Keith Morrison: Interpreter of the Mythic Dream<\/a>“;\u00a0New York: Alternative Museum, 1990<\/p>\nPowell, Richard. “Anansi Revisited: Keith Morrison’s New Work.”\u00a0New York: Alternative Museum, 1990<\/p>\n
Francis, Irma Talabi. “Keith Morrison: Spiritual Obsession”;\u00a0Eyewash<\/em>, November 1990<\/p>\nForgey, Benjamin. “Urban Expressions: Contemporary Art Opens at Anacostia.” p. G7;\u00a0The Washington Post<\/em>, May 16, 1987<\/p>\nBontemps, Arna Alexander: Choosing;\u00a0<\/em>Washington DC: Museum Press, 1985<\/p>\nLaing, E.K: <\/u>“Why it’s important to bring black artists out of cultural isolation”;\u00a0The Christian Science Monitor<\/em>, P. 29, November 20, 1985<\/p>\nRichard, Paul. “Black Artists: Their Pride & Problems: Keith Morrison”;\u00a0The Washington Post<\/em>, March 15, 1985<\/p>\nEast\/West: Contemporary American Art;\u00a0<\/em>Los Angeles: California Afro-American Museum, 1985.<\/p>\nLivingston, Jane: Ten + Ten + Ten;\u00a0<\/em>Washington, D.C.: Corcoran Gallery of Art, 1984<\/p>\n <\/p>\n
Selected Writing by Keith Morrison<\/h3>\n
Caribbean Transition
\nWashington, DC: American Museum at the Katzen, 2022<\/p>\n
Icons of Nature and History: David Driskell
\nMay, Jessica, Editor, pp. 99-101
\nNew York: Rizzoli Electa, 2022<\/p>\n
“David Driskell, the Fisk Years”, Icons of Nature AND History: David Driskell, pp 99-101, Rizzoli, 2021<\/p>\n
\u201cMagical Visions,” University of Delaware Museums, 2011<\/p>\n
\u201cThe Curator\u2019s Eye III,\u201d National Gallery of Art, Kingston, Jamaica, 2008<\/p>\n
\u201cGraham Davis,\u201d Mutual Gallery, Kingston, Jamaica, 2008<\/p>\n
\u201cDavid Driskell,\u201d Pomegranate Pr\\ess, 2006<\/p>\n
“Pin-Pricked Dieties: The Art of Joyce Scott”<\/p>\n
Catalog Essay. Baltimore: Baltimore Museum\/Maryland Institute College of Art, 1999<\/p>\n
“Preserving Whose Mortality or Immortality?”;\u00a0Catalog Essay;\u00a0Mortality\/Immortality?: The Legacy of 20th Century Art;\u00a0<\/em>Los Angeles: The Getty Conservation Institute, 1999<\/p>\nContemporary Artists From Cuba;\u00a0<\/u>Catalog Essay. Metaphor\/Commentaries: Artists From Cuba;\u00a0<\/em>San Francisco: San Francisco State University, 1999<\/p>\nArt and Ethnography<\/u>;\u00a0Catalog Essay. Art of the Americas: Art and Ethnography;\u00a0<\/em>San Francisco: M.H. de Young Memorial Museum, 1998<\/p>\nNarratives of African American Art and Identity : The David C. Driskell Collection;\u00a0<\/em>Catalog Essay. San Francisco: Pomegranate Communications, 1998<\/p>\nBrandywine Workshop: 25th Anniversary Catalog;\u00a0<\/em>Catalog Essay. Philadelphia: Brandywine Workshop Center for the Visual Arts, 1997<\/p>\nAfrican American Visual Aesthetics : A Postmodernist View<\/em>; edited by David C. Driskell;\u00a0Lead Essay. Washington DC: Smithsonian Institution Press, 1995<\/p>\nArtists of Conscience;\u00a0<\/em>Catalog Essay. New York: Alternative Museum, 1991<\/p>\n“Questioning the Quality of the Canon”;\u00a0New Art Examiner<\/em>, October 1990<\/p>\nPerspectives on the Art of Gauguin; For Nonwhites, It’s Racist Propaganda<\/u>;\u00a0The Washington Post<\/em>, Sunday, July 3, 1988<\/p>\n“Black Artists of the Mid-Atlantic”;\u00a0Catalog Essay<\/p>\n
