SELECTED SOLO EXHIBITIONS
2013 • Chastain Art Center, Arturo Lindsay: Portraits of Yemaya. Atlanta, GA
2008 • Chase Gallery, Bates College, Arturo Lindsay: Love, Lewiston, ME
2007 • Museum of Contemporary African Diasporan Art (MoCADA)
Arturo Lindsay: Love, Brooklyn, NY
2006 • The Sumter County Gallery of Art, Arturo Lindsay: Healing, Sumter, SC
• Clifford Gallery, Colgate University, Arturo Lindsay: Transition, Hamilton, NY
2004 • City Gallery at Waterfront, Mapping Ports: Sullivan’s Island, Goreé Island, Portobelo, Havana and Seville,
a retrospective exhibition, Charleston, SC
2000 • Lonyear Museum, Colgate University – Santuario/Sanctuary, Hamilton, NY
1999 • Segunda Bienal Iberoaméricana de Lima – Salones de Artistas Invitados, Pancho Fierro, Retorno de las ánimas Africanas, Lima, Peru
1998 • Animas, arcángeles y antepasados: Recent Work by Arturo Lindsay, Diggs Gallery, Winston-Salem State University, Winston-Salem NC
1997 Intermedia Art Center , Minneapolis, MN
1996 Nexus Contemporary Art Center, Atlanta, GA
1994 • Museo de Arte Contemporaneo, Canto a la Libertad de Africa a America Panama, Panama
• Chassie Post Gallery Congo Spirits, Atlanta, GA
1993 • Franklin Furnace El Monte: A Tribute to Lydia Cabrera , New York, NY
1992 • Chastain Gallery Las Siete Potencias Africanas, Atlanta, GA
1988 • Hammonds House Gallery Ancestral Effigies, Atlanta, GA
1986 • Gallery 69 Arturo Lindsay: Recent Work, South Bronx, NY
1984 • Sutton Gallery Collaborations, Houston, TX
1983 • Augusta Savage Gallery Arturo Lindsay: Recent Work, Amherst, MA
1982 • Mona Berman Gallery Ancestral Guardians, New Haven, CT
1981 • Old State House Gallery Arturo Lindsay: Recent Work, Hartford, CT
• Trinity College Arturo Lindsay: Recent Work, Hartford, CT
1977 • Craftery Gallery Arturo Lindsay, Hartford, CT
1972 • Bridgewater State College Arturo Lindsay, Bridgewater, MA
1971 • Central Connecticut State University Arturo Lindsay, New Britain, CT
SELECTED GROUP EXHIBITIONS
2012 • Studio Museum in Harlem and the Queens Museum, Caribbean Currents New York, NY
2011 • Latino Arts Council, Latino Foodways, Milwaukee WI
2008 • Gulf+Western Gallery, Tisch School of the Arts, New York University
and Nathan Cummings Foundation 1968: Then & Now, New York, NY
2007 • Casa Escute, Municipio Aútonomo de Carolina, Tradiciones Afro
Caribeñas: Espiritualidad, Arte y Resistencia , Carolina, P.R.
• Georgia College and State University, Kindred Spirits, a two-man show with
Fahamu Pecou, Milledgeville, GA
2006 • The Spelman College Museum of Fine Art, Recognize: The Spelman College Department
of Fine Art Faculty Exhibition, Atlanta, GA
2005 • Sumter County Cultural Commission, Requiem: Sumter, SC for the Accessibility 2005 – Transplanted Latino Artists in the USA.
