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Lyle Ashton Harris : Biography

Education

1992 • Whitney Museum of American Art, Independent Study Program, NY
1991 • National Graduate Photography Seminar, Tisch School of the Arts, New York University
1990 • MFA, California Institute of the Arts, Valencia, CA
1988 • BA with honors, Wesleyan University, Middletown, CT

Solo Exhibitions

2010 • Ghana, CRG Gallery, NY
2008 • Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University,Cambridge, MA
• Lyle Ashton Harris: Blow Up, Scottsdale Museum of Contemporary Art, Scottsdale, AZ / UB Center for the Arts, Buffalo, NY
2006 • Performing MJ, Vital Expressions in American Art, The Studio Museum in Harlem, New York, NY
2005 • Regarding Michael Jackson: Performing Racial, Gender, and Sexual Difference Center Stage, Conference, Yale University, New Haven, CT
2004 • Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France
• Lyle Ashton Harris, Rhona Hoffman Gallery, Chicago, IL
2003 • Memoirs of Hadrian, CRG Gallery, New York, NY
2002 • New Work, Baldwin Gallery, Aspen, CO
1999 • 20 x 24, Aldrich Museum of Contemporary Art, Ridgefield, CT
1998 • Distillation, Galerie Analix Forever, Geneva, Switzerland
• Alchemy, in collaboration with Thomas Allen Harris, New Langston Arts, San Francisco, CA. Traveled to Corcoran Gallery of Art, Washington, DC
1997 • The White Face Series, Thomas Erben Gallery, NY
1996 • The Watering Hole, Jack Tilton Gallery, NY
• Select Photographs, Centro de Arte Euroamericano, Caracas, Venezuela
1994 • The Good Life, Jack Tilton Gallery, New York, NY
• Redemption, Schmidt Contemporary Art, St. Louis, MO
1993 • Americas, Simon Watson's Living Room, NY
• Face, Broadway Window, New Museum of Contemporary Art, New York, NY