“Myth and Ritual”;\u00a0Catalog Essay. Washington, DC: Touchstone Gallery, 1986<\/p>\n
“Contemporary Print Images”;\u00a0Catalog Essay. Washington, DC: Smithsonian Institution, 1986<\/p>\n
“Afro-American Painting and Mixed Media: 1970-1985” and “Printmaking by Afro-Americans”;\u00a0In Choosing: An Exhibit of Changing Perspectives in Modern Art and Art Criticism by Black Americans 1925-1985<\/em>; edited by Arna Alexander Bontemps. Hampton VA: Hampton University, 1986<\/p>\nArt in Washington and Its Afro-American Presence: 1940-1970<\/em><\/p>\nCatalog. Washington DC: Washington Project for the Arts, 1985<\/p>\n
<\/p>\n
“Pattern in Painting”<\/p>\n
Catalog Essay. Washington, DC: Corcoran Gallery, 1985<\/p>\n
<\/p>\n
“Evocative Abstraction”<\/p>\n
Catalog Essay. Philadelphia: Foundation for Today’s Art, 1985<\/p>\n
<\/p>\n
“The Washington Show: Promises, Premises and Politics”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, October 1985<\/p>\n <\/p>\n
“Speak Easy: Abstract Painting”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, March 1984<\/p>\n <\/p>\n
“Poetic Objects”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, March 1983<\/p>\n <\/p>\n
“Art of Pakistan at the Hirshhorn”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, February 1983<\/p>\n <\/p>\n
“Washington Printmakers”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, May 1982<\/p>\n <\/p>\n
“Jeff Donaldson at Howard”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, September 1981<\/p>\n <\/p>\n
“Gerald Williams at Noa Gallery”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, May 1981<\/p>\n <\/p>\n
“Corcoran Biennial”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, April 1981<\/p>\n <\/p>\n
“R.B. Kitaj at the Hirshhorn: The sword of Don Quixote”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, March 1981<\/p>\n <\/p>\n
“Realist Self-Portraits at Fendrick Gallery”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, February 1981<\/p>\n <\/p>\n
“Marguerite Kendall and Aaron Levine at Osuna”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, February 1981<\/p>\n <\/p>\n
“Alternatives by Black Artists”<\/p>\n
Catalog Essay. Washington, DC: Washington Project for the Arts, 1980<\/p>\n
<\/p>\n
“African Heritage and American Independence”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, September 1980<\/p>\n <\/p>\n
“Black Art in America”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, September 1980<\/p>\n <\/p>\n
“Fueling the Art Economy”<\/p>\n
Exhibit Review. Format<\/em>, Vol. 2 No. 9, 1980<\/p>\n <\/p>\n
“David C. Driskell”<\/p>\n
Catalog Essay. College Park MD: University of Maryland, 1980<\/p>\n
<\/p>\n
“Art Criticism: A Pan-African Point of View”<\/p>\n
Essay. New Art Examiner<\/em>, January 1979<\/p>\n <\/p>\n
“Emilio Cruz”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, 1978<\/p>\n <\/p>\n
“Samuel Crockett and Bill Walker at South Side Art Center”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, November 1977<\/p>\n <\/p>\n
