Beverly Buchanan, 1978 – 1981
With contributions by Beverly Buchanan, Lowery Stokes Sims, Jennifer Burris, and Park McArthur
Graphic design by Jake Hobart
Published by Athénée Press, Mexico City
Printed duotone with four-color cover and sleeve, 96 pages
In the summer of 1977, following a ten-year career as a public health educator in the Bronx and East Orange, New Jersey, Beverly Buchanan exhibited a selection of cast concrete sculptures at Truman Gallery on 38 East 57th Street. Three years later, in 1980, she received a Guggenheim Fellowship to create a large-scale public artwork using similar techniques in the Marshes of Glynn in Brunswick, Georgia. Following Lucy Lippard’s politicization of Land Art and earthworks, Beverly Buchanan, 1978 –1981 looks at the social and aesthetic propositions of Buchanan’s art practice from these formative years. Through the economic, social, and historical networks that constitute Buchanan’s sculptures, this book explores how the artist’s memorials, mounds, and living fields intersect with life in the American South.
Beverly Buchanan is an artist based in Ann Arbor who explores Southern vernacular architecture in multiple mediums, encompassing sculpture, photography, drawing, and site-specific installation. Her work is held in the permanent collections of The Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; and the High Museum of Art, Atlanta.
Park McArthur is an artist living and working in New York. Her most recent exhibitions took place at ESSEX STREET, New York, Yale Union, Portland, OR and Galerie Lars Friedrich, Berlin. Her writing, which focuses on dependency and autonomy and care, has been published in Women & Performance: a journal of feminist theory with Tina Zavitsanos, and The Happy Hypocrite. She is a 2015 Wynn Newhouse Award recipient.
Jennifer Burris is a curator and writer based in Mexico City, where she is director of Athénée Press. Previously, she was the 2011-2013 Whitney-Lauder Curatorial Fellow at the ICA at the University of Pennsylvania. She has a PhD from the University of Cambridge, and in 2010-2011 was a Helena Rubinstein Curatorial Fellow in the Whitney Independent Study Program.
Howardena Pindell is an artist living and working in New York. She received an MFA from Yale University and holds honorary doctorates from Massachusetts College of Art, Boston and Parsons School of Design, New York. Pindell has taught at Stony Brook University, SUNY since 1979. She has received numerous grants and awards including a Guggenheim Fellowship and a grant from the Joan Mitchell Foundation.
Diedra Harris-Kelley is an artist and Co-Director of the Romare Bearden Foundation. She earned an MFA from University of Michigan, Ann Arbor. Harris-Kelley is currently teaching a seminar on Romare Bearden at Columbia University and has previously taught studio art at New York University and Parsons School of Design. From 2009 – 2012 she was a member of the curatorial team at Jazz at Lincoln Center.
Andy Campbell, Ph.D., is a Critic-In-Residence with the Core Program (Glassell School of Art/Museum of Fine Arts, Houston) and an instructor of LGBTQ studies at Rice University. Recent and forthcoming publications focus on women's lands and photography, Wu Tsang's full body quotation as a performance tactic, and Dean Sameshima's connect the dot paintings. His writings and reviews appear in Artforum, Aperture, Modern Painters, and others.