Howard Singerman is author of Art Subjects: Making Artists in the American University (1999); Art History, after Sherrie Levine (2012); and, most recently, Sharon Lockhart: Pine Flat (2019), a volume in the Afterall One Work series. He has contributed essays to numerous exhibition catalogues over the past four decades, among them A Forest of Signs (1989) and Public Offerings (1999), both at the Museum of Contemporary Art, Los Angeles, where he served as Museum Editor from 1985 to 1988. For Hunter College’s Leubsdorf Gallery, he has curated and authored lead essays for the exhibitions Robert Motherwell and the New York School at Hunter (2015) and Acts of Art and Rebuttal in 1971 (2018). His essays have appeared in a number of peer reviewed journals including Emergences: Journal for the Study of Media and Composite Cultures, October, Oxford Art Journal, La Part de l’Oeil, and RES: Anthropology and Aesthetics, and he has published essays and reviews in Artforum, Art in America, Art Journal, Criticism: Quarterly for Literature and the Arts, Parkett, and X-tra.
In 2020, Singerman was a Paul Mellon Visiting Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery in Washington, D.C., where he continued the research he began with Acts of Art and Rebuttal in 1971, working toward a book tentatively entitled “Black Artists in the New York Scene”: Acts of Art and Cinque galleries, 1969-1975.
Before his appointment as the Phyllis and Joseph Caroff Chair of Art and Art History at Hunter College, he was chair and professor of art history in the McIntire Department of Art at the University of Virginia. Singerman has also taught at Barnard College, the Art Center College of Design, the California Institute of the Arts, UCLA, and UC Irvine.
