CURRICULUM VITAE

JULIA PLATT HERZBERG
Art Historian, Curator 
Telephone 212-722 0042; cell 917-612-4069; fax 212-369-5126 

Work is centered on the research, scholarship, and cultural production of artistic practices of Latin American, Caribbean, and Latinx artists in the Americas within interdisciplinary global contexts.

Links to Archives

AWARDS

  • Fulbright Scholar, 2012-2013; Fulbright Senior Specialist, 2007-2011.

EDUCATION 

  • Ph.D., 1998, Art History, Graduate Center, City University of New York. Dissertation, “Ana Mendieta: The Iowa Years, A Critical Study, 1969-1977." Ph.D. Thesis, Ana Mendieta http://academicworks.cuny.edu/gc_etds/1431/.

  • Major: 20th Century American and European Painting and Sculpture. (Concentration in Latin American Art of the 20th Century). Minor: 17th-century Spanish Baroque. 

  • Master of Arts, 1987, Art History, Institute of Fine Arts, New York University, New York.

  • Master of Arts, 1973, Teaching English as a Second Language and Linguistics, Hunter College (CUNY), New York.

  • Bachelor of Science, Spanish, 1970, New York University, New York.  

CONSULTING AND CONTRIBUTING EDITOR

  • Arte al Día International, Miami, Florida (2005 to 2019).

  • Editor, Special Section on “Pacific Standard Time: LA/LA” for www.artealdia.com (March 2017-January 2018).

CURATORIAL POSITIONS

  • 2008-to Feb. 2015. Adjunct curator, The Patricia & Phillip Frost Art Museum, Florida International University, Miami.

  • 2008-2009. Consulting curator, 10th Havana Biennial. Artists selected: Chen, Jiagang; Chen, Xiaoyun; Yong Soon Min.

  • 2006. Consulting curator, 9th Havana Biennial: Sze Tsung Leong.

  • 2003. Consulting curator, 8th Havana Biennial. Artists selected: Alejandro Dias; Dario Oleaga. 

  • 2002-2003. Curator, Chilean Trade Commission (ProChile) - Ministry of Foreign Affairs, Santiago, Chile. [Conceived and planned exhibition Departures from Common Things: Emerging Paths, Chile.) Museum of Contemporary Art (MAC) was the organizing institution. The exhibition did not occur because of funding issues at the government level.

  • 1998-2001. Consulting curator, El Museo del Barrio, New York. See Exhibitions Curated.

  • 1992-1998. Independent curator. See Exhibitions Curated.

  • 1991. Curator, Official US Representation for the III International Biennial of Painting Cuenca, Ecuador (Oct.-Dec. 1991). 

  • 1988-1990. Curator, Museum of Contemporary Hispanic Art (MoCHA), New York.

  • 1984 to 1986. Curatorial Assistant, Gloria in Excelsis: The Virgin and Angels in Viceregal Painting from Peru and Bolivia. The Center for Inter-American Relations, New York (now The Americas Society). 

  • 1978-1981. Research Assistant to Barbara D. Duncan, art historian and independent curator of Latin American Art, New York.

EXHIBITIONS CURATED oR ORGANIZED

  • 2019, Curator, Padece: Máximo Corválan-Pincheira, ARTESPACIO Galería, Santiago, Chile (Sept. 26–Oct. 20, 2019).

  • 2015, Curator, Monica Bengoa: Exercices de Style/Exercises in Style, Patricia & Philip Frost Art Museum, Florida International University, Miami (Feb. 14-Apr. 5, 2015).

  • 2013, Curator, Kaarina Kaikkonen: Two Projects—Traces and Dialogues, El Museo de la Memoria y Derechos Humanos (Museum of History and Human Rights) and El Museo National de Bellas Artes (The National Museum of Fine Arts), Santiago, Chile. (Mar.-Aug. 2013). 

  • 2012, Co-curator, Monika Weiss: Sustenazo (Lament II), El Museo de la Memoria y Derechos Humanos, Santiago, Chile (Dec. 2012-Apr. 2013). (Co-curator María José Bunster.)

  • 2012, Curator, Iván Navarro: Fluorescent Light Sculptures, Patricia & Philip Frost Art Museum, Florida International University, Miami (Oct. 2012-Jan. 2013). 

  • 2012, Co-Curator, The Drop: Urban Art Infill, New York. Artists selected: Ching, Yoa Chen, John Ahearn, Luis Mallo, Raquel Rabinovich (July 2012)

  • 2011, Curator, Magdalena Fernández: 2iPM009, The Patricia & Philip Frost Art Museum, Florida International University, Miami (Oct. 2011-Jan. 2012).

  • 2009, Curator, Nela Ochoa: DNA and Art, The Patricia & Phillip Frost Art Museum, Florida International University, Miami (Apr.-Sept. 2009). 

  • 2008, Curator, Navjot Altaf: Lacuna in Testimony, The Patricia & Phillip Frost Art Museum, Florida International University, Miami.  (Oct. 2009-Jan. 2010).  

  • 2008, Curator, Raquel Rabinovich: River Library, Alon Foundation, Buenos Aires, Argentina (Oct.-Dec. 2008). 

  • 2006, Curator, Carlos Alfonzo: Extreme Expression, 1980-1991, Freedom Tower, Miami (Dec. 2006-Jan. 2007). 

  • 2006, Curator, Kaarina Kaikkonen: The Presence of Absence and Monika Weiss: Leukos – Early Morning Light, Remy Toledo Gallery, New York (Jan.-Feb. 2006).

  • 2005, General Curator, OMNIART-Miami III, an art event parallel to Art/Basel/Miami Beach International Art Show (Dec. 1-4), collaborating with curators Dr. Carol Damian and Tina Spiro.

  • 2005, Organized exhibition of photographers for The Cuban Artists Fund,
    Ricardo Elias: La Historia Me Absolvera/HistoryWill Absolve Me; Liudmila Velasco and Nelson Ramirez de Arellano: Absolut Revolución; Eduardo Hernandez Santos:Corpus – Fragile (The Fragile Body), Fast Track Gallery, Exit Art, New York (May 2005). Exhibition organized by the Cuban Artists Fund (CAF) and Instituto Cervantes The Spanish Cultural Center in New York.

  • 2004, Curator, Kaarina Kaikkonen: And It Was Empty, for OMNIART, an art event parallel to Art/Basel/Miami Beach International Art Show (Dec. 2-5, 2004). 

  • 2002, Curator, Ernesto Pujol: American Fields. Large-scale photographs, Jersey City Museum, Jersey City (Sept.-Dec. 2002).

  • 2001, Curator, Leandro Erlich: Neighbors. Site-specific installation for Contemporánea 2000, El Museo del Barrio, New York (Feb.-May 2001).

  • 2000, Curator, Ernesto Pujol: Conversion of Manners. Site-specific installation for Contemporánea 2000, El Museo del Barrio, New York (June-Oct. 2000). The exhibition was selected by Art in America as one of the best summer choices.

  • 2000, Curator, Franco Mondini–Ruiz: Mexique. Site-specific installation for the gallery, Contemporánea 2000, El Museo del Barrio, New York (Feb.-May, 2000).

  • 1999, In-house curator, Pepon Osorio: Transboricua, and Juan Sanchez, Printed Convictions: Prints and Related Works on Paper, El Museo de Barrio, New York (Sept. 1999-Jan. 2000). Organized by Rhode Island School of Design, Providence, RI.

