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. Anagnost's book manuscript on modernist architecture and urbanism in art of twentieth-century Brazil will be published by Yale University Press in 2021. New research includes an examination of relationships between contemporary artists and institutions, focusing on the networked practices of Theaster Gates and Tania Bruguera; and an image theory project on representations of architecture in the Atlantic World.
Spatial Orders, Social Forms: Art and the City in Modern Brazil (Yale University Press, 2022)
“Edo Spaces, European Images: Iterations of Art and Architecture of Benin” [with Manol Gueorguiev], Art Institute Review(Chicago), forthcoming 2022.
“Performing São Paulo: Flávio de Carvalho and the Experimental City, 1928-31,” Journal of Global South Studies, 38, no. 1, special issue: Experimental Urbanity in São Paulo, ed. Jay Sosa, Aiala Levy, and Daniel Gough (2021): 54-79.
“Dread Scott's Slave Rebellion Reenactment: Site, Time, Embodiment,” RACAR: revue d'art canadienne / Canadian Art Review (Montreal) 46 (2021): 59-74.
“Déplacer le peuple : la photographie et les territoires du populaire dans le magazine Habitat du MASP,” Brésil(s): sciences humaines et sociales (Paris) 19, Le populaire et le moderne : l'art brésilien, 1950-1980 (2021) [English preprint]
“Decentralize! Art, Power, and Space in the New York Art World," Konsthistorisk tidskrift / Journal of Art History 89, no. 2 (2020): 100-125.
Revised & expanded "Bo Bardi [née Bo], Lina,” Grove Art Online
Revised & expanded “Niemeyer (Soares Filho), Oscar,” Grove Art Online
“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 (São Paulo: Museu de Arte de São Paulo, 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 Form and Feeling: The Making of Concretism in Brazil, ed. by Antonio Sergio Bessa, ReVista: Harvard Review of Latin America (April 21, 2021) https://revista.drclas.harvard.edu/form-and-feeling-the-making-of-concretism-in-brazil/
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.
Mellon Foundation Sawyer Seminar (with Mia Bagneris): Sites of Memory: New Orleans and Place-based Histories in the Americas (2021-2022)
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, 2021)
e(femme)era: Materialized Identity-Making in South Texas-Based Feminist Zines (MA, 2021)
The Caribbean at an Arm’s Length: American Imperial Spectatorship in the Underwoods’ Stereotour of Puerto Rico (MA, 2021)
Acquiring Little Mexico: William Spratling’s Object Collection Practices and U.S. Images of Mexico, 1926 to 1940 (MA, 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)
The Modern Irish: Jack Butler Yeats (BA, 2019)
Orientalized Indigenism in Chile: Expansionism, Genocide, and Art (1845-1905) (MA, 2018)
Anchored in Chalk: The Rise and Fall of Cy Twombly (MA, 2021)
The Labor of Sculpture (MFA, 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, 2017)
Fulbright Doctoral Dissertation Research Abroad (DDRA) Fellowship
Americas Research 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, 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
Office of Advancement, Honolulu Museum of Art
University of Texas Press Publishing Fellowship