“Ed Paschke at Phyllis Kind”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, November 1977<\/p>\n <\/p>\n
“James Harvard”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, November 1976<\/p>\n <\/p>\n
“Realism at Young-Hoffman”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, November 1976<\/p>\n <\/p>\n
“Vera Clement”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, November 1976<\/p>\n <\/p>\n
“Chicago’s Eclectic DuSable Museum”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, May 1976<\/p>\n <\/p>\n
“Adrienne Drapkin and Barbara Grad”<\/p>\n
Exhibit Review. New Art Examiner<\/em>, March 1976<\/p>\n <\/p>\n
“Black Experience in Art”<\/p>\n
Catalog Essay. Chicago: Bergman Gallery, University of Chicago, 1971<\/p>\n
<\/p>\n
“Jacob Lawrence’s Toussiant L’Ouverture”<\/p>\n
Chicago: Art Scene<\/em> 1969<\/p>\n <\/p>\n
“The Probing Line: Art of Richard Hunt”<\/p>\n
Fisk University, 1969<\/p>\n
<\/p>\n
Lectures by Keith Morrison<\/h3>\n
“Caribbean Transition,” Katzen Museum, 2022<\/p>\n
“Landscape,” Zoom, Hudson River Museum, 2022<\/p>\n
“Passages,” Karzen, Museum, 2017<\/p>\n
Delaware Museums, 2014<\/p>\n
\u201cThree Printmaker,\u201d Brandywine Graphic Workshop, Philadelphia, 2010<\/p>\n
\u201cContemporary Art,\u201d Lincoln University, 2009<\/p>\n
\u201dRecent Painting,\u201d University of Delaware, 2008<\/p>\n
\u201cAaron Douglass, \u201c Smithsonian American Museum, 2008<\/p>\n
\u201cGraham Davis, Mutual gallery, 2008<\/p>\n
\u201cArtists of the Curator\u2019s Eye III,\u201d National Gallery of Art, Jamaica, 2008<\/p>\n
\u201cArt and Collaboration, \u201c Edna Manley College, Jamaica, 2007<\/p>\n
“International Issues in Contemporary Art, Taipei, 2001<\/p>\n
“Legacy and Promise,” School of Visual Art, Kingston, Jamaica, 2000<\/p>\n
“My Recent Work,” State University of New York, Stony Brook, 2000<\/p>\n
\u201cMortality\/Immortality: the Legacy of Twentieth Century Art\u201d Getty Museum of Art, 1999<\/p>\n
My Recent Painting, Colgate University, 1999<\/p>\n
\u201cArt and Cultural Identity, de Young Museum, San Francisco, 1999<\/p>\n
\u201cIssues in Contemporary Art,\u201d Michigan State University, 1996<\/p>\n
\u201cThe Emerging Artist,\u201d University of California, Berkeley, 1995<\/p>\n
“Race in Contemporary Art,” de Young Museum, San Francisco, 1994<\/p>\n
“Horace Pippin,” Art Institute of Chicago, 1994<\/p>\n
“David Driskell and Samella Lewis,” Bomani Gallery, San Francisco CA, December 1993<\/p>\n
“A Sense of Place,” University of Michigan, Center for the Humanities, Ann Arbor, Michigan<\/p>\n
“Jacob Lawrence, Sources and Influences,” de Young Museum, San Francisco.<\/p>\n
“Recent Work,” Arizona State University, October, Tempe, 1993<\/p>\n
“Changes” keynote graduation Address San Francisco Art Instate, May, 1993<\/p>\n
“The Art of Claude Clark, Richard Mayhew, Richard Yarde,Bomani Gallery, San Francisco, March, 1993<\/p>\n
“Recent Work, Somona State Univ., May, 1993<\/p>\n
“Art of James Porter, Keynote, Howard University, Nov. 1992<\/p>\n
“Recent Paintings,” Maryland Institute of Art, Baltimore, MD, Nov. 6, 1991<\/p>\n
“Sources of My Work,” University of Michigan, Ann Arbor, February, 1990<\/p>\n
“Myth and Memory,” California Institute for the Arts, April, 1990<\/p>\n
“Caribbean Influences,” Wayne State University, Detroit, February, 1990<\/p>\n
“Art Outside the Mainstream,” National Museum of American Art, Washington D.C., Oct., 1989<\/p>\n
“Printmaking at the Brandywine Workshop,” Charleston College, NC, Sept., 1989<\/p>\n
“Gauguin and the Origin of the Sauvage<\/em> in Modern Art,” Metropolitan Museum, NYC, February, 1989.<\/p>\n“Abstract Art and Cultural Identity,” Philadelphia Academy, January, 1989<\/p>\n
“Art in the Caribbean and Central America,” Latin American Museum of Modern Art, Washington D.C., June, 1988.<\/p>\n
“The Graduate Art Student,” Maryland Institute of Art, Baltimore, May, 1988.”Civilization and Barbarism in Art,” Wabash College, Indiana, May, 1988.<\/p>\n
“Memory and Myth,” Maryland Institute of Art, Baltimore, \u00a0\u00a0 December, 1987.<\/p>\n
“Primitivism in Contemporary Art,” Corcoran School of Art, Washington D.C. October, 1987.<\/p>\n
“Caribbean Art,” Latin American Book Fair, University of the District of Columbia, October, 1987.<\/p>\n
“Afro-American Art and the Evolution of Art Criticism in the Twentieth Century,” Baltimore Museum of Art, June 13, 1987.<\/p>\n
“The Mythic Content,” Anacostia Museum, Smithsonian Institution, July 2, 1987<\/p>\n
“In Search of Patrons, the Dilemma of Afro-American Artists,” National Museum of American History, Washington, D.C., January, 1987.<\/p>\n
“Art by Afro-Americans Since 1970,” Museum of Science and Industry, Chicago, IL. February, 1986.<\/p>\n
“Directions in Afro-American Art,” Baltimore Museum of Art, MD., February, 1985.<\/p>\n
“Counterpoint: Five Black Artists of the Nineteenth Century,” National Museum of American History, Washington, D.C., February, 1985.<\/p>\n
“Contemporary Issues in Afro-American Art,” National Museum of American Art, Washington, D.C. April, 1985.<\/p>\n
“Influences of Recent Afro-American Art,” Hahn Gallery, Philadelphia, PA., April, 1985<\/p>\n
“Afro-American Art Since the Depression,” Art Institute of Chicago, IL., September, 1985.<\/p>\n
“Issues in Contemporary Art,” Massachusetts College of Art, Boston, MA., October, 1985.<\/p>\n
“Trends and Minority Artists,” Philadelphia Art Alliance, Pennsylvania, April, 1985<\/p>\n
\u201cWest African Continuities in Afro-American Art,” National Conference of Artists, Richmond, VA., April, 1984.<\/p>\n
“Black Modernists in Art,” Washington Project for the Arts,[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
Bibliography\/Reviews Stewart, Jefferey C., editor BEAUTY BORN OF STRUGGLE THE ART OF BLACK WASHINGTON. The Center for Advanced Study in the Visual Arts National Gallery of Art Yale University Press 2023 Ewing, Heather New Arrivals New York, Katonah Museum, 2022 Godfrey, Mark and Biswas, Alli The Soul of a Nation Reader Writings by and About […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"