  • 1998, Curator, Magdalena Campos–Pons, History of People That Were Not Heroes: Part I, A Town Portrait. Organized by Lehman College Art Gallery/CUNY, Bronx, New York (Mar.-May 1998). http://www.lehman.cuny.edu/vpadvance/artgallery/gallery/campospons/TextTower.html.

  • 1996, Curator, Leandro Katz: Two Projects/A Decade The Catherwood Project and El Dia Que Me Quieras. Organized by El Museo del Barrio, New York (Jan-Apr. 1996) ISBN (P) 1-882454-0409.

  • 1996, Curator, Raquel Rabinovich: Drawings, 1978-1995. Organized by INTAR Gallery, New York (Apr.-June 1996).

  • 1993, Curator, Recovering Histories: Aspects of Contemporary Art in Chile since 1982/Historias recuperadas: Aspecto de arte contemporáneo en Chile desde 1982. Co-organized by The Center for Latino Arts and Culture, Rutgers The State University, New Brunswick, New Jersey and The Permanent Mission of Chile to the United Nations (Venues: The Zimmerli Museum, July-Aug. 1993; Lehigh Univ., Bethlehem, PA, Sept.-Oct. 1993; Museum of Contemporary Art of San Juan, Feb.-Apr. 1994; Kenkeleba Gallery, NY, May-June, 1994; Rhode Island School of Design Museum, Providence, Sept.-Oct, 1994; Instituto Siqueiros, Mexico City, Feb.-Mar. 1995; Museum of Modern Art, Bogotá, Apr.-June 1995; National Museum of Fine Arts, Santiago, Chile, Aug.-Sept. 1995). Artists: Carlos Altamirano, Claudio Bertoni, Roser Bru, Francisco Brugnoli, Gonzalo Diaz, Arturo Duclos, Paz Errazuriz, Eduado Garreaud, Lotty Rosenfeld, Enrique Zamudio, 1992. ISBN 0-88111-150-3.

  • Curator, Wifredo Lam and His Contemporaries. The Studio Museum in Harlem, New York (Dec. 1992-Apr. 1993). (Co-curators Lowery Stokes Sims and Giulio Blanc). 

  • 1992, Curator, Catalina Parra: A Retrospective. Lehman College Art Gallery, Bronx, New York (Feb. 6-Apr. 4, 1992). Exhibition was initiated by the Cultural Attaché, Ministry of Foreign Affairs, Santiago, Chile. Traveled to the Museum of Contemporary Art, Santiago. Library of Congress Catalog Number 91-075574.

  • 1991, Curator, Official US Representation for the III International Biennial of Painting Cuenca, Ecuador (Oct.-Dec. 1991). Artists: Juan Sánchez, Josely Carvalho, Luis Cruz Azaceta, Ismael Frigerio, Juan González, Candida Alvarez. Travel venues: Museo del Banco Central, Guayaquil (Jan. 1992); Casa de la Cultura, Quito (Feb. 1992).

  • 1990, Curator, Installations: Current Directions. Museum of Contemporary Hispanic Art (MoCHA), New York (Sept.-Nov. 1990). Artists: Jaime Davidovich, María Elena González, Leandro Katz, Gabriel Orozco, Catalina Parra, Bastienne Schmidt.

  • 1990, Co-curator, The Decade Show: Frameworks of Identity in the 1980s. Co-organized by and presented in the Museum of Contemporary Hispanic Art, The New Museum of Contemporary Art, and The Studio Museum in Harlem (May-Aug. 1990). ISBN 0-915557-68-1.

  • 1990, Curator, Figurative Perspectives: Six Artists of Latin America Background. Rockland Center for the Arts, West Nyack, New York (Jan.- Mar. 1990). Artists: Ana Mendieta, Judite dos Santos, Juan González, Benjamín Lira, Marina Gutiérrez, Luis Frangella. (Co-curator Giulio Blanc.)

  • 1984-1986, Curatorial Assistant, Gloria In Excelsis: The Virgin And Angels In Vice Regal Painting From Peru And Bolivia. The Center for Inter-American Relations, New York, Nov. 1985-Jan. 1986; Archer M. Huntington Art Gallery, University of Texas, Austin, March-May 1986; The Center for Fine Arts, Miami, May-July 1986. (John Stringer, Director; Barbara Duncan and Teresa Gisbert, guest curators). 

TEACHING 

  • Spring 2016, Visiting Professor, The Institute of Art (Viña del Mar), Pontificia Católica University of Valparaiso, Chile. Course: “Temas apremiantes en el arte contemporáneo: artistas de las Américas en contextos globales.”

  • Spring 2013, Fulbright Grantee, Visiting Professor, Master’s Program, Universidad Diego Portales, Santiago, Chile. Course: “Artistas latinoamericanos en los EE UU a partir de 1995: Lo Global y Lo Local (Latin American Artists in the United States from 1995: The Global and the Local.” 

  • Fall 2007, Fulbright Grantee, Visiting Professor, Master’s Program, School of Art, Pontíficia Universidad Católica de Chile, Santiago, Chile. Course: “Artistas Latinoamericanos en los Estados Unidos: Convergencias y divergencias a partir de 1990” (“Latin American Artists in the United States: Convergences and Divergences”). 

  • Oct. 2005, Visiting Professor, School of Art, Pontíficia Universidad Católica de Chile, Santiago, Chile. Course: “Ana Mendieta: Performing Earth-Body Sculpture from Iowa to New York and Beyond (1970-1985).”

  • Jan. 2001-May 2001, Visiting Associate Professor, Dept. of Art History, Florida State University. Undergraduate and graduate courses respectively: “Latin American Art History: Independence to Modern,” and “Latin American Artists in the US: 1920s through the 1980s.” 

  • Sept.-Dec. 1999, Visiting Adjunct Professor, Trinity College, Hartford, Conn. Course: “Topics in Latin American Art History: Colonial to Modern.”

  • Feb.-May 1999, Adjunct Professor, City College, CUNY, New York. Course: “Latin American Art History: Colonial to Modern.”

  • Sept. 1997-Jan. 1998, Adjunct Lecturer, Art Department, City College, CUNY, New York. Course: “Modern and Contemporary Art Latin America.”

  • Sept. 1996-Jan. 1997, Adjunct Lecturer, Art Department, Lehman College, CUNY, New York. Course: "Introduction to the History of Latin American Art.”

  • Sept. 1995-Jan. 1996, Adjunct Lecturer, Art Department, Lehman College, CUNY, New York. Course: "Selected Topics in Art History: Twentieth-Century Latin American Art.” 

  • Jan.-May 1994, Adjunct Professor, Art History Department, Fairfield University, Fairfield, Conn. Course: "Latin American Art in the Twentieth Century: Developments in the Americas.”

  • Jan.-May 1988, Adjunct Lecturer, Art History Department, Montclair State College, Montclair, New Jersey. Course: "American and European Art from 1945.”

  • Sept. 1984-Jan. 1985, Teaching Assistant, Art History Department, Hunter College, The City University of New York. Course: "Introduction to Art History.”

PUBLICATIONS

Chapters in Books or Anthologies

  • “An Overview/Um perfil,” Josely Carvalho: Diário de Imagens/Diary of Images (ed. Luiz Eduardo Meira de Basconcellos), Río de Janeiro: Contra: Capa, 2018 (pp. 35-64; co-essayists, Lucy R. Lippard, Katia Canton, Ana Mae Barbosa, Paulo Herkenhoff, Ivo Mesquita, Arlndo Machado). ISBN 978-85-7740-267-0.