Group Exhibitions

2010 • The Global Africa Project, Museum of Arts and Design, New York, NY (forthcoming)
• Hide/Seek: Difference and Desire in American Portraiture, Smithsonian National Portrait Gallery, Washington DC
2009 • The Summer Show, CRG Gallery, NY
2008 • Expenditure, Busan Biennale 2008, Busan Museum of Modern Art, Busan, South Korea
• Sketches from the Shore, Neil L. and Angelica Zander Rudenstine Gallery, Harvard University, Cambridge, MA
• S&M: Shines and Masquerades in Cosmopolitan Times, East Galleries, New York University, New York, NY
2007 • 52nd Venice Biennale, Venice, Italy
• Photography And The Self: The Legacy of F. Holland Day, Whitney Museum of American Art, New York, NY
2006 • Other families, Pallazo Cavour, Turin, Italy
• Bienal de Arte Contemporaneo de Sevilla, Seville, Spain
• GAY ART NOW, Curated by Jack Pierson, Paul Kasmin Gallery, New York, NY
2005 • Male Desire Two, Mary Ryan Gallery, NY
• IDENTITÀ & nomadismo, Palazzo delle Papesse, Centro Arte Contemporanea, Siena
• Earth and Memory: African and African American Photography, Elizabeth Stone Harper Gallery, Presbyterian College, Clinton, SC
2004 • Selves and Others, The Bronx Museum of the Arts, Bronx, NY
• Male Body Image, Storrs Gallery, University of Connecticut, Storrs, CT
• neoqueer, Center on Contemporary Art, Seattle, WA
• Disparities and Deformations: Our Grotesque, SITE Santa Fe's Fifth International Biennial Santa Fe, NM
• The Muse, Leslie Tonkonow Artworks + Projects, New York, NY
• African American Artists in Los Angeles, A Survey Exhibition: Fade (1990-2003) Luckman
• Gallery, California State University, Los Angeles, CA
2003 • American Tableaux: Many Voices, Many Stories at Miami Art Museum, Miami, FL
• The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN
• Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York, NY
2002 • Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow
• Goddess, Galerie Lelong, New York, NY
2001 • Rome Prize Fellow's Show, The American Academy in Rome, Rome, Italy
• Love Supreme, La Criee Centre D'Art Contemporain, Rennes, France
2000 • Self-Portraits, Kwangju Biennale, Seoul, Korea
• Masterminds of Mode: International Fashion Festival in Japan, Mitsukoshi, Tokyo; Kobe Fashion Museum, Kobe; Mitsubishi-Jisho Atrium, Fukuoka
• Faith, The Aldrich Museum of Contemporary Art, Ridgefield, CT
1999 • Ghost in the Shell - Photography and the Human Soul, 1850-2000, Los Angeles County Museum of Art, Los Angeles, CA
1998 • 816, Galerie Analix B Polla & C Cargnel, Paris
• Welcome, Citt...Sant'Angelo, curated by Renato Bianchini
• 1998 Diana.98, Museum fur Gegenwartskunst, Zurich
• Millenovecento, Galerie Analix B Polla & C Cargnel, Paris
• Aids Worlds - Between Resignation and Hope, Center of Contemporary Art, Geneva and Dialogai, Geneva, Switzerland
• Black Nudes: New Identities, Gay Games Amsterdam 1998, Amsterdam, Netherlands
• Postcards from Black America, De Beyerd Center of Contemporary Art, Breda, Netherlands
1997 • Scene of the Crime, UCLA/Armand Hammer Museum of Art, Los Angeles, CA
• Selections from the Audrey & Sydney Irmas Collection of Photographic Self Portraits: 1940-96, Los Angeles County Museum of Art, Los Angeles, CA
• Rrose is a Rrose is a Rrose: Gender Performance in Photography, Guggenheim Museum
• New York. Traveled to The Andy Warhol Museum, Pittsburgh, PA
• Bang! The Gun as Image, Museum of Fine Arts, Florida State University, Tallahassee, FL
• This End Up: Selections from the collection of Robert J. Shiffler, Cleveland Center for Contemporary Art, Cleveland, OH
• Face & Figure: Contemporary Art, Museum of Fine Art, Boston, MA
1996 • Adrift, Bard College, Annandale-on-the-Hudson, New York
• Hotter than July, Margo Leavin Gallery, Los Angeles, CA
• Interzones, Kunstforeningen, Copenhagen, Denmark
• Traveled to Konstmuseum, Uppsala, Sweden
• Persona, Renaissance Society at the University of Chicago, Chicago, IL
• Portraits, James Graham and Sons, New York, NY
• The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA
1995 • Face Value: American Portraits, The Parish Art Museum, Southampton, NY. Traveled to: Wexner Center for the Arts, Columbus, OH and Tampa Museum of Art, Tampa, Florida
• Desire - Borealis 7, Helsinki City Museum and The Nordic Arts Centre, Helsinki, Finland
• Traveled to Louisiana Museum of Art, Denmark, 1996
• Hard Comforts, Zikha Gallery, Wesleyan University, Middletown, CT
• Human / Nature, New Museum of Contemporary Art, New York
• In a Different Light, Berkeley Art Center/Pacific Film Archive, Berkeley, CA
• Inside/Out, Aldrich Museum, Ridgefield, CT
• Mirage: Enigmas of Race, Difference and Desire, ICA, London, England
• Masculine Masquerade, MIT List Art Center, Boston, MA
• Narcissistic Disturbance, Otis Gallery, Los Angeles, CA
• Pervert, Fine Arts Gallery, University of California/Irvine, Irvine, CA
• Picture Thoughts, Ambrosino Gallery, Miami, FL
• P.L.A.N.(Photography Los Angeles Now), Los Angeles County Museum of Art, Los Angeles, CA
• Traces: The Body in Contemporary Photography, Bronx Museum of Art, Bronx, NY
• Uncertain Identity II, Galerie Analix at Basel Art Fair, Geneva, Switzerland
• Video: Immagine e Poggetto- Artisti degli Stati Uniti, Museo Laboratorio Di Arte
• Contemporanea, Rome, Italy
1994 • Black Male: Representations of Masculinity in Contemporary Art, Whitney Museum of American Art, New York. Traveled to: UCLA/Armand Hammer Museum of Art, Los Angeles, CA 1995
• Telling...Stories, Randolph Street Gallery, Chicago, IL
1993 • Ciphers of Identity, University of Maryland, Baltimore, MD. Traveled to: Ronald Feldman Gallery, New York
• University of South Florida Contemporary Art Museum, Tampa, FL
• Fine Arts Gallery University of California, Irvine, CA
• Contemporary Art Center, New Orleans, LA
• Woodruff Art Center, Atlanta College of Art, Atlanta, GA
• Kemper Museum of Contemporary Art and Design, Kansas City, MO
• Dress Codes, Institute of Contemporary Art, Boston, MA
• 42nd Street Art Project: Victory Parade, Times Square, New York
• Identifications and Desires, Real Art Ways, Hartford, CT
• In Out of the Cold: Redemption, Center for the Arts Yerba Buena Gardens, San Francisco, CA
• Markets of Resistance, White Columns, New York, NY
1992 • ainsi font font font, Galerie Rizzo, Paris, France
• Body Politic, Santa Monica Museum of Art, Santa Monica, CA Fever, Exit Art, NY
• In The World, Contemporary Art Gallery, Vancouver, Canada
• LAX: Los Angeles Exhibition, Santa Monica Museum, Santa Monica, CA
• Multiples, Daniel Bucholz, Koln, Germany
• Presenting Rearwards, Rosamund Felsen Gallery, Los Angeles, CA
• Reclaiming Sensuality, California Museum of Photography, Riverside, CA
• Schwarze Kunst: Konzepte zu Politik and Identital, NGBK, Berlin, Germany
1991 • Acquired Visions: Seeing Ourselves Through AIDS, Studio Museum of Harlem, NY
• AutoPortraits, Camerawork, London, England
• Disputed Identities, Camerawork, San Francisco, CA. Traveled to: Contemporary Arts Center, New Orleans, LA
• Someone/Somebody, Meyers/Bloom Gallery, Los Angeles, CA
• Situation, New Langston Arts, San Francisco, CA

