Adrian Anagnost teaches modern and contemporary art, focusing on intersections of art and architecture in the U.S., Latin America, and Europe after 1960. Research interests include art and urbanism; museum architecture and exhibition design; artistic networks; performance and participation; and theories of “the social” in 20th- and 21st-century art. She is currently completing a book manuscript analyzing how theories of modernist architecture and urbanism permeated art of twentieth-century Brazil. Her current research project examines relationships between contemporary artists and institutions, focusing on the networked practices of Theaster Gates and Tania Bruguera.
“Decentralize! Art, Power, and Space in the New York Art World, 1970/2020,” Konsthistorisk tidskrift / Journal of Art History (forthcoming).
“Immanent Rhythm, Readymade Dance: Appropriation in Hélio Oiticica’s Parangolés,” in Hélio Oiticica: Dance in My Experience, exh. cat., MASP/São Paulo Museum of Art (forthcoming 2020).
“Limitless Museum: P. M. Bardi's Aesthetic Re-education,” Modernism/modernity (November 2019): 687-725.
Looters: Itinerant Images of West African Architecture (exhibition), The Albert and Tina Small Center for Collaborative Design, New Orleans, LA (Oct. 14 - Dec. 13, 2019)
"Theaster Gates' Social Formations," nonsite 24, The Neoliberal Coup (Summer 2018).
"Americans in Athens: Learning from Documenta 14," all-over: Magazin für Kunst und Ästhetik (Basel/Vienna) 14 (Spring 2018): 17-29. [with Manol Gueorguiev]
“Lygia Pape in Transit: Performing Site in 1960s-1970s Rio de Janeiro,” ASAP/Journal 2, no. 3, Site Specificity without Borders (September 2017): 521-550.
"Craft and Conquest: The 15th Venice Architecture Biennale, May 28-November 27, 2016," nonsite #20 Political and Aesthetic Post-Mortem (Winter 2017).
“Parasitism and Contemporary Art,” in Beyond Critique: Contemporary Art in Theory, Practice, and Instruction, ed. Pamela Fraser and Roger Rothman (New York: Bloomsbury Academic, 2017), 79-96.
“Teresa Żarnower: Bodies and Buildings,” Woman's Art Journal 37, no. 2 (Fall/Winter 2016): 38-49.
“Creaturely Life and Bodily Expressivity in Pedro Almodóvar’s Talk to Her,” Chicago Art Journal 21 (2012).
“Internationalism, Brasilidade, and Politics: Waldemar Cordeiro and the Search for a Universal Language,” Hemisphere: Visual Cultures of the Americas 3 (2010).
Review of Abigail McEwen and Susanna Temkin's Concrete Cuba: Cuban Geometric Abstraction from the 1950s, caa.reviews, January 9, 2018, caareviews.org/reviews/3123.
“Hélio Oiticica's Underground Order,” December 20, 2017, Pelican Bomb, pelicanbomb.com/art-review/2017/h%C3%A9lio-oiticicas-underground-order.
Adrian Anagnost looks at how Hélio Oiticica’s canonical practice has been received over time in Brazil and the United States.
"Hélio Oiticica: dobrar a moldura, de Irene V. Small,” ARS (São Paulo) 15, no. 30 (2017): 293-300; online at http://www.revistas.usp.br/ars/article/view/138502/135034.
“Presence, Silence, Intimacy, Duration: Lygia Clark’s Relational Objects,” May 10, 2017, Pelican Bomb, http://pelicanbomb.com/art-review/2017/presence-silence-intimacy-duration-lygia-clarks-relational-objects.
Review of Irene V. Small's Hélio Oiticica: Folding the Frame, Critical Inquiry 43, no. 3 (Spring 2017): 752-753; online at http://criticalinquiry.uchicago.edu/adrian_anagnost_reviews_helio_oiticica.
ACLS Fellowship (2019-2020)
College Art Association (CAA) Millard Meiss Publication Fund Grant to Yale University Press (2019)
Andy Warhol Foundation Platforms Exhibition Grant, administered by Antenna.Works and Ashé Cultural Arts Center, for the exhibition Looters: Itinerant Images of West African Architecture, at The Albert and Tina Small Center for Collaborative Design (2019)
eikones Center for Theory & History of the Image Research Fellowship, University of Basel (2018)
Deutscher Akademischer Austauschdienst (DAAD) Faculty Summer Seminar: "Rethinking Performance,” led by David J. Levin, University of Chicago (2017)
College Art Association (CAA) Professional Development Fellowship, Honorable Mention (2015)
“Out of the fragments…new worlds”: Perspectival Experiments and Spatiality in the Work of Diego Rivera, 1913-1933 (PhD, in-progress)
Queer Chicanx Zine Networks (MA, in progress)
Caribbean Visions: Race, Gender, and the Photographer's Gaze in the Spanish-American War (MA, in progress)
Acquiring Little Mexico: William Spratling’s Object Collection Practices and U.S. Images of Mexico, 1926 to 1940 (MA, expected 2020)
De/Face: Performance and Painting in Chicanx Public Art (MA, 2019)
"Para el ala y para el vuelo": Photography and Nation in Revista Alero (MA, 2019)
Orientalized Indigenism in Chile: Expansionism, Genocide, and Art (1845-1905) (MA, 2018)
The Labor of Sculpture (MFA, expected 2020)
The Art of Erasure: Portrait of a Woman of Color of Antebellum New Orleans (MA, 2019)
Grace Hartigan and Frank O'Hara: Partnership, Painting, and Camp in the New York School (MA, 2019)
Breeching Taboo: Depictions of Pregnancy in the Work of Gustav Klimt (MA, 2018)
Cutting Time: A Temporal Reading of Wangechi Mutu’s Collaged Bodies (MA, 2017)
Figuring Female Corporeality: The Body in the Early Work of Niki de Saint Phalle (MA thesis, 2017)
American Reserach Network (ARENET) Transnationalism Fellowship to Mexico
International Fellowship Programme at the Staatliche Museen zu Berlin
ArtTable Diversity Fellowship, Morgan Library, New York, NY
Rare Book School Scholarship, University of Virginia
PhD program, Art History, Boston University
PhD program, Art History, The Graduate Center, CUNY
PhD program, Art History, The University of Chicago
PhD program, Art History, The University of Los Angeles
MA program, Art History, Trinity College Dublin