  • "Re-reading Lam" in Santería Aesthetics in Contemporary Latin American Art (ed. Arturo Lindsey), Washington, D.C: Smithsonian Institution Press, 1996 (pp. 149-169). ISBN 1-56098-615-8.

  • “Reconstruccciones,” and “Huye, huye,” in Catalina Parra: El fantasma politico del arte (ed. Paulina Varas), Santiago, Chile: D21 Galería de Arte. Ediciones/Metales pesados, 2011 (pp. 27-47 and 79-85; co-essayists Eugenio Dittborn, Diamela Eltit, Jean Franco, Nelly Richard, María Laura Rosa, Ronald Christ, Zoya Kocur). ISBN 978-956-8415-43-3.

  • "The Self-Portrait by Contemporary Women Artists” (Josely Carvalho and Yong Soon Min) in Nuestro Autorretrato (Our Self-Portrait). San Juan, PR: Associación de Mujeres Artistas de Puerto Rico, 1993.

  • "It's Still Time to Mourn: Dia Mater I," in Manual, Art in General 1992 and 1993. New York: Art in General Inc., 1993 (pp. 31-32). 

Essays in Exhibition Catalogues

  • “Carlos Alfonzo: Transformative Work from Cuba to Miami and the U.S.,” in Carlos Alfonzo: Witnessing Perpetuity, Miami: LnS Gallery, 2020 (pp. 8-23). ISBN 978-17346065-0-8.

  • “Máximo Corvalán-Pinchera: Padece,” in Padece, Artespacio Galería, Santiago, Chile, 2019 (n/p) https://www.artespacio.cl/artepacio/maximo-corvalan-pincheira-padece-octubre-noviembre-2019/.

  • “A Conversation with María Elena González: A Trajectory of Sound,” in María Elena González: Tree Talk, Mills College Art Museum. Oakland CA: Mills College Art Museum, 2019 (pp. 30-55). ISBN 978-0-9854600-6-8.  https://mcam.mills.edu/publications/.

  • “María Martínez-Cañas: Black Totems and Imágen Escrita,” exhibition entry for Art_ Latin_America: Against the Survey, Davis Museum, Wellesley College, Wellesley, MA 2018 (pp. 42, 43, 168, 169). Austin: University of Texas Press, 2019. Edited by James Oles with Lisa Fischman. ISBN978-1-4773-1909-3. 

  • “Conversation with Francisca Sutil, New York 2013,” in Mute II. New York: Nohra Haime Gallery 2018, n/p ISBN 978-0-9979769-0-8. (Originally printed in Arte al Dia International 144 [Oct.-Dec. 2013): 40-47.

  • “Past – Present: Conversations with María Lau and Katarina Wong,” in Circles and Circuits: Chinese Caribbean Art. Eds. Alexandra Chang and Steve Wong. Los Angeles: Chinese American Museum and California African American Museum, 2017 (pp. 180-195), (Duke University Press, distribution). The exhibition was part of Pacific Standard Time: LA/LA (Sep. 2017-Jan. 2018). ISBN 978-0-9987451-0-7.

  • “Conversación entre Claudio Correa y Julia P. Herzberg,” in Libertad, Igualdad, Fatalidad. Santiago: National Museum of Fine Arts, 2016 (pp. 6-7; co-essayists Gerardo Mosquera, Alexis Talas). ISBN 978-956-362-936-1.

  •  “A Conversation with María Elena González: A Trajectory of Sound,” in María Elena González: Tree Talk Series. Ljubljana, Slovenia: International Center of Graphic Arts, 2016 (pp. 42-52). (Bilingual catalogue in Slovenian and English for the Grand Prix Winner of the 30th Biennial of Graphic Arts), (Editor and essayist Bozidar Zrinski). ISBN 978-961-6229-61-6.

  • “In Conversation with Natalia Arias,” in Femininity Beyond Archetypes. Washington, DC: Art Museum of the Americas, 2014. No ISBN.

  • “Monika Weiss’s Language of Lament: History, Memory, and the Body,” in Recall: Roland Schefferski Monika Weiss. Zielona Góra, Poland: Lubusz Land Museum in collaboration with the Gallery BWA, 2014 (pp. 89-99 in Polish and English; co-essayists Axel Feuss, Jakob Hübner, Leszek Kania, Wojciech Kozlowski). ISBN 987-83-88426-79-7.

  • “Garments as Memory,” in Kaarina Kaikkonen Two Projects—Traces and Dialogues/Dos Proyectos—Huellas y Diálogos. Santiago, Chile: Museo de la Memoria y Derechos Humanos, 2013 (Editor Julia P. Herzberg). ISBN 978-956-9144-07-3. 

  •  “Esteban Lisa: In Search of the Transcendent,” in Esteban Lisa: Retornos. Toledo, 1895 – Buenos Aires 1983. Biblioteca Nacional de España, Sept.-Nov. 2013. Museo de Santa Cruz, Toledo, Dec. 2013-June 2014. ISBN-10: 8492462310.

  • “Conversation with Monika Weiss,” in Monika Weiss: Sustenazo (Lament II). Santiago, Chile: Museo de la Memoria y Derechos Humanos, 2012 (pp. 11-35, bilingual). (Editor and essayist, Julia P. Herzberg; co-essayist Adriana Valdés.) ISBN 978-956-9144-03-5.

  • “Rethinking the Possible” and “Conversation with Iván Navarro,” in Iván Navarro: Fluorescent Light Sculptures. Miami: The Patricia & Phillip Frost Art Museum, Florida International University, 2012 (pp. 7-41; 55-59), (Editor Julia P. Herzberg). ISBN 978-0-9819337-9-5.

  • “Decomposing – Recomposing: Concepts, Processes, and Sources,” in Magdalena Fernández - 2iPM009. Miami: The Patricia & Phillip Frost Art Museum, Florida International University, 2011 (pp. 11-20). (Editor Julia P. Herzberg; co-essayist Estrellita Brodsky). ISBN 978-0-9819337-41.

  • “Ana Mendieta’s Iowa Years 1970-1980,” in Donna: Avanguardia Femminista Negli Anni ’70 dalla Sammlung Verbund di Vienna. Electa: Italy, 2010 (pp: 132-149; 15 co-essayists). (Editors: Gabriele Schor and Angelandreina Rorro of the exhibition at Galleria nazionale d’arte moderna, Rome, Feb.-May 16, 2010). ISBN: 9788837074142.

  • “Arrechea and Maldonado in the Heart of Times Square,” in Times Square Project, New York, 2010. (Co-sponsored by Cuban Artists Fund and Times Square Alliance, featuring Alexandre Arrechea and Sophia Maldonado.)

  • “Art and Science at the Crossroads,” in Nela Ochoa: Genetic Portraits. Miami: The Patricia and Phillip Frost Art Museum, Florida International University, 2009 (n/p). ISBN-978-0-9819337-3-3.

  • “Interview with Monika Weiss on Phlegethon-Milczenie,” in POZA: On the Polishness of Polish Contemporary Art (ed. Marek Bartelik). Hartford, Conn.: Real Art Ways, 2008 (pp. 130-137). ISBN 978-09717859-3-9.