Published Photographs

2004 • Hannaham, James, "Beyond the Pale," New York Magazine, Summer Issue, June 28-July 5, p.99
• Fusco, Coco and Wallis, Brian, Only Skin Deep, Changing Visions Of The American Self, International Center of Photography, Harry N. Abrams, Inc., NY, p.260, 328 & 329
2003 • Kenner, Rob and Pitts, George. "VX: 10 Years of Vibe Photography" p.119
• Holt, Henry, Gore, Al and Tipper, The Spirit of Family, p. 89
2002 • Kuper, Simon, "The World's Game is not just a Game," The New York Times Magazine May 26, p. 37 - 41
• Wolf, Sylvia, Visions from America: Photographs from the Whitney Museum of American Art 1940-2001, p. 21, Prestel
• Goodman, Wendy, Retour a Harlem, Architectural Digest (French edition), Nov. p. 124
• Andrews, Richard, Short Stories on Photography: Joseph and Elaine Monsen Collection at the Henry Art Gallery, p. 9
2001 • Max, D.T., "To Sleep no More," The New York Times Magazine, May 6, p. 74 -75
• Stanley, Alessandra, "Berlusconi, The Return," The New York Times Magazine, April 15, p. 40, (photographed Silvio Berlusconi)
• Hyland, John, "Hot Chicks, Cool Rooms," The New York Times Magazine's Fashions of the Times, Spring Issue, p.185
• Good, Karen Renee, "Vibe Hip Hope Divas," Three Rivers Press
2000 • Prose, Francis, "Till Death do us Part," Aperture, No. 159, p. 59
• Wallach, Amei, "The Widow Peaks," The New York Times Magazine, Sept. 24, p. 59 (photographed Yoko Ono)
• Harris, Lyle Ashton, "Next: Rappers and Proteges," Vibe Magazine, Sept., p. 128-132 (photographed Missy Elliott, Fat Joe, Cuban Link, Jill Scott, The Roots, Lil'Bow Wow and Jermaine Dupri)
• Harris, Lyle Ashton, "What's Really on the Minds of Americans: A Special Photography Issue, "The New York Times Magazine, May 7, p. 65, (commissioned Self-Portrait)
• Ex, Kris, "The Art of War," Vibe, August, p. 24 & 145 (photographed Dead Prez)
• Taylor, Stuart, "The Supreme Question," Newsweek, July 10, p. 18-19, (photo illustration)
• Harris, Lyle Ashton, "Hollywood: Special Collector's Issue," Code Magazine, March, p. 58 (photographed John Singleton, Jeffery Wright, Malcolm Lee and Reginald Hudlin)
• Harris, Lyle Ashton, "Lyle Ashton Harris and Chuck Close: A Conversation" NKA, Fall/ Fall/Winter 2000, p. 56-63 and back cover
1999 • Elie, Paul, "The Next Cardinal," The New York Times, October 10, p.70-73
• Dent, David, "The Gospel According to Conrad Muhammad,"Vibe, p. 142-146 (photographed Conrad Muhammad)
1997 • Bruni, Frank, "Reconstructing Marky Mark," The New York Times, August 31, p. 26-29 (photographed Mark Walberg)
• DeParle, Jason, "Welfare to Work: A Sequel," The New York Times, De. 28, p. 14-17
• "The New Black Power," Fortune, August 4, cover and p. 47
• "Apocalyptic Wallpaper," Wexner Center for the Arts, Ohio State University, Columbus, Ohio, p. 51
• "A Thing of Beauty is...," Art and Design Magazine - Art's Design Profile, no. 54
• "Rrose is a Rrose is a Rrose: Gender Performance in Photography," Guggenheim Museum, New York, 1997 (book project)
• "Uncommon Sense," Los Angeles Museum of Contemporary Art, Los Angeles, CA (book project)
• Harris, Lyle Ashton, "Times Square: A Special Photography Issue," The New York Times Magazine, May 18, pages 61, 64-65 Rimanelli, David, "A Drift," Artforum, February, p. 83
• William Hood & William Stern, "Pardon Our Appearance: Masculinity Under Construction," Lyle Ashton Harris with William Stern, Art Journal, guest eds. College Art Association Pubs, Summer, vol. 56, no. 2, p. 6
1996 • Maslin, Janet, "The Unnominated," The New York Times Magazine, March 17, p. 38-39 (photographed Jennifer Jason Leigh)
• Maurice Berger, Simon Watson and Brian Wallis, eds., Constructing Masculinity, NY: Routledge, 1996 (photograph, "The Good Life," accompanies text)
• Atlas, James, "True Confessions: The Age of the Literary Memoir,"The New York Times Magazine, May 12, p. 51 (photographed David Beers)
• "ZYZZYVA, The Last Word," West coast writers and artists, vol.XII, no. 3/4, p.192
1995 • "Sisterhood," THRESHOLDS: viewing culture 9, (cover photograph and portfolio)
• "Longing for Tribe," LA Weekly, April 21-27, p. 19
• "Lyle Ashton Harris," Brutus, 15 January, p. 58-65 (portfolio of eight photographs)
• Enwezor, Okwui, "The Body in Question: Whose Body? ‘Balck Male: Representation of Masculinity in Contemporary Art'," Third Text, no. 31, Summer, p. 68, "Guide to Romance," Social Text 42, (back cover photograph)
• Karcher, Eva, "Marziss and Fegefeuer," Art - das Kunstmagazin, June, p. 77
1994 • De Parle, Jason, "Mary Ann Moore's Welfare," The New York Times Magazine, 8 December, p. 42-49 (cover story with accompanying editorial photographs)
• Harris, Lyle Ashton, "Queen, Alias and Id," Atlantica 6, p. 70-77 (portfolio of 7 photographs)
• Tierney, John, "What's New York the Capital of Now?," The New York Times Magazine, 20 November, p. 50
1993 • Harris, Lyle Ashton, "Man and Woman #1," Transition, press no. 58, New York, Oxford University (cover photograph)
• Hunter, B. Michael, ed. Sojourner, New York: Other Countries Press
• Watson, Simon, "Seksuaalisuus ja vastarinta," Ahl Seksualistunden Vuosi, p. 46
1992 • Dent, Gina, ed. Black Popular Culture, Seattle: Bay Press (photo illustration)
• Harris, Lyle Ashton, "In a land that loves its blond, blue-eyed children, who weeps for the dreams of a black girl?," Framework 4.3, p.40-41
1991 • Harris, Lyle Ashton, "Untitled #1," Outlook 13, p. 26-31
• Walker, Christian, "The Miscegenated Gaze," San Francisco Camerawork, Fall, p. 12-14
• "Reflections of a Past Life through Glass," TEN.8, cover and portfolio, Spring
1990 • Hayes, William, "Out with the Boys," Mother Jones, July/August, p. 47-49

Selected Bibliography (Books)