The Seventh Annual Exhibition of Installation Art, Sumter, SC
• Ferias de Portobelo 2005, Las Orquídeas Sculpture Park, Requiem for a Fool, a biodegradable sculptural installation, Portobelo, Panama
• Sonja Stone Haynes Black Culture Center, University of North Carolina, Chapel Hill, Como se cuenta le cuento-How the Story is Told, an exhibition of Taller Portobelo . Chapel Hill, NC
2004 • Hammonds House Galleries, Como se cuenta le cuento-How the Story is Told, an exhibition of Taller Porto belo, Atlanta, GA
• 3TEN HAUSTUDIO, “studio sweepings,” Atlanta, GA
• The Columbus Museum, Redefining Georgia: Perspectivas en Arte Contemporáneo, Columbus, GA
2003 • Ferias de Portobelo 2003, Las Orquídeas Sculpture Park, Retorno de las ánimas, a biodegradable sculptural installation, Portobelo, Panama
2002 • Sun Trust Plaza Gallery, Culture Shock: Work by Georgia Foreign-Born Artists, Atlanta, GA
• Blackridge Hall Gallery, The Georgia College & State University Reinventing Traditions: Congo Art of Taller Portobelo, Milledgeville, GA
2001 • XVI Festival Iberoamericano de Teatro, Santuario de los reyes, una obra collectiva del Taller Portobelo. Cadiz, Spain
• City Gallery East, Pertenecer Belonging, Atlanta, GA
• Modern Primitive Gallery, Congo Art of Taller Portobelo, Atlanta, GA
2000 • Museo de Arte Contemporaneo, Panameños en la bienal de Lima Panama, Panama
• EXMA’ Centro Culturale D’Arte e Cultura, Percorsi dello Spirito Anno Duemil, Cagliari, Italy
• Kubatana Gallery, Transgressions and Transformations, a two person exhibition with Michael Harris, Atlanta, GA
• Convento de Santo Domingo, Arco Chato, Altares Panama, Panama
• Ruth Hall Hodges Art Gallery, Morris Brown College, Remembrance of a Legacy, Atlanta, GA
1999 • Smithsonian Institution, Anacostia Museum and the Center for African American History and Culture,
Locating the Spirit: Religion and Spirituality in African American Art,Washington, DC
• Cinque Gallery, Artists in the City, New York, NY
1998 • Cittadella dei Musei Piazza Arsenale, Organized by Centro Culturale, Percorsi dello Spirito, Cagliari, Italy
• Spelman College Museum of Fine Art, Divergent Journey/Aesthetic Convergence, Atlanta, GA
1997 • Smithsonian Institution, In Search of Balance: The Artist Scholar, Washington, DC
• Salón Internacional de Estandartes ES97, Centro Cultural Tijuana, Tijuana, Mexico Museo Rufino Tamayo, Mexico City, MX
1996 • Palazzo del Esposizioni, Roof Garden, Plexus Performance/Installation: The Ark of the Well Being , Rome, Italy
• Art in Atlanta, (A traveling exhibition organized by Artist-in-Residence International), The Chamber of Commerce, Magdeburg, Germany
Amerika Haus Munich, Germany
Amerika Haus Berlin, Germany
Amerika Haus Frankfurt, Germany
Amerika Haus Hamburg, Germany
Amerika Haus Cologne, Germany
Hatton Gallery Newcastle-Upon-Tyne, England
1995 King Plow Gallery, Atlanta, GA
• El Museo del Barrio Reaffirming Spirituality, New York, NY
1994 • Telfair Museum, Mapping the Self: Models of Identity in a Postmodernizing State , Savannah, GA
• International Museum of Art and Design Distant Visions: International Influences on Georgia Artists, Atlanta, GA
1993 • The Mexican Museum (organizer of traveling exhibition)Ceremony of Spirit: Nature & Memory in Contemporary
Latino Art San Francisco, CA
Western Washington University (1994) Bellingham, WA
Studio Museum in Harlem (1995) New York, NY
Laguna Gloria Art Museum (1995) Austin, TX
Boise Art Museum (1996) Boise, ID
Fresno Metropolitan Museum (1996) Fresno, CA
• University of Cincinnati Eight + One from Atlanta, Cincinnati, OH
• Brenau University Hispanic Imprints Gainesville, GA
1992 • Museo de Arte Contemporaneo, Bienal de Arte Pictórico Panama, Panama
1991 • High Museum of Art, Southern Expressions: Tales Untold Atlanta, GA
1990 • Christies Auction, NAACP Legal Defense Fund Benefit New York, NY
1989 • Franklin & Marshall College, Faculty Exhibition Lancaster, PA
• Carlton Cobb Gallery, Gallery Artists Atlanta, GA
• Longwood Art Center South Bronx, NY
1988 • Aljira Gallery, Art from the African Diaspora: Survival Newark, NJ
• NITE Gallery East Village, NY
1987 • Sanctuary of Sa Itria, Plexus International Sardinia, Italy
• Museo de Arte Contemporaneo, Encuentro de Escultura Panama, Panama
• Fashion Moda South Bronx, NY
• Fondo del Sol, Homage to the Afro-Latino Washington, D.C.