  • “Raquel Rabinovich: The Meditative, Creative, and Perceiving Mind: Pabhavikas, Emergences, and the River Library,” in Anthology of the Riverbeds/ Antología del lecho de los ríos. Buenos Aires: Alon Foundation, 2008. (Editor Julia P. Herzberg). ISBN 978-987-24659-0-2.

  • “Nela Ochoa: The DNA of Sculpture and Installation,” in Gene Garden (brochure). Miami: Miami Botanical Garden, 2008.

  • “Ritual in Performance,” in NeoHooDoo: Art for a Forgotten Faith, by Franklin Sirmans. Houston: The Menil Collection, 2008, (pp. 54-67; co-essayists Franklin Sirmans, Jen Budney, Arthur C. Danto, Greg Tate, Robert Farris Thompson, Quincy Troupe); (artists: José Bedia, Tania Brugera, María Magdalena Campos-Pons, Pepón Osorio, and Ernesto Pujol). ISBN 978-0-300-13418-6.

  • “A Dialogue with Life and Death,” Carlos Alfonzo: Extreme Expression, 1980-1991. Miami: Bridge House Publishing, Inc., 2006 (pp. 12-38). (Editor Julia P. Herzberg). ISBN 10: 0-9672215-4-4. 

  • “Four Ways: A Room of Her Own,” in A Room of One’s Own: Teresita Fernández, María Elena González, Quisqueya Henríquez, María Martínez-Cañas. Frost Museum, Florida International University, Sept.-Dec., 2006 (pp. 8-18).

  • “Conversation with Sandra Bermudez,” in Off  Sight: Steadily, Intently and with Fixed Attention. Bogotá, Colombia: Gráficos La Silueta, 2005 (pp. 17-40, bilingual; co-essayists José Roca and Mercerdes Vicente.) ISBN 0-923183-37-X. 

  • “Empty Jackets: The Presence of Absence,” Mother’s Dancing Shoes- Kaarina Kaikkonen’s Art/Äidin tanssikengät – Kaarina Kaikkonen taide. Helsinki, Finland: Maahenski Oy, 2005 (pp. 115-117). ISBN 952-5328-54-6.

  • “Máximo Corvalán: Free-Trade Ensambladura.” Maximo Corvalán, De Paso, CSU, Fullerton (California State University), 2005 (pp. 15-23, bilingual; co-essayist Sergio Rojas). ISBN 0-935314-67-9.

  • “Reflections on Duality and Individuality: Sameness and Difference,” in Ana Patricia Palacios: Doubles and Singulars. Bogotá, Colombia: LatinCollector, 2005 (n/p; co-essayist José Roca). ISBN 0-923183-37-X.

  • “Ana Mendieta’s Iowa Years 1970–1980,” in Ana Mendieta: Earth Body, Sculpture and Performance. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 2004 (pp. 137-179; co-essayists Olga M. Viso, Guy Brett, Chrissie Iles, Laura Roulet). ISBN 3-7757-1395-6.

  • “Conversación con Mónica Bengoa/Conversation with Mónica Bengoa,” in Some Aspects of Color in General and Red and Black in Particular - Mónica Bengoa. Santiago, Chile, Direction of Cultural Affairs of the Ministry of Foreign Relations of Chile for the 52nd Venice Biennial, 2004 (pp. 51-55, bilingual; co-essayist Julio Pastor Mellado).

  • “Leandro Katz,” in Voces y Visiones: Highlights from El Museo del Barrios’s Permanent Collection, Modern & Contemporary Art (vol. 5). New York: El Museo del Barrio, 2003 (pp. 28-29; many essayists). ISBN 1-882454-14-6 (set). 

  • Joan Mitchell Foundation Awardees, 2002, online essay, Virginia Commonwealth University School of the Arts at www.vcu.edu/artweb/mitchell (2003).

  • “The Book of Roofs, #0001: Tracajá,” in Josely Carvalho: Book of Roofs. Des Lee Gallery, St. Louis, MO, 2002. 

  • “American Fields: Ernesto Pujol,” in Ernesto Pujol (brochure). Jersey City: Jersey City Museum, 2002.

  • “Testing the Waters (Leandro Erlich),” in la Biennale di Venezia: Exposizione Internazionale d’Arte: Leandro Erlich/Graciela Sacco. Buenos Aires: Ministry of Culture, 2001 (pp. 43-48, trilingual; four other essayists). ISBN 88-317-78420. 

  • “Run Away, Run Away,” in Catalina Parra: It’s Indisputable/Es indiscutible. Jersey City: Jersey City Museum, 2001 (pp. 10-17; co-essayists Jean Franco, Nelly Richards, Alejandro Anreus, Rocio Aranda-Alvarado). 

  • “Wifredo Lam: naissance d’un style et d’une vision du monde. Le séjour à la Havane, 1941-1952,” Lam métis, Paris: Éditions Dapper, 2001 (co-essayists Christiane Falgayrettes-Leveau, Édouard Glissant, Jacques Dubanton, Jean-Louis Paudrat, Erwan Dianteill).

  • “Pepon Osorio: Transboricua,” in Pepon Osorio: Transboricua (n/p brochure). Museum of Art, Rhode Island School of Design, Providence, RI, 1999.

  • “Dislocations and Recollections,” in Magdalena Campos-Pons (n/p brochure). Hallwalls Contemporary Arts Center, Buffalo, NY, 1998.

  • “Conversations in the Studio: Juan Sánchez and Julia P. Herzberg,” in Juan Sánchez, Printed Convictions: Prints and Related Works on Paper. Jersey City: Jersey City Museum, 1998 (pp. 15-20, bilingual; co-essayist Dore Ashton). Curator Alejandro Anreus. ICAA Record ID: 848257.  

  •  “Conversations with Carlos Alfonzo,” in Triumph of the Spirit: Carlos Alfonzo, A Survey (1975-1991). Miami: Miami Art Museum, 1997; Hirshhorn Museum, 1998. ICAA Record ID: 848257.  

  • “Excerpts from a Conversation with Carlos Alfonzo and Cesar Trasobares,” in Triumph of the Spirit: Carlos Alfonzo, A Survey (1975-1991). Miami: Miami Art Museum, 1997; Hirshhorn Museum, 1998. ISBN 0-295-97681-0.

  • “A Town Portrait: Memory Streams,” in Magdalena Campos-Pons: History of People That Were Not Heroes: Part I, A Town Portrait. Lehman College Art Gallery, City University of New York, 1998.  http://www.lehman.cuny.edu/vpadvance/artgallery/gallery/campospons/TextTower.html.

  • “Raquel Rabinovich: Drawings, 1978-1995,” in Raquel Rabinovich: Drawings, 1978-1995 (n/p brochure). New York: INTAR Gallery, 1996. 

  • “Leandro Katz: A Decade of Work.” in Leandro Katz: Two Projects/A Decade. New York: El Museo del Barrio, 1996 (p. 4-16; co-essayist George E. Stuart). ISBN (P) 1-882454-04-9. ICAA Record ID: 1469667.

  •  “Paper Visions V: Visual and Thematic Modes in a Biennial Exhibition.” Paper Visions V: Biennial Exhibition of Works on Paper by Thirty Contemporary Latin American Artists (n/p brochure). The Housatonic Museum of Art, Bridgeport, CT, 1994. Curator Benjamin Ortiz. 

  • "The Visual Poetics of Liliana Porter," Liliana Porter (n/p brochure). Buenos Aires: Ruth Benzacar Galeria de Arte, 1994.

