David Kordansky Gallery

  • Installation view of Yves Klein Blue, 2017, acrylic on Cerex nylon, installation dimensions variable, VIVA ARTE VIVA, curated by Christine Macel, 57th Venice Biennale, 2017, Venice, Italy
  • Installation view of Leaf, 1970, acrylic on canvas, installation dimensions variable, approximate installation dimensions: 130 x 160 x 16 inches (330.2 x 406.4 x 40.6 cm), Passages in Modern Art: 1946 – 1996, Dallas Museum of Art, Dallas, TX
  • Marrakech Biennale 6, 2016, Marrakech, Morocco, Installation view
  • Installation view of 10/27/69, 1969, Permanent Collection, 2014, The Museum of Modern Art, New York, NY
  • Witness: Art and Civil Rights in the Sixties, 2014, Brooklyn Museum, Brooklyn, NY, Installation view
  • Black in the Abstract, Part 1: Epistrophy, 2013, Contemporary Arts Museum Houston, Houston, TX, Installation view
  • Sam Gilliam: A Retrospective, 2005, Corcoran Gallery of Art, Washington, D.C., Installation view
  • Sam Gilliam: A Retrospective, 2005, Corcoran Gallery of Art, Washington, D.C., Installation view
  • Sam Gilliam: A Retrospective, 2005, Corcoran Gallery of Art, Washington, D.C., Installation view
  • Sam Gilliam: A Retrospective, 2005, Corcoran Gallery of Art, Washington, D.C., Installation view
  • Spread, 1973, acrylic on canvas, 69 x 113.5 x 1.75 inches (175.3 x 288.3 x 4.4 cm)
  • Crystal, 1973, acrylic on canvas, installation dimensions variable, approximate installation dimensions: 96 x 34 inches (243.8 x 86.4 cm)
  • Bursting, 1972, acrylic on canvas, 77 x 73 x 2 inches (195.6 x 185.4 x 5.1 cm)
  • Swing Sketch, 1968, acrylic on canvas with rope, hardware, and leather cord, 73 3/4 x 89 3/4 x 9 inches (187.3 x 228 x 22.9 cm), installed: 75 x 88 inches (190.5 x 223.5 cm)
  • Wide Narrow, 1972, acrylic on canvas, 110.25 x 112 x 2.13 inches (280 x 284.5 x 5.4 cm)
  • Whisk, 1971, acrylic on canvas, installation dimensions variable, approximate installation dimensions: 96 x 36 inches (243.8 x 91.4 cm)
  • Change, 1970, acrylic on canvas, 112.13 x 112.13 x 1.88 inches (284.8 x 284.8 x 4.8 cm)
  • Leaf, 1970, acrylic on canvas, installation dimensions variable, approximate installation dimensions: 129 x 152 inches (327.7 x 386.1 cm)
  • One On, 1970, acrylic on canvas, installation dimensions variable, approximate installation dimensions: 112 x 80 inches (284.5 x 203.2 cm)
  • Whirlirama, 1970, acrylic on canvas, 111.25 x 115.75 x 2 inches (282.6 x 294 x 5.1 cm)
  • Street, 1970, acrylic on canvas, 104 x 73 inches (264.2 x 185.4 cm)
  • Along, 1969, acrylic on canvas, 111 x 144 x 2 inches (281.9 x 365.8 x 5.1 cm)
  • 10/27/69, 1969, acrylic on canvas, installation dimensions variable, approximate installation dimensions: 140 x 185 inches (355.6 x 469.9 cm)
  • Rouge, 1968, acrylic on canvas, 65 x 52.25 inches (165.1 x 132.7 cm)
  • Black Break, 1966, acrylic on canvas, 90 x 56.75 x 1.5 inches (228.6 x 144.1 x 3.8 cm), framed: 91.5 x 58.25 x 2.25 inches (232.4 x 148 x 5.7 cm)
  • Blue Let, 1965, acrylic on canvas, 71.38 x 47.13 x 0.75 inches (181.3 x 119.7 x 1.9 cm), framed: 72.75 x 48.75 x 1.08 inches (184.8 x 123.8 x 2.8 cm)
  • Ionesque, 1965, acrylic on canvas, 70.69 x 49.81 x 1.5 inches (179.5 x 126.5 x 3.8 cm), framed: 72.25 x 51.25 x 2.25 inches (183.5 x 130.2 x 5.7 cm)
  • Nok, 1965, acrylic on canvas, 70.69 x 83.13 x 1.5 inches, (179.4 x 211.1 x 3.8 cm), framed: 72.13 x 84.63 x 2.25 inches (183.2 x 214.9 x 5.7 cm)
  • Onement Theme I, 1964, oil on canvas, 49.06 x 49.75 x 0.75 inches (124.6 x 126.4 x 1.9 cm), framed: 50.5 x 51.25 x 1.5 inches (128.3 x 130.2 x 3.8 cm)
  • Swing 64, 1964, acrylic on canvas, 35.75 x 36.13 x 0.75 inches (90.8 x 91.8 x 1.9 cm), framed: 37.56 x 37.13 x 1.5 inches (95.4 x 94.3 x 3.8 cm)

Biography

born 1933, Tupelo, MS
lives and works in Washington, D.C.


EDUCATION 

1961
MFA, University of Louisville, Louisville, KY

1955
BA, University of Louisville, Louisville, KY


SELECTED SOLO EXHIBITIONS
(* indicates a publication)

2017
Mnuchin Gallery, curated by Sukanya Rajaratnam, New York, NY
Sam Gilliam, Seattle Art Museum, Seattle, WA

2016
*Green April, David Kordansky Gallery, Los Angeles, CA

2013
Hard-Edge Paintings 1963-1966, curated by Rashid Johnson, David Kordansky Gallery, Los Angeles, CA

2011
Sam Gilliam: Recent Drapes, Marsha Mateyka Gallery, Washington, D.C.
Close to Trees, Katzen Arts Center, American University, Washington, D.C.
Sam Gilliam: Flour Mill, The Phillips Collection, Washington, D.C.
Sam Gilliam, New Paintings, Marsha Mateyka Gallery, Washington, D.C.

2009
Sam Gilliam: New Paintings, Marsha Mateyka Gallery, Washington, D.C.

2007
Sam Gilliam: New Paintings and Prints, Marsha Mateyka Gallery, Washington, D.C.
Sam Gilliam, Scarfone/Hartley Gallery, University of Tampa, Tampa, FL
Sam Gilliam, Imago Gallery, Desert Springs, CA
Galerie Darthea Speyer, Paris, France
*Sam Gilliam: A Retrospective, Contemporary Arts Museum, Houston, TX

2006
Sam Gilliam: Prints from the Artist’s Collection, Second Street Gallery, Charlottesville, VA; Luther W. Brady Art Gallery, George Washington University, Washington, D.C.
*Sam Gilliam: A Retrospective, Speed Art Museum, Louisville, KY; Telfair Museum of Art, Savannah, GA

2005
Sunlight, Marsha Mateyka Gallery, Washington, D.C.
*Sam Gilliam: A Retrospective, Corcoran Gallery of Art, Washington, D.C.
Fixed between Painting & Sculpture, Angie Newman Johnson Gallery, Episcopal High School, Alexandria, VA

2004
3, Marsha Mateyka Gallery, Washington, D.C.
Sam Gilliam, Folded & Hinged, Louisiana Art & Science Museum, Baton Rouge, LA; Lauren Rogers Museum of Art, Laurel, MS
Sande Webster Gallery, Philadelphia, PA

2002
Slats, Marsha Mateyka Gallery, Washington, D.C.

2001
From Shiraz, Marsha Mateyka Gallery, Washington, D.C.
Imago Gallery, Palm Desert, CA

2000
Georgetown Gallery, Georgetown, KY

1999
Works ’99, Marsha Mateyka Gallery, Washington, D.C.
Sam Gilliam, Klein Gallery, Chicago, IL

1998
Sam Gilliam in 3-D, Kreeger Museum, Washington, D.C.

1997
Of Fireflies and Ferris Wheels: Monastery Parallel, Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, Germany
The Three Musketeers, Baumgartner Gallery, Washington, D.C.

1996
Construction, J.B. Speed Memorial Museum, Louisville, KY
A Still on the Potomac, Baumgartner Galleries, Washington, D.C.

1994
Sam Gilliam, Baumgartner Gallery, Washington, D.C.

1993
Golden Windows Inside Gold, Whitney Museum of American Art, Philip Morris Branch, NY

1992
USIA – Arts America, Helsinki, Finland

1991
American Craft Museum, New York, NY
*Walker Hill Arts Center, Seoul, Korea
Galerie Darthea Speyer, Paris, France

1990
*Small Drape Paintings 1970-1973, Middendorf Gallery, Washington, D.C.

