Other Books and Catalogues of Exhibitions Curated by Patricia Hills
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“The Artist Previews ‘Raphael Soyer’s New York: People and Places,'” in Raphael Soyer’s New York: People & Places. New York: The Cooper Union, 1983. [Exhibition traveled to the Boston University Art Gallery.]
“Foreword: Recent Concerns, Recent Work,” in May Stevens: Ordinary. Extraordinary. A Summation, 1977-1984. Boston: Boston University Art Gallery, 1983. (Exhibition traveled to the University of Maryland and U.C.L.A.)
“Socially Concerned Art in the ’80s: A Report from New England,” in Social Concern in the ’80s: A New England Perspective. exh. cat. Boston: Boston University Art Gallery, 1983.
“Sidney Goodman’s Humanism: The Forms of Art and Metaphors for Life,” in Sidney Goodman: Recent Work. Boston: Boston University Art Gallery, 1981. (Exhibition traveled to the Virginia Art Museum, Richmond.)
“Alice Neel: Art as a Form of History,” in Alice Neel: Two Decades of Painting. exh. cat. Boston: Boston University Art Gallery, 1980.
Essays in Catalogues Curated by Other Curators
“Cultural Legacies and the Transformation of the Cubist Collage Aesthetic by Romare Bearden, Jacob Lawrence, and Other African American Artists,” in Kathryn E. Delmez, ed. Multiplicity: Blackness in Contemporary American Collage. Nashville: Frist Art Museum, 2023.
“The Subject is Politics: Benny Andrews and May Stevens,” in Jeremiah William McCarthy and Diana Thompson, curators and editors, For America: Paintings from the National Academy of Design. New York: American Federation of Arts & National Academy of Design, 2019.
“Mapping Joyce Kozloff’s Girlhood,” in Joyce Kozloff: Girlhood. New York: DC Moore Gallery, 2017.
“The Art-Union and the Ideology of Empire,” in Amanda Lett, Patricia Hills, Peter John Brownlee and Randy Ramer with Foreword by Duane H. King, Perfectly American: The Art-Union and Its Artists, Exh. Cat. Tulsa, OK: Gilcrease Museum, 2011.
“Cultural Legacies and the Transformation of the Cubist Collage Aesthetic by Romare Bearden, Jacob Lawrence, and Other African American Artists,” in Ruth Fine and Jacqueline Francis, eds. Romare Bearden, American Modernist. National Gallery of Art, Studies in the History of Art, Vol. 71, Washington DC, 2011. [Reprinted with slight abridgments by Frist Art Museum, in 2021
“Sidney Hurwitz’s Meditations on the Industrial Age,” in Sidney Hurwitz: Five Decades. Boston: Boston University Art Gallery, 2009.
“Dread Scott’s Heightened Contradictions,” in Dread Scott: Welcome to America. Brooklyn, NY: Museum of Contemporary African Diasporan Arts, Inc. (MoCADA), February 28-June 1, 2008.
“Lawrence through the Decades,” in Jacob Lawrence: Moving Forward, Paintings, 1936-1999. NY: DC Moore Gallery, 2008.
“Alice Neel,” in Artists of the Commonwealth: Realism in Pennsylvania Painting, 1950-2000. Loretto, PA: Southern Alleghenies Museum of Art, 2001. (Exhibition traveled to Southern Alleghenies Museum of Art, Erie Art Museum, and James A. Michener Art Museum.)
“Notes on Whitfield Lovell’s Tableaux,” in Whitfield Lovell. New York: D.C. Moore Gallery, 2000. (Catalogue also used for Boston University Art Gallery Exhibition, fall, 2001.)
“Marianna Pineda’s Sculpture,” in Marianna Pineda, Sculpture: 1949 to 1996. Boston: The Alabaster Press, 1996. (Catalogue for exhibition held at The George Washington University Dimock Gallery, 1996, and the Boston University Art Gallery, 1998.)
“A Brief History of the Terry Dintenfass Gallery,” in Belief, Exhibition Checklist. New York: Terry Dintenfass Gallery in association with Salander-O’Reilly Galleries, January 6 to February 3, 1996.