  • “Arturo Cuenca: New Photographs and Old," in Arturo Cuenca. New York: INTAR Gallery, 1993 (pp. 2-21; sole essayist). LCCN 93-80318.

  • “The Self-Portrait by Contemporary Women Artists,” (Josely Carvalho and Yong Soon Min) in Nuestro Autorretrato (Our Self-Portrait). San Juan, PR: Associación de Mujeres Artistas de Puerto Rico, 1993.

  • "Josely Carvalho: An Overview," in Josely Carvalho: Cirandas. New York: INTAR Gallery, 1993 (pp. 2-8; co-essayist Carlos Bezerra).

  • “María Magdalena Campos-Pons,” in María Magdalena Campos-Pons (n/p brochure). New York: INTAR Gallery, 1993.

  • "Recovering Histories: Considerations on the Practices of Twelve Artists," in

  • Recovering Histories: Aspects of Contemporary Art in Chile since 1982. New Jersey: The Latino Center for Art and Culture, Rutgers, the State Univ., 1993 (pp. 30-69, bilingual; co-essayists Sol Serrano, Gaspar Galaz, Nelly Richard). ISBN 0-88111-150-3. 

  • "Josely Carvalho: On the Subject of Violence." It's Still Time to Mourn: Dia Mater I and Dia Mater II. New York: Art in General, 1993 (pp.13-18; bilingual; co-essayist and chief curator Fabio Magallhãães). ISBN 93-79933.

  • "Wifredo Lam: Development of a Style and Worldview, The Havana Years 1941-1952." Wifredo Lam and His Contemporaries. New York: The Studio Museum in Harlem, 1992 (pp. 30-51; co-essayists Lowery Stokes Sims, Giulio V. Blanc). ISBN 0-942949-08-0.

  • "Wifredo Lam: Interrelaciones entre el afrocubanismo y el surrealismo." Wifredo Lam 1902-1982: obra sobre papel. Mexico City: Centro Cultural de Arte Contemporáneo, A.C., 1992. 

  • "Catalina Parra: Reconstructions." Catalina Parra: A Retrospective. New York: Lehman College Art Gallery, Lehman College, The City Univ. of New York, 1991 (pp. 7-22, bilingual; co-essayist Ronald Christ). ISBN 91-075574.

  • "A Selection of Hispanic American Artists in the United States." Catalogue brochure. III International Biennial of Painting Cuenca. Washington, D.C.: USIA, Arts America, 1991. ISBN 0-915557-68-1.

  • “Re-Membering Identity: Vision of Connections,” The Decade Show: Frameworks of Identity in the 1980s. Co-organized by and presented in the Museum of Contemporary Hispanic Art, The New Museum of Contemporary Art, and The Studio Museum in Harlem (May-Aug. 1990).

  • "Figurative Perspectives: Six Artists of Latin American Background." Figurative Perspectives: Six Artists of Latin American Background. Rockland Center for the Arts, West Nyack, New York, 1990. (Artists: Judite Dos Santos, Luis Frangella, Ana Mendieta, Benjamin Lira).

  • “Conversations with Carlos Alfonzo,” in Latin American Review. New York: The Americas Society, 1989 (pp. 5-10).

  • "Angels with Guns: Image and Interpretation." Gloria In Excelsis: The Virgin and Angels in Viceregal Painting.” The Center for Inter-American Relations, New York, 1986 (pp. 64-75; co-essayists Barbara Duncan, Teresa Gisbert, Luis Enrique Tord, Pedro Querejazu). ISBN 85-073031.

Online Conversations

Research Materials in Museums/Libraries

  • The Julia Ann P. Herzberg Papers is comprised of both exhibition documentation (The Decade Show: Frameworks of Identity in the 1980s) and general research files, including interviews roughly from 1988 to 1993. Center for Curatorial Studies Library & Archives, Bard College. http://www.bard.edu/ccs/findingaids/index.html/mss.014/japhp.html; revans@bard.edu.

  • Julia P. Herzberg, “Papers,” are in the American Archives of Art (AAA), Smithsonian Museum, Washington, DC. 

Articles

  • Pacific Standard Time: LA/LA,” Postings of the Press Releases of 20 museums in the Getty initiative with my introductions and final summaries together with illustrations by artists in each museum. www.artealdia.com ((March 2017-January 2018).

  • “Leandro Katz in Conversation with Julia P. Herzberg,” www.artealdia.com (Feb. 2017).

  • “The MET Breuer,” Arte al Día International 151 (2016): 3-7.

  • “Wifredo Lam en el Centro Pompidou.” La Panera (Oct., 2015): 10-12.

  • “Doris Salcedo,” La Panera (August 2015): 16-18.

  • “Doris Salcedo,” Arte al Día International 149 (2015): 3-8.

  • “Teresita Fernández As Above So Below,” Arte al Día International 148 (2015): 60-63.

  • “Francisca Sutil in Conversation with Julia P. Herzberg/Francisca Sutil en conversación con Julia P. Herzberg,” Arte al Día Internacional 144 (Oct.-Nov.-Dec. 2013): 40-47.
    “Esteban Lisa Biblioteca Nacional de España, Madrid, Museo de Santa Cruz,” Arte al día Internacional 44 (Oct.-Nov.-Dec. 2013): 74-77.

  • dOCUMENTA (13), Arte al Día Internacional 140 (2012): 84-90. 

  • "Cuatro Artistas Colombianos: Una Introducción," Nossa/Nuestra América de Memorial de América Latina (44:2012): 32-36. 

  • “Emilio Chapela: A Conversation/Una conversación,” Arte al Día Internacional 137 (Dec.-Jan. 2011): 50-55. 

  • “The Armory Show,” Arte! Brasileiros (May 2011): 41-43. 

  • “Juan Manuel Echavarría: Countering Silence,” Arte al Día Internacional 134 (March- May 2011): 28-33. 

  • “Raquel Rabinovich: Stone Sculptures,” Revista Arte Brasileiros 8 (2011): 66-70.

  • “El Museo del Barrio: Celebrating Forty Years/El Museo del Barrio celebra sus 40 años,” Arte al día Internacional 130 (Feb.-Apr. 2010): 66-70. 

  • “Leandro Katz,” Arte al día Internacional, (2010), posted online at http://www.artealdia.com/International/Contents/Reviews/Leandro-Katz.

  • “Integration and Resistance in the Global Era: Personal Reflections, 10th Havana Biennial/Integración y Resistencia en la Era Global: Reflexiones Personales, 10a Bienal de Habana,” Arte al día Internacional 128 (Aug.- Oct. 2009): 71-81. 

  • “Jorge Tacla Ramis Barquet New York,” Arte al día Internacional, 123 (2008), p. 113.

  • “Documenta 12 Kassel,” Arte al día Internacional 120 (Sept.- Oct. 2007): 76-79. 

  • “sculpture projects münster 07/skulptur projekte münster 07,” Arte al día Internacional 119 (Sept.-Oct., 2007): 80-82. 

  • "To Be No More and To Be Forever/Dejar de existir para siempre,” Arte al día Internacional 119 (May-June 2007): 54-59. 

  • “A Room of One’s Own/Una habitación propia,” Arte al Día Internacional (Dec. 2006- Jan. 2007): 94-99. 

  •  “Havana Biennial: A Cultural Phenomenon/La Bienal de la Habana: Un fenómeno cultural” Arte al Día Internacional 115 (Aug.-Sept. 2006): 72-77.

  • “Commentary: Hiroshi Watanabi, Henry Howard Chen, and Tony Chirinos,” Nueva Luz Photographic Journal 10:3 (Fall 2005).

  • "Departures from Common Things: Emerging Paths, Chile/A partir de cosas comunes: Rutas emergentes, Chile,” in Atlántica: Revista de Arte y Pensamiento 38: Summer 2004 (Las Palmas de Gran Canaría, España: Cabildo de Gran Canaria Cultura - Centro Atlántico de Arte Moderno): 2-20.

  • “8th Havana Biennial,” Art Nexus 3:52 (Apr.-June 2004): 82-88.

  • Joan Mitchell Foundation Awardees, 2002, essay online, Virginia Commonwealth University School of the Arts at www.vcu.edu/artweb/mitchell (2003).

  • “Catalina Parra: Reconstructing Images and Texts,” Caravelle no. 80 (June 2003): 145-147. Arts plastiques d’amerique latine: marges et traverses. Toulouse: Presses Universitaires deToulouse le Mirail. 

  • “Ana Mendieta: The Formative Years,” Art Nexus 47 (Jan.-Mar. 2003): 54-59.

  • “Pepón Osorio: Redefining the Boundaries for Installation Art,” Art Nexus (May-July 2000): 56-63. 

  • "Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960," Art Nexus (Oct.-Dec. 1996): 84-86. 

  • "Juan Sanchez," Latin American Art. Scottsdale, AR. (Spring 1992): 62-64. 

  • "Wifredo Lam," Latin American Art. Scottsdale, AR. (Summer 1990): 18-24. 

  • "A Conversation with Carlos Alfonzo," Review: Latin American Literature and Arts. The Americas Society, New York (Jan.-June 1989): 5-9.
    "Wifredo Lam: Return to Havana and the Afro-Cuban Tradition," Review: Latin American Literature and Arts. The Center Inter-American Relations, New York (Jan.- June 1987): 22-30. 

  • "Bonevardi Constructions," Art Inf. Buenos Aires, Argentina (Aug.-Sept. 1981). 

Reviews

  • Doris Salcedo: Retrospectiva, La Panera (63), (Aug. 2015):16-17 (in Spanish).Doris Salcedo (Guggenheim Museum), Arte al Día International 149 (2015): 58-63. 
    Phoenix: Xu Bing at the Cathedral (The Cathedral Church of Saint John the Divine, New York, 2014–2015), Asian Diasporic Visual Cultures and the Americas. Published by Brill (Leiden/Boston) online publication date: September 14 2015. In Volume 1: Issue 3, pages ]345-348. In affiliation with the Asian/Pacific/American Institute, New York University (New York) and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University (Montreal).

  • “Emilio Chapela: Man Is the Measure,” Arte al día International 145 (2014): 99-100.
    “Iván Navarro: Madison Square Park Conservancy (This Land Is Your Land),” Arte al día International 145 (2014): 97-98.

  • “Labor,” Arte al día International 136 (2012): 103-106. 

  • “Iván Navarro,” Arte al día International 135 (2011): 138-139. 

  • “Yoan Capote,” Arte al día International 134 (2011): 81-82. 

  • “Leandro Katz,” Arte al día International 131 (2010): 99-101. 

  • “Ruben Torres Llorca,” Arte al día International 130 (2010): 90-91. 

  • “Dias & Riedweg. . . and it becomes something else,” Americas Society. Arte al día International 128 (Aug.-Oct. 2009): 101, 102. 

  • “Lotty Rosenfeld,” El Museo del Barrio. Arte al día International 124 (2008): 91.

  • “Leopoldo Maler: Nohra Haime,” Arte al día International 124 (2008): 94.

  • “Liliana Porter,” Arte al día International 119 (May-June, 2007): 105. 

  • “María Elena González, Arte al día International 113 (Mar.-Apr. 2006): 98. 

  • "Gladys Triana," Art Nexus 55:3 (2005): 50-151. 

  • “AIM 24-Artists in the Market Place,” (Bronx Museum of the Arts). Art Nexus 54:3 (2004): 176-177. 

  • “Iván Navarro,” Art Nexus 54:3 (2004): 156-157. 

  • “Ernesto Pujol: The Silence of Song Birds,” Art Nexus 54:1 (2004): 151.  https://www.artnexus.com/en/magazines/article-magazine-artnexus/5d631b6d90cc21cf7c09eb1c/52/ernesto-pujol

  • “Wifredo Lam and the International Avant-Garde, 1923-1982,” Art News (Feb. 2003). 

  • “Ceremony of Spirit: Nature and Memory in Contemporary Latino Art,” Art Nexus (Oct.-Dec. 1996): 84-86. 

Biennials 

  • Curatorial Selection Committee, Biennial of the Borders/Bienal de las Fronteras, Tamaulipas, Mexico, Feb. 2015. A biennial for emerging artists and curators. 

  • Associate Member, International Biennial Committee, Korea (2016-2018).

LECTURES, SYMPOSIA aND PANELS 

  • Introduction to The Catherwood Project (by Leandro Katz) from Collection Patricia Phelps de Cisneros (CCPC), Viewing Room, Storefront for Art and Architecture, NY. Sept. 8, 2016. (Two other speakers: Eugenie Tsai, David Shapiro). 

  • Panelist, “Magdalena Fernández: 2iPM009 and Its Antecedents.” Panel “On Abstraction: Esteban Lisa: Playing with Lines and Colors, Magdalena Fernández: 2iPM009, Marco Maggi: No Idea,” Museum of Latin American Art – MOLAA (Feb. 2012).

  • “Sustenazo (Lament II), Dialogue between Julia P. Herzberg and Monika Weiss,” The Kohl Art Gallery, Washington College (Mar. 2011).

  • Organizer, Art Talks, Arteaméricas Art Fair, Miami. Topics: Contemporary Art Scene; Art and Architecture: The Importance of Museum Architecture Today; Art Market Rebound?: Impact of Art Fairs on Latin American Art (Mar. 2010).

  • Member, Academic Committee Symposium. “Artes en Cruce: Bicentenarios Latinoamericanos y Globalización.” III Convocatoria. Segundo Congreso Internacional University of Buenos Aires, Department of Philosophy and Letters, Department of Art (Oct. 4, 5, 6, 2010). 

  • Lecture, “Raquel Rabinovich: Sculptures in Stone and Drawings in Mud.” Theoretical Event, 10th Cuenca Biennial, Cuenca, Ecuador (Oct., 2009). 

  • Organizer and moderator, Art Talks (Panels: Art Fairs), Arteaméricas Art Fair, Miami (Mar. 2009). 

  • Lecture, “Ritual in Performance.” Theoretical Event, 10th Havana Biennial, Havana, Cuba (Apr. 2009). 

  • Panel presentation, “The Decade Show: Frameworks of Identity in the 1980s,” in Curating Identity in New York, Asian American Studies (Apr. 2007).

  • Lecture, “Ana Mendieta’s Conceptual Performative Practice,” Americas Society, New York, June 2005; Miami Art Museum (MAM), Miami (Oct. 2005). 

  • Panel presentation, “Artistas latinoamericanas: Reflections on Their Jewish Background (Lasar Segall, Raquel Rabinovich, Jaime Davidovich, Leandro Katz, Guillermo Kuitca, and Gabriel Valansi),” Yeshiva University, New York (Mar. 2005). 