2008 • Enwezor, Okwui with foreward by Henry Louis Gates Jr. Lyle Ashton Harris, Excessive Exposure: The Complete Chocolate Portraits. New York: Gregory R Miller & Company.
• Coblentz, Cassandra with essays by Kwame Anthony Appiah, Lyle Ashton Harris, Susan Krane, Sarah Lewis, Senam Okudzeto. Lyle Ashton Harris: Blow Up. Scottsdale: Scottsdale Museum of Contemporary Art. New York: Gregory R Miller & Company.
2007 • Angier, Roswell. Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography. New York: Watson-Guptil Publications, pp. 86 - 87.
2006 • Jones, Amelia. Self Image: Technology, Representation and the Contemporary Subject. London and New York: Routledge, pp. 56 - 57.
2005 • Monterosso, Jean-Luc. Atelier Adamson. Paris: Steidl Publications, pp. 96 - 105.
• Friedman, Martin. Close Reading: Chuck Close and the Artist Portrait. New York:
• Harry N. Abrams, pp. 212 - 25.
• Mahon, Alyce. Eroticism and Art. New York: Oxford University Press, pp. 226, 254 - 57.
• McDaniel, Craig and Jean Robertson. Themes of Contemporary Art: Visual Art after
• 1980. New York: Oxford University Press, pp. 112 - 16, 146.
2004 • Smith, Anna Deavere. Lyle Ashton Harris. New York: Gregory R. Miller & Co.
2003 • Fusco, Coco and Brian Wallis. Only Skin Deep: Changing Visions of The American Self.
• New York: International Center of Photography and Harry N. Abrams, pp. 260, 328 - 29.
2001 • Hall, Stewart and Mark Sealy. Different: Contemporary Photographers and Black
• Identity. London: Phaidon Press, pp. 47 - 48, 117 - 18.
• Willis, Deborah. Reflections in Black: A History of Black Photographers 1840 to the
• Present. New York: W.W. Norton & Company, pp. 187 - 88, 292 - 93.
1998 • Bright, Deborah. The Passionate Camera. London and New York: Routledge, cover and pp. 11, 15, 248 - 61, 299, 312.
• Doy, Gen. Materializing Art History. New York: Berg Publications, cover and pp. 16 - 17,
• 236, 245 - 49.
• Jones, Ameila. Body Art/Performing the Subject. Minneapolis: University of Minnesota
• Press, pp. 214 - 15, 217, 219 - 220, 222, 225 - 226.
1997 • Blessing, Jennifer. "Rrose is a Rrose is a Rrose: Gender Performance in Photography." In Rrose is a Rrose is a Rrose: Gender Performance in Photography, ed. Jennifer Blessing.
• New York: The Solomon R. Guggenheim Museum, pp. 107 - 111.
• Harris, Lyle Ashton. "Drag Racing." In Rrose is a Rrose is a Rrose: Gender Performance
• in Photography, ed. Jennifer Blessing. New York: The Solomon R. Guggenheim Museum,
• pp. 190 - 203.
• Powell, Richard. Black Art and Culture in the 20th Century. London: Thames & Hudson,
• pp. 129, 161, 163, 166.
• Wilson, Sarah. "Femininities - Masquerades." In Rrose is a Rrose is a Rrose: Gender
• Performance in Photography, ed. Jennifer Blessing. New York: The Solomon R. Guggenheim
• Museum, pp. 147 - 49.
1996 • De Salvo, Donna. Face Value: American Portraits. New York: Flammarion, pp. 31 - 34.
• hooks, bell. Art on My Mind: Visual Politics. New York: The New Press, pp. 110, 136 - 37,
• 210 - 12.
• Perchuk, Andrew and Helaine Posner. The Masculine Masquerade: Masculinity and
• Representation. Cambridge, Massachusetts: MIT Press, pp. 20, 29, 108 - 109.
1994 • Golden, Thelma. Black Male: Representations of Masculinity in Contemporary
• American Art. New York: Harry N. Abrams, pp. 33, 83, 137 - 38, 140.

Selected Bibliography (Articles and Reviews)