1987
Carl Solway Gallery, Cincinnati, OH

1986
Davis/McClain Gallery, Houston, TX

1985
Monique Knowlton Gallery, New York, NY

1984
Recent Paintings, Herter Art Gallery, University of Massachusetts, Amherst, MA

1983
*Modern Painters at the Corcoran: Sam Gilliam, Corcoran Gallery of Art, Washington, D.C.
Galerie Darthea Speyer, Paris, France
Middendorf/Lane Gallery, Washington, D.C.
McIntosh-Drysdale Gallery, Houston, TX

1982
*Red & Black to “D”: Paintings by Sam Gilliam, The Studio Museum in Harlem, New York, NY

1981
Hamilton Gallery, New York, NY
Nexus, Atlanta, GA
Dart Gallery, Chicago, IL

1979
Middendorf/Lane Gallery, Washington, D.C.
Dart Gallery, Chicago, IL
Hamilton Gallery, New York, NY

1978
*Sam Gilliam: Indoor & Outdoor Paintings, University Gallery, University of Massachusetts, Amherst, MA
Galerie Darthea Speyer, Paris, France
Carl Solway Gallery, New York, NY

1977
Artpark, Lewiston, NY
Oliver Dowling Gallery, Dublin, Ireland
Dart Gallery, Chicago, IL

1976
*Sam Gilliam: An Exhibition of Painting, Rutgers University Art Gallery, New Brunswick, NJ
*Sam Gilliam: Paintings and Works on Paper, J.B. Speed Memorial Museum, Louisville, KY
Nina Freudenheim Gallery, Buffalo, NY
Galerie Darthea Speyer, Paris, France

1975
*Sam Gilliam: Paintings 1970-1975, Fendrick Gallery, Washington, D.C.
Philadelphia Museum of Art, Philadelphia, PA
Linda Ferris Gallery, Seattle, WA

1974
Carl Solway Gallery, Cincinnati, OH
Linda Ferris Gallery, Seattle, WA

1973
Galerie Darthea Speyer, Paris, France
Greenberg Gallery, St. Louis, MO
University of California, Irvine, Irvine, CA

1972
Jefferson Place Gallery, Washington, D.C.

1971
Museum of Modern Art, New York, NY

1970
Galerie Darthea Speyer, Paris, France

1969
Corcoran Gallery of Art, Washington, D.C.

1968
Jefferson Place Gallery, Washington, D.C.
Byron Gallery, New York, NY

1967
*Paintings by Sam Gilliam, The Phillips Collection, Washington, D.C.


SELECTED GROUP EXHIBITIONS 
(* indicates a publication)

2017
*VIVA ARTE VIVA, curated by Christine Macel, 57th Venice Biennale, Venice, Italy
The Evolution of Mark-Making, Museum of Contemporary Art Jacksonville, Jacksonville, FL
Solidary and Solitary: The Pamela J. Joyner and Alfred J. Giuffrida Collection, curated by Christopher Bedford and Katy Siegel, presented by The Helis Foundation, Ogden Museum of Southern Art, New Orleans, LA
*Soul of A Nation: Art in The Age of Black Power, Tate Modern, London, England
Please fasten your seat belt as we are experiencing some turbulence, Leo Xu Projects, Shanghai, China
Approaching Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA
Investigating Identity: Race, Gender, and Sexuality in Contemporary Art, Maier Museum of Art, Randolph College, Lynchburg, Virginia
Black History Month at VMFA, Virginia Museum of Fine Arts, Richmond, Virginia
Revelations: Masterworks by African American Artists, McNay Art Museum, San Antonio, TX
Colour Is, Waggington Custot, London, England
AfroFantastic: Black Imagination and Agency in the American Experience, Cornell Fine Arts Museum, Rollins College, Winter Park, FL

2016
Circa 1970, organized by Lauren Haynes, The Studio Museum in Harlem, New York, NY
Dimensions of Black: A Collaboration with the San Diego African American Museum of Fine Art, the Museum of Contemporary Art San Diego, San Diego, CA
Visual Art and the American Experience, National Museum of African American History and Culture, Washington, D.C.
Passages in Modern Art: 1946 – 1996, Dallas Museum of Art, Dallas, TX
Complex Uncertainties: Artists in Postwar America, Jepson Center, Telfair Museums, Savannah, GA
Three American Painters: David Diao, Sam Gilliam, Sal Sirugo, organized by Betty Jarvis and Donna Gustafson, Zimmerli Art Museum Rutgers, New Brunswick, NJ
Big & Bold: Selections from the Collection, Columbia Museum of Art, SC
Approaching American Abstraction: The Fisher Collection, San Francisco Museum of Modern Art, San Francisco, CA
*Modern Heroics: 75 Years of African-American Expressionism, Newark Museum, Newark, NJ
Close Readings: American Abstract Art from the Vanderbilt University Fine Arts Gallery, Vanderbilt University, Nashville, TN
Landmark: A Decade of Collection at the Jepson Center, Jepson Center for the Arts, Savannah, GA
A Celebration of the Speed Collection, Speed Art Museum, Louisville, KY
*Not New Now, Marrakech Biennale 6, curated by Reem Fadda, Marrakech, Morocco
African American Art Since 1950: Perspectives from the David C. Driskill Center, curated by Dr. Robert E. Steele and Dorit Aaron, Susquehanna Art Museum, Harrisburg, PA

2015
Black: Color, Material, Concept, organized by Lauren Haynes, Studio Museum Harlem, New York, NY
On Paper: Howard Hodgkin, Sam Gilliam, Gene Davis, Sheila Rotner, Andrea Way, Athena Tacha, Agnes Denes, Kathleen Kucka, Marcha Mateyka Gallery
Surface Matters, organied by Jen Mergel, Edward H. Linde Gallery, Museum of Fine Arts, Boston, MA
Art in the Making: A New Adaptation, Luther W. Brady Art Gallery, The George Washington University, Washington, D.C.
You Have to See This: Abstract Art from the Permanent Collection, Palmer Museum of Art, The Pennsylvania State University, University Park, PA
New Visions: Contemporary Masterworks From The Bank of America Collection, Mint Museum, Charlotte, NC
Surface Tension, The FLAG Art Foundation, New York, NY
Affecting Presence and the Pursuit of Delicious Experiences, organized by Paul R. Davis, The Menil Collection, Houston, TX
Great Impressions IV: An Exhibition of Contemporary Prints, Dean Jensen Gallery, Milwaukee, WI
Represent: 200 Years of African American Art, Philadelphia Museum of Art, Philadelphia, PA
*Pretty Raw: After and Around Helen Frankenthaler, curated by Katy Siegel, The Rose Art Museum, Brandeis University, Waltham, MA
New Acquisitions, The Rose Art Museum, Brandeis University, Waltham, MA
*Witness: Art and Civil Rights in the Sixties, organized by the Brooklyn Museum, Blanton Museum of Art, The University of Texas at Austin, Austin, TX
*Make It New: Abstract Painting from the National Gallery of Art, 1950-1975, organized by the National Gallery of Art, The Clark Institute, Williamstown, MA
African American Art Since 1950: Perspectives from the David C. Driskell Center, Figge Art Museum, Davenport, IA; Polk Museum of Art, Lakeland, FL

2014
Sense of Place II: Selections from the Permanent Collection, Ogden Museum of Southern Art, New Orleans, LA
Marsha Mateyka Gallery, Washington, D.C.
*Witness: Art and Civil Rights in the Sixties, Brooklyn Museum, Brooklyn, NY; Hood Museum, Dartmouth College, Hanover, NH
*African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, curated by Virginia Mecklenburg, Hunter Museum of American Art, Chattanooga, TN; Crocker Art Museum, Sacramento, CA; Everson Museum of Art, Syracuse, NY
African American Art Since 1950: Perspectives from the David C. Driskell Center, The Harvey B. Gantt Center for African-American Arts, Charlotte, NC

2013
*African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, curated by Virginia Mecklenburg, Muscarelle Museum of Art, The College of William and Mary, Williamsburg, VA; Mennello Museum of American Art, Orlando, FL; Peabody Essex Museum, Salem, MA; Albuquerque Museum of Art, Albuquerque, NM
Black in the Abstract, Part 1: Epistrophy, curated by Valerie Cassel Oliver, Contemporary Arts Museum Houston, Houston, TX
Assembly Required: Selections from the Permanent Collection, curated by Naima J. Keith, The Studio Museum in Harlem, New York, NY
The Force of Color, Madison Museum of Contemporary Art, Madison, WI
African American Art Since 1950: Perspectives from the David C. Driskell Center, Taft Museum of Art, Cincinnati, OH

2012
*African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, curated by Virginia Mecklenburg, Smithsonian American Art Museum, Washington, D.C.
African American Art Since 1950: Perspectives from the David C. Driskell Center, The David C. Driskell Center, University of Maryland, MD
A Bigger Splash: Painting after Performance, Tate Modern, London, England
Drip, Drape, Draft, curated by Rashid Johnson, South London Gallery, London, England
The Spirit Level, curated by Ugo Rondinone, Gladstone Gallery, New York, NY
The Constant Artist, Katzen Arts Center, American University, Washington, D.C.

2011
Washington Color and Light, The Corcoran Gallery of Art, Washington, D.C.
The 100th Annual Exhibition of Contemporary Art: The Vision Endures, Maier Museum of Art, Lynchburg, VA

2010
Colorscape: Abstract Painting, 1960-1979, Santa Barbara Museum of Art, Santa Barbara, CA

2008
Three American Masters: Gene Davis, Sam Gilliam, Nathan Oliveira, Marsha Mateyka Gallery, Washington, D.C.

2007
5 X 5: Five Artists choose Five Artists to Watch, Ann Loeb Bronfman Gallery, Washington District of Columbia Jewish Community Center, Washington, D.C.

2006
Generations, Contemporary Art Center of Virginia, Virginia Beach, VA

2005
*The Shape of Color, Art Gallery of Ontario, Toronto, Canada
Resurfaced, Boston University Art Gallery, Boston, MA
The Chemistry of Color: African American Artists is Philadelphia, Pennsylvania Academy of Fine Arts, Philadelphia, PA

2003
Abstract Notions: Selections for the Permanent Collection, University of Massachusetts, Amherst, MA

1997
*Seeing Jazz, Smithsonian Institution Traveling Exhibition Service
After the Fall: Aspects of Abstract Painting since 1970, Newhouse Center of Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY

1995
44th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, D.C.
Richard Artschwager, Sam Gilliam, Jim Hyde, Baumgartner Gallery, Washington, D.C.

