Viewing page 9 of 36

Benny Andrews, "A Jam Session on Madison Avenue," Encore American & Worldwide News, Vol.6/6, March 21,p.34. Photos of 'Inside/Outside' performance

Gordon Hazlitt, "Los Angeles Reviews," Artnews, Jan., p.90

Theresa Dickason Cederholm, editor, African-American Artists, Boston Public Library, Boston, pp.139-140

Photographers, Painters, Sculptors, Printmakers 1970-1972, Gallery Association of New York State, New York, p.58

"8 Artistes Afro-Americans," Musee Rath, Geneva, Switerland. Catalogue Photos of "Water Composition I, II and III

"Notes to the Young Black Artist," Art International, Vol.XV/6, Summer Edition, p.35


"" website choosen website of the week by Developed website to encourage women to move the mountains (blocks) in their lives. Website features art work, poetry, links to other sites and rituals for growth.

Panelist, "The Black Aesthetic: 1960-2001," Riverside,Ca. Sponsored by California Univ. at Riverside. Other panelists included-Kerry James Marshall, Sterling Stuckey, and Clyde R. Taylor

Guest Speaker, "The State of Feminism in Visual Culture," Colorado Springs Fine Arts Center,Co. Sponsored by Colorado Univ. at Colorado Springs. Part of events during Judy Chicago Retrospective Exhibit

Visiting Artist, Maryland Institute-College of Art

Visiting Artist, University of Illinois at Chicago-School of Art
Visiting Artist, Maryland Institute-College of Art

"Whisper! Stomp! Shout! A Salute to African American Performance Art, Colorado Springs Fine Arts Center, Co. Curated a festival of video documentation of performance art. Included: Idris Ackamoor, Sherman Fleming, David Hammons, Maren Hassinger, Rodessa Jones, Howardena Pindell, Adrian Piper and Joyce Scott

Distinguished Service Award, Board of Regents-University of Colorado

Co-President of Performing Arts for Youth Organization

Co-Curated "1+1=3" Group Exhibition with Charles Abramson, Gallery 1199, NYC

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact