{"id":15,"date":"2013-07-30T13:13:15","date_gmt":"2013-07-30T17:13:15","guid":{"rendered":"https:\/\/faculty.spelman.edu\/template\/?page_id=15"},"modified":"2013-11-27T12:29:19","modified_gmt":"2013-11-27T16:29:19","slug":"bio-and-cv","status":"publish","type":"page","link":"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/","title":{"rendered":"Curriculum Vitae"},"content":{"rendered":"

arturo.lindsay@gmail.com
\nwww.arturolindsay.com<\/a>
\nSELECTED SOLO EXHIBITIONS<\/p>\n

2013 \u2022 Chastain Art Center, Arturo Lindsay: Portraits of Yemaya. Atlanta, GA<\/p>\n

2008 \u2022 Chase Gallery, Bates College, Arturo Lindsay: Love, Lewiston, ME<\/p>\n

2007 \u2022 Museum of Contemporary African Diasporan Art (MoCADA)<\/p>\n

Arturo Lindsay: Love, Brooklyn, NY<\/p>\n

2006 \u2022 The Sumter County Gallery of Art, Arturo Lindsay: Healing, Sumter, SC<\/p>\n

\u2022 Clifford Gallery, Colgate University, Arturo Lindsay: Transition, Hamilton, NY<\/p>\n

2004 \u2022 City Gallery at Waterfront, Mapping Ports: Sullivan\u2019s Island, Gore\u00e9 Island, Portobelo, Havana and Seville,
\na retrospective exhibition, Charleston, SC<\/p>\n

2000 \u2022 Lonyear Museum, Colgate University – Santuario\/Sanctuary, Hamilton, NY<\/p>\n

1999 \u2022 Segunda Bienal Iberoam\u00e9ricana de Lima – Salones de Artistas Invitados, Pancho Fierro, Retorno de las \u00e1nimas Africanas, Lima, Peru<\/p>\n

1998 \u2022 Animas, arc\u00e1ngeles y antepasados: Recent Work by Arturo Lindsay, Diggs Gallery, Winston-Salem State University, Winston-Salem NC<\/p>\n

1997 Intermedia Art Center , Minneapolis, MN<\/p>\n

1996 Nexus Contemporary Art Center, Atlanta, GA<\/p>\n

1994 \u2022 Museo de Arte Contemporaneo, Canto a la Libertad de Africa a America Panama, Panama<\/p>\n

\u2022 Chassie Post Gallery Congo Spirits, Atlanta, GA<\/p>\n

1993 \u2022 Franklin Furnace El Monte: A Tribute to Lydia Cabrera , New York, NY<\/p>\n

1992 \u2022 Chastain Gallery Las Siete Potencias Africanas, Atlanta, GA<\/p>\n

1988 \u2022 Hammonds House Gallery Ancestral Effigies, Atlanta, GA<\/p>\n

1986 \u2022 Gallery 69 Arturo Lindsay: Recent Work, South Bronx, NY<\/p>\n

1984 \u2022 Sutton Gallery Collaborations, Houston, TX<\/p>\n

1983 \u2022 Augusta Savage Gallery Arturo Lindsay: Recent Work, Amherst, MA<\/p>\n

1982 \u2022 Mona Berman Gallery Ancestral Guardians, New Haven, CT<\/p>\n

1981 \u2022 Old State House Gallery Arturo Lindsay: Recent Work, Hartford, CT<\/p>\n

\u2022 Trinity College Arturo Lindsay: Recent Work, Hartford, CT<\/p>\n

1977 \u2022 Craftery Gallery Arturo Lindsay, Hartford, CT<\/p>\n

1972 \u2022 Bridgewater State College Arturo Lindsay, Bridgewater, MA<\/p>\n

1971 \u2022 Central Connecticut State University Arturo Lindsay, New Britain, CT<\/p>\n

SELECTED GROUP EXHIBITIONS<\/p>\n

2012 \u2022 Studio Museum in Harlem and the Queens Museum, Caribbean Currents New York, NY<\/p>\n

2011 \u2022 Latino Arts Council, Latino Foodways, Milwaukee WI<\/p>\n

2008 \u2022 Gulf+Western Gallery, Tisch School of the Arts, New York University<\/p>\n

and Nathan Cummings Foundation 1968: Then & Now, New York, NY<\/p>\n

2007 \u2022 Casa Escute, Municipio A\u00fatonomo de Carolina, Tradiciones Afro<\/p>\n

Caribe\u00f1as: Espiritualidad, Arte y Resistencia , Carolina, P.R.<\/p>\n

\u2022 Georgia College and State University, Kindred Spirits, a two-man show with
\nFahamu Pecou, Milledgeville, GA<\/p>\n

2006 \u2022 The Spelman College Museum of Fine Art, Recognize: The Spelman College Department
\nof Fine Art Faculty Exhibition, Atlanta, GA<\/p>\n

2005 \u2022 Sumter County Cultural Commission, Requiem: Sumter, SC for the Accessibility 2005 \u2013 Transplanted Latino Artists in the USA.<\/p>\n

The Seventh Annual Exhibition of Installation Art, Sumter, SC<\/p>\n

\u2022 Ferias de Portobelo 2005, Las Orqu\u00eddeas Sculpture Park, Requiem for a Fool, a biodegradable sculptural installation, Portobelo, Panama<\/p>\n

\u2022 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<\/p>\n

2004 \u2022 Hammonds House Galleries, Como se cuenta le cuento-How the Story is Told, an exhibition of Taller Porto belo, Atlanta, GA<\/p>\n