2010 • Doctorow, E.L. "A Calamity of Heart." Aperture, Fall 2010.
• Smith, Albert, "Artist Spotlight: Lyle Ashton Harris." advocate.com, August 14, 2010
• Cotter, Holland, Lyle Ashton Harris, New York Times, April 2, 2010
• Gilbert, Alan, Ghana, Village Voice, March 9, 2010
2008 • Cotter, Holland. "A Multicultural Swirl of Africa, The Americas and Even Outer Space." The New York Times, December 3. McQuaid, Cate. "Documenting Life on Ghana shore." Boston Globe, December 10.
• Baer, Ulrich. "Deep in the Archive." Aperture, Winter 2008, p 54-59.
• Dawson, Jessica. "He Is Some Body: Lyle Ashton Harris's Enigmatic Self-Portraits." Washington Post. February 1.
2007 • Feitelberg, Rosemary. "Bravo Biennale: A New View of Africa." WWDScoop, Summer, p. 43.
• Glueck, Grace. "Self-Portraits that Obscure the Self." The New York Times, January 5.
• Morgan, Jessica. "Categorical Impertives." Artforum 46, 1 (September), p. 391.
• Riley, Cheryl R. "Lyle Ashton Harris: A Look at His Camera's Lens." Ebony Magazine
• (July), pp. 196 - 99.
• Simula, Carlo. "Lyle Ashton Harris." L'Uomo Vogue, May-June, p. 304.
2006 • Green, Roger. "Review: Artists Photograph Their Interpretations of Family Values."
• http://www.mLive.com, March 10.
2005 • Fyfe, Joe. "Lyle Ashton Harris." Art on Paper 9, 3 (January-February), p. 94.
2004 • Fyfe, Joe. "Lyle Ashton Harris at Nathalie Obadia Gallery, Paris." Art on Paper 8, 6
• (July-August), p. 53.
• Jefferson, Margo. "Photo Dynamics." The New York Times Book Review, February 15.
• Liu, Timothy. "Memoirs of Hadrian." Artpapers, January-February, p. 48.
• Northcross, Wayne. "Blood, Sweat and Tears." Genre, September, p. 93.
• Perrëe, Rob. "Lyle Ashton Harris." Kunstbeeld, December 2003-January 2004, pp. 72 - 73.
• Rexer, Lyle. "Only Skin Deep." Art on Paper 8, 4 (March-April), pp. 60 - 63.
• Reyes, Damaso. "Anna Deavere Smith at The Studio Museum." Amsterdam News,
• December 27.
• Workman, Michael. "Lyle Ashton Harris, Rhona Hoffman Gallery." Flash Art, March,
• pp. 118 - 19.
2003 • Aletti, Vince. "Lyle Ashton Harris." The Village Voice, October 8.
• Cotter, Holland. "When the I is the Subject and It's Always Changing." The New York
• Times, September 12.
• Cotter, Holland. "Cameras as Accomplices, Helping Race Divide America Against Itself."
• The New York Times, December 19.
• Genocchio, Benjamin. "Old Faces Inaugurate a Renovated Gallery for Wesleyan." The
• New York Times, November 16.
• Leffingwell, Edward. "Lyle Ashton Harris at CRG." Art in America 91, 11 (November),
• pp. 166 - 67.
• Rickels, Laurence A. "Lyle Ashton Harris." Art US, November-December, p. 32.
• Schwendener, Martha. "Lyle Ashton Harris, CRG Gallery." Artforum 42, 3 (November),
• pp. 189 - 90.
2001 • Shamray, Katherine. "Go-Go Photographer Slows Down in Eternal City." Italy Daily/
• Herald Tribune, May 28.
1999 • Harris, Lyle Ashton. "Chuck Close Master Portraitist: Lyle Ashton Harris at Chuck
• Close's Studio in Soho." aRUDE, Winter, pp. 74 - 76.
• Harris, Lyle Ashton. "The Sublime, The Grotesque, The Epic: Lyle Ashton Harris
• Interviews Cindy Sherman." aRUDE, Spring, pp. 50 - 54.
1998 • Bonetti, David. "Art." San Francisco Examiner, February 4.
• Fitzsimons, Casey. "‘Alchemy' at New Langton Arts." Artweek 29, 3 (March), p. 27.
• Helfand, Glen. "‘Rhapsodies in Black' and ‘Alchemy' Look to the Sources of African
• American Art." The San Francisco Bay 32, 19 (February), pp. 11 - 17.
• Salvioni, Daniela. "Lyle Ashton Harris, Thomas Allen Harris." Artforum 36, 9 (May), p. 154.
1997 • Smith, Roberta. "Decoding la Difference: Gender as Dress and Pose." The New York
• Times, January 17.
• Turner, Grady T. "Lyle Ashton Harris at Jack Tilton." Art in America 85, 3 (March),
• pp. 99 - 100.
• Woolery, Reggie. "The Watering Hole." Fuse Magazine 20, 3 (June), pp. 37 - 39.
• Woolery, Reggie. "Body of Knowledge." Artnews 96, 10 (November), p. 54.
1996 • Artner, Alan G. "Persona Non Grata." The Chicago Tribune, March 17.
• Aletti, Vince. "Lyle Ashton Harris." The Village Voice, September 24.
• Anderson, Frances. "The Gallery Strikes Back: The Commercial Scene, Los Angeles."
• The Art Newspaper, July-August, p. 34.
• Clothier, Peter. "Lyle Ashton Harris." Artnews 95, 9 (October), p. 137.
• Cohen, Michael. "Lyle Ashton Harris." Flash Art 29, 188 (May-June), p. 107.
• Harris, Thomas Allen. "False Assumptions Flaw Criticism." The Los Angeles Times,
• August 26.
• Smith, Roberta. "Finding Art in the Artifact of the Masses." The New York Times,
• December 1.
• Smith, Roberta. "Lyle Ashton Harris." The New York Times, September 27.
• Wiggins, Cynthia. "Liberty, Fraternity, Inequality: Race, Rage, Regret." LA Weekly,
• August 16 - 22, pp. 43 - 44.
1995 • Brooks, Rosetta. "Narcissistic Disturbance at Otis Art Gallery." Artforum 33, 10
• (Summer), p. 112.
• Budney, Jen. "Spotlight: Black Male." Flash Art 180 (February), p. 91.
• Cork, Richard. "Mirage Show of Wit." The London Times, June 27.
• Enwezor, Okwui. "The Body in Question: Whose Body? ‘Black Male': Representations
• of Masculinity in Contemporary American Art." Third Text 31 (Summer), p. 69.
• Flett, Kathryn. "Arena Recommends." Arena, July-August, p. 26.
• George, Lynell. "The ‘Black Male' Debate." The Los Angeles Times, February 22.