1986 • Kenkeleba Gallery East Village, NY
• Museum of Contemporary Hispanic Art,
Caribbean Art: African Currents SoHo, NY
1985 • ACBAW Gallery, Artistas Latinos Mt. Vernon, NY
1984 • The High Museum of Art,
African American Art in Public & Corporate Collections Atlanta, GA
• The Drawing Room Gallery Houston, TX
• Midtown Art Center, Contemporary Houston Art Houston, TX
• Little Egypt Gallery Houston, TX
1983 • Museum of African American Art Artists of the ’80s Los Angeles, CA
1982 • Crystal Britton Gallery Atlanta, GA
1981 • Trinity College Hartford, CT
• R.Thompson Gallery Baltimore, MD
1980 • Castle Gallery, College of New Rochelle 14 Latin American Artists New Rochelle, NY
• Slater Memorial Museum, Connecticut Black Artists Norwich, CT
• Cayman Gallery SoHo, NY
1976 • Davidson Art Center, Wesleyan University
Black & Hispanic Visions Middletown, CT
• Asylum Hill Cooperative Gallery Hartford, CT
1973 • Wadsworth Athenaeum, Through Young Black Eyes Hartford, CT
1972 • Wadsworth Athenaeum, Through Young Black Eyes Hartford, CT
2003 • Rockefeller Foundation, Bellagio Fellowship Bellagio, Italy
2002 • UNCF Mellon Faculty Seminar at Goree Institute with Wole Soyinka Goree, Senegal
1996 • Artist-in-Residence, Maine College of Art Portland, Maine
1994 • Lila Wallace-Reader’s Digest International Artist Residency Award Portobelo, Panama
1993 • Scholar-in-Residence, New York University New York, NY
ART PROJECTS & PERFORMANCES
2012 • Bearing Witness: The Stories of Ordinary People Living During
Extra-ordinary Times, a multi-disciplinary performance art
ritual/installation. Organized by smARTpower a Joint State Department
and The Bronx Museum of Art project.
Spelman College, Atlanta, GA
Medrar for Contemporary Art, Cairo, Egypt
2010 • Los abanicos de Portobelo, Las Orquídeas Environmental Sculpture Park Portobelo, Panama
• Sanctuary on the BeltLine, The BeltLine, Inc., Atlanta, GA
2009 • Retratos de Felipillo y Bayano, two commissioned paintings for the
Biodiversity Museum Panama, Panama
• Creencia/Belief, a commissioned sculpture for the Smithsonian Institution
Latino Legacy Awards Washington, DC
2008 • Artist Contemplating Torture, a performance art ritual. In collaboration
with poet Opal Moore, musician Joe Jennings, filmmaker Ayoka Chenzira and others. Spelman College, Atlanta, GA
• Artist Contemplating the Fate of Those Who Speak of Freedom, Las Orquídeas Environmental Sculpture Park, Portobelo, Panama
Castle of Good Hope, Cape Town, SA
2007 • Crossing Catumbela, A New Year’s Eve performance in Portobelo, Portobelo, Panama
2006 • The Delfina Sails Again, a six city, ten day tour of art and poetry in collaboration with Opal Moore, Germany
2005 • Ferias de Portobelo 2005, Las Orquídeas Sculpture Park, Requiem for a Fool, a biodegradable sculptural installation. Portobelo, Panama
2004 • The Erosion Project, for Plexus International Dakar, Senegal
2003 • Design of the railings and medallions for the Judge Lenwood, Jackson Justice Center (City Court of Atlanta) Commissioned by
Public Art Program City of Atlanta, Bureau of Cultural Affairs, Atlanta, GA
2002 • The Voyage of the Delfina, a performance art ritual. In collaboration
with poet Opal Moore, musician Joe Jennings, filmmaker Ayoka Chenzira and a host of artists and students. Spelman College, Atlanta, GA
2000 • The Return of the Ancestral Messenger Through the Door of No Return Plexus, Dakar Goree, Senegal
1994 • Plexus Interactive Art & Science Project Cagliari Museum, Sardinia, Italy
1992 • Transmission of the Fleet of Projects, (a Plexus Fax performance)
University of Cagliari, Sardinia, Italy
1990 • Plexus Black Box Teatro Coliseo, Rome, Italy
• Feeding of St. Andy’s Aura Franklin and Marshall College, Lancaster, PA