\u2022 3TEN HAUSTUDIO, \u201cstudio sweepings,” Atlanta, GA<\/p>\n

\u2022 The Columbus Museum, Redefining Georgia: Perspectivas en Arte Contempor\u00e1neo, Columbus, GA<\/p>\n

2003 \u2022 Ferias de Portobelo 2003, Las Orqu\u00eddeas Sculpture Park, Retorno de las \u00e1nimas, a biodegradable sculptural installation, Portobelo, Panama<\/p>\n

2002 \u2022 Sun Trust Plaza Gallery, Culture Shock: Work by Georgia Foreign-Born Artists, Atlanta, GA<\/p>\n

\u2022 Blackridge Hall Gallery, The Georgia College & State University Reinventing Traditions: Congo Art of Taller Portobelo, Milledgeville, GA<\/p>\n

2001 \u2022 XVI Festival Iberoamericano de Teatro, Santuario de los reyes, una obra collectiva del Taller Portobelo. Cadiz, Spain<\/p>\n

\u2022 City Gallery East, Pertenecer Belonging, Atlanta, GA<\/p>\n

\u2022 Modern Primitive Gallery, Congo Art of Taller Portobelo, Atlanta, GA<\/p>\n

2000 \u2022 Museo de Arte Contemporaneo, Paname\u00f1os en la bienal de Lima Panama, Panama<\/p>\n

\u2022 EXMA’ Centro Culturale D’Arte e Cultura, Percorsi dello Spirito Anno Duemil, Cagliari, Italy<\/p>\n

\u2022 Kubatana Gallery, Transgressions and Transformations, a two person exhibition with Michael Harris, Atlanta, GA<\/p>\n

\u2022 Convento de Santo Domingo, Arco Chato, Altares Panama, Panama<\/p>\n

\u2022 Ruth Hall Hodges Art Gallery, Morris Brown College, Remembrance of a Legacy, Atlanta, GA<\/p>\n

1999 \u2022 Smithsonian Institution, Anacostia Museum and the Center for African American History and Culture,
\nLocating the Spirit: Religion and Spirituality in African American Art,Washington, DC<\/p>\n

\u2022 Cinque Gallery, Artists in the City, New York, NY<\/p>\n

1998 \u2022 Cittadella dei Musei Piazza Arsenale, Organized by Centro Culturale, Percorsi dello Spirito, Cagliari, Italy<\/p>\n

\u2022 Spelman College Museum of Fine Art, Divergent Journey\/Aesthetic Convergence, Atlanta, GA<\/p>\n

1997 \u2022 Smithsonian Institution, In Search of Balance: The Artist Scholar, Washington, DC<\/p>\n

\u2022 Sal\u00f3n Internacional de Estandartes ES97, Centro Cultural Tijuana, Tijuana, Mexico Museo Rufino Tamayo, Mexico City, MX<\/p>\n

1996 \u2022 Palazzo del Esposizioni, Roof Garden, Plexus Performance\/Installation: The Ark of the Well Being , Rome, Italy<\/p>\n

\u2022 Art in Atlanta, (A traveling exhibition organized by Artist-in-Residence International), The Chamber of Commerce, Magdeburg, Germany<\/p>\n

Amerika Haus Munich, Germany<\/p>\n

Amerika Haus Berlin, Germany<\/p>\n

Amerika Haus Frankfurt, Germany<\/p>\n

Amerika Haus Hamburg, Germany<\/p>\n

Amerika Haus Cologne, Germany<\/p>\n

Hatton Gallery Newcastle-Upon-Tyne, England<\/p>\n

1995 King Plow Gallery, Atlanta, GA<\/p>\n

\u2022 El Museo del Barrio Reaffirming Spirituality, New York, NY<\/p>\n

1994 \u2022 Telfair Museum, Mapping the Self: Models of Identity in a Postmodernizing State , Savannah, GA<\/p>\n

\u2022 International Museum of Art and Design Distant Visions: International Influences on Georgia Artists, Atlanta, GA<\/p>\n

1993 \u2022 The Mexican Museum (organizer of traveling exhibition)Ceremony of Spirit: Nature & Memory in Contemporary<\/p>\n

Latino Art San Francisco, CA<\/p>\n

Western Washington University (1994) Bellingham, WA<\/p>\n

Studio Museum in Harlem (1995) New York, NY<\/p>\n

Laguna Gloria Art Museum (1995) Austin, TX<\/p>\n

Boise Art Museum (1996) Boise, ID<\/p>\n

Fresno Metropolitan Museum (1996) Fresno, CA<\/p>\n

\u2022 University of Cincinnati Eight + One from Atlanta, Cincinnati, OH<\/p>\n

\u2022 Brenau University Hispanic Imprints Gainesville, GA<\/p>\n

1992 \u2022 Museo de Arte Contemporaneo, Bienal de Arte Pict\u00f3rico Panama, Panama<\/p>\n

1991 \u2022 High Museum of Art, Southern Expressions: Tales Untold Atlanta, GA<\/p>\n

1990 \u2022 Christies Auction, NAACP Legal Defense Fund Benefit New York, NY<\/p>\n

1989 \u2022 Franklin & Marshall College, Faculty Exhibition Lancaster, PA<\/p>\n

\u2022 Carlton Cobb Gallery, Gallery Artists Atlanta, GA<\/p>\n

\u2022 Longwood Art Center South Bronx, NY<\/p>\n

1988 \u2022 Aljira Gallery, Art from the African Diaspora: Survival Newark, NJ<\/p>\n