Bibliography\/Reviews<\/strong><\/p>Knight, Franklin W: \u201cThe art of Keith Morrison\u201d,\u00a0Jamaica Observer, Oct. 12, 2011<\/p>
McGee, Julie: Keith Morrison<\/em>, Middle Passage,\u00a0Catalogue, University of Delaware Museums, 2011<\/p>Cheng-Young, Leisha: \u201cAn Artistic Eye\u201d,\u00a0Jamaica Observer, July 16, 20085<\/p>
Driskell, David C: The Other Side of Color,\u00a0<\/em>San Francisco: Pomegranate Press, 2001<\/p>Amidon, Catherine: \"Migration, Transition, and Change\",\u00a0New York: Venice Biennial, 2001<\/p>
Morrison, Keith. \"Preserving Whose Mortality or Immortality?\" p. 161-164, \u00a0Mortality\/Immortality?: The Legacy of 20th Century Art.<\/em> Miguel Angel Corzo, editor;\u00a0Los Angeles: The Getty Conservation Institute, 1999<\/p>Bettelheim, Judith A. \"Three Transnational Artists: Jose Bedia, Eduoard Duval-Carri\u00e9 and Keith Morrison.\" p. 43-48;\u00a0The International Review of African American Art<\/em>, 1998, Vol. 15 No. 3<\/p>Burgard, Timothy. Art and Ethnography;\u00a0<\/em>San Francisco: M.H. de Young Memorial Museum, 1998<\/p>Poupeye, Veerle. Caribbean Art;\u00a0<\/em>New York: Thames and Hudson, 1998<\/p>Powell, Richard. Black Art and Culture in the Twentieth Century;\u00a0<\/em>London: Thames and Hudson, 1997<\/p>Baker, Kenneth. \"Keith Morrison's Art is the Stuff of Dreams\". p. E1;\u00a0San Francisco Chronicle<\/em>, April 13, 1996<\/p>Berkson, Bill. \"Chaos Dancer\";\u00a0San Francisco: Bomani Gallery, 1996<\/p>
Bettelheim, Judith. \"A Transnational Artist with a Jamaica Soul\";\u00a0San Francisco: Bomani Gallery, 1996<\/p>
Art in Chicago, 1945-95;\u00a0<\/em>Chicago: Museum of Contemporary Art, 1996<\/p>Britton, Crystal A. African American Art: The Long Struggle;\u00a0<\/em>New York: Smithmark, 1996<\/p>Lewis, Samella. Caribbean Visions;\u00a0<\/em>Richmond, VA: Art Services International, 1995<\/p>Risatti, Howard. \"Keith Morrison at Brody Gallery.\" p. 108;\u00a0Artforum<\/em>, January 1992<\/p>Perry, Regina A. Free Within Ourselves;\u00a0<\/em>Washington, DC: National Museum of American Art, Smithsonian Institution, 1992<\/p>Mereweather, Charles: Myth and Magic, In the Americas: The Eighties;\u00a0<\/em>Monterrey: Museum of Modern Art, 1991<\/p>Lippard, Lucy. Mixed Blessings : New Art in a Multicultural America;\u00a0<\/em>New York: Pantheon Books, 1990<\/p>Smith, Roberta. \"The Galleries of TriBeCa and What's in Them.\" p. C22;\u00a0The New York Times<\/em>, April 27, 1990<\/p>Driskell, David C. \"Keith Morrison: Interpreter of the Mythic Dream<\/a>\";\u00a0New York: Alternative Museum, 1990<\/p>Powell, Richard. \"Anansi Revisited: Keith Morrison's New Work.\"\u00a0New York: Alternative Museum, 1990<\/p>