• Feeding of St. Andy’s Aura Gettysburg College, Gettysburg, PA
1989 • Feeding Mother Earth after Hugo and The Frisco Quake
Sonora Desert, Tucson, AZ
• Feeding St. Andy’s Aura Nuyorican Poet’s Cafe at CUANDO East Village, NYC
1988 • Plexus Art Co-Opera #5: The Serpent CUANDO East Village, NYC
• Homenaje a Miky Piñero: a performance art ritual
Nuyorican Poet’s Cafe East Village, NY
• Mummification of the Art Object Henry Street Settlement, New York, NY
1987 • Plexus Parade of the Serpent, Rome, Italy
• Plexus Art Co-Opera #4: The Serpent of Stone Sardinia, Italy
• Artist Contemplating the Fate of Those Who Speak of Freedom Fashion Moda, South Bronx, NY
Franklin Furnace, Staten Island Ferry
Kenkeleba Gallery (1986) East Village, NY
1986 • Plexus Art Co-Opera #3: Eve CUANDO East Village, NY
• Plexus Art Co-Opera #2: Purgatorio CUANDO East Village, NY
• Performance Drawing Shuttle Lab East Village, NY
• Collaboration with John Betsch and Ghengis Nor Shuttle Lab East Village, NY
1984 • Smoke Voices with Ntzoke Shange Sutton Gallery Houston, TX
CRITIQUES AND REVIEWS
2012 • Noplacesness, Art in a Post-Urban Landscape, Jerry Cullum, Catherine Fox and Cinqué Hicks. Possible Futures, Inc., p. 20 44-46.
• Twenty People to Watch in 2012, Catherine Maddox, Creative Loafing Magazine, Atlanta, GA
2003 • The Art of Arturo Lindsay, in An Introduction to Diasporas in the United States, Developed by Selena Lai, Stefanie Lam and Perry Chen. Stanford Program on International and Cross- Cultural Education, Stanford University.
2002 • The Atlanta Journal-Constitution, “A Melding of Cultures in Sun Trust Plaza Gallery Lobby,” Atlanta, GA August 16, 2002, p. Q6.
2000 • Talingo, La Prensa, “Panameños en la Bienal de Lima” by Adrienne Samos, Panama, Panama No. 380. 3 September 2000
1999 • African Arts, “Individuality and Tradition A Conversation with Three Contemporary Artists” by Lowery Stokes Sims, Special Issue Authorship in African Art, Part 2 Alisa LaGamma, Guest Editor, Spring 1999, VolumeXXXII, Number 1, pp. 36-39
1998 • Winston-Salem Journal, “Cultural Ancestry,” Tom Patterson, Winston-Salem, NC March 29
• Winston-Salem Journal, “Of Rich Roots,” Tom Patterson, Winston-Salem, NC 15 February p. E1
1997 • Star Tribune, “Panamanian Artist Illuminates Forgotten Black History” by Mary Abbe, Minneapolis, MN 10 October p. E17
1996 • The Village Voice, “Altered States” by Ed Morales, New York, NY 1 Oct. 1996, p. 40
• Art Nexus Internacional, “Arturo Lindsay,” by Gerardo Mosquera. Sept. pp. 121-122
• The Atlanta Journal/The Atlanta Constitution “Pain and Redemption Rodriguez, Lindsay take personal, cultural journeys” February 9, p.22
1995 • The Atlanta Journal/The Atlanta Constitution Weekend Preview – Visual Arts, Oct. 20, p.1
1994 • La Prensa, “De Atlanta a Portobelo” November 3
• El Panamá América, “La Negritud: Símbolo y rito en Arturo Lindsay” December 15, p. D8
• La Estrella de Panamá, “Canto a la libertad de Africa” December 25, p. C5
• The Atlanta Journal/The Atlanta Constitution “Art traces Panama’s African roots” August 12
1993 • Art Forum, “Arturo Lindsay at Franklin Furnace” November, 1993
• Art in America, “Arturo Lindsay at Chastain Gallery” April, Volume 81, no. 4, pp. 136
• International Review of African American Art, “Cross-Cultural Ritual As Art, The Performances of Arturo Lindsay” Volume 10, no. 2, pp. 25-27
1992 • Creative Loafing, “The Art of Icons” September 5, pp. 29-33
• The Atlanta Journal/The Atlanta Constitution, “Lindsay’s Altars to Diversity” July 26, p.N2
• The Atlanta Journal/The Atlanta Constitution, “Vignettes Pay Homage to the Icons of Santería” July 31, p. G2
1991 • Atlanta Journal / Atlanta Constitution, “Exercises for Imagination Unravel in ‘Tales Untold'” October 31, p. D7.