\u2022 NITE Gallery East Village, NY<\/p>\n

1987 \u2022 Sanctuary of Sa Itria, Plexus International Sardinia, Italy<\/p>\n

\u2022 Museo de Arte Contemporaneo, Encuentro de Escultura Panama, Panama<\/p>\n

\u2022 Fashion Moda South Bronx, NY<\/p>\n

\u2022 Fondo del Sol, Homage to the Afro-Latino Washington, D.C.<\/p>\n

1986 \u2022 Kenkeleba Gallery East Village, NY<\/p>\n

\u2022 Museum of Contemporary Hispanic Art,<\/p>\n

Caribbean Art: African Currents SoHo, NY<\/p>\n

1985 \u2022 ACBAW Gallery, Artistas Latinos Mt. Vernon, NY<\/p>\n

1984 \u2022 The High Museum of Art,<\/p>\n

African American Art in Public & Corporate Collections Atlanta, GA<\/p>\n

\u2022 The Drawing Room Gallery Houston, TX<\/p>\n

\u2022 Midtown Art Center, Contemporary Houston Art Houston, TX<\/p>\n

\u2022 Little Egypt Gallery Houston, TX<\/p>\n

1983 \u2022 Museum of African American Art Artists of the ’80s Los Angeles, CA<\/p>\n

1982 \u2022 Crystal Britton Gallery Atlanta, GA<\/p>\n

1981 \u2022 Trinity College Hartford, CT<\/p>\n

\u2022 R.Thompson Gallery Baltimore, MD<\/p>\n

1980 \u2022 Castle Gallery, College of New Rochelle 14 Latin American Artists New Rochelle, NY<\/p>\n

\u2022 Slater Memorial Museum, Connecticut Black Artists Norwich, CT<\/p>\n

\u2022 Cayman Gallery SoHo, NY<\/p>\n

1976 \u2022 Davidson Art Center, Wesleyan University<\/p>\n

Black & Hispanic Visions Middletown, CT<\/p>\n

\u2022 Asylum Hill Cooperative Gallery Hartford, CT<\/p>\n

1973 \u2022 Wadsworth Athenaeum, Through Young Black Eyes Hartford, CT<\/p>\n

1972 \u2022 Wadsworth Athenaeum, Through Young Black Eyes Hartford, CT<\/p>\n

RESIDENCIES<\/p>\n

2003 \u2022 Rockefeller Foundation, Bellagio Fellowship Bellagio, Italy<\/p>\n

2002 \u2022 UNCF Mellon Faculty Seminar at Goree Institute with Wole Soyinka Goree, Senegal<\/p>\n

1996 \u2022 Artist-in-Residence, Maine College of Art Portland, Maine<\/p>\n

1994 \u2022 Lila Wallace-Reader’s Digest International Artist Residency Award Portobelo, Panama<\/p>\n

1993 \u2022 Scholar-in-Residence, New York University New York, NY<\/p>\n

ART PROJECTS & PERFORMANCES<\/p>\n

2012 \u2022 Bearing Witness: The Stories of Ordinary People Living During<\/p>\n

Extra-ordinary Times, a multi-disciplinary performance art<\/p>\n

ritual\/installation. Organized by smARTpower a Joint State Department<\/p>\n

and The Bronx Museum of Art project.<\/p>\n

Spelman College, Atlanta, GA<\/p>\n

Medrar for Contemporary Art, Cairo, Egypt<\/p>\n

2010 \u2022 Los abanicos de Portobelo, Las Orqu\u00eddeas Environmental Sculpture Park Portobelo, Panama<\/p>\n

\u2022 Sanctuary on the BeltLine, The BeltLine, Inc., Atlanta, GA<\/p>\n

2009 \u2022 Retratos de Felipillo y Bayano, two commissioned paintings for the<\/p>\n

Biodiversity Museum Panama, Panama<\/p>\n

\u2022 Creencia\/Belief, a commissioned sculpture for the Smithsonian Institution<\/p>\n

Latino Legacy Awards Washington, DC<\/p>\n

2008 \u2022 Artist Contemplating Torture, a performance art ritual. In collaboration<\/p>\n

with poet Opal Moore, musician Joe Jennings, filmmaker Ayoka Chenzira and others. Spelman College, Atlanta, GA<\/p>\n

\u2022 Artist Contemplating the Fate of Those Who Speak of Freedom, Las Orqu\u00eddeas Environmental Sculpture Park, Portobelo, Panama<\/p>\n

Castle of Good Hope, Cape Town, SA<\/p>\n

2007 \u2022 Crossing Catumbela, A New Year\u2019s Eve performance in Portobelo, Portobelo, Panama<\/p>\n

2006 \u2022 The Delfina Sails Again, a six city, ten day tour of art and poetry in collaboration with Opal Moore, Germany<\/p>\n

2005 \u2022 Ferias de Portobelo 2005, Las Orqu\u00eddeas Sculpture Park, Requiem for a Fool, a biodegradable sculptural installation. Portobelo, Panama<\/p>\n

2004 \u2022 The Erosion Project, for Plexus International Dakar, Senegal<\/p>\n

2003 \u2022 Design of the railings and medallions for the Judge Lenwood, Jackson Justice Center (City Court of Atlanta) Commissioned by<\/p>\n

Public Art Program City of Atlanta, Bureau of Cultural Affairs, Atlanta, GA<\/p>\n

2002 \u2022 The Voyage of the Delfina, a performance art ritual. In collaboration<\/p>\n

with poet Opal Moore, musician Joe Jennings, filmmaker Ayoka Chenzira and a host of artists and students. Spelman College, Atlanta, GA<\/p>\n

2000 \u2022 The Return of the Ancestral Messenger Through the Door of No Return Plexus, Dakar Goree, Senegal<\/p>\n

1994 \u2022 Plexus Interactive Art & Science Project Cagliari Museum, Sardinia, Italy<\/p>\n

1992 \u2022 Transmission of the Fleet of Projects, (a Plexus Fax performance)<\/p>\n

University of Cagliari, Sardinia, Italy<\/p>\n

1990 \u2022 Plexus Black Box Teatro Coliseo, Rome, Italy<\/p>\n

\u2022 Feeding of St. Andy’s Aura Franklin and Marshall College, Lancaster, PA<\/p>\n

\u2022 Feeding of St. Andy’s Aura Gettysburg College, Gettysburg, PA<\/p>\n

1989 \u2022 Feeding Mother Earth after Hugo and The Frisco Quake<\/p>\n

Sonora Desert, Tucson, AZ<\/p>\n

\u2022 Feeding St. Andy’s Aura Nuyorican Poet’s Cafe at CUANDO East Village, NYC<\/p>\n

1988 \u2022 Plexus Art Co-Opera #5: The Serpent CUANDO East Village, NYC<\/p>\n

\u2022 Homenaje a Miky Pi\u00f1ero: a performance art ritual<\/p>\n

Nuyorican Poet’s Cafe East Village, NY
\n\u2022 Mummification of the Art Object Henry Street Settlement, New York, NY<\/p>\n

1987 \u2022 Plexus Parade of the Serpent, Rome, Italy
\n\u2022 Plexus Art Co-Opera #4: The Serpent of Stone Sardinia, Italy<\/p>\n

\u2022 Artist Contemplating the Fate of Those Who Speak of Freedom Fashion Moda, South Bronx, NY<\/p>\n

Franklin Furnace, Staten Island Ferry<\/p>\n

Kenkeleba Gallery (1986) East Village, NY<\/p>\n

1986 \u2022 Plexus Art Co-Opera #3: Eve CUANDO East Village, NY<\/p>\n

\u2022 Plexus Art Co-Opera #2: Purgatorio CUANDO East Village, NY<\/p>\n

\u2022 Performance Drawing Shuttle Lab East Village, NY<\/p>\n

\u2022 Collaboration with John Betsch and Ghengis Nor Shuttle Lab East Village, NY<\/p>\n

1984 \u2022 Smoke Voices with Ntzoke Shange Sutton Gallery Houston, TX<\/p>\n

CRITIQUES AND REVIEWS<\/p>\n

2012 \u2022 Noplacesness, Art in a Post-Urban Landscape, Jerry Cullum, Catherine Fox and Cinqu\u00e9 Hicks. Possible Futures, Inc., p. 20 44-46.<\/p>\n

\u2022 Twenty People to Watch in 2012, Catherine Maddox, Creative Loafing Magazine, Atlanta, GA<\/p>\n

2003 \u2022 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.<\/p>\n

2002 \u2022 The Atlanta Journal-Constitution, \u201cA Melding of Cultures in Sun Trust Plaza Gallery Lobby,\u201d Atlanta, GA August 16, 2002, p. Q6.<\/p>\n

2000 \u2022 Talingo, La Prensa, “Paname\u00f1os en la Bienal de Lima” by Adrienne Samos, Panama, Panama No. 380. 3 September 2000<\/p>\n

1999 \u2022 African Arts, \u201cIndividuality and Tradition A Conversation with Three Contemporary Artists\u201d by Lowery Stokes Sims, Special Issue Authorship in African Art, Part 2 Alisa LaGamma, Guest Editor, Spring 1999, VolumeXXXII, Number 1, pp. 36-39<\/p>\n

1998 \u2022 Winston-Salem Journal, \u201cCultural Ancestry,\u201d Tom Patterson, Winston-Salem, NC March 29<\/p>\n

\u2022 Winston-Salem Journal, \u201cOf Rich Roots,\u201d Tom Patterson, Winston-Salem, NC 15 February p. E1<\/p>\n

1997 \u2022 Star Tribune, \u201cPanamanian Artist Illuminates Forgotten Black History\u201d by Mary Abbe, Minneapolis, MN 10 October p. E17<\/p>\n

1996 \u2022 The Village Voice, \u201cAltered States\u201d by Ed Morales, New York, NY 1 Oct. 1996, p. 40<\/p>\n

\u2022 Art Nexus Internacional, \u201cArturo Lindsay,\u201d by Gerardo Mosquera. Sept. pp. 121-122<\/p>\n

\u2022 The Atlanta Journal\/The Atlanta Constitution \u201cPain and Redemption Rodriguez, Lindsay take personal, cultural journeys\u201d February 9, p.22<\/p>\n

1995 \u2022 The Atlanta Journal\/The Atlanta Constitution Weekend Preview – Visual Arts, Oct. 20, p.1<\/p>\n

1994 \u2022 La Prensa, “De Atlanta a Portobelo” November 3<\/p>\n

\u2022 El Panam\u00e1 Am\u00e9rica, “La Negritud: S\u00edmbolo y rito en Arturo Lindsay” December 15, p. D8<\/p>\n

\u2022 La Estrella de Panam\u00e1, “Canto a la libertad de Africa” December 25, p. C5<\/p>\n

\u2022 The Atlanta Journal\/The Atlanta Constitution “Art traces Panama’s African roots” August 12<\/p>\n

1993 \u2022 Art Forum, “Arturo Lindsay at Franklin Furnace” November, 1993<\/p>\n