  • Panel presentation, “Spirituality and Divinity in Contemporary Latino Art and Latin American Art,” in "Spirituality in Art from a Multicultural Perspective," The Noyes Museum of Art, Stockton, NJ (Nov. 2004).

  • Lecture, “Departures from Common Things: Emerging Paths, Chile,” 8th Havana Biennial, University of Havana and the National Museum of Fine Arts (Dec. 2004). 

  • Lecture, “Wifredo Lam: Painter, Printmaker, Sculptor, and Ceramist,” International Conference on Wifredo Lam, Wifredo Lam Contemporary Art Center, Havana (Dec. 2002). 

  • Lecture, “Cuban Artists: Making a Difference,” Stephen and Dorothy Greene Lecture Series), The Frost Museum, Florida International University (Feb. 2002).

  • Lectures, “Modernism in Brazil, the ‘20s and ‘30s;” “The Presence of Brazilian Modernist Artists in the US;” “Transcultural Dimensions in Brazilian Art: Baroque to the Modern.” Series for “Brazil: Body and Soul,” Guggenheim Museum, New York (Sept.-Oct. 2001). 

  • Lecture, “Contemporary Latino Art, Florida International University (Mar. 2001).

  • Lecture, “Art and Life in Contemporary Latino Practice,” Washington University Department of Printmaking, Drawing and Island Press, St. Louis (Nov. 2000).

  • Panel presentation, “Negotiating Boundaries: Historical and Religious Reconfirmations in the Performative Work of Magdalena Campos-Pons,” 3rd C(uban) R(esearch) I(nstitute) Conference on Cuban and Cuban-American Studies, Florida International University, Miami (Oct. 2000).

  • Lecture, “Autoretrato, Arte Corporal, y Performance,” Museo de Arte Contemporánea, Santiago, Chile (Mar. 2000). 

  • Lecture, “Effervescent Moments in Modern and Contemporary Argentine Art History,” Americas Society, New York (Mar. 2000). 

  • Panel presentation, “Lot’s Wife: Feminist Art History and Artists of Memory” (María Magdalena Campos-Pons), 1999 Feminist Art and Art History Conference, Barnard College, New York (Oct. 1999).

  • Panel presentation, "Ana Mendieta in Iowa: Transcultural Contexts from Everyday Life and Art History, 1970-1977." Session, “Cuban Art: Encounters, Divergences, Transculturation and Crossovers,” 1999 College Art Association Annual Conference, Los Angeles (Feb. 1999). 

  • Lecture, “Portraiture, Performance and Body Art: Interconnections and Resonances,” (Vito Acconci, Eleanor Antin, Janine Antoni, Chris Burden, Yong Soon Min, Ana Mendieta, Bruce Nauman, Adrian Piper, Charles Ray, Cindy Sherman, Lorna Simpson, William Wegman, Hannah Wilke, among others). Series: Art History in the Making: Selected Considerations of the ‘70s, ‘80s, ‘90s, Sotheby’s Institute (June 1998).

  • Lecture, “Wifredo Lam in Cuba,” 6th Havana Biennial, Havana (May 1997). 

  • Lecture, “Latin American Art in the Twentieth Century,” Metropolitan Museum of Art, New York (July 1997). 

  • Lecture, “Ana Mendieta: The Body Refigured, Iowa Work, 1970-1977,” SUNY New Paltz, New York (Oct. 1997). 

  • Participant, “Wifredo Lam’s Journeys from Cuba to Venezuela, 1928-1955” and “Contemporary Artists: Dialogue with Art and Artists from the Past.” Sotheby’s Latin American Art Seminar organized in Caracas and Miami (Oct. 1996). 

  • Invited critic, 2nd Sculpture Symposium, San Juan, Puerto Rico (Apr. 1996). 

  • Lecture, “Luis Cruz Azaceta: Artist and His Contemporaries,” for the exhibition, “Luis Cruz Azaceta: A Painter’s Passage,” New Jersey Center for Visual Arts, Summit, NJ (Jan. 1996). 

  • Participant, “Cross-Cultural Currents in the Work of Wifredo Lam.” Tenth Triennial Symposium on African Art Roundtable, organized by The Arts Council of the African Studies Association (ACASA) at The Studio Museum in Harlem (Apr. 1995). 

  • Participant, "Ana Mendieta: Art of Transformation." International seminar "Art and Art Education Celebrating the 10th Anniversary of the Graduate Program in Art Education,” sponsored by the School of Communications and Arts, Department of Plastic Arts, University of Sao Paolo, Brazil (Oct. 1995). 

  • Lecture, "Diverse Expressions: Sánchez, Parra, Azaceta, Mendieta," Amherst College, Amherst, MA (Feb. 1994). 

  • Moderator and presenter, "Artists Speak: The Challenge to Name Ourselves." Conference on Latino Art and Culture, Teachers College, Columbia University, New York (Nov. 1993). 

  • Presenter, "Ana Mendieta: An Overview." Panel discussion, "Ana Mendieta: The Silueta Series," Freedman Gallery, Albright College Center for the Arts, Reading, PA (Oct. 1993). 

  • Moderator and organizer, "Women's Movements in the Art: A Dialogue." Symposia for the exhibition "Latin American Artists of the Twentieth Century," The Museum of Modern Art, New York (July 1993). 

  • Presenter, "Wifredo Lam: Sources and Transformations at the Height of Modernism." Symposium "Latin American Modernism," Phoenix Art Museum, Phoenix, AR (Mar. 1993). 

  • Presenter, "Notes on Current Directions by Contemporary Artists of Puerto Rican Background." Symposium for exhibition, "La Raza: A Celebration of Hispanic-American Culture," The Montclair Art Museum, Montclair, NJ (Jan. 10, 1993).

  • Participant, "The Self-Portrait by Modernist and Post-Modernist Women Artists." Symposium for the exhibition, "Nuestro Autoretrato,” organized by the Association of Women Artists in Puerto Rico, San Juan, Puerto Rico (Oct. 1992). 

  • Presenter, "Wifredo Lam: Surrealism and Afrocubanism, The Interconnections." Symposium, "Santería Aesthetics,” organized by the City of Atlanta and Spellman College, Atlanta, GA (Aug. 1992). 

  • Presenter, "Wifredo Lam: His Sources." Session "Santería Aesthetics in Contemporary Hispanic Art," 1992 College Art Association Annual Conference, Chicago, Ill. (Feb. 1992). 

  • Co-facilitator in workshop session, "Body and Autobiography: Gender Issues and National Identities in the Postmodern Condition (Josely Carvalho and Ana Mendieta)." 1990 Feminist Art and Art History Conference, Barnard College, New York (Oct. 1990). 

  • Facilitator in workshop session, "Curatorial Perspectives on The Decade Show." 1990 Feminist Art History Conference, Barnard College, New York (Oct. 1990). 

  • Presenter, "Wifredo Lam: Afro-Chinese Cuban Artist." Program series in symposium, “Shaping Identities: Representations and Self-Representations,” organized by the Rockefeller Foundation Residency Fellowship in the Humanities Program (May 1990). 

  • Panelist in discussion with artists, in "Six Artists of Latin American Background," for the exhibition, “Figurative Perspectives: Six Artists of Latin American Background,” Rockland Center for the Arts, West Nyack, New York (Feb. 1990). 