1991
Abstraction: The 90’s, Andre Emmerich Gallery, New York, NY

1989
The Blues Aesthetic, Washington Project for the Arts, Washington, D.C.
*Duke University Museum of Art, Durham, NC
California Afro-American Museum, Los Angeles, CA

1987
*Contemporary Visual Expressions, The Anacostia Museum, Washington, D.C.

1986
*Abstraction/Abstraction, Carnegie-Mellon University Art Gallery, Pittsburgh, PA

1982
*American Abstraction Now, Institute of Contemporary Art, Virginia
Museum of Fine Art, Richmond, VA
*Painterly Abstraction, Fort Wayne Museum of Art, Fort Wayne, IN

1981
Installations: Stephen Antonakos, Sam Gilliam, Rockne Krebs, Middendorf/Lane Gallery, Washington, D.C.

1980
Alternatives by Black Artists, Washington Project for the Arts, Washington, DC

1979
Art of the Eighties, The Grey Gallery, New York University, New York, NY

1978
American Artists’ Work in Private French Collections, Museum Modern Art, Lyon, France

1977
Le Peinture et le Tissu, Museum of Modern Art, Lyon, France
12th International Biennial of Graphic Art, Ljubljana, Yugoslavia

1976
*Handmade Paper, Museum of Modern Art, New York, NY
*Festival Internationale de la Peinture, Cagnes-sur-Mer, France
*30 Years of American Printmaking, Brooklyn Museum, Brooklyn, NY
72nd American Exhibition, Art Institute of Chicago, Chicago, IL

1975
34th Biennial of Contemporary American Painting, Corcoran Gallery of Art, Washington, DC

1974
Cut, Bend, Spindle, Fold, Museum of Modern Art, New York, NY
Expo ’74, Spokane, WA

1972
*Gilliam/Edwards/Williams: Extensions, Wadsworth Atheneum Museum of Art, Hartford, CT
*Works for Spaces: Antonakos, Bladen, Gilliam, Irwin and Rockburn, San Francisco Museum of Art, San Francisco, CA
*36th Venice Biennale, American Pavilion, Venice, Italy

1971
*The De Luxe Show, De Luxe Theater, Menil Foundation,
Houston, TX
Columbia Museum of Art, Columbia, SC
Works for New Spaces, Walker Art Center, Minneapolis, MN
Kid Stuff, Albright-Knox Art Gallery, Buffalo, NY
*2nd Indian Triennale, American Exhibition, Lalit Kala Akademi, New Delhi, India

1970
*Two Generations of Color Painting, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA
*Dimensions of Art, La Jolla Museum of Art, La Jolla, CA
Work on Paper, Museum of Modern Art, New York, NY
*Washington: Twenty Years, Baltimore Museum of Art, Baltimore, MD
69th American Exhibition, Art Institute of Chicago, Chicago, IL

1969
Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art, New York, NY
X to the Fourth Power, The Studio Museum in Harlem, New York, NY
Gilliam, Krebs, McGowin, Corcoran Gallery of Art, Washington, D.C.
*Other Ideas, Detroit Institute of Art, Detroit, MI
*The Washington Painters, Ringling Museum, Sarasota, FL

1968
Tribute to Martin Luther King, Museum of Modern Art, New York, NY
Inaugural Show, The Studio Museum in Harlem, New York, NY

1966
*The Negro in American Art, UCLA Art Galleries, University of California, Los Angeles, Los Angeles, CA
Artists in Washington, Institute of Contemporary Arts, Washington, D.C.
*Ten Negro Artists from the U.S., First World Festival of Negro Arts,
Dakar, Senegal

1964
Nine Contemporary Painters, USA, Pan American Union, Washington, D.C.


GRANTS AND AWARDS

2015
U.S. State Department Medal of Arts

2007
Mississippi Governor’s Award for Excellence in the Visual Arts

1997
Honorary Doctor of Arts & Letters, University of Wisconsin, Madison, WI

1993
Honorary Doctorate of Fine Arts, Corcoran Gallery and School of Art, Washington, D.C.

1992
Honorary Doctor of Arts & Letters, University of Louisville, Louisville, KY

1990
Honorary Doctor of Arts & Letters, Northwestern University, Evanston, IL

1989
Individual Artist Grant, National Endowment for the Arts

1987
Honorary Doctorate of Fine Arts, Atlanta College of Art, Atlanta, Georgia

1986
Honorary Doctorate of Fine Arts, Memphis College of Art, Memphis, TN

1980
Honorary Doctorate of Humane Letters, University of Louisville, Louisville, KY

1973-1975
Workshop Activities Grant, National Endowment for the Arts

1971
Solomon Guggenheim Memorial Foundation Fellowship

1969
Norman W. Harris Prize, Art Institute of Chicago, Chicago, IL

1967
Individual Artist Grant, National Endowment for the Arts



PUBLICATIONS AS AUTHOR
(* indicates non-periodical book, catalog, or other publication)

1999
*Works ’99, Washington D.C.,: Marsha Mateyka Gallery, 1999

1997
*Gellner, Uwe Jens Gellner, Sam Gilliam: Of Fireflies and Ferris Wheels; Monastery Parallel, Magdeburg, Germany, 1997

1996
*African-American Art: 20th Century Masterworks, New York: Michael Rosenfeld Gallery, 1996

1991
“Solids and Veils,” Art Journal, 1991, pp. 10-11

1987
*The Afro-American Artist in the Age of Cultural Pluralism, Montclair: Montclair Art Museum, 1987

1986
*”About Abstraction,” Abstraction Abstraction, edited by Elaine A. King, Pittsburg: Carnegie Mellon University Press, 1986
*”The Transformation of Nature Through Nature,” Theories and documents of Contemporary Art: A Sourcebook of Artists’ Writings, edited by Kristen Stiles and Peter Selz, Berkeley: University of California Press, 1996

1983
*Through Their Eyes: The Art of Lou and Di Stovall, Washington, D.C.: Anacostia Neighborhood Museum, 1983

1979
*Rose, Barbara, American Painting: The Eighties, New York, 1979

1971
Dowell, John, Melvin Edwards, Sam Gilliam, Richard Hunt, Daniel Johnson, Joe Overstreet, and William T. Williams, “Letter to the Editor,” Artforum, May 1971, pp. 3

1968
*”In Seconds,” Art in Washington: 1969 Calendar and Diary, edited by Leslie Judd Ahlander, Washington D.C, 1968

1967
*Paintings by Sam Gilliam, Washington, D.C.: Phillips Collection, 1967


SELECTED BIBLIOGRAPHY
(* indicates non-periodical book, catalog, or other publication)

2017
*Sam Gilliam, with texts by Jonathan P. Binstock, Jenelle Porter, and Peter Halley, Los Angeles: David Kordansky Gallery, 2017
Pollack, Barbara, “You’ve Gotta See This!,” ArtNews, Spring 2017, pp. 72-77
McGlone, Peggy, “Meet the museum director behind the Hirshhorn’s Kusama show,” TheWashingtonPost.com, Magazine, April 27, 2017
“American Black Power Explored In New Tate Summer Exhibition,” ArtLyst.com, March 17, 2017
Battaglia, Andy, “Traveling Exhibition and Brooklyn Museum Fete to Honor Joyner/Giuffrida Collection of African-Diasporan Art,” ArtNews.com, News, March 7, 2017
Jansen, Charlotte, “Throwing shade: artists explore the visual language of colour,” Wallpaper.com, March 2, 2017
Capps, Kriston, “At Hemphill Fine Arts, a Survey of Washington Color School’s Lesser-Known Stars,” WashingtonCityPaper.com, February 17, 2017
Gillis, Casey, “Maier exhibit features the work of Betye and Alison Saar, Sam Gilliam, Sally Mann,” NewsAdvance.com, February 14, 2017
Valentine, Victoria L., “Pamela Joyner, Influential Collector of African American Art, Joins Board of J. Paul Getty Trust in Los Angeles,” CultureType.com, February 13, 2017
Valentine, Victoria L., “2017 Venice Biennale List Includes African American Artists Sam Gilliam, Senga Nengudi, and McArthur Binion,” CultureType.com, February 8, 2017
Valentine, Victoria L., “Virginia Museum Acquires ‘Three Folk Musicians’ by Romare Bearden, an ‘Iconic’ Collage Long Held in a Private Collection,” CultureType.com, February 8, 2017
Corbett, Rachel, “All the Artists and National Pavilions in the 2017 Venice Biennale,” BlouinArtInfo.com, February 7, 2017
Buffenstein, Alyssa, “The 57th Venice Biennale Reveals Full List of Participating Artists,” Artnet.com, February 7, 2017
Wilson, Linden, “Generation Next; This Young Curator Doesn’t Own a Car (in Texas), Bowls Like a Pro and Finds New Art Stars,” PaperCityMag.com, February 6, 2017
Enholm, Molly, “Los Angeles,” art ltd., 2016 top tens, Volume 11, Number 1, Jan/Feb 2017, p. 55