\u2022 Art in America, “Arturo Lindsay at Chastain Gallery” April, Volume 81, no. 4, pp. 136<\/p>\n

\u2022 International Review of African American Art, “Cross-Cultural Ritual As Art, The Performances of Arturo Lindsay” Volume 10, no. 2, pp. 25-27<\/p>\n

1992 \u2022 Creative Loafing, “The Art of Icons” September 5, pp. 29-33<\/p>\n

\u2022 The Atlanta Journal\/The Atlanta Constitution, “Lindsay’s Altars to Diversity” July 26, p.N2<\/p>\n

\u2022 The Atlanta Journal\/The Atlanta Constitution, “Vignettes Pay Homage to the Icons of Santer\u00eda” July 31, p. G2<\/p>\n

1991 \u2022 Atlanta Journal \/ Atlanta Constitution, “Exercises for Imagination Unravel in ‘Tales Untold'” October 31, p. D7.<\/p>\n

\u2022 Art Papers, January & February, Volume 16, no. 1, “Southern Expressions: Tales Untold” p 50-51<\/p>\n

1988 \u2022 Atlanta Constitution, “Ancestral Effigies-A Moving Collection” June, 15 p 38 CNN News<\/p>\n

1987 \u2022 La Nuova, Sardinia, Italy<\/p>\n

\u2022 Revista 30 Dias, Panama City, Panama, p 56<\/p>\n

\u2022 New York Art Review<\/p>\n

1986 \u2022 7th Edition, Who’s Who in American Art<\/p>\n

1985 \u2022 International Review of African American Art, Volume 6, no. 2, pp. 58-63<\/p>\n

\u2022 Gannett Westchester Newspaper, Mount Vernon, NY, Nov. 29, p 17<\/p>\n

1982 \u2022 Art in America, August, Volume 70, no. 7, pp. 102 & 109<\/p>\n

\u2022 Hartford Courant, Hartford, CT, November 14<\/p>\n

1981 \u2022 Northend Agents, Hartford, CT, April 20, p 12<\/p>\n

1978 \u2022 Looking Better, Connecticut Public Television, Hartford, CT<\/p>\n

\u2022 Southside Neighborhood News, Hartford, CT, September 7, p 11<\/p>\n

\u2022 The Hartford Courant, Hartford, CT, August 22<\/p>\n

1977 \u2022 Northend Agents, Hartford, CT, July 3, p 1<\/p>\n

\u2022 The Hartford Courant, Hartford, CT<\/p>\n

\u2022 The Hartford Times, Hartford, CT, September 19, p 31<\/p>\n

\u2022 The Advocate, Hartford, CT, August 18, p 15<\/p>\n

\u2022 The Inquirer, Hartford, CT, August 21<\/p>\n

1976 \u2022 The Hartford Courant, Hartford, CT, August 13, p 23<\/p>\n

1975 \u2022 The Hartford Times, Hartford, CT, June 29, p 17<\/p>\n

\u2022 Daily News, Springfield, MA, December 4, p 23<\/p>\n

AWARDS AND RECOGNITION<\/p>\n

2012 \u2022 smARTpower artist representing the United States in Cairo, Egypt<\/p>\n

2006 \u2022 Distinguished Batza Family Chair, Colgate University, Hamilton, NY<\/p>\n

2005 \u2022 Kemp Distinguished Visiting Professor, Davidson College, Davidson, NC.<\/p>\n

2000 \u2022 Spelman College – Merrill International Travel Grant<\/p>\n

1999 \u2022 Fulbright Senior Scholar Award, The J. William Fulbright Foreign Scholarship Board<\/p>\n

1997 \u2022 Spelman College Presidential Award for Scholarship<\/p>\n

1996 \u2022 Commissioned Artist, \u201c17 Days of the Olympics\u201d Hartsfield International Airport, Atlanta, GA<\/p>\n

\u2022 Commissioned Artist, Nexus Contemporary Art Center, Corporation for Olympic Development in Atlanta<\/p>\n

\u2022 Board of Directors, College Art Association CAA<\/p>\n

1995 \u2022 Artist Advisory Board, The High Museum of Art, Atlanta<\/p>\n

\u2022 Individual Artist Fellowship, Georgia Council for the Arts<\/p>\n

\u2022 Panelist, National Endowment for the Arts, Visual Arts Programs<\/p>\n

\u2022 Bush Faculty Development Grant, Spelman College<\/p>\n

1992 \u2022 Bush Faculty Development Grant, Spelman College<\/p>\n

1991 \u2022 Bush Faculty Development Grant, Spelman College<\/p>\n

1990 \u2022 Who’s Who in the East<\/p>\n

1986 \u2022 Who’s Who in American Art<\/p>\n

1981 \u2022 First Prize Sculpture, The Second Annual Atlanta Life Insurance Company National Art Competition and Exhibition<\/p>\n

1980 \u2022 Invited guest to the White House by President Jimmy Carter<\/p>\n

1979 \u2022 Invited to CARIFESTA by the Government of Cuba<\/p>\n

1979 \u2022 Individual Artist Grant, Connecticut Commission on the Arts<\/p>\n

1978 \u2022 House Resolution No. 395, Honoring Arturo Lindsay, Connecticut General Assembly<\/p>\n

1977 \u2022 Connecticut Public Television, one-hour special featuring muralist Arturo Lindsay<\/p>\n

