pairings: Discovering Dialogues in Postwar Abstractions],” at Hackett-Freedman Gallery, New Fillmore, August 2003.

“Treasure of Lost Art: Italian Manuscript Painting of the Middle Ages, and Black and White: Prints from the 1970’s and 1980’s” at Legion of Honor in Lincoln Park, New Fillmore, September 2003.

“Open Studios: Meeting Artists Where They Live,” New Fillmore, October 2003.

“Lit. Paint: Lawrence Ferlinghetti, at George Krevsky Gallery.” Art Papers, November/December2003.

“Richard Polsky: Art Dealer and Author,” New Fillmore, November 2003.

“Viola Frey: Playing with Earth, Air, Fire, and Water,” at Rena Bransten Gallery, New Fillmore, November 2003.

“Peter Haaken Thompson: (Re)presenting the Self [Peter Haaken Thompson: New Color Work],” at Scott Nichols, New Fillmore,  December 2003.

“Diane Arbus Revelations,” at San Francisco Museum of Modern Art, New Fillmore, January 2004.

“As-sem-blage,” at Gallery 871, Marina Times, and New Fillmore, February 2004.

“Other Minds Music Festival” at Yerba Buena Center for the Arts, and “Ant Farm 1968-1978” at Berkeley Art Museum, New Fillmore and Marina Times, March 2004.

“The Rehabilitation of Jack Jefferson [Jack Jefferson: Uncompromising Vision],” at Hackett-Freedman Gallery, New Fillmore and Marina Times, May 2004.

‘Black President: The Art and Legacy of Fela Anikulapo Kuti,” at Yerba Buena Center for the Arts, New Fillmore and Marina Times, June 2004.

“Union Street Art Walk,” Quality of Life, July 2004.

“Beautiful Losers: Contemporary Art and Street Culture,” at Yerba Buena Center for the Arts, Northside, and New Fillmore, August 2004.

“Frank Lobdell is a Painter’s Painters,” Northside, October 2004.

“Enrique Chagoya” at Paula Anglim Gallery, and “Clinton Fine: Numb and Number” at Toomey & Tourrell Gallery, Northside, November 2004.

“Days in a Life: The Art of Tatsuya Noda, “ at San Francisco Asian Art Museum, Northside, December 2004.

“Seminal Works of Early Modernism [Bonjour, Monsieur Courbet! The Bruyas Collection from the Musee Fabre, Montpellier],” at Palace of the Legion of Honor, Northside, February 2005.

“Drawn by the Brush: Peter Paul Rubens,” at Berkeley Art Museum, Northside, March 2005.

“Bill Watson: Doing More With Less” at Patricia Sweetow Gallery, Northside, April 2005.

‘Bay Area Book Artists in Spotlight this Month [Poetry and it’s Arts: Bay Area Interactions 1954-2004] at California Historical Society’s Poetry Center, Northside, May 2005.

“Artwear: Fashion and Anti-fashion” at California Palace of the Legion of Honor, Northside, June 2005.

“Revisiting ‘Artwear’ Exhibition,” Northside, July 2005.

‘Toi Maori: Art of the Maori People of New Zealand,” at Yerba Buena Center for the Arts, Northside, August 2005.

‘Tibet: Treasures from the Roof of the World,” at San Francisco Asian Art Museum, New Fillmore, September 2005.

“Psychobabble: Strait Up.  No Chaser!” Northside, October 2005.

“Raymond Saunders: Traversing Space” at Stephen Wirtz Gallery, Northside, November 2005.

“Museum of Craft and Folk Art Moves Next to Yerba Buena Center for the Arts” Northside, January 2006.

“Revolutionary Art [Black Panther Rank and File],” at Yerba Buena Center for the Arts” Oakland Tribune, May 4, 2006.

“Latin American Art in Global Context: Report on Sin Titulo, 2006” Art Papers, July/August 2006.

“Revolutionary TV Broadcasts in Venezuela Focus of Exhibition [Now-Time Venezuela: Media Along the Path of the Bolivarian Process],” at Berkeley Art Museum, Bay Area Living, Oakland Tribune, July 6, 2006.