• Green, David A. "Narcissistic Disturbance." Art Issues, March-April, p. 40.
• Halard, François. "Portraits of the Artists as Young Men." GQ, February, p. 164.
• Harris, Lyle Ashton and Tommy Gear. "Coco Fusco: English is Broken Here." aRUDE,
• Fall, pp. 54 - 55.
• Haye, Christian. "Myth and the Man." Frieze, January-February, p. 24.
• Knight, Christopher. "LACMA's ‘P.L.A.N.' Isn't Your Standard Photo Show." The Los
• Angeles Times, July 8.
• Knight, Christopher. "‘Narcissistic': Art for Artist's Sake." The Los Angeles Times,
• February 14.
• Mejias, Jordon. "Wer Hat Angst vor Schwarzen Man." Feuilleton, January 24.
• Murphy, Anthony C. "Art Scene." American Vision, December-January, p. 10.
• Nochlin, Linda. "Learning from ‘Black Male.'" Art in America 83, 3 (March), p. 86.
• Owen, David. "The Straddler." The New Yorker, January 30.
• Onedera, Shinichiro. "Art of the Absolute Nude." Brutus, January 1 - 15, pp. 58 - 65.
• Philips, Anthony. "Postmodern Vamp: Living the Good Life with Photographer Lyle
• Ashton Harris." aRUDE, Spring, pp. 20 - 21.
• Rugoff, Ralph. "Vanity Fare: Artists and the N Word." LA Weekly, February 17.
• Sladen, Mark. "Black on Black." Art Monthly, July-August, p. 13.
• Temin, Christine. "Seeing the Man behind the Mask." The Boston Globe, January 24.
• Udé, Iké. "On Lyle's Case: Mask and Embrace in the Work of Lyle Ashton Harris."
• THRESHOLDS: Viewing Culture 9, pp. 67, 72.
• Zellen, Jody. "The Good Life." Artpress, January, p. 66.
• Zook, Kristal Brent. "Longing for Tribe, The Storm over ‘Black Male' and the Persistence
• of Nationalist Design." LA Weekly, April 12.
1994 • Aletti, Vince. "It's a Family Affair." The Village Voice, September 27.
• Aletti, Vince. "Voice Choices." The Village Voice, November 9.
• Atkins, Robert. "From Preppie to Orange Hair in an Amsterdam Minute." The New York
• Times, September 25.
• Avgikos, Jan. "Ciphers of Identity." Artforum 32, 8 (April), p. 91.
• Canning, S.M. "The Good Life." New Art Examiner, December, p. 44.
• Cotter, Holland. "Art after Stonewall: 12 Artists Interviewed." Art in America 82, 6
• (June), p. 63.
• Cotter, Holland. "Art in Review: Lyle Ashton Harris, ‘The Good Life.'" The New York
• Times, September 30.
• Cotter, Holland. "Gay Pride (and Anguish) Around the Galleries." The New York Times,
• June 14.
• Hapgood, Susan. "Lyle Ashton Harris." Art in America 82, 11 (November), p. 106.
• Helfand, Glen. "Lyle Ashton Harris." VIBE, October, p. 102.
• Hovagimyan, G.H. "Black Male Show." Manhattan File, November, p. 104.
• Kimmelman, Michael. "Constructing Images of the Black Male." The New York Times,
• November 11.
• Levin, Kim. "Voice Choices." The Village Voice, November 9.
• Mercer, Kobena. "Fear of a Black Penis." Artforum 32, 8 (April), pp. 80 - 81.
• Pedersen, Victoria. "Black Male." Paper, November, p. 110.
• Seward, Keith. "Lyle Ashton Harris." Artforum 33, 4 (December), p. 83.
• Solomon, Deborah. "Whitney Solves U.S. Race Problem." The Wall Street Journal,
• November 11.
• Stevens, Mark. "Black Like Them." New York Magazine, September, p. 52.
• Wilson, Judith. "Beauty Rites: Towards an Anatomy of Culture in African American
• Women's Art." The International Review of African American Art 11, 3, pp. 11 - 17.
1993 • Sirmans, Franklin. "Best to Protect your Neck: Love One Another." Ace Magazine, July, p. 14.
• Spindler, Amy. "As Street Goes, So Goes Style." The New York Times, September 19.
• White, Bethany. "About Face." Tribes, Fall-Winter, editor's page, pp. 55 - 59.
1992 • Bleckner, Ross. "Emerging Artists." Out, Fall, p. 47.
• Bonami, Francesco. "Schwarze Art Trouble." Flash Art 25, 163 (May-June), p. 132.
• Bonami, Francesco. "Body Politic." Los Angeles Times, December 11.
• Bonami, Francesco. "Disputed Identities US/UK." Parachute 65 (January-March), pp. 59 - 60.
• Conwill, Kinshasha Holman and Lorna Simpson. "Valuing Difference in a Multicultural/
• Multiracial Society." ArtPapers, March-April, p. 27.
• Harris, Lyle Ashton. "Revolutionary Acts-Interview with Marlon Riggs." Afterimage,
• March, pp. 8 - 11.
• Hess, Elizabeth. "Give Me Fever." The Village Voice, December 29.
• Hess, Elizabeth. "Art and Politics: A Pre-Election Symposium." Art in America 80, 10
• (October), p. 43.
• Kotz, Liz. "The Body You Want." Artforum 31, 3 (November), p. 82.
• Rosenberg, Ann. "Sexual Images." Vancouver Sun, May 2.
• Temin, Christine. "ICA's Provocative ‘Dress Codes.'" The Boston Globe, March 10.
• Vogel, Sabine. "Jeder ist eine Minderheit." Der Tagesspiegel, January 8.
1991 • George, Eddie. "Black Body and Public Enemy." TEN.8 2, 1 (Spring), pp. 68 - 71.
• Harris, Lyle Ashton. "Revenge of a Snow Queen." OutLook, Summer, cover and portfolio.
• Harris, Lyle Ashton. "Revolutionary Acts." Afterimage, March, pp. 8 - 11.
• Mercer, Kobena. "Dark and Lovely: Notes on Black Gay Image-Making." TEN.8 2, 1
• (Spring), pp. 78 - 85.
• Rosenberg, Ann. "Icons of Identity." Vancouver Sun, May 25.
• Snow, Shauna. "L.A. Area Artists Win Four Arts Federation Fellowships." Los Angeles
• Times, July 14.
• Walker, Christian. "The Miscegenated Gaze." San Francisco Camerawork, Fall, pp. 12 - 14.
1990 • Hayes, William. "Out with the Boys." Mother Jones, July-August, pp. 47 - 49.
• Sebestyen, Amanda. "Black Narcissus." New Statesman, April 6.