  • Presenter, "Angels with Guns: Image and Interpretation in the Art of Viceregal Peru." 21st Annual Art History Graduate Student Symposium, University of California, Los Angeles (Apr. 1986).

  • Respondent, “Angels with Guns.” Art history session under George Kubler for research conference, "Early European Encounters with the Americas: Reciprocal Influences of Cultures in Contact," Ohio State University (Oct. 1986). 

  • Presenter, "The Under-Representation of Latin American Artists in the Mainstream Art World." Panel for the exhibition, "Into the Mainstream," Jersey City Museum (June 1986). Panel. 

UNPUBLISHED INTERVIEWS

AUCTION CATALOGUES/WRITINGS ON WIFREDO LAM

  • “Carmen Herrera,” Christies Latin American Auction, November 2017 (Literature p. 165).

  • Wifredo Lam, “Présages,” 1947. Phillips Latin American Sale, May 2015 (cover).

  • “Les Abalochas dansent pour Dhambala, dieu de lunite” (The Abalochas Dance for Dhambala, the God of Unity), Sotheby’s Latin American Sale, Nov. 2010 (cover).

  • “Les Oiseux voiles,” 1945. Sotheby’s Latin American Sale, May 2011 & May 2015. 

  • Carlos Alfonzo, “Untitled,” 1987. Christies Latin American Auction, Nov. 2007.

  • Lam, “Femme Cheval,” 1954. Sotheby’s Latin American Sale, Nov. 2006.

  • "A Salute to Wifredo Lam,” Sotheby’s Latin American Sale, Sept. 2006. (Held in Miami.)

  • Lam, "Sans titre,” 1938. Christies, Nov. 2004. 

  • Lam, “Fruta Bomba," 1944. Sotheby’s Latin American Sale 2004. Sotheby’s Latin American Sale, Sept. 1995.

  • Lam, “Chien à deux têtes (aka) Personage Assis,” 1964. Sotheby’s Latin American Sale, May 2000. 

  • Antonio Segui, “Apres Rembrandt,” 1997, oil on canvas. Sotheby’s Latin American Sale, Nov. 2000.

  • Lam, “Triangle,” 1947, oil on canvas. Sotheby’s Latin American Sale, Nov. 1999. 

RADIO PROGRAMS/VIDEOS

  • WNYC, “Habana/ Harlem.” Panelists: Julia P. Herzberg, Onel Mulet, Katrin Hansing, Tracyann Williams. Moderator: Pat Cruz. Organized by Neyda Martínez (June 19, 2010).

  • Wrote, directed, and narrated, "Perspectives of Argentine Art Since the 1940s." ©1980. Producer Barbara D. Duncan.

ADVISOR tO ART INSTITUTIONS

  • Advisory Board Member, Asian Diasporic Visual Cultures and the Americas (ADVA). Leiden: Brill in collaboration with the Asian/Pacific/American Institute (New York University) and The Gail and Stephen A. Jarislowsky Insitute for Studies in Canadian Art (Concordia University). Launch Spring 2015. (2015-present).

  • Acquisition Committee, The Bronx Museum of the Arts, Bronx, NY (2003-2015).

  • Advisory Committee, Cuban Artists Fund, NY (2008- 2014).

  • Internal Identity Subcommittee, The Bronx Museum of the Arts, Bronx, NY (2000-1). 

  • Committee, Strategic Planning Process, Cuban Artists Fund, NY (2001-02).

  • Advisory Group, Executive Search Committee, The Bronx Museum of the Arts, Bronx, NY (1999). 

PANELIST 

  • Artist Grants Program, Cuban Artists Foundation, New York (Jan. 2006; July 2005; Apr. 2004; Mar. 2002).

  • Member of the Curatorial Committee, Galería Balmaceda 1215, Santiago, Chile (Jan. 2004; selection of final proposals for the gallery’s yearly exhibitions).

  • Artist Grants Program (Drawing/Printmaking/Artist Book) Massachusetts Cultural Council, Boston, MA (Apr. 2002).

  • Creative Time, Panel for Public Art (June 1997). 

  • New York Grant Program of the Estate Project for Artists with AIDS and the NY Community Trust, a project of the Alliance for the Arts (1996).

NOMINATOR

  • 2002 Grant Program, Joan Mitchell Foundation, Inc.

  • 2001 Grant Program, Joan Mitchell Foundation, Inc.

  • 2000 Grant Program, Joan Mitchell Foundation, Inc.

  • 1998 Grant Program, Joan Mitchell Foundation, Inc.

  • 1997 Creative Time, Panel for Public Art (June). 

REVIEWER

  • 1993 MTA/Arts for Transit Creative Stations Program (Dec.). 

  • 1993 Museum Panel, Michigan Council for Arts and Culture (July). 

  • 1993 The Cintas Fellowships, administered by Arts International, New York (Apr.). 

  • 1992 The Lila Wallace-Reader's Digest International Artists Program, Arts International, New York (Feb.).

JUROR

  • Chair, Award Committee, Association of Latin American Art Historians (ALAA) Thoma Foundation Exhibition Catalogue Committee, 2020; Co-members Dr. Carol Damian and Dr. Mark Castro.

  • Award Committee, The Association for Latin American Art (ALAA) Arvey Foundation Exhibition Catalogue Award Committee 2018, 2019; co-members Dr. Diana Magaloni Kerpel and Dr. James Oles). The winning exhibition catalogue: Axis Mundo: Queer Networks in Chicano Art in LA.

  • Juror of the Sixth Annual Award on Essays on Chilean Artistic Practices in the 1990s. Visual Arts Documentation Center/ Centro de Documentation de las Artes Visuales (CEDOC), Centro Cultural Palacio de la Moneda, Santiago de Chile (2016). 

  • Curatorial Selection Committee, Biennial of the Borders/Bienal de las Fronteras, 

  • Tamaulipas, Mexico, March 2015. A biennial for emerging artists and curators. 

  • Xth Cuenca Biennial, Cuenca, Ecuador (Oct.-Dec. 2009). 

  • Photo Portfolio Jury, Scholastic Annual National Awards, Alliance for Young Artists & Writers, Inc. (Mar. 2005). 

  • 1996 Members’ Show, New Jersey Center for Visual Arts, Summit, NJ (June 1996).

RESEARCH GRANTS

  • June 1988-June 1989, Recipient of New York State Council of the Arts (NYSCA) Planning and Research Grant through Museum of Contemporary Hispanic Art (MoCHA) for Wifredo Lam exhibition. 

EDITORIAL

  • 2005-2018, Consulting and Contributing editor, Arte al Día International, Miami, FL. 

  • 1999—, Contributing editor, Art Nexus, Bogotá, Colombia and Miami, FL. 

  • 1991-1992, Contributing editor, Latin American Art Magazine. Scottsdale, AZ. 

  • 1981-1982, Member of the Editorial Board, Marsyas: Studies in the History of Art. Vol. XXI, 1981-1982. (Published by The Students of the Institute of Fine Arts), New York University: New York, 1982. 

MEMBERSHIP PROFESSIONAL ORGANIZATIONS

  • Member of the Board, ArtTable, 2019- 2024.

  • Association for Latin American Art (ALAA), 2000-present.

  • College Art Association, 1986-present. 

  • The Arts Council of the African Studies Association (ACASA), 1994-95.

  • ArtTable, Inc., 1993-present.

  • Association of Independent Historians of Art, 1992-2000.

AFFILIATIONS

  • Who’s Who in America, 2000.