Francis, Irma Talabi. \"Keith Morrison: Spiritual Obsession\";\u00a0Eyewash<\/em>, November 1990<\/p>Forgey, Benjamin. \"Urban Expressions: Contemporary Art Opens at Anacostia.\" p. G7;\u00a0The Washington Post<\/em>, May 16, 1987<\/p>Bontemps, Arna Alexander: Choosing;\u00a0<\/em>Washington DC: Museum Press, 1985<\/p>Laing, E.K: <\/u>\"Why it's important to bring black artists out of cultural isolation\";\u00a0The Christian Science Monitor<\/em>, P. 29, November 20, 1985<\/p>Richard, Paul. \"Black Artists: Their Pride & Problems: Keith Morrison\";\u00a0The Washington Post<\/em>, March 15, 1985<\/p>East\/West: Contemporary American Art;\u00a0<\/em>Los Angeles: California Afro-American Museum, 1985.<\/p>Livingston, Jane: Ten + Ten + Ten;\u00a0<\/em>Washington, D.C.: Corcoran Gallery of Art, 1984<\/p>Selected Writing by Keith Morrison<\/strong><\/p>\u201cMagical Visions,\" University of Delaware Museums, 2011<\/p>
\u201cThe Curator\u2019s Eye III,\u201d National Gallery of Art, Kingston, Jamaica, 2008<\/p>
\u201cGraham Davis,\u201d Mutual Gallery, Kingston, Jamaica, 2008<\/p>
\u201cDavid Driskell,\u201d Pomegranate Pr\\ess, 2006<\/p>
\"Pin-Pricked Dieties: The Art of Joyce Scott\"<\/p>
Catalog Essay. Baltimore: Baltimore Museum\/Maryland Institute College of Art, 1999<\/p>
\"Preserving Whose Mortality or Immortality?\";\u00a0Catalog Essay;\u00a0Mortality\/Immortality?: The Legacy of 20th Century Art;\u00a0<\/em>Los Angeles: The Getty Conservation Institute, 1999<\/p>Contemporary Artists From Cuba;\u00a0<\/u>Catalog Essay. Metaphor\/Commentaries: Artists From Cuba;\u00a0<\/em>San Francisco: San Francisco State University, 1999<\/p>\u00a0<\/p>
Art and Ethnography<\/u>;\u00a0Catalog Essay. Art of the Americas: Art and Ethnography;\u00a0<\/em>San Francisco: M.H. de Young Memorial Museum, 1998<\/p>Narratives of African American Art and Identity : The David C. Driskell Collection;\u00a0<\/em>Catalog Essay. San Francisco: Pomegranate Communications, 1998<\/p>Brandywine Workshop: 25th Anniversary Catalog;\u00a0<\/em>Catalog Essay. Philadelphia: Brandywine Workshop Center for the Visual Arts, 1997<\/p>African American Visual Aesthetics : A Postmodernist View<\/em>; edited by David C. Driskell;\u00a0Lead Essay. Washington DC: Smithsonian Institution Press, 1995<\/p>Artists of Conscience;\u00a0<\/em>Catalog Essay. New York: Alternative Museum, 1991<\/p>\"Questioning the Quality of the Canon\";\u00a0New Art Examiner<\/em>, October 1990<\/p>Perspectives on the Art of Gauguin; For Nonwhites, It's Racist Propaganda<\/u>;\u00a0The Washington Post<\/em>, Sunday, July 3, 1988<\/p>\"Black Artists of the Mid-Atlantic\";\u00a0Catalog Essay<\/p>
\"Myth and Ritual\";\u00a0Catalog Essay. Washington, DC: Touchstone Gallery, 1986<\/p>
\"Contemporary Print Images\";\u00a0Catalog Essay. Washington, DC: Smithsonian Institution, 1986<\/p>
\"Afro-American Painting and Mixed Media: 1970-1985\" and \"Printmaking by Afro-Americans\";\u00a0In Choosing: An Exhibit of Changing Perspectives in Modern Art and Art Criticism by Black Americans 1925-1985<\/em>; edited by Arna Alexander Bontemps. Hampton VA: Hampton University, 1986<\/p>Art in Washington and Its Afro-American Presence: 1940-1970<\/em><\/p>Catalog. Washington DC: Washington Project for the Arts, 1985<\/p>
\u00a0<\/p>
\"Pattern in Painting\"<\/p>
Catalog Essay. Washington, DC: Corcoran Gallery, 1985<\/p>
\u00a0<\/p>
\"Evocative Abstraction\"<\/p>