2016
*Four Generations: The Joyner/Giuffrida Collection of Abstract Art Collection, edited by Courtney J. Martin, texts by Mary Schmidt Campbell, Chris Bedford, Joost Boosland, Mark Bradford, Alexis Clark, Nicholas Cullinan, Mark Godfrey, Norman L. Kleeblatt, et al., New York: Gregory R. Miller & Co., 2016
*Sam Gilliam, Marrakech: Marrakech Biennale 6, 2016
*Indiana University Eskenazi Museum of Art Guide, edited by Mariah Keller, Bloomington: Indiana University Press, 2016
“Acquisitions of the month: November 2016,” Apollo-Magazine.com, Features, December 8, 2016
Haskell, Rob, “Bold Strokes,” W, November 2016, pp. 76-78
Greenberger, Alex, “Dallas Museum of Art Acquires Sam Gilliam Painting,” ArtNews.com, News, November 17, 2016
Babal, Roshni, “Tufts Art Gallery acquires Sam Gilliam’s ‘Fold XII’,” TuftsDaily.com, November 2, 2016
Fensom, Sarah, E., “Out of Frame,” Art & Antiques, October 2016, pp. 64-71
Phelps, Rob, “The Power of Art,” Now.Tufts.edu, October 28, 2016
Neuendorf, Henri, “Gallerist David Kordansky on Today’s Market, and the LA Art Scene,” Artnet.com, People, October 26, 2016
Shanahan, Mark, “The renaissance of Sam Gilliam,” BostonGlobe.com, Names, October 22, 2016
Loos, Ted, “Reframing Art With African Roots,” The New York Times, October 17, 2016, p. C1-C2
McGlone, Peggy, “For National Gallery of Art, a building reopening means rebirth,” TheWashingtonPost.com, Museums, October 14, 2016
Boucher, Brian, “Is the Art Market Racially Biased?” Artnet.com, Analysis, October 11, 2016
Valentine, Victoria L., “At Swann African American Art Auction, Abstract Paintings by Norman Lewis, Sam Gilliam, and Wadsworth Jarrell Top Sales,” CultureType.com, October 10, 2016
Pobric, Pac, “‘We’re a part of American art too’: Black artists speak on their roles in art history,” TheArtNewspaper.com, October 5, 2016
Farago, Jason, “National Gallery of Art’s East Building review – a new view of America,” TheGuardian.com, October 3, 2016
Agostini, Sara Dolfi, “Expo Chicago, porta principale della cultura afroamericana,” ArtEconomy24.ilsole24ore.com, October 3, 2016
“Afropolitan abstraction,” The Financial Times, Collecting, October 1-2, 2016, pp. 6-7
Cotter, Holland, “A Bold New Landing,” The New York Times, September 30, 2016, p. C19
Belcove, Julie, “Pamela Joyner: collector of ‘Afropolitan abstraction’,” FT.com, September 30, 2016
Gottschalk, Molly, “What Sold at EXPO CHICAGO,” Artsy.net, Artsy Editorial, September 26, 2016
Tully, Judd, “Healthy Sales but Less Chest Thumping at Expo Chicago,” BlouinArtInfo.com, September 25, 2016
“Rediscovery,” The Economist, Books and arts, American art, September 24, 2016, pp. 79-80
Neuendorf, Henri, “See The Top 10 Booths at EXPO Chicago,” Artnet.com, Art Fairs, September 23, 2016
“Expo Chicago: First Impressions,” Randian-Online.com, September 23, 2016
Indrisek, Scott, “What To Buy At Expo Chicago,” BlouinArtInfo.com, Visual Arts, Fairs, September 23, 2016
“Datebook: ‘African-American Fine Art’ auction at Swann Galleries, New York,” BlouinArtInfo.com, Visual Arts, Auctions, September 20, 2016
Valentina, Victoria L., “With the Smithsonian African American Museum Set to Open in Washington, the Entire City is Brimming with Black Art,” CultureType.com, September 20, 2016
Valentine, Victoria L., “Retrospective: The Latest News in Black Art — Hamza Walker to Head LAXART, National Medal of arts Announced,” CultureType.com, September 17, 2016
“Sam Gilliam,” ArtTalkCollective.com, Fresh Friday, September 9, 2016
Halperin, Julia, “Black history takes its place on Washington’s Mall,” TheArtNewspaper.com, Museums, September 7, 2016
Valentine, Victoria L., “Retrospective: The Latest News in Black Art — Black Women Artists for Black Lives Matter,” CultureType.com, September 3, 2016
Catlin, Roger, “History Grabs the Headlines, But the Quiet Authority of the Art Gallery in the New Smithsonian Museum Speaks Volumes,” SmithsonianMag.com, September 2, 2016
Cunningham, Vinson, “A Darker Presence,” The New Yorker, American Chronicles, August 29, 2016, pp. 34-39
Enholm, Molly, “Sam Gilliam: ‘Green April’ at David Kordansky Gallery,” art ltd., Volume 10, Number 4, Reviews, July/Aug 2016, p. 30
Spurlock, Inga Fowler, “Sam Gilliam, an artist who teaches by example,” WashingtonPost.com, July 22, 2016
Caroll, Tori, “DIA plans multimillion dollar inveestment in African-American art collection,” Metrotimes.com, July 22, 2016
Stryker, Mark, “DIA launches multimillion-dollar effort to acquire African-American art,” Freep.com, July 21, 2016
Valentine, Victoria L., “Almost Famous: The Ebb and Flow of Sam Gilliam’s Formidable Practice,” CultureType.com, July 14, 2016
Rodney, Seph, “A Black Painter Who Found Aesthetic Liberty in the 1960s,” written by Hyperallergic.com, July 11, 2016
Edgers, Geoff, “Back Again Gilliam,” The Washington Post, Arts & Style, July 10, 2016, p. E1, E14
“Sam Gilliam, David Kordansky Gallery,” ArtAddict.net, June 30, 2016
Pagel, David, “Wonders of the here and now,” Los Angeles Times, June 20, 2016, p. E4
Muenzer, David, “Sam Gilliam,” Artforum.com, Critics’ Picks, June 8, 2016
Miranda, Carolina A., “Suspended color field canvases, California landscapes, a new space debuts,” LATimes.com, Datebook, June 4, 2015
Freed, Benjamin, “Look Inside the National Museum of African American History and Culture,” Washingtonian.com, May 13, 2016
Piejko, Jennifer, “Review: Marrakech Biennale,” uk.BlouinArtInfo.com, May 7, 2016
Kennedy, Randy, “Mark Bradford Will Represent U.S. at Venice Biennale,” The New York Times, April 20, 2016, p. C3
“Rising Market for Post-War Abstraction Seen in Swann Galleries’ April African-American Fine Art Auction,” ArtFixDaily.com, April 19, 2016
Hoffmann, Jens, “Marrakech Biennale 6,” Frieze.com, April 9, 2016
Smith, Roberta, “Tumultuous Era in Many Guises”, The New York Times, April 8, 2016, C19
Piejko, Jennifer, “Living History at the 2016 Marrakech Biennale,” InterviewMagazine.com, March 21, 2016
Samet, Jennifer, “Beer with a Painter: Sam Gilliam,” Hyperallergic.com, March 19, 2016
Ayad, Myrna, “Call to action at the heart of sixth Marrakech Biennale,” TheArtNewspaper.com, March 17, 2016
Jones, Jennie C., “Blue Turning Gray Over You,” Art in America, March 2016, pp. 54-55
“Biennale de Marrakech: Petite ballade au palais Bahia,” L’Economiste, Culture, February 25, 2016, p. 24
Valentine, Victoria L., “Sneak Peak: Smithsonian Curators Preview New African American Museum,” CultureType.com, February 20, 2016
Herbert, Martin, “Marrakech Biennale,” Art Review, Previewed, January & February 2016, p. 34
Spiegler, Marc, “Ten questions all gallerists should be asking themselves now”, TheArtNewspaper.com, January 29, 2016
Mendelsohn, Meredith, and Tess Thackara, “How Advocates of African-American Art Are Advancing Racial Equality in the Art World,” Artsy.net, January 12, 2016

