SELECTED EXHIBITION CATALOGS & SURVEYS
Anonymous Was A Woman: The First 25 Years
Hirmer Verlag and Grey Art Museum NYU, 2025
Edited by Nancy Princenthal and Vesela Sretenovic
With Essays by Valerie Cassel Oliver, Alexandra Schwartz, Cecilia Fajardo-Hill, Jenni Sorkin, and Gaby Collins-Fernandez.
Anonymous Was A Woman: The First 25 Years celebrates the impact of women artists on contemporary art since the founding of the titular grant. The 392-page volume will be released prior to the opening of the exhibition. Co-published by Hirmer Verlag and the Grey Art Museum at New York University, the publication commemorates all 251 recipients of the award from 1996 through 2020, offering a visual and critical account of their work and careers.
Convergence: The Art Collection of the National Academy of Sciences
National Academy of Sciences, 2012
Essays by E. O. Wilson, Roald Hoffmann, Anne Collins Goodyear, Andrew Solomon, Lucy Lippard, and others.
The Academy’s growing collection encompasses painting, prints, sculpture, photography, and architecture in the form of its newly restored historic building. A significant selection of that collection is presented for the first time in Convergence alongside essays that connect the intersections of culture and science.
Atomic Afterimage: Cold war imagery in contemporary art
Boston University Art Gallery, 2008
By Keeley Orgeman
ATOMIC AFTERIMAGE: COLD WAR IMAGERY IN CONTEMPORARY ART brings together work by 10 artists — among them Bruce Conner, Joy Garnett, and Richard Misrach — who reinterpret images from the era of above-ground nuclear testing (1945–1962). Garnett bases apocalyptic paintings on declassified photographs of nuclear explosions. Conner, in one fine example, uses his skillful way with collage to merge a figure wearing a military jacket with an iconic image of mushroom clouds from the first underwater atomic bomb test at Bikini Atoll, reanimating (and giving a psychological dimension) to an image of power and destruction that might not seem as safely far in the past as it used to.
Image War : Contesting Images of Political Conflict
Whitney Museum of American Art, NY, 2006
Essays by the 2005-06 Helena Rubinstein Curatorial Fellows of the Whitney Museum of American Art Independent Study Program: Benjamin Godsill, Stamatina Gregory, Katy Rogers, and Suzanne Ø. Sæther.
Publication accompanies the exhibition ‘Image War: Contesting Images of Political Conflict,’ May 19-June 25, 2006 held at CUNY Graduate Center Gallery, organized by the 2005-06 Helena Rubinstein Curatorial Fellows of the Whitney Museum of American Art Independent Study Program: Benjamin Godsill, Stamatina Gregory, Katy Rogers, and Suzanne Ø. Sæther.
The exhibition brings together artistic responses to the mediation of images of war and conflict in our current digitized media culture. It focuses on strategies of appropriation of mass-disseminated images of conflict, many of which have received an iconic status due to the mass media’s extreme packaging and filtration of images since the first Gulf War. The works in Image War remix, transform, or mimic images from the Vietnam War, the Iraq War, the U.S. internment of Japanese-Americans, hijackings, popular uprisings, recent American military interventions, and other violent political events.
Artists included in the exhibition: Willie Doherty, Claire Fontaine, Coco Fusco, Rainer Ganahl, Joy Garnett, Johan Grimonprez, Jon Haddock, Amar Kanwar, An-My Le, Dinh Q. Le, Radical Software Group (RSG), Tamiko Thiel and Zara Houshmand.
Full catalog (Internet Archive)
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Joy Amina Garnett 
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