“Quilters in the Rural South Create Uplifting Artworks [The Quilts of Gee’s Bend],” at M. H. de Young Museum, San Francisco, Oakland Tribune, July 27, 2006.

“Mexico’s Influence on Art Photographers Subject of Exhibition [Mexico as Muse: Tina Modotti and Edward Weston],” at San Francisco Museum of Modern Art, Oakland Tribune, November 14, 2006.

“Sarkis [Sarkis Alive and After],” at San Francisco Art Institute, Art Papers, January/February, 2006.

“Latin American Art in Global Context: Report on Sin Titulo,” 2006, Jack S. Blanton Museum of Art, University of Texas, Austin, July/August 2006.

“New View of Crumb’s Comics [Robert Crumb Drawings]” at Rena Bransten Gallery, The San Francisco Examiner, January 23, 2007.

“Exhibit a ‘Witness’ to Dangers of Globalization” [World Factory: Active Witness] at San Francisco Art Institute, The San Francisco Examiner, January 30, 2007.

“Hido Focuses on His Fears” [Todd Hido; Between the Two] at Steven Wirtz Gallery, San Francisco Examiner, February 6, 2007.

“Creativity Explored Artists Get ‘Naked’” [“Naked” at Creativity Explored], San Francisco Examiner, February 15, 2007.

“Works Challenge Meaning of Money [“My Favorite Color”] at White Walls Gallery, San Francisco Examiner, February 20, 2007.

“Artists Reflect on Vietnam War” [Witness to War: Revisiting the Vietnam War in Contemporary Art]” at International Center for the Arts at San Francisco State University, San Francisco Examiner, March 1, 2007.

“Active Witness”, San Francisco Art Institute”, Whitehot Magazine of Contemporary Art, Vancouver, Canada, March, 2007.

“Artist try to recognize workers” [Resistance and Dreams], San Francisco Art Institute, San Francisco Examiner, March 17-18, 2007.

“Focusing on vintage Ruth Bernhard” [Ruth Bernhard Vintage Treasures: 1933-1976] Scott Nichols Gallery, San Francisco Examiner, March 31-Aprill 1, 2007.

“Hou Hanru: A Conversation”, Whitehot Magazine of Contemporary Art, Vancouver, Canada, April, 2007.

“Where Ever We Go: Art, Identity, and Culture in Transit” at San Francisco Art Institute, Whitehot Magazine of Contemporary Art, Vancouver, Canada, May, 2007.

Kerri Connell:  Double Life, at Setphen Wirtz Gallery, San Francisco, Whitehot Magazine of Contemporary Art, Vancouver, Canada, June-July, 2007.

Calixto Robles: An Integral Celebration of the Mission Cultural Center’s 30th Anniversary, at The Mission Cultural Center, San Francisco, Whitehot Magazine of Contemporary Art, Vancouver, Canada, October, 2007.

Obsession: Art and Artifacts from Sonoma County Private Collections, (installation by Lewis deSoto) at the Sonoma County Museum, Whitehot Magazine of Contemporary Art, Vancouver,Canada, November, 2007.

Active Witness (World Factory), SFAI, Whitehot Magazine of Contemporary Art, Vancouver, Canada, March 2007

Carrie Mae Weems,Whitehot Magazine of Contemporary Art, Vancouver, Canada, February 2009

Nudes, Theophilus Brown @ ArtHouse Gallery, Whitehot Magazine of Contemporary Art, Vancouver, Canada, May 2009

Raymiond Saunders, Whitehot Magazine of Contemporary Art, Vancouver, Canada, May 2010

James Luna and Guillermo Gomez-Pena @ Galeria de la Raza, August 2010

Bodies in Space(s): Negoitating Sites/Sights at Madrone Art Bar, Whitehot Magazine of Contemporary Art, Vancouver, Canada, January 2011

Enrique Chagoya at Paule Anglim, Whitehot Magazine of Contemporary Art, Vancouver, Canada, February 2011

Justin Hoover at Performance Art Institute, Whitehot Magazine of Contemporary Art, Vancouver, Canada, April 2011

“The Question is Known: (W)here is Latin American/LatinoArt”, Collections: A Journal for Museum and Archives Professionals, Fall 2012.

 

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