Catalog Essay. Philadelphia: Foundation for Today's Art, 1985<\/p>
\u00a0<\/p>
\"The Washington Show: Promises, Premises and Politics\"<\/p>
Exhibit Review. New Art Examiner<\/em>, October 1985<\/p>\u00a0<\/p>
\"Speak Easy: Abstract Painting\"<\/p>
Exhibit Review. New Art Examiner<\/em>, March 1984<\/p>\u00a0<\/p>
\"Poetic Objects\"<\/p>
Exhibit Review. New Art Examiner<\/em>, March 1983<\/p>\u00a0<\/p>
\"Art of Pakistan at the Hirshhorn\"<\/p>
Exhibit Review. New Art Examiner<\/em>, February 1983<\/p>\u00a0<\/p>
\"Washington Printmakers\"<\/p>
Exhibit Review. New Art Examiner<\/em>, May 1982<\/p>\u00a0<\/p>
\"Jeff Donaldson at Howard\"<\/p>
Exhibit Review. New Art Examiner<\/em>, September 1981<\/p>\u00a0<\/p>
\"Gerald Williams at Noa Gallery\"<\/p>
Exhibit Review. New Art Examiner<\/em>, May 1981<\/p>\u00a0<\/p>
\"Corcoran Biennial\"<\/p>
Exhibit Review. New Art Examiner<\/em>, April 1981<\/p>\u00a0<\/p>
\"R.B. Kitaj at the Hirshhorn: The sword of Don Quixote\"<\/p>
Exhibit Review. New Art Examiner<\/em>, March 1981<\/p>\u00a0<\/p>
\"Realist Self-Portraits at Fendrick Gallery\"<\/p>
Exhibit Review. New Art Examiner<\/em>, February 1981<\/p>\u00a0<\/p>
\"Marguerite Kendall and Aaron Levine at Osuna\"<\/p>
Exhibit Review. New Art Examiner<\/em>, February 1981<\/p>\u00a0<\/p>
\"Alternatives by Black Artists\"<\/p>
Catalog Essay. Washington, DC: Washington Project for the Arts, 1980<\/p>
\u00a0<\/p>
\"African Heritage and American Independence\"<\/p>
Exhibit Review. New Art Examiner<\/em>, September 1980<\/p>\u00a0<\/p>
\"Black Art in America\"<\/p>
Exhibit Review. New Art Examiner<\/em>, September 1980<\/p>\u00a0<\/p>
\"Fueling the Art Economy\"<\/p>
Exhibit Review. Format<\/em>, Vol. 2 No. 9, 1980<\/p>\u00a0<\/p>
\"David C. Driskell\"<\/p>
Catalog Essay. College Park MD: University of Maryland, 1980<\/p>
\u00a0<\/p>
\"Art Criticism: A Pan-African Point of View\"<\/p>
Essay. New Art Examiner<\/em>, January 1979<\/p>\u00a0<\/p>
\"Emilio Cruz\"<\/p>
Exhibit Review. New Art Examiner<\/em>, 1978<\/p>\u00a0<\/p>
\"Samuel Crockett and Bill Walker at South Side Art Center\"<\/p>
Exhibit Review. New Art Examiner<\/em>, November 1977<\/p>\u00a0<\/p>
\"Ed Paschke at Phyllis Kind\"<\/p>
Exhibit Review. New Art Examiner<\/em>, November 1977<\/p>\u00a0<\/p>
\"James Harvard\"<\/p>
Exhibit Review. New Art Examiner<\/em>, November 1976<\/p>\u00a0<\/p>
\"Realism at Young-Hoffman\"<\/p>
Exhibit Review. New Art Examiner<\/em>, November 1976<\/p>\u00a0<\/p>
\"Vera Clement\"<\/p>
Exhibit Review. New Art Examiner<\/em>, November 1976<\/p>\u00a0<\/p>
\"Chicago's Eclectic DuSable Museum\"<\/p>
Exhibit Review. New Art Examiner<\/em>, May 1976<\/p>\u00a0<\/p>
\"Adrienne Drapkin and Barbara Grad\"<\/p>
Exhibit Review. New Art Examiner<\/em>, March 1976<\/p>\u00a0<\/p>
\"Black Experience in Art\"<\/p>
Catalog Essay. Chicago: Bergman Gallery, University of Chicago, 1971<\/p>
\u00a0<\/p>
\"Jacob Lawrence's Toussiant L'Ouverture\"<\/p>
Chicago: Art Scene<\/em> 1969<\/p>\u00a0<\/p>
\"The Probing Line: Art of Richard Hunt\"<\/p>
Fisk University, 1969<\/p>
\u00a0<\/p>
\u00a0<\/strong><\/p>