Comissioned Portraits and Photographic Essays

2007 • Yablonsky, Linda. "In the Studio: Kara Walker." Art & Auction, February, pp. 46, 48.
2006 • Appiah, Kwame Anthony. "The Case for Contamination." The New York Times
• Magazine, January 1, pp. 4, 30 - 31, 34.
2005 • Hodgman, John. "Antony Finds His Voice." The New York Times Magazine, September 4,
• p. 25.
2004 • Hedegaard, Erik. "The Entertainer: Al Sharpton." New York Magazine, October 18, pp.
• 37, 38.
• Stoddard, Grant. "Sex/steria." New York Magazine, November 22, pp. 37, 39.
2002 • Kuper, Simon. "The World's Game Is Not Just a Game." The New York Times Magazine,
• May 26, pp. 37 - 41.
2001 • Hyland, John. "Hot Chicks, Cool Rooms." The New York Times Magazine's Fashions of
• the Times, Spring, p. 185.
• Max, D.T. "To Sleep No More." The New York Times Magazine, May 6, pp. 74 -75.
• Stanley, Alessandra. "Berlusconi, The Return." The New York Times Magazine, April 15,
• p. 40.
2000 • Ex, Kris. "The Art of War." VIBE, August, pp. 24, 145.
• Ogunnaike, Lola. "Next: Rappers and Proteges." VIBE, September, pp. 128 - 32.
• Ogunnaike, Lola. "What's Really on the Minds of Americans: A Special Photography
• Issue." The New York Times Magazine, May 7, p. 65.
• Ogunnaike, Lola. "Hollywood: Special Collector's Issue." Code Magazine, March, p. 58
• Wallach, Amei. "The Widow Peaks." The New York Times Magazine, September 24, p. 59.
1999 • Elie, Paul. "The Next Cardinal." The New York Times Magazine, October 10, pp. 70 - 73.
• Dent, David. "The Gospel According to Conrad Muhammad." VIBE, November, pp. 142 - 46.
1997 • Bruni, Frank. "Reconstructing Marky Mark." The New York Times Magazine, August 31,
• pp. 26 - 29.
• DeParle, Jason. "Welfare to Work: A Sequel." The New York Times Magazine, December 28.
• Ferguson, Russell, ed. Uncommon Sense. Los Angeles: Museum of Contemporary Art
• Publications, pp. 53 - 76.
• Johnson, Roy. "The New Black Power." Fortune, August 4, cover and p. 47.
• Johnson, Roy. "Times Square: A Special Photography Issue." The New York Times
• Magazine, May 18, pp. 61, 64 - 65.
1996 • Harris, Lyle Ashton. "Queen, Alias and Id." Atlantica 6, pp. 70 - 77.
• Maslin, Janet. "The Unnominated." The New York Times Magazine, March 17, pp. 38 - 39.
1994 • DeParle, Jason. "Mary Ann Moore's Welfare." The New York Times Magazine, December 8,
• cover and pp. 42 - 49.
1991 • Akomfrah, John. "On the Borderline." TEN.8 2, 1 (Spring), cover and pp. 50 - 61.

Professional Activities

2008 • Lecturer, Arthur M. Sackler Museum, Harvard University, Cambridge, MA
• Lecturer, University at Buffalo Art Gallery, Buffalo, NY
2007 • Jurer for the African Pavillion. 52nd Venice Biennale, Venice, Italy.
2006 • Co-organized NYU Colloquium on Contemporary Art with Joe Nkrumah. Production, Presentation, Conservation and Collection, Ghana.
• Panelist. Rollins College, Winter Park, FL.
2005 • Conversation between Anna Deavere Smith & Lyle Ashton Harris. Hammer Museum, Los Angeles, CA.
• Conversation between Anna Deavere Smith & Lyle Ashton Harris. The Studio Museum in Harlem, New York, NY.
2002 • Visiting Artist. San Francisco Art Institute, San Francisco, CA.
2000 • Lecturer. California Institute of the Arts,Valencia, CA.
1999 • Lecturer. Mason Gross School of Arts, Rutgers, NJ.
• Lecturer. MOCA San Diego, CA.
• Lecturer. New York University, New York, NY.
1998 • Lecturer. The Corcoran Gallery of Art, Washington, DC.
1997 • Lecturer. UCLA, Los Angeles, CA.
1996 • Lecturer. Colgate University, New York, NY.
• Lecturer. SIUC at Carbondale, IL.
• Lecturer. Yale University, New Haven, CT.
• Lecturer. Royal College, Sweden.
• Lecturer. Columbia University, New York, NY.
• Lecturer. Rhode Island School of Design, Providence, RI.
• Lecturer. University of California, Los Angeles, CA.
• Consultant. Banff Centre for the Arts, Alberta, Canada.
1995 • Lecturer. International Center for Photography, New York, NY.
• Lecturer. Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA.
• Lecturer. Parsons School of Art, New York, NY.
• Lecturer. University of California, Santa Barbara, CA.
• Lecturer. Wesleyan University, Middletown, CT.
• Lecturer. University of California, San Diego, CA
• Panelist. College Art Association 1995, San Antonio, TX
• Panelist. Mirage. ICA, London, England. Moderated by Homi K. Bhabha
• Panelist. Pervert. University of California, Irvine, CA
• Panelist. Narcissistic Disturbance. Otis College of Art and Design, Los Angeles, CA. Organized by Michael Cohen.
• Panelist. Face Value: American Portraits. The Parrish Museum of Art, Southampton,NY. Organized by Donna DeSalvo.
• Panelist. Black Male. Armand Hammer Museum of Art, Los Angeles, CA.
• Still photographer. Black Nations, Queer Nations, conference, College for Lesbian
• and Gay Studies, City University of New York, NY.
• Television Interview. A Tale of Three Cities: Dialogue with Lyle Ashton Harris and Jack
• Pierson. by Jerry Saltz for Intervista Productions, NHK, Japan.
1994 • Panelist. Queer Collaboration. Society for Photographic Education 94, Chicago, IL.
• Lecturer. University of California, Santa Barbara, CA.
• Panelist. Queer Art. New School of Social Research, New York, NY. Organized by Robert Atkins.
1993 • Still Photographer. Black Is/Black Ain't. film directed by Marlon Riggs.
• Panelist. Cross-Dressers, Gender-Benders and Trouble-Makers: New Examinations in
• Transvestitism. Occidental College, Los Angeles, CA.
• Panelist. Image Wars: The Role of Photography in the Creation of Culture. University of
• Colorado, Boulder, CO. Organized by Lucy Lippard.
• Panelist. Dresscodes. Institute of Contemporary Art, Boston, MA. Moderated by Marjorie Garber and Simon Watson.
1992 • Lecturer. Foundation for Art Resources, Los Angeles, CA.
• Lecturer. Diva Deluxe. Humanities Research Institute, University of California, Irvine, CA.
• Panelist. Expanding American Art History to Reflect Multiethnic Diversity. San Francisco Art Institute, San Francisco, CA.
• Lecturer. Interrogating Difference. Vancouver Art Gallery, Vancouver, BC, Canada.
1991 • Still photographer. "Black Popular Culture." DIA Center for the Arts, New York, and
• Studio Museum of Harlem, New York, NY.
• Panelist. Passionate Desires. San Francisco Museum of Modern Art, San Francisco, CA.
• Panelist. Black Men in America: Changing Reality? L.A. Contemporary Exhibitions, CA.
• Panelist. Lesbian and Gay Culture: Part of the African-American Community. University of California, Irvine, CA.
• Panelist. Queer Perspectives: Art, Literature and Community Now. Lesbian and Gay
• Outwrite, Boston, MA.
• Panelist. Disputed Identities. Camerawork, San Francisco, CA.
1990 • Project Associate. Black C.A.R.E. Project (Community AIDS Research and Education),
• Department of Psychology, University of California, Los Angeles, CA.