2015
*“The heroine Paint” After Frankenthaler, edited by Katy Siegel, New York: Gagosian Gallery, 2015, pp. 102-135
*Relyea, Lane, “1960s: Color Field & Its Influence,” “The heroine Paint” After Frankenthaler, New York: Gagosian Gallery, 2015, pp. 102-135
Biswas, Allie, “Rashid Johnson with Allie Biswas,” BrooklynRail.com, December 9th, 2015
Picard, Charmaine, “In the Studio: Sam Gilliam,” Blouin Art + Auction, December 17, 2015, pp. 64-70
Kennedy, Randy, “Black Artists and the March Into the Museum”, The New York Times, November 29, 2015, p. A1, A26
Valentine, Victoria L., “Overdue: Recognition of Sam Gilliam’s Work Continues to Gain Momentum with Auction Record at Christie’s,” CultureType.com, November 15, 2015
Munro, Cait, “What Noteworthy New Artist Records Were Set at New York’s Fall Auctions?,” Market, ArtNet.com, November 13, 2015
Neuendorf, Henri, “Who Are the Most Undervalued Artists in Today’s Market?,” Market, ArtNet.com, November 12, 2015
Greenberger, Alex “Christie’s Contemporary Art Day Sales Net $88.8 M., With Records For Gilliam, Krushenick, And For A Moment, Kelley,” ArtNews.com, November 12, 2015
Vogel, Sabine B., “London: autumn storm on the art in the tent,” DiePresse.com, October 17, 2015
Ward, Ossian, “The old and the new(ish): Frieze Masters 2015 presents a plethora of classic works,” Wallpaper.com, October 16, 2015
Abrams, Amah-Rose, “We’ve Got the Scoop on What’s Selling at Frieze Masters 2015,” Artnet.com, Market, October 16, 2015
Fowler, William, “Searching for Sam Gilliam: the 81-year-old art genius saved from oblivion,” TheGuardian.com, October 15, 2015
“6 Artworks to Invest in This October,” ArtSpace.com, October 14, 2015
Tarmy, James, “Forty Years Too Late, an Artist’s Market Takes Off,” Bloomberg.com, October 14, 2015
Tully, Judd, “Frieze and Frieze Masters Open With Steady Sales,” BlouinArtInfo.com, October 14, 2015
Forrest, Nicholas, “Q&A: Frieze Director Victoria Siddall on Frieze London 2015,” BlouinArtInfo.com, October 13, 2015
Barnes, Freire, “What not to miss at Frieze London and Frieze Masters,” Timeout.com, October 12, 2015
Durón, Maximilíano, “Preview Frieze London and Frieze Masters 2015,” Artnews.com, October 12, 2015
Forbes, Alexander, “How Frieze Director Victoria Siddall Is Diversifying the Art Fair Experience,” Artsy.net, October 12, 2015
Kingdon, Victoria, “Frieze Masters 2015: The Highlights,” HarpersBazaar.co.uk, October 11, 2015
“EXPO CHICAGO is the talk of the town,” Examiner.com, September 26, 2015
Washburn, Mark, “The man who tends the Bank of America treasures,” CharlotteObserver.com, September 14, 2015
Johnson, Sam, “Sam Gilliam: Paint Pioneer,” AnOtherMag.com, September 4, 2015
Bowley, Graham, Jori Finkel, and Hilarie M. Sheets, “The Washington Hostess Who Nurtured Warhol,” The New York Times, August 7, 2015, p. C20
Schjeldahl, Peter, “Shapes and Colors,” NewYorker.com, The Art World, August 3, 2015
Sargent, Antwaun, “Can Tumblr Preserve Black Contemporary Art?,” TheCreatorsProject.Vice.com, July 13, 2015
Jenkins, Mark, “In the galleries: An artist’s past, present and future,” WashingtonPost.com, July 10, 2015
Wilcox, Jess, “Promise Machine: At MoMA, Steffani Jemison Explores Blackness and Utopian Thought,” ArtinAmerica.com, Interviews, June 24, 2015
DeVito, Lee, “Susan Aaron-Taylor exhibits as one of three solo shows at N’Namdi Center for Contemporary Art,” MetroTimes.com, June 10, 2015
Smith, Roberta, “Review: ‘Pretty Raw’ Recounts Helen Frankenthaler’s Influence on the Art World,” The New York Times, June 3, 2015
Yablonsky, Linda, “Young at Art,” W Art, May 2015, pp. 76-79
Valentine, Victoria L., “Prominent African American Artists Break Records at Swann Auction,” CultureType.com, April 7, 2015
Valentine, Victoria L., “National Gallery of Art Acquires 190+ Works By African American Artists From Corcoran,” CultureType.com, March 18, 2015
Miller, Robin, “Famous African works on display at Southern,” TheAdvocate.com, March 5, 2015
Granovsky, Brooke, “Spring 2015 at the Rose Art Museum,” TheJustice.org, March 3, 2015
Jenkins, Mark, “In the galleries: A painter’s progress revealed,” WashingtonPost.com, February 27, 2015
Smee, Sebastian, “Raw power at Rose Art Museum,” BostonGlobe.com, February 19, 2015
Bencks, Jarret, “Spring arrives at the Rose Art Museum,” Brandeis.edu, February 10, 2015
“‘Pretty Raw: After and Around Helen Frankenthaler’ Opens Today at The Rose Art Museum,” BroadwayWorld.com, February 10, 2015
Cotter, Holland, “Dusting Off Gems From the Attic,” NYTimes.com, February 5, 2015
Boucher, Brian, “Corcoran Gallery of Art Dissolution Leaves Thousands of Orphaned Artworks. Who Gets Them?” Artnet.com, February 6, 2015
“Brandeis art museum presents ‘Pretty Raw: After and Around Helen Frankenthaler’,” Waltham.WickedLocal.com, February 4, 2015
McQuaid, Cate, “Frankenthaler’s art prompts new take on history at the Rose,” BostonGlobe.com, January 31, 2015
Granovsky, Brooke, “Rose Art Museum’s spring exhibitions emphasize lesser-known artists,” TheJustice.org, January 26, 2015
“Seven artists awarded State Department medal,” ColumbiaTribune.com, January 25, 2015
Carter, Kelly E., “Prolific Art Collector Pamela Joyner Isn’t Like Her Peers,” HauteLiving.com, January 23, 2015
“Remarks at the Art in Embassies Medal of Arts Award Luncheon,” State.gov, January 21, 2015
McGlone, Peggy, “Seven artists awarded State Department Medal of Arts for cultural diplomacy,” WashingtonPost.com, January 21, 2015
“Secretary Kerry To Award the 2014 U.S. Department of State Medal of Arts,” State.gov, January 20, 2015
“Winners of U.S. Department of State Medal of Arts announced,” ArtMediaAgency.com, January 20, 2015
Duggan, Bob, “Facing African-American History Through African-American Art,” BigThink.com, January 19, 2015
Farago, Jason, “Represent: 200 Years of African American Art review – not bold, but dutiful,” TheGuardian.com, January 16, 2015
Duray, Dan, “Xu Bing, Mark Bradford, Sam Gilliam, Maya Lin, Julie Mehretu, Pedro Reyes, and Kehinde Wiley Win U.S. Department of State Medal of Arts,” Artnews.com, January 15, 2015
“’Pretty Raw: After and Around Helen Frankenthaler’ Opens 2/10 at The Rose Art Museum,” BroadwayWorld.com, January 12, 2015

2014
*Witness: Art and Civil Rights in the Sixties, texts by Teresa A. Carbone, Kellie Jones, Connie H. Choi, Dalila Scruggs, and Cynthia A. Young, New York: The Monacelli Press and The Brooklyn Museum, 2014, pp. 35, 39, 124, 127, 143, 153, 160
Lewis, Jim, “Red Orange Yellow Green and Blue Period,” W Art, December 2014/January 2015, pp. 86-87
“Rubell Recollections,” Art + Auction, December 2014, p. 73
Valentine, Victoria L., “W Magazine Concludes 2014 with Coverage of Sam Gilliam, Rashid Johnson, Julie Mehretu and Kevin Beasley,” CultureType.com, December 29, 2014
“The Most Admired Art Dealers of 2014,” Artnet.com, December 24, 2014
Hamer, Katy Diamond, “10 Black Artists on the Lessons of Ebony and Jet,” Vulture.com, December 19, 2014
Gopnik, Blake, “Sam Gilliam, Cut from Feminist Cloth,” Artnet.com, December 16, 2014
Dawson, Jessica, “Why Is Washington, D.C., an Art Desert?” Vulture.com, December 5, 2014
Williams, Maxwell, “The Los Angeles Gallery to Know,” Details, September 2014, p. 110
Judkis, Maura, “‘An empty tomb’: Former Corcoran staffers hold ‘funeral’ for museum,” WashingtonPost.com, September 28, 2014
Roberts, Pamela, “BWW Reviews: Ideas Pop at Dog & Pony DC’s TOAST,” BroadwayWorld.com, September 23, 2014
Yates, Clinton, “Muralist takes on Takoma, now ready to tackle the rest of the country with his art,” WashingtonPost.com, September 17, 2014
Griffin, Jonathan, “The New Dealer,” T Magazine, September 14, 2014, pp. 124-128
Glentzer, Molly, “HMAAC steps up its game for Kinsey Collection,” HoustonChronicle.com, September 12, 2014
Jenkins, Mark, “In the galleries: Watercolors, silkscreen, portraiture in Alexandria,” WashingtonPost.com, September 5, 2014
Zhong, Fan, “Supersize It: Gallerist David Kordansky upgrades to a big new space.,” W, September 2014, p. 248
Bonenti, Charles, “Clark Art Institute: ‘Making It New’ Abstract art takes center stage,” The Berkshire Eagle, August 1, 2014
Jenkins, Mark, “In the Galleries: A Washington Color School reunion,” WashingtonPost.com, July 12, 2014
Angaza, Maitefa, “Bear ‘Witness’ at the Brooklyn Museum of Art,” AmsterdamNews.com, July 10, 2014
“Grahams selling Washington Post art collection,” WashingtonPost.com, July 9, 2014
Kennicott, Philip, “Graham Holdings to sell much of its corporate art collection to accommodate new, smaller headquarters,” WashingtonPost.com, July 8, 2014
Dalkey, Victoria, “Review: ‘African American Art’ a revelation at the Crocker,” SacBee.com, July 2, 2014
Markus, David, “Witness: Art and Civil Rights in the Sixties,” Art in America, June/July 2014, pp. 153-154
Judkis, Maura, “The Corcoran Gallery’s hidden gems,” WashingtonPost.com, June 26, 2014
Sheets, Hilarie M., “Black Abstraction: Not a Contradiction,” ARTnews, June 2014, pp. 62-71
“Too Much Truth – Have You Seen The Kinsey Collection?”Atlanta.CBSLocal.com, June 6, 2014
“New York: Frieze,” Whitewall, Summer 2014, p. 28
Wilson, Lia, “Witness: Art and Civil Rights in the Sixties at Brooklyn Museum,”DailyServing.org, May 22, 2014
Guthrie, Julian, “Pamela Joyner opens doors on Private Collections Tour,”SFGate.com, May 16, 2014
“The Fairest of them All,” WMagazine.com, May 14, 2014
Levesque, Dawn, “African-American Art: 1920s and Beyond at Crocker Art Museum,” GuardianLV.com, May 11, 2014
“Sam Gilliam at David Kordansky Gallery: Frieze New York,” GalleryIntell.com, May 11, 2014
Corbett, Rachel, and Julie Halperin, “Is ninety the new twenty?” The Art Newspaper, May 10-12, 2014
Zilkha, Bettina, “Frieze Art Fair VIP Preview Attracts Serious Collectors, Celebrities,” Forbes.com, May 10, 2014
Becque, Ellen Blue, “The Culture List: Frieze New York, Sterling Ruby’s Mystery Sculptures, Matisse’s Cutouts, and Tattoos as Art,” VanityFair.com, May 9, 2014
Russeth, Andrew, “A Look Around Frieze New York,” GalleristNY.com, May 8, 2014
Loos, Ted, “A Preview of Frieze New York,” Vogue.com, May 8, 2014
Kazakina, Katya, and Mary Romano, “Frieze Woos Billionaires with $375 Sleepovers, Pricey Art,” Bloomberg.com, May 7, 2014
D’Addario, John, “Ogden surveys Southern art from permanent collection,”TheNewOrleansAdvocate.com, May 7, 2014
Kinsella, Eileen, “Frieze New York Preview,” Artnet.com, May 6, 2014
Newton, Mike, “Art and the Movement,” The Indypendent, issue #195, April 4, 2014
Bellamy, Cliff, “Domestic art: Artist transforms house into an installation,”HeraldSun.com, March 31, 2014
Russeth, Andrew, “‘Witness: Art and Civil Rights in the Sixties’ at the Brooklyn Museum,” GalleristNY.com, March 26, 2014
Cotter, Holland, “Battle Lines for Change: ‘Witness: Art and Civil Rights in the Sixties,’ at the Brooklyn Museum,” The New York Times, March 21, 2014, p. C23
Galloway, Jordan, “For Artists, the Civil Rights Era Was More Than Black and White,” BrooklynBased.com, March 13, 2014
Campbell, Andrianna, “Witness,” Artforum.com, March 12, 2014
O’Sullivan, Michael, “’K@20’ at the Kreeger Museum,” TheWashingtonPost.com, March 14, 2014
Colbert, Mark, “Hunter Museum Features ‘African American Art: Harlem Renaissance, Civil Rights Era, and Beyond,” WUTC.org, February 28, 2014
Peltier, Karen, “Art Review: The Kinsey Collection,” CityPaper.com, February 26, 2014
Gopnik, Blake, “Abstraction Colored by Race,” TheDailyBeast.com, January 31, 2014
Jenkins, Mark, “Galleries: Different views showcased at Long View Gallery,”WashingtonPost.com, January 31, 2014
“Smithsonian American Art Museum Exhibition About African American Art In The 20th Century Opens At The Hunter Museum Feb. 14,” Chattanoogan.com, January 17, 2014