1976 \u2022 Individual Artist Grant, Connecticut Commission on the Arts<\/p>\n

SCHOLARLY PUBLICATIONS<\/p>\n

2013 \u2022 \u201cDancing Ach\u00e9 with Yemaya in My Life and in My Art: an artist statement,\u201d in Y\u1eb8M\u1eccNJA: Water Goddess, Fluidity and Tradition, Indiana University Press.<\/p>\n

2011 \u2022 \u201cInvestigating the Aesthetics of Ash\u00e9,\u201d in Actualidad de las Tradiciones Espirituales y Culturales Africanas en el Caribe y Latinoam\u00e9rica, Primer y Segundo Simposio, compiled by Mar\u00eda Elba Mu\u00f1oz, Marta Moreno Vega and M\u00f3nica Cortes, edited by Jos\u00e9 Carvajal. Puerto Rico: Centro de Estudios Avanzados de Puerto Rico y el Caribe and Instituto de las Tradiciones Afrocaribe\u00f1as.<\/p>\n

2008 \u2022 \u201cUnderstanding the Aesthetics of New Pop\/NEOPOP,\u201d in Fahamenon, Special; Collector\u2019s Issue, Raleigh, NC: Flanders Art Gallery.<\/p>\n

2004 \u2022 \u201cSanter\u00eda Aesthetics: a Yoruba-Cuban Phenomenon,\u201d 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.<\/p>\n

\u2022 \u201cThe Congos of Panama,\u201d Encyclopedia of African-American Culture and History: The Black Experience in the Americas. Editor in Chief: Colin Palmer.<\/p>\n

2003 \u2022 \u201cThe Research Methods of an Artist-Ethnographer on the Congo Coast of Panama,\u201d in Breaking the Disciplines: Reconceptions in Knowledge, Art & Culture, edited by Marsha Meskimmon and Martin Davies. London: I.B. Tauris House.<\/p>\n

\u2022 \u201cAlbert Chong: \u2018It\u2019s Complex,\u2019\u201d in Fresh Talk\/Daring Gazes: Asian American Issues in Contemporary Art, edited by Elaine Kim, Margo Machido and Sharon Mizota. University of California Press.<\/p>\n

\u2022 “Niveles de Conocimiento\/Niveles de Entendimiento: El Arte de Hochi Asiatico. Layers of Knowledge\/Layers of Understanding: The Art of Hochi Asiatico,\u201d a bilingual museum catalog essay for the exhibition Hochi Asiatico, Metamorfosis de los Dioses. Habana, Cuba: Galeria Latinoamericana, Casa de las Am\u00e9ricas.<\/p>\n

2001 \u2022 “Thron f\u00fcr shango, orisha-altar\u201d (Trono de Shang\u00f3: an Orisha Altar in the Yoruba-Cuban Diaspora), a museum catalog essay for the exhibition Alt\u00e4re, Kunst zum Niederknien. D\u00fcsseldorf, Germany: Kunst Palast Museum.<\/p>\n

\u2022 \u201cThe Allure of the Naza,\u201d The Aesthetics of Enchantment in the Fine Arts, edited by Kronegger and Tymieniecka. Analecta Husserliana LXV. Lancaster, UK: Kluwer Academic Publishers.<\/p>\n

1996 \u2022 Santer\u00eda Aesthetics in Contemporary Latin American Art, editor. Smithsonian Institution Press. Washington D.C.<\/p>\n

1993 \u2022 \u201cMestizaje and the Postmodern Aesthetic,\u201d 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<\/p>\n

1990 \u2022 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.<\/p>\n

1989 \u2022 \u201cThe Images of Imna Arroyo,\u201d 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.<\/p>\n

\u2022 \u201cOrishas: Living Gods in Contemporary Latin American Art,\u201d The Black Image in Latin American Culture, conference proceedings edited by Elba Birmingham-Pokorny. Department of Modern Languages and Cultures, Slippery Rock University.<\/p>\n

LECTURES AND PANEL DISCUSSIONS<\/p>\n

2009 \u2022 Smithsonian Institution National Museum of African Art, Washington, DC, Guest Lecturer \u2013 An Artist\u2019s Journey on the Congo Coast of Panama.<\/p>\n

2008 \u2022 \u201cDancing with Goddesses in My Life and in My Art,\u201d for \u201cWhere African Spirituality and Women\u2019s Studies Meet, Spelman College Museum of Art.<\/p>\n

\u2022 \u201cMapping Ports: Sullivan\u2019s Island, Gore\u00e9 Island, Havana and Seville\u201d<\/p>\n

Walters Art Museum, Baltimore, MD & Virginia Museum of Fine Art, Richmond, VA<\/p>\n

\u2022 \u201cEnvironmental Art at the Spelman College Summer Art Colony,\u201d for the<\/p>\n

2008 Collegiate Environmental Sustainability Conference, Spelman College.<\/p>\n

2007 \u2022 \u201cJourney on the Congo Coast of Panama 1993 \u2013 2007,\u201d for the Artists and Educators I:<\/p>\n

Trends in Art panel – Here & Now: African &African American Art & Film Conference, New York University, NY, NY.<\/p>\n

\u2022 \u201cThe Aesthetics of Ash\u00e9,\u201d Tradiciones Afro Caribe\u00f1as \u2013 II Simposio de la Actualidad de las Tradiciones Espirituales y Culturales Africanas en el Caribe y Latinoam\u00e9rica, Centro de Estudios Avanzados de Puerto Rico y el Caribe, San Juan, Puerto Rico<\/p>\n

2006 \u2022 \u201cThe Yoruba Aesthetic\u201c Moderator. Art & Culture of the African Diaspora Symposium. Colgate University, Hamilton, NY<\/p>\n