• Art Papers, January & February, Volume 16, no. 1, “Southern Expressions: Tales Untold” p 50-51
1988 • Atlanta Constitution, “Ancestral Effigies-A Moving Collection” June, 15 p 38 CNN News
1987 • La Nuova, Sardinia, Italy
• Revista 30 Dias, Panama City, Panama, p 56
• New York Art Review
1986 • 7th Edition, Who’s Who in American Art
1985 • International Review of African American Art, Volume 6, no. 2, pp. 58-63
• Gannett Westchester Newspaper, Mount Vernon, NY, Nov. 29, p 17
1982 • Art in America, August, Volume 70, no. 7, pp. 102 & 109
• Hartford Courant, Hartford, CT, November 14
1981 • Northend Agents, Hartford, CT, April 20, p 12
1978 • Looking Better, Connecticut Public Television, Hartford, CT
• Southside Neighborhood News, Hartford, CT, September 7, p 11
• The Hartford Courant, Hartford, CT, August 22
1977 • Northend Agents, Hartford, CT, July 3, p 1
• The Hartford Courant, Hartford, CT
• The Hartford Times, Hartford, CT, September 19, p 31
• The Advocate, Hartford, CT, August 18, p 15
• The Inquirer, Hartford, CT, August 21
1976 • The Hartford Courant, Hartford, CT, August 13, p 23
1975 • The Hartford Times, Hartford, CT, June 29, p 17
• Daily News, Springfield, MA, December 4, p 23
AWARDS AND RECOGNITION
2012 • smARTpower artist representing the United States in Cairo, Egypt
2006 • Distinguished Batza Family Chair, Colgate University, Hamilton, NY
2005 • Kemp Distinguished Visiting Professor, Davidson College, Davidson, NC.
2000 • Spelman College – Merrill International Travel Grant
1999 • Fulbright Senior Scholar Award, The J. William Fulbright Foreign Scholarship Board
1997 • Spelman College Presidential Award for Scholarship
1996 • Commissioned Artist, “17 Days of the Olympics” Hartsfield International Airport, Atlanta, GA
• Commissioned Artist, Nexus Contemporary Art Center, Corporation for Olympic Development in Atlanta
• Board of Directors, College Art Association CAA
1995 • Artist Advisory Board, The High Museum of Art, Atlanta
• Individual Artist Fellowship, Georgia Council for the Arts
• Panelist, National Endowment for the Arts, Visual Arts Programs
• Bush Faculty Development Grant, Spelman College
1992 • Bush Faculty Development Grant, Spelman College
1991 • Bush Faculty Development Grant, Spelman College
1990 • Who’s Who in the East
1986 • Who’s Who in American Art
1981 • First Prize Sculpture, The Second Annual Atlanta Life Insurance Company National Art Competition and Exhibition
1980 • Invited guest to the White House by President Jimmy Carter
1979 • Invited to CARIFESTA by the Government of Cuba
1979 • Individual Artist Grant, Connecticut Commission on the Arts
1978 • House Resolution No. 395, Honoring Arturo Lindsay, Connecticut General Assembly
1977 • Connecticut Public Television, one-hour special featuring muralist Arturo Lindsay
1976 • Individual Artist Grant, Connecticut Commission on the Arts
2013 • “Dancing Aché with Yemaya in My Life and in My Art: an artist statement,” in YẸMỌNJA: Water Goddess, Fluidity and Tradition, Indiana University Press.