2013
Yablonsky, Linda, “The Collections of Artists: Ugo Rondinone,” T: The New York Times Style Magazine, Culture, December 5, 2013
Muchnic, Suzanne, “Sam Gilliam, David Kordansky,” ARTnews, Reviews: National, Summer 2013, pp. 117-118
Rutledge, Walter, “Walter’s World: The Thelma Hill Performing Arts Center – June 20, 2013,” HarlemWorldMag.com, June 20, 2013
“David Kordansky Gallery: Sam Gilliam: ‘Hard-Edge Paintings 1963-66′ curated by Rashid Johnson,” Art+Auction, Exhibitions In Brief, June 2013, p. 150
“Sam Gilliam at David Kordansky,” Contemporary Art Daily, May 7, 2013
“Currier Museum acquires works by pop artist Robert Indiana, abstract artists Frank Stella, Sam Gilliam,” UnionLeader.com, April 25, 2013
“Rashid Johnson Curates Sam Gilliam,” IRAAA.Museum.HamptonU.edu, April 25, 2013
Rappolt, Mark, “Sam Gilliam,” ArtReview, Issue 67, April 2013, pp. 76-79
“Hit List: Things we like,” Modern Painters, April 2013, p. 39
Williams, Maxwell, “Curator Q&A: Rashid Johnson’s Sam Gilliam: Hard-Edge Paintings 1963-1966,” WhitewallMag.com, April 15, 2013
Zevitas, Steven, “Must See Painting Shows: April 2013,” HuffingtonPost.com, April 12, 2013
Berardini, Andrew, “Cover Song,” ArtSlant.com, April 6, 2013
Trembley, Nicolas, “L’atelier – Rashid Johnson,” Numéro, Issue 140, April 2013, pp. 46-48
Zhong, Fan, “Eye Candy: Sam Gilliam at David Kordansky Gallery,”WMagazine.com, March 28, 2013
“PLAN ForYourArt THIS WEEK: Sam Gilliam,” ForYourArt.com, March 27, 2013
Kirszenbaum, Martha, “Visit: Sam Gilliam’s exhibition curated by Rashid Johnson at David Kordansky Gallery, Los Angeles,” Kaleidoscope Blog, March 25, 2013
Camhi, Leslie, “Abstractions for a Brave New World: Sam Gilliam’s Paintings on View in Los Angeles,” Vogue.com, March 26, 2013
“Cultured 25,” Cultured, Spring 2013, pp. 37, 40
“Bold Strokes,” C Magazine, April 2013
Schama, Chloe, “The Art of Inspiration,” WSJ. Magazine, April 2013, pp. 68-69

2012
*African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, texts by Richard J. Powell and Virginia Mecklenburg, Washington, D.C. and New York: Smithsonian American Art Museum and Rizzoli, 2012, p. 105-109
*Wood, Catherine, ed., A Bigger Splash: Painting after Performance, London: Tate Modern, 2012, p. 67
Sowah, Jillian S., “Going Out Guide,” The Washington Post, November 26, 2012
Sutton, Benjamin, “L.A.’s David Kordansky Gallery Now Represents Color Field Pioneer Sam Gilliam,” Artinfo.com, In the Air, October 19, 2012
Jovanovic, Rozalia, “David Kordansky Gallery Now Represents Color Field Painter Sam Gilliam,” GalleristNY.com, October 19, 2012
McNay, Anna, “Review: Rashid Johnson: Shelter,” Interface, October 1, 2012

2011
*Cooks, Bridget R., Exhibiting Blackness: African Americans and The American Art Museum, Amherst & Boston: University of Massachusetts Press, 2011
Trescott, Jacqueline, “Sam Gilliam: An ever-changing force,” The Washington Post, January 30, 2011

2005
*Sajet, Kim, The Chemistry of Color: African American Artists in Philadelphia, 1970-1990: The Harold A. and Ann R. Sorgenti Collection of Contemporary African-American Art, Philadelphia: Pennsylvania Academy of the Fine Arts, 2005
*The Shape of Color, edited by David Moos, Toronto: Art Gallery of Ontario, 2005

2004
*Binstock, Jonathan P., Sam Gilliam: Folded & Hinged, Baton Rouge and Laurel: Louisiana Art And Science Museum and Lauren Rogers Museum of Art, 2004
Dawson, Jessica, “The Many Sides of Gilliam,” The Washington Post, April 15, 2004, p. C05
*Berger, Maurice, White: Whiteness and Race in Contemporary Art, Baltimore: Center for Art and Visual Culture, 2004

2003
Stein, Judith E., “The Adventures of Jo Baer,” Art in America, May 2003, pp. 104-11, 157
Meyers, Laura, “African American Art Moves Beyond Black and White,” Art Business News, January 2003, pp. 34-38

2002
Shannon, Joe, “Sam Gilliam at Marsha Mateyka,” Art in America, December 2002, p. 116
Fine, Ruth, “Double Vision,” International Review of African American Art, 2002, pp. 38-42
Cotter, Holland, “No Greater Love: Abstraction,” The New York Times, October 11, 2002, p. B83
Gopnik, Blake, “Washington’s Color-Field Painters, Like the ’60s, Are Back Why? There’s No Black-and-White Answer,” The Washington Post, September 29, 2002, p. G1
Stein, Judith E., “The Adventures of Jo Baer,” Art in America, May 2003, pp. 104-11, 157
Garance, Franke-Ruta, “Artifacts: Less is More,” City Paper, April 19, 2002, p. 54
Dawson, Jessica, “Gilliam’s New Harvest from Old Color Field,” The Washington Post, April 15, 2002, p. C01
Shaw-Eagle, Joanna, “‘Slats’ Paintings Fit in Color and Form,” Washington Times, April 13, 2002, p. D3
Meyers, Laura, “African American Art Moves Beyond Black and White,” Art Business News, January 2003, pp. 34-38

2001
Panczenko, Paula, “Sam Gilliam’s New Work Has Echoes of the Past but Moves into an Entirely New Direction,” University of Madison-Wisconsin Tandem Press, Fall 2001, p. 1

2000
Weil, Rex, “Sam Gilliam: Marsha Mateyka,” ARTnews, February 2000, p. 168
*Batchelor, David, Chromophobia, London: Reaktion Books, 2000
*Binstock, Jonanthan P., and Kathleen A. Foster, American Watercolors at the Pennsylvania Academy of the Fine Arts, Philadelphia: Pennsylvania Academy of the Fine Arts, 2000

1999
Protzman, Ferdinand, “Pushing the Drapes Aside,” The Washington Post, November 1999, p. C5
Shannon, Joe, “Sam Gilliam and Kendall Buster at the Kreeger Museum,” Art in America, June 1999, p. 127
*Foley, Suzanne, Works in Spaces, San Francisco: San Francisco Museum of Art, June 1999, pp. 88-91
*Beardsley, John, Gilliam in 3-D, Washington, D.C.: Kreeger Museum, 1999
*Works ’99, Washington, D.C.: Marsha Mateyka Gallery, 1999
*Krauss, Rosalind, “A Voyage on the North Sea”: Art in the Age of the Post-Medium Condition, New York: Thames and Hudson, 1999
*African American Art: 20th Century Masterworks, VI, New York: Michael Rosenfeld Gallery, 1999
*Powell, Richard, and Jock Reynolds, To Conserve a Legacy: American Art from Historically Black Colleges and Universities, Andover and New York: Addison Gallery or American Art, Phillips Academy; and Studio Museum in Harlem, 1999