2005 \u2022 \u201cComo se cuenta el cuento en la diaspora Africana-How the Story is Told in the African Diaspora,\u201d a roundtable discussion.<\/p>\n

2003 \u2022 “The Spelman College Summer Art Colony as a Model for a Study Abroad Component for African Diaspora Studies,” a slide lecture for the \u201cFuture of Pan-Africanism in the Caribbean and Latin America\u201d panel of the National Conference of Black Studies Annual Conference, Atlanta, GA<\/p>\n

2002 \u2022 \u201cLos Congos de Portobelo,\u201d a slide lecture for the El Comit\u00e9 Nacional del Centenario, University of Panama, Penonom\u00e9 campus, Republic of Panama.<\/p>\n

\u2022 \u201cLos cimarrones y Congos de Panama,\u201d a slide lecture for a panel discussion on Spain\u2019s Contributions to Panamanian Culture, sponsored by the Spanish Embassy in Panama.<\/p>\n

2001 \u2022 “The Congos of Portobelo, a Creolized Culture in America,” a slide lecture at Dillard University, New Orleans, LA<\/p>\n

2000 \u2022 “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.<\/p>\n

\u2022 “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.<\/p>\n

\u2022 “Yoruba-Lucum\u00ed Aesthetic Presence in Contemporary Art,” a slide-lecture for the Cuba Today conference at Georgia State University, Atlanta, GA.<\/p>\n

1999 \u2022 \u201cOrishas, Ancestors, and Guardian Angels,\u201d 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<\/p>\n

\u2022 Arte y pensamiento de un artista al fin del mileneo, a slide lecture on my work. The University of Panama, School of Art.<\/p>\n

1998 \u2022 \u201cThe Spirits Within,\u201d a slide-lecture on my work for the \u201cContemporary Artists: Issues of Individuality and Tradition\u201d 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.<\/p>\n

1997 \u2022 \u201cIn Search of Balance: The Artist Scholar,\u201d a panel discussion at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC<\/p>\n

\u2022 Research Methods of an Artist-Ethnographer, a slide-lecture at Maine College of Art<\/p>\n

1996 \u2022 The Evolution of the Contemporary Artist-Scholar, Panel chair, 1996 College Art Association Conference, Boston, MA<\/p>\n

1995 \u2022 \u201cLos Congos de la Costa Arriba: A Living Tradition in Art,\u201d 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.<\/p>\n

\u2022 \u201cTecnolog\u00eda moderna para preservar la historia oral,\u201d lecture at Nuestro Legado Cultural Sociedad de Amigos del Museo AfroAntillano de Panam\u00e1, University of Panama<\/p>\n

\u2022 My Journey on the Congo Coast of Panama, a slide-lecture at Telfair Museum, Savannah, GA<\/p>\n

\u2022 My Journey on the Congo Coast of Panama, a slide-lecture at SUNY Brockport<\/p>\n

1994 \u2022 Afro-Cuban Influences in the Art of Arturo Lindsay, a lecture at Brandeis University<\/p>\n

\u2022 \u201cResearch Methods of an Artist-Ethnographer,\u201d 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<\/p>\n

1992 \u2022 \u201cSanter\u00eda Aesthetics in Contemporary Latino Art,\u201d a slide-lecture, for the African Presence in the Americas conference, Casa de las Am\u00e9ricas, Habana, Cuba<\/p>\n

\u2022 \u201cOrishas: Living Gods in the Art of Contemporary Caribe\u00f1o Artists,\u201d a slide-lecture for the \u201cReligion and the Counter-Hegemony in the Caribbean,\u201d Caribbean Studies Association Conference, Grenada, W.I.<\/p>\n

\u2022 Synthesis, Syntax, and Syncretism in Postmodern Art, Curator’s Talk, Atlanta College of Art, Atlanta, GA<\/p>\n

\u2022 \u201cOrishas: Living Gods in Contemporary Latino Art,\u201d a slide-lecture, for the Santer\u00eda Aesthetics in ontemporary Latino Art symposium, Spelman College, Atlanta, GA<\/p>\n

\u2022 Santer\u00eda Aesthetics in Contemporary Hispanic Art, Panel Chairman, 1992 College Art Association Conference, Chicago, IL<\/p>\n

\u2022 Mestizaje and the Aesthetics of Santer\u00eda, a slide-lecture, Eastern Illinois University<\/p>\n

\u2022 Mestizaje and the Aesthetics of Santer\u00eda, a slide-lecture, University of Kentucky<\/p>\n

1991 \u2022 \u201cMestizaje and the Postmodern Aesthetic,\u201d a slide lecture, Somos Artistas panel, 1991 College Art Association Annual Conference, Washington, D.C.<\/p>\n

\u2022 Yoruba Aesthetic Concerns in Contemporary Art, a slide-lecture at the High Museum of Art, Atlanta, GA<\/p>\n

1990 \u2022 The Art of Arturo Lindsay, a slide\/video\/lecture, Gettysburg College, Gettysburg, PA<\/p>\n

\u2022 Orishas: Living Gods in Contemporary Latin American Art, a slide-lecture at the 1990 Mid-Atlantic College Art Association Conference, Tucson, AZ<\/p>\n

\u2022 Orishas: Living Gods in Contemporary Latin American Art a slide-lecture, Spelman College<\/p>\n

1989 \u2022 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.<\/p>\n

\u2022 The Art of Arturo Lindsay, a slide\/video\/lecture, University of Arizona, Tucson, AZ;<\/p>\n