2011 • “Investigating the Aesthetics of Ashé,” in Actualidad de las Tradiciones Espirituales y Culturales Africanas en el Caribe y Latinoamérica, Primer y Segundo Simposio, compiled by María Elba Muñoz, Marta Moreno Vega and Mónica Cortes, edited by José Carvajal. Puerto Rico: Centro de Estudios Avanzados de Puerto Rico y el Caribe and Instituto de las Tradiciones Afrocaribeñas.
2008 • “Understanding the Aesthetics of New Pop/NEOPOP,” in Fahamenon, Special; Collector’s Issue, Raleigh, NC: Flanders Art Gallery.
2004 • “Santería Aesthetics: a Yoruba-Cuban Phenomenon,” in Encyclopedia of African-American Culture and History: The Black Experience in the Americas. Editor in Chief: Colin Palmer. Board Editors: Lisa Gail Collins; Marcyliena Morgan; Faith Smith; James Sweet; Robert Reid-Pharr. New York: Macmillan Reference USA.
• “The Congos of Panama,” Encyclopedia of African-American Culture and History: The Black Experience in the Americas. Editor in Chief: Colin Palmer.
2003 • “The Research Methods of an Artist-Ethnographer on the Congo Coast of Panama,” in Breaking the Disciplines: Reconceptions in Knowledge, Art & Culture, edited by Marsha Meskimmon and Martin Davies. London: I.B. Tauris House.
• “Albert Chong: ‘It’s Complex,’” in Fresh Talk/Daring Gazes: Asian American Issues in Contemporary Art, edited by Elaine Kim, Margo Machido and Sharon Mizota. University of California Press.
• “Niveles de Conocimiento/Niveles de Entendimiento: El Arte de Hochi Asiatico. Layers of Knowledge/Layers of Understanding: The Art of Hochi Asiatico,” a bilingual museum catalog essay for the exhibition Hochi Asiatico, Metamorfosis de los Dioses. Habana, Cuba: Galeria Latinoamericana, Casa de las Américas.
2001 • “Thron für shango, orisha-altar” (Trono de Shangó: an Orisha Altar in the Yoruba-Cuban Diaspora), a museum catalog essay for the exhibition Altäre, Kunst zum Niederknien. Düsseldorf, Germany: Kunst Palast Museum.
• “The Allure of the Naza,” The Aesthetics of Enchantment in the Fine Arts, edited by Kronegger and Tymieniecka. Analecta Husserliana LXV. Lancaster, UK: Kluwer Academic Publishers.
1996 • Santería Aesthetics in Contemporary Latin American Art, editor. Smithsonian Institution Press. Washington D.C.
1993 • “Mestizaje and the Postmodern Aesthetic,” a museum catalog essay for the exhibition Ceremony of Spirit – Nature and Memory in Contemporary Latino Art. Curated by Amalia Mesa-Bains. The Mexican Museum, San Francisco, CA
1990 • Review of Francisco Goya, The Tapestry Cartoons and Early Career at the Court of Madrid, by Janis A. Tomlinson. Cambridge University Press, 1989. Society for Spanish and Portuguese Historical Studies Bulletin, Vol. XV No. 2.
1989 • “The Images of Imna Arroyo,” in The Image(s of the Afro-Hispanic Woman in Latin American Literature and Culture, conference proceedings edited by Elba Birmingham-Pokorny. English and Foreign Languages Department Southern Arkansas University, Magnolia, Arkansas.
• “Orishas: Living Gods in Contemporary Latin American Art,” The Black Image in Latin American Culture, conference proceedings edited by Elba Birmingham-Pokorny. Department of Modern Languages and Cultures, Slippery Rock University.
LECTURES AND PANEL DISCUSSIONS
2009 • Smithsonian Institution National Museum of African Art, Washington, DC, Guest Lecturer – An Artist’s Journey on the Congo Coast of Panama.
2008 • “Dancing with Goddesses in My Life and in My Art,” for “Where African Spirituality and Women’s Studies Meet, Spelman College Museum of Art.