1998
*Patton, Sharon F., African American Art, New York: Oxford University Press, 1998
Shaw-Eagle, Joanna, “D.C. Exhibit Reveals How Gilliam Juggles Logic and Emotion,” Washington Times, November 1, 1998, pp. D1-D3
Richard, Paul, “Gilliam’s New Angles,” The Washington Post, November 1, 1998, pp. G1, G4
Rogers, Patricia Dane, “Sam Gilliam on Home Ground: Painter-in-Residence,”The Washington Post, October 15, 1998, pp. 15, 17-18
Hassold, Cris, “Sam Gilliam: Constructions; Jeff Baker Gallery, Boca Rato,” Art Papers, August 1998, p. 33
*Fried, Michael, Art and Objecthood: Essays and Reviews, Chicago: University of Chicago Press, 1998
*Arnason, H.H., and Marla F. Prather, History of Modern Art, New York: Harry N. Abrams, 1998

1997
*Riggs, Thomas, St. James Guide to Black Artists, Detroit: St. James Press, 1997
*Powell, Richard, Black Art and Culture in the 20th Century, New York: Thames and Hudson, 1997
Protzman, Ferdinand, “Drapes Not Drawn,” The Washington Post, June 1997, p. H2
Yood, James, “Sam Gilliam: Klein Art Works,” Artforum, May 1997, pp. 112-113
*Rubenfeld, Florence, Clement Greenberg: A Life, New York: Scribner, 1997
Forgey, Benjamin, “Washington, in Living Color,” The Washington Post, February 23, 1997, pp. G1, G5
*Gellner, Uwe Jens Gellner, Sam Gilliam: Of Fireflies and Ferris Wheels; Monastery Parallel, Magdeburg, Kunstmuseum Kloster Unser Lieben Frauen, 1997

1996
Rose, Barbara, “Sam Gilliam: Abstraction as Identity,” International Review of African American Art, 1996, pp.18-23
*Crow, Thomas, The Rise of the Sixties: American and European in the era of Dissent, New York: Harry N. Abrams, 1996
Storr, Robert, “Projects: 120 and Counting,” MOMA Magazine, Winter/Spring 1996, pp. 16-19
Risatti, Howard, “Painting outside of Painting,” Artforum, April 1996, pp. 105-106
Protzman, Ferdinand, “Gilliam: A case Study in Artistry,” The Washington Post, March 16, 1996, p. D2
Sizemore, Gene, “Mothers, Mentors, and Mischief,” ARTnews, January 1996, pp. 110-113
Smith, Roberta, “Testing Limits at the Corcoran,” The New York Times, January 6, 1996, pp. 11-12
*African American Art: 20th Century Masterworks III, New York: Michael Rosenfeld Gallery, 1996
*Turner, Jane, The Dictionary of Art, London: Macmillan, 1996

1995
Lewis, Jo Ann, “The Magnificent Seven: The Galleries are Bringing New Life to a Once Run-Down D.C. Street,” The Washington Post, June 25, 1995, p. G7
*King-Hammond, Leslie, “Sam Gilliam,” The 44th Biennial Exhibition of Contemporary American Painting: Painting Outside Painting, edited by Terry Sultan, Washington, D.C.: Corcoran Gallery of Art, 1995
*Battock, Gregory, Minimal Art: A Critical Anthology, Berkeley: University of California Press, 1995
*Goldman, Judith, Frank Stella, Madrid: Museo Nacional Centro de Arte Reina Sofia, 1995
*Lucie-Smith, Edward, Art Today, London: Phaidon, 1995
Vogt, Barbara, “KOAN Interview: Alice Denney, on the Making of a Washington Contemporary Art Scene,” KOAN, April 1995, pp. 12-16
Richard, Paul, “Washington, Where Life Ignores Art,” The Washington Post, April 9, 1995, pp. G1, G6-G7
Cohn, D’Vera, “Washington Is the Capital of Black Prosperity,” The Washington Post, March 5, 1995, pp. A1, A18
*Powell, Richard, African American Art: 20th Century Masterworks, II, New York: Michael Rosenfeld Gallery, 1995

1994
Cotter, Holland, “Sam Gilliam ‘Golden Element inside Gold,'” The New York Times, March 18, 1994, p. C23
Fleming, Lee, “Sam Gilliam, Still Experimenting,” The Washington Post, November 5, 1994, p. D2

1993
“The Market,” Art and Antiques, November 1993, p. 28
Cohen, Jean Lawlor, “Sam Gilliam: Drysdale,” ARTnews, May 1993, p.145
“The Market,” Art and Antiques, 1993, p. 28
*”Sam Gilliam,” The Painter Speaks: Artists Discuss Their Experiences and Careers, edited by Joan Jeffri, Westport: Greenwood Press, 1993, pp. 39-52
*Beardsley, John, Sam Gilliam: Recent Monoprints, Philadelphia: Brandywine Workshop, 1993
Douglas, Robert, “The Search for an Afrocentric Visual Aesthetic,” The African Aesthetic: Keeper of the Traditions, Westport: Praeger, 1993
Richard, Paul, “Soul Survivor: Sam Gilliam, the Last of the Color Painters, Toughs it Out in D.C.,” The Washington Post, February 23, 1993, pp. G1, G7
*Gedeon, Lucinda H., Melvin Edwards Sculpture: A Thirty-Year Retrospective, Purchase: Neuberger Museum of Art, 1993

1992
*Perry, Regenia, Free Within Ourselves, Washington, D.C., and San Francisco: National Museum of Art in association with Pomegranate Artbooks, 1992
*Van Deburg, William L., New Day in Babylon: The Black Power Movement and American Culture, 1965-1975, Chicago: University of Chicago Press, 1992

1991
McCoy, Mary, “Sam Gilliam: De Andino Fine Arts,” New Art Examiner, September 1991, p. 36
Brenson, Michael, “Sam Gilliam,” The New York Times, May 3, 1991, p. C19
Colpitt, Frances, “The Shape of Painting in the 1960s,” Art Journal, Spring 1991, p. 52
*Beardsley, John, Sam Gilliam: Paintings, 1970-1973, New York: Barbara Fendrick Gallery, 1991
*Beardsley, John, “Then and Now,” Sam Gilliam: Of Fire Flies or Ferris Wheels, Washington, D.C., United States Information Agency, 1991
*Sam Gilliam, 1969-1973, Paris: Galerie Darthea Speyer, 1991
*Gibson, Ann, The Search for Freedom: African American Abstract Painting, 1945-1975, New York: Kenkeleba Gallery, 1991

1990
Grant, Daniel, “Gaining Self-Confidence and Patience,” American Artist, November 1990, pp. 12, 14, 20
Oren, Michel, “The Smokehouse Painters, 1968-70,” Black American Literature Forum, Autumn 1990, pp. 509-531
*Scott, Sue, Washington Color Painters: The First Generation, Orlando: Orlando Museum of Art, 1990
Thompson, Walter, “Sam Gilliam at Barbara Fendrick,” Art in America, March 1990, pp. 201-202
Cotter, Holland, “Black Artists: Three Shows,” Art in America, March 1990, pp. 165-171, 217
Welzenbach, Michael, “Gilliam’s History Lesson,” The Washington Post, February 24, 1990, p. C2
*Livingston, Jane, Sam Gilliam: Small Drape Paintings 1970-1973, Washington, D.C.: Middendorf Gallery, 1990
*Friedman, Martin, Walker Art Center: Painting and Sculpture from the Collection, Minneapolis and New York: Walker Art Center and Rizzoli International Publications, 1990

1989
*Verre, Phillip, Traditions and Transformations: Contemporary Afro-American Sculpture, Bronx: Bronx Museum of Art, 1989
Mahoney, J.W., “Sam Gilliam, Middendorf Gallery,” New Art Examiner, September 1989, pp. 54-55
Rubenfeld, Florence, “Sam Gilliam,” Arts Magazine, Summer 1989, p. 79
“Lost to the Flames,” The Washington Post, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, April 24, 1989
Allen, Jane Addams, “Exploring the Alchemy of Paint,” Washington Times, March 15, 1989
Welzenbach, Michael, “Reliefs by Sam Gilliam,” The Washington Post, March 4, 1989, p. C2
*Beardsley, John, Sam Gilliam: Recent Paintings, New York: Barbara Fendrick Gallery, 1989
James, Curtia, “Sam Gilliam: Working with His Seven-League Boots On,”American Visions, February 1989, pp. 26-30
*Driskell, David C., Guy C. McElroy, Sharon F. Patton, and Richard J. Powell,African–American Artists, 1880-1987: Selections from the Evans-Tibbs Collection, Washington, D.C.: Smithsonian Institution Traveling Exhibition Service, 1989, p. 93-96

1988
Cameron, Dan, “IS There Hope for Art in Washington? A New Yorker Checks it Out,” New Art Examiner, March 1988, pp. 33-37
*Golden, Thelma, Bob Thompson, New York and Berkeley: Whitney Museum of American Art and University of California Press, 1988
*Kingsley, April, Afro-American Abstraction, New York: P.S. 1, 1988

1987
*Rubin, William, Frank Stella: 1970-1987, New York: Museum of Modern Art, 1987
Argy, Andy, “Sam Gilliam: Klein Gallery,” New Art Examiner, Summer 1987, p. 48
Collins, Bradford R., “Clement Greenberg and the Search for Abstract Expressionism’s Successor: A Study in the manipulation of Avant-garde Concsiousness,” Art Magazine, May 1987, pp. 36-43
*Driskell, David C., Contemporary Visual Expressions: The Art of Sam Gilliam, Martha Jackson-Jarvis, Keith Morrison, William T. Williams, Washington, D.C.: Smithsonian Institution Press, 1987