Teaching

2008 • Yale University School of Art, Core Critic
• New York University Steinhardt School of Culture, Education, and Human Development, New York, NY, Summer Program Director, Clinical Assistant Professor, joint appointment with Global Education, Courses Taught: MFA Graduate Studio Critique, Advanced Projects in Art and Media
2007 • New York University Steinhardt School of Culture, Education, and Human Development, New York, NY. Summer Program Director, Clinical Assistant Professor, joint appointment with Global Education, Courses Taught: MFA Graduate Studio Critique, Advanced Projects in Art and Media
2006 • New York University Steinhardt School of Culture, Education, and Human Development, NewYork, NY., Clinical Assistant Professor, joint appointment with Global Education, Course taught: Photography and Theory Seminar
2005 • New York University, Ghana Program, Accra, Ghana., Department of Art and Art Professions, Adjunct Professor, Course taught: Photography and Theory Seminar
• New York University Steinhardt School of Culture, Education, and Human Development, New York, NY., Department of Art and Art Professions, Adjunct Professor, Course taught: Graduate Seminar
2004 • International Center of Photography/Bard College, New York, NY., Department of Art and Art Professions, Adjunct Professor, Course taught: MFA Master Class
• New York University Steinhardt School of Culture, Education, and Human Development, New York, NY., Department of Art and Art Professions, Adjunct Professor, Course taught: Graduate Seminar
2000 • New York University Steinhardt School of Culture, Education, and Human Development, New York, NY., Department of Art and Art Professions, Adjunct Professor, Courses taught: Fundamentals of Photography, Graduate Projects: Advance Color , Undergraduate Projects: Autobiography & Representation
• University of California, School of Art and Architecture, Los Angeles, CA., Department of Art, Adjunct Professor, Course taught: Graduate Tutorial
• California Institute of the Arts, Valencia, CA., School of Art, Adjunct Professor, Course taught: Special Projects and Independent Studies
• Cooper Union School of Art, New York, NY., Adjunct Professor, Course taught: Advanced Photography
1998 • New York University, Steinhardt School, New York, NY., Adjunct Professor, Courses taught: Photo One, Photo Two, Sophomore Praxis class and Junior Seminar Committees: Chair Search Committee, Fine Arts Curriculum Committee and Academi Assembly
1997 • Art Center College of Design, Pasadena, CA., Fine Arts Department, Adjunct Professor, Course taught: Undergraduate Seminar
• University of California, San Diego, San Diego, CA., School of Art, Adjunct Professor, Courses taught: Photo Two and Graduate Seminar
1994 • Otis College of Art and Design, Los Angeles, CA.

Grants/Fellowships/Residencies

2000 • Rome Prize Fellowship: Harold M. English/Metropolitian Museum of Art -Jacob H. Lazarus Rome Prize Fellowship in Visual Arts
• American Photography Award (Vol. 16) for portrait that illustrated "The Gospel According to Conrad Muhammad," Vibe magazine
• Society of Publication Designers Merit Award for photograph that illustrated "The Next Cardinal," The York Times Magazine
1996 • Banff Art Center Residency Fellowship, Alberta, Canada
1995 • Art Matters Grant
• Ernst Haas, "Top 100 Photographers" Award
1993 • Helena Rubinstein Whitney Museum Independent Study Program Fellowship Art Matters Grant
1992 • Brody Arts Fund Fellowship
1991 • WESTAF/NEA Regional Fellowship for the Visual Arts
• Art Matters Grant

Public Collections

• JPMorgan Chase Art Collection, New York, NY
• Los Angeles County Museum of Art, Los Angeles, CA
• Miami Art Museum, Miami, FL
• Museo de Arte Contemporáneo de Castilla y León, Spain
• Museum of Contemporary Art, Los Angeles, CA
• Museum of Contemporary Art, San Diego, CA
• Nasher Museum of Art at Duke University, Raleigh-Durham, NC
• The Progressive Corporation, Mayfield Village, OH
• Walker Art Center, Minneapolis, MN
• The Whitney Museum of American Art, New York, NY