• “Mapping Ports: Sullivan’s Island, Goreé Island, Havana and Seville”
Walters Art Museum, Baltimore, MD & Virginia Museum of Fine Art, Richmond, VA
• “Environmental Art at the Spelman College Summer Art Colony,” for the
2008 Collegiate Environmental Sustainability Conference, Spelman College.
2007 • “Journey on the Congo Coast of Panama 1993 – 2007,” for the Artists and Educators I:
Trends in Art panel – Here & Now: African &African American Art & Film Conference, New York University, NY, NY.
• “The Aesthetics of Ashé,” Tradiciones Afro Caribeñas – II Simposio de la Actualidad de las Tradiciones Espirituales y Culturales Africanas en el Caribe y Latinoamérica, Centro de Estudios Avanzados de Puerto Rico y el Caribe, San Juan, Puerto Rico
2006 • “The Yoruba Aesthetic“ Moderator. Art & Culture of the African Diaspora Symposium. Colgate University, Hamilton, NY
2005 • “Como se cuenta el cuento en la diaspora Africana-How the Story is Told in the African Diaspora,” a roundtable discussion.
2003 • “The Spelman College Summer Art Colony as a Model for a Study Abroad Component for African Diaspora Studies,” a slide lecture for the “Future of Pan-Africanism in the Caribbean and Latin America” panel of the National Conference of Black Studies Annual Conference, Atlanta, GA
2002 • “Los Congos de Portobelo,” a slide lecture for the El Comité Nacional del Centenario, University of Panama, Penonomé campus, Republic of Panama.
• “Los cimarrones y Congos de Panama,” a slide lecture for a panel discussion on Spain’s Contributions to Panamanian Culture, sponsored by the Spanish Embassy in Panama.
2001 • “The Congos of Portobelo, a Creolized Culture in America,” a slide lecture at Dillard University, New Orleans, LA
2000 • “P reserving the Old While Creating New Traditions on the Congo Coast of Panama,” a slide lecture for the “Visual Culture, Ritual and Artistic Production” panel, Diasporas africaines dans l’ancien et le nouveau monde: conscience et imaginaire conference, at the Sorbonne, l’Institut d’Anglais Charles V, and the University of Paris, Paris France.
• “Presente: The Dwelling of Orishas in My Art, a slide-lecture presented at the African Arts Triennial Conference in St. Thomas Virgin, Islands. Dr. Babatunde Lawal presented this paper on my behalf.
• “Yoruba-Lucumí Aesthetic Presence in Contemporary Art,” a slide-lecture for the Cuba Today conference at Georgia State University, Atlanta, GA.
1999 • “Orishas, Ancestors, and Guardian Angels,” a slide-lecture on my work for the “African-based Religion in Contemporary African American Art” panel. The 10th Annual James A. Porter Colloquium on African American Art, Howard University, Washington, DC
• Arte y pensamiento de un artista al fin del mileneo, a slide lecture on my work. The University of Panama, School of Art.
1998 • “The Spirits Within,” a slide-lecture on my work for the “Contemporary Artists: Issues of Individuality and Tradition” panel discussion and colloquium in conjunction with the exhibition Master Hand: Individuality and Creativity among Yoruba Sculptors at the Metropolitan Museum of Art, New York City.
1997 • “In Search of Balance: The Artist Scholar,” a panel discussion at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
• Research Methods of an Artist-Ethnographer, a slide-lecture at Maine College of Art
1996 • The Evolution of the Contemporary Artist-Scholar, Panel chair, 1996 College Art Association Conference, Boston, MA
1995 • “Los Congos de la Costa Arriba: A Living Tradition in Art,” a slide-lecture for The Arts Council of the African Studies Association Third Triennial Symposium of African Art, New York City. Panel: The Place of Popular Culture in the Art of the African Americas.
• “Tecnología moderna para preservar la historia oral,” lecture at Nuestro Legado Cultural Sociedad de Amigos del Museo AfroAntillano de Panamá, University of Panama
• My Journey on the Congo Coast of Panama, a slide-lecture at Telfair Museum, Savannah, GA
• My Journey on the Congo Coast of Panama, a slide-lecture at SUNY Brockport
1994 • Afro-Cuban Influences in the Art of Arturo Lindsay, a lecture at Brandeis University
• “Research Methods of an Artist-Ethnographer,” a slide-lecture for Blending Cultures: Creolization and Cross-Cultural Practices in Contemporary Art in the Native, Latino, and African Americas, panel College Art Association Conference, New York, NY
1992 • “Santería Aesthetics in Contemporary Latino Art,” a slide-lecture, for the African Presence in the Americas conference, Casa de las Américas, Habana, Cuba
• “Orishas: Living Gods in the Art of Contemporary Caribeño Artists,” a slide-lecture for the “Religion and the Counter-Hegemony in the Caribbean,” Caribbean Studies Association Conference, Grenada, W.I.