1986
Richard, Paul, “Sam Gilliam’s Abstract Poise,” The Washington Post, November 29, 1986, p. D2
Richard, Paul, “The Nesta Revival,” The Washington Post, October 17, 1986
*Stella, Frank, Working Space, Cambridge: Harvard University Press, 1986
Arnett, Earl, “Artist Finds Baltimore Congenial,” Baltimore Sun, March 23, 1986, p. D6
Allen, Jane Addams, “Letting Go,” Art in America, January 1986, pp. 99-104, 147
*Greenberg, Clement, The Collected Essays and Criticism, edited by John O’Brian, Chicago: University of Chicago Press, 1986-1993
*King, Elaine, Abstraction/Abstraction, Pittsburgh: Carnegie-Mellon University Press, 1986
*Livingston, Jane, The Washington Show, Washington, D.C.: Corcoran Gallery of Art, 1986

1985
Rost, Kerstin, “Pushing D.C. into the Present: Can Washington Become a Capital of Contemporary Art?,” New Art Examiner, December 1985, pp. 36-38
Klein, E. L., “Sam Gilliam: Recent Black Paintings,” Arts Magazine, December 1985, p. 114
*Morrison, Keith, Art in Washington and Its Afro-American Presence: 1940-1970, Washington, D.C.: Washington Project for the Arts, 1985
*Schmidt Campbell, Mary, Tradition and Conflict: Images of a Turbulent Decade, New York: Studio Museum in Harlem, 1985
*Wright, George C., Life Behind a Veil: Blacks in Louisville, Kentucky, 1865-1930, Baton Rouge: Louisiana State University Press, 1985
Heartney, Eleanor, “Old Masters of Abstraction Meet the Eighties,” New Art Examiner, April 1985, pp. 32-33
Bass, Ruth, “Telling it Like it Was,” ARTnews, April 1985, pp. 11-13
Gerrit, Henry, ” A Metaphor for Human Being: New Paintings by Sam Gilliam,”Arts Magazine, February 1985, pp. 78-79
*Jacobs, Joseph, Since the Harlem Renaissance: 50 Years of Afro-American Art, Lewisberg: Center Gallery of Bucknell University, 1985

1984
*Robins, Corinne, The Pluralist Era: American Art, 1968-1981, New York: Harper and Row, 1984
Allen, Jane Addams, “Jazz-Inspired Gilliam: Stretching the Rainbow,”Washington Times, November 30, 1984, pp. 1B-2B
Richard, Paul, “Gilliam’s Masterly ‘Jazz,'” The Washington Post, November 19, 1984, p. D7

1983
*Walker, Barry, The American Artist as Printmaker: The 23rd National Print Exhibition, Brooklyn: Brooklyn Museum, 1983
Johnson, Patricia C., “Gilliam Works at McIntosh,” Houston Chronicle, December 23, 1983, pp. 4, 8
Storr, Robert, “Sam Gilliam at the Studio Museum in Harlem,” Art in America, Summer 1983, pp. 161-162
Richard, Paul, “Sam Gilliam’s Show at the Corcoran: Proof of His Power and Significance as a Washington Color Painter,” The Washington Post, March 24, 1983, p. C15
Russell, John, “Art: Paintings by Sam Gilliam,” The New York Times, January 7, 1983, p. C23
*North, Percy, “Dialogue: Sam Gilliam with Jerry Clapsaddle and Percy North,”Abstraction from the Phillips Collection, Fairfax: George Mason University, 1983
*Beardsley, John, Sam Gilliam: Modern Painters at the Corcoran, Washington, D.C.: Corcoran Gallery of Art, 1983
*Loring, John, Jones Road Print Shop and Stable 1971-1981: A Catalogue Raisonné, Madison: Madison Art Center, 1983

1982
Riddle, Mason, “Sam Gilliam: Barry Richard Gallery,” New Art Examiner, December 1982, p. 20
Abatt, Corinne, “Gilliam Designs a Patchwork of Colors, Concepts,” The Eccentric, November 18, 1982, pp. 1-6
Days, Michael, “Sam Gilliam, ex-Louisvillian, Is Returning to the Paintbrush,”Courier-Journal, October 13, 1982, p. H8
Miro, Marsha, “From a Pigment of His Imagination,” Detroit Free Press, September 9, 1982, pp. 1B-2B
Sonsky, Steve, “Chaos on Canvas,” Miami Herald, February 15, 1982, pp. D1-D2
Polling, Clark, “Interview: Sam Gilliam,” Art Papers, January-February 1982, pp. 6-8
*Schmidt Campbell, Mary, Red & Black to “D”: Paintings by Sam Gilliam, New York: Studio Museum, 1982
*Bell, James, Painterly Abstraction: Four Views for the 1980’s, Fort Wayne: For Wayne Museum of Art, 1982

1981
Welish, Majorie, “Sam Gilliam and Austé at Hamilton,” Art in America, November 1981, p. 173
King, Mary, “Art Can Never Be about Nothing,” St. Louis Post-Dispatch, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, October 25, 1981
Well, Debbie, “Gilliam’s Art the Picture of Controversy,” Atlanta Journal Constitution, October 25, 1981, pp. 1F, 11F
Larson, Kay, “Skin-Deep,” New York, March 23, 1981, pp. 58-59
“Sam Gilliam,” Washington Star, Sam Gilliam Papers: Archive of American Art, Smithsonian Institution, March 22, 1981

1980
Swift, Mary, “Protean Sam Gilliam,” Washington Review, December 1980-January 1981, p. 5
International Sculpture Conference,” Art in America, November, 1980, pp. 39-45
Lewis, Jo Ann, “Gilliam in Fine Shapes,” The Washington Post, October 25, 1980, p. F7
*Greene, Carroll, Jr., Six Black Americans, Trenton: New Jersey State Museum, 1980
Lewis, Jo Ann, “A Present Worth a Thousand Words,” The Washington Post, June 18, 1980, p. C2
Wilson, Judith, “‘Afro-American Abstraction’ at P.S.1.,” Art in America, June 1980, p. 157
Russell, John, “Art: Abstractions from Afro-America,” The New York Times, March 14, 1980, p. C19
Auer, James, “Gilliam: The Athletics of Art,” Milwaukee Journal Sentinel, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, March 9, 1980
Rickey, Carrie, “Singular Work, Double Blind, Triple Threat,” Village Voice, March 3, 1980, p. 71
Perreault, John, “Positively Black,” Soho Weekly News, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, February 27, 1980
Tannuous, David, “Report from Washington: The 11th Annual International Sculpture Conference,” Art in America, November 1980, pp. 39-45

1979
*Rose, Barbara, American Painting: The Eighties, New York: Urizen Books, 1979
Coker, Gylbert, “Sam Gilliam,” Black American, Sam Gilliam Papers: Archives of American Art, Smithsonian Institute, 1979
Forgey, Benjamin, “The South Rises, on the Art Front,” Washington Star, October 28, 1979, pp. H1-H3
Ashbery, John, “Decoration Says,” New York, July 2, 1979, pp. 51-52
Forgey, Benjamin, “Sam Gilliam: Middendorf/Lane Gallery,” Washington Star, April 15, 1979, p. D-4
Richard, Paul, “Galleries,” The Washington Post, April 14, 1979, p. C2
Ashbery, John, “Out of Left Field,” New York, April 2, 1979, pp. 64-65
Davies, Hugh, “Sam Gilliam,” Arts Magazine, March 1979, p. 15
Morrison, Keith, “Art Criticism: A Pan-African Point of View,” New Are Examiner, February, 1979, pp. 4-7

1978
Tannuous, David, “Capital Art: In the Major Leagues?,” Art in America, July/August 1978, pp. 70-77
Wright, Martha McWilliams, “Washington Letter,” Art International, Summer 1978, pp. 20-24
Forgey, Benjamin, “Around the Galleries: Encounters with High Levels of
Davis, Gene, “Starting Out in the ’50s,” Art In America, July/August 1978, pp. 88-94
Perrone, Jeff, “Carl Solway Gallery,” Artforum, March 1978, pp. 63-66
Ratcliff, Carter, “New York Letter,” Art International, February 1978, pp. 79-83
Kloner, Jay, “Sam Gilliam: Recent Black Paintings,” Arts Magazine, February 1978, pp. 150-153
“‘Kentucky Town’ Series of Prints to Be Shown at Little Pleasures,” Flint Journal, Sam Gilliam Papers: Archives of American Art, Smithson Institution February 26, 1978
“Energy and Ambition,” Washington Star, February 12, 1978, p. F20
Raynor, Vivien, “Art: Casting Space in a Different Light,” The New York Times, January 20, 1978
*Davies, Hugh M., Sam Gilliam: Indoor and Outdoor Paintings, Amherst: University Gallery, University of Massachusetts, 1978
*Leider, Philip, Stella Since 1970, Fort Worth: Fort Worth Art Museum, 1978

1977
“Finding the Territory of Five Exploring Artists,” Detroit Free Press, Sam Gilliam Papers: Archive of American Art, Smithsonian Institution, December 4, 1977, p. 14-C
Morrison, Keith, “Interview with Sam Gilliam,” New Art Examiner, June 1977, pp. 4-5
Tannous, David, “Sam Gilliam at Fendrick,” Art in America, March/April 1977, p. 119

1976
*Hopps, Walter, Sam Gilliam: Paintings and Works on Paper, Louisville: The J.B. Speed Art Museum, 1976
Forgey, Benjamin, “Ford’s Re-emergence, Gilliam’s Retrospective,” ARTnews, February 1976, pp. 79-82

1975
Forgey, Benjamin, “Energy is the Catalyst in Sam Gilliam’s Formula,”Washington Star, November 5, 1975, p. H-24
*Sam Gilliam: Paintings 1970-1975, Washington, D.C.: Fendrick