\u2022 The Art of Arturo Lindsay a slide\/video\/lecture, Franklin and Marshall College<\/p>\n

EDUCATION<\/p>\n

1990 \u2022 Doctor of Arts, New York University, Dissertation title: Performance Art Ritual As Postmodern Thought: An Aesthetic Investigation<\/p>\n

1975 \u2022 Master of Fine Arts, University of Massachusetts, Amherst – Painting<\/p>\n

1970 \u2022 Bachelor of Arts, Central Connecticut State University – Spanish\/Theater<\/p>\n

EMPLOYMENT HISTORY<\/p>\n

2013-Present \u2022 Professor & Chair Department of Art & Art History, Spelman College, Atlanta, GA<\/p>\n

2003-2013 \u2022 Professor – Spelman College, Atlanta, GA<\/p>\n

2006 \u2022 Distinguished Batza Family Chair, Colgate University, Hamilton, NY<\/p>\n

2005 \u2022 Kemp Distinguished Visiting Professor, Davidson College, Davidson, NC.<\/p>\n

1996-2003 \u2022 Associate Professor – Spelman College, Atlanta, GA<\/p>\n

1999-1999 \u2022 Fulbright Visiting Professor, University of Panama, School of Art<\/p>\n

1990-1996 \u2022 Assistant Professor – Spelman College, Atlanta, GA<\/p>\n

1989-1990 \u2022 Scholar-in-Residence (Assistant Professor level) Franklin and Marshall College, Lancaster, PA<\/p>\n

1984-1989 \u2022 Assistant Director, Royal Athena Galleries, New York, NY<\/p>\n

1983-1983 \u2022 Director, Midtown Art Center, Houston, TX<\/p>\n

1979-1982 \u2022 Faculty Administrator (Assistant Professor level) New Hampshire College, Connecticut Campus, Hamden, CT<\/p>\n

1975-1983 \u2022 Self-employed artist, New York, NY & Hartford, CT<\/p>\n

COURSES TAUGHT<\/p>\n

Art History<\/p>\n

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<\/p>\n

Studio Art<\/p>\n

Painting I, Painting II, Painting III, Directed Studies \u2013 Painting, Introduction to New Genre Art Forms, Environmental Art, Senior Thesis, Special Problems \u2013 Art Colony<\/p>\n

SYMPOSIA AND COLLOQUIA<\/p>\n

2011 \u2022 The Business of Art Colloquium, Spelman College, Atlanta, GA<\/p>\n

1999 \u2022 Black Christ Figures in America, Spelman College, Atlanta, GA<\/p>\n

1992 \u2022 Santer\u00eda Aesthetics in Contemporary Latino Art Symposium, Spelman College, Atlanta, GA<\/p>\n","protected":false},"excerpt":{"rendered":"

arturo.lindsay@gmail.com www.arturolindsay.com SELECTED SOLO EXHIBITIONS 2013 \u2022 Chastain Art Center, Arturo Lindsay: Portraits of Yemaya. Atlanta, GA 2008 \u2022 Chase Gallery, Bates College, Arturo Lindsay: Love, Lewiston, ME 2007 \u2022 Museum of Contemporary African Diasporan Art (MoCADA) Arturo Lindsay: Love, Brooklyn, NY 2006 \u2022 The Sumter County Gallery of Art, Arturo Lindsay: Healing, Sumter, SC \u2022 Clifford Gallery, Colgate University, Arturo Lindsay: Transition, Hamilton, NY 2004 \u2022 City Gallery at Waterfront, Mapping Ports: Sullivan\u2019s Island, Gore\u00e9 Island, Portobelo, Havana and […]<\/p>\n","protected":false},"author":25,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"template-fullwidth.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"yoast_head":"\nCurriculum Vitae - Arturo Lindsay<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"20 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/\",\"url\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/\",\"name\":\"Curriculum Vitae - Arturo Lindsay\",\"isPartOf\":{\"@id\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/#website\"},\"datePublished\":\"2013-07-30T17:13:15+00:00\",\"dateModified\":\"2013-11-27T16:29:19+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Curriculum Vitae\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/#website\",\"url\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/\",\"name\":\"Arturo Lindsay\",\"description\":\"Professor of Art and Art History at Spelman College\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/faculty.spelman.edu\/arturolindsay\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Curriculum Vitae - Arturo Lindsay","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/","twitter_misc":{"Est. reading time":"20 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/","url":"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/","name":"Curriculum Vitae - Arturo Lindsay","isPartOf":{"@id":"https:\/\/faculty.spelman.edu\/arturolindsay\/#website"},"datePublished":"2013-07-30T17:13:15+00:00","dateModified":"2013-11-27T16:29:19+00:00","breadcrumb":{"@id":"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/faculty.spelman.edu\/arturolindsay\/bio-and-cv\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/faculty.spelman.edu\/arturolindsay\/"},{"@type":"ListItem","position":2,"name":"Curriculum Vitae"}]},{"@type":"WebSite","@id":"https:\/\/faculty.spelman.edu\/arturolindsay\/#website","url":"https:\/\/faculty.spelman.edu\/arturolindsay\/","name":"Arturo Lindsay","description":"Professor of Art and Art History at Spelman College","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/faculty.spelman.edu\/arturolindsay\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"}]}},"jetpack_shortlink":"https:\/\/wp.me\/P3ER2i-f","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/pages\/15"}],"collection":[{"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/comments?post=15"}],"version-history":[{"count":0,"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/pages\/15\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.spelman.edu\/arturolindsay\/wp-json\/wp\/v2\/media?parent=15"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}