• Synthesis, Syntax, and Syncretism in Postmodern Art, Curator’s Talk, Atlanta College of Art, Atlanta, GA
• “Orishas: Living Gods in Contemporary Latino Art,” a slide-lecture, for the Santería Aesthetics in ontemporary Latino Art symposium, Spelman College, Atlanta, GA
• Santería Aesthetics in Contemporary Hispanic Art, Panel Chairman, 1992 College Art Association Conference, Chicago, IL
• Mestizaje and the Aesthetics of Santería, a slide-lecture, Eastern Illinois University
• Mestizaje and the Aesthetics of Santería, a slide-lecture, University of Kentucky
1991 • “Mestizaje and the Postmodern Aesthetic,” a slide lecture, Somos Artistas panel, 1991 College Art Association Annual Conference, Washington, D.C.
• Yoruba Aesthetic Concerns in Contemporary Art, a slide-lecture at the High Museum of Art, Atlanta, GA
1990 • The Art of Arturo Lindsay, a slide/video/lecture, Gettysburg College, Gettysburg, PA
• Orishas: Living Gods in Contemporary Latin American Art, a slide-lecture at the 1990 Mid-Atlantic College Art Association Conference, Tucson, AZ
• Orishas: Living Gods in Contemporary Latin American Art a slide-lecture, Spelman College
1989 • Orishas: Living Gods in Contemporary Latin American Art a slide-lecture at the 2nd Annual Hispanic Culture & Literature Conference, Black Image in Latin American Culture, Slippery Rock Univ.
• The Art of Arturo Lindsay, a slide/video/lecture, University of Arizona, Tucson, AZ;
• The Art of Arturo Lindsay a slide/video/lecture, Franklin and Marshall College
1990 • Doctor of Arts, New York University, Dissertation title: Performance Art Ritual As Postmodern Thought: An Aesthetic Investigation
1975 • Master of Fine Arts, University of Massachusetts, Amherst – Painting
1970 • Bachelor of Arts, Central Connecticut State University – Spanish/Theater
2013-Present • Professor & Chair Department of Art & Art History, Spelman College, Atlanta, GA
2003-2013 • Professor – Spelman College, Atlanta, GA
2006 • Distinguished Batza Family Chair, Colgate University, Hamilton, NY
2005 • Kemp Distinguished Visiting Professor, Davidson College, Davidson, NC.
1996-2003 • Associate Professor – Spelman College, Atlanta, GA
1999-1999 • Fulbright Visiting Professor, University of Panama, School of Art
1990-1996 • Assistant Professor – Spelman College, Atlanta, GA
1989-1990 • Scholar-in-Residence (Assistant Professor level) Franklin and Marshall College, Lancaster, PA
1984-1989 • Assistant Director, Royal Athena Galleries, New York, NY
1983-1983 • Director, Midtown Art Center, Houston, TX
1979-1982 • Faculty Administrator (Assistant Professor level) New Hampshire College, Connecticut Campus, Hamden, CT
1975-1983 • Self-employed artist, New York, NY & Hartford, CT
History of Modern Art, Survey of Visual Arts, Art & Culture of the African Diaspora, Issues in Latin American Art, Contemporary Art Seminar, Art History Seminar
Painting I, Painting II, Painting III, Directed Studies – Painting, Introduction to New Genre Art Forms, Environmental Art, Senior Thesis, Special Problems – Art Colony
SYMPOSIA AND COLLOQUIA
2011 • The Business of Art Colloquium, Spelman College, Atlanta, GA
1999 • Black Christ Figures in America, Spelman College, Atlanta, GA
1992 • Santería Aesthetics in Contemporary Latino Art Symposium, Spelman College, Atlanta, GA