“Portrait of the Artist as an African-American: A Conversation with John Wilson,” in Dialogue: John Wilson/Joseph Norman. Boston: The Museum of the National Center of Afro-American Artists in association with the Museum of Fine Arts, 1995. (Exhibition curated by Clifford S. Ackley, Edmund Barry Gaither, and Shelley R. Langdale.)
“Philip Evergood: The Artist’s Imagination and the Real World,” in Philip Evergood: A Tribute. New York: Terry Dintenfass Gallery, 1993.
“Jacob Lawrence’s Migration Series: Weavings of Pictures and Texts,” in Elizabeth Hutton Turner, ed. Jacob Lawrence: The Migration Series. Washington, D. C.: The Rappahannock Press in association with The Phillips Collection, 1993.
“The Person, the Studio, the World: Audrey Flack in the 1960s,” in Thalia Gouma-Peterson, Breaking the Rules: Audrey Flack, a Retrospective 1950-1990. New York: Harry N. Abrams, 1992.
“Picturing Progress in the Era of Westward Expansion,” in William H. Truettner, The West as America. Washington, D. C.: Smithsonian Institution Press, 1991. [Catalogue for exhibition which opened at the National Museum of American Art, March 1991.]
“Mel Wiseman’s Monotypes,” Boston University Art Gallery, Mel Wiseman: A Retrospective of Paintings and Monotypes. Boston: Boston University Art Gallery, 1990.
“Afterword/Afterwards: Eastman Johnson’s Transition to Portrait Painting in the Early 1880s,” in Timken Art Gallery, Eastman Johnson: The Cranberry Harvest, Island of Nantucket. San Diego: The Putnam Foundation, 1990. [Curator was Marc Simpson.]
“Los Desaparecidos–Antonio Frasconi’s Witnesses for History,” in Dowd Fine Arts Gallery of the State University of New York College at Cortland, Antonio Frasconi: An Artist’s Journal. Cortland, NY: 1989.
“Preface,” in David Shapiro: A 50 Year Retrospective, 1930-1980, an Exhibition of Prints and Paintings. Montpelier, Vermont: T. W. Wood Art Gallery, 1987.
“Preface,” to Jim Drobnick, ed., “Commemorating in Anticipation, Rudolf Baranik: An Interview,” in Dictionary from the 24th Century. New York: Bee Sting Press, 1987.
“Jacob Lawrence’s Expressive Cubism,” in Ellen Harkins Wheat, Jacob Lawrence: American Painter. Seattle: University of Washington Press, 1986.
“Windows into Lois Tarlow’s Reality,” in Lois Tarlow. Brockton, MA: Brockton Art Museum, 1986.
“Preface: Pre-Facing Peaceworks,” in Peaceworks: Art for Peace. Curated by Sajed Kamal for the Boston Visual Artists Union. Boston: Branden Press, 1985.
“Zwischen Realismus und Balsam für die Gemüter gehetzter Geschäftsleute–Anmerkungen zu Arbeitsdarstellungen in der bildenden Kunst der USA seit 1800,” in Philip S. Foner and Reinhard Schultz, Das Andere Amerika: Geschichte, Kunst und Kultur der amerikanischen Arbeiterbewegung. Berlin: Elefanten Press Verlag, 1983. (Exhibition traveled throughout Germany.) Essay revised and published in Essays from the Lowell Conference (see above).
“The Career and Art of William Gropper–In Brief,” in William Gropper. Co-curated with Joy Gordon. Framingham, MA: The Danforth Museum, 1982.
“The Working American,” introduction to The Working American. Washington, D. C.: Smithsonian Institution Press, 1979. (Exhibition sponsored by District 1199; curated by Abigail Booth Gerdts).
“Recent Paintings of Elena Borstein,” in Elena Borstein. New York: Andre Zarre Gallery, 1978.
“May Stevens,” in May Stevens. Richmond: Modlin Fine Arts Center, Univ. of Richmond, 1977.
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