Never Break the Chain

The Art Book

A Wild Story: The David and Sarojini Johnson Print Collection, 2023

A review of an exhibition of the oldest public collection of master drawings in the United States, that of Bowdoin College, enhanced by outstanding holdings from the 19th century to the present day.

Ramon N. Prats ed. 2007, The Pandita and the Siddha: Tibetan Studies in Honor of E. Gene Smith (Dharamshala: Amnye Machen Institute), pp. 98–109, 2007

This study investigates painting styles in the Rubin Collection in circa 1999/2000, with identifications and clarifications of the descriptions of paintings found in M. Rhie and R. Thurman's book of 1999, Worlds of Transformation.

Bridgewater Review, 2009

1996

This brocluire accompanies an c\lnl)ition ot tlic same n<unc at tlic Bowdoin College Museum of Art, Brunswick, Maine, from \])ril 1" through)nne 2, 1996.

2017

I would like to thank my first and second readers, Gabriele Evertz and Joachim Pissaro respectively, who have both been pivotal mentors. I would like to express my gratitude Drew Beatie and the Evelyn Kossak Painting Committee for awarding me with the instrumental travel grant, which informed much of this work. I would like to thank the numerous individuals, curators, and museums that lent their support to my research, in particular, the Metropolitan Museum of Art, the Journey Museum, the Denver Museum, the Joslyn Art Museum, the Red Cloud Collection, and the Center for American Indian and Native Studies. My thesis would not have been possible without Ms. Evelyn C. Kossak and her continuous and generous support for the painting programs at Hunter College. I would like to thank the MFA chairman, Joel Carreiro, and the art department chair, Howard Singerman. I am thankful for all the wonderful professors of history that I have had the pleasure to study under, particularly William C. Agee and Robert Morris. I would like to extend my thanks to my curatorial mentors, Juan Puntes and Chus Martinez. I am indebted to Jerome A. Cohen and Joan Lebold Cohen for underwriting the Cohen Center for Visual Art, which I have used as a laboratory for the development of an understanding of new institutionalism. My immense thanks also goes to my gallerist, Ethan Cohen, for giving my work an international platform.

1996

The Burlington Magazine, Vol. CXXXII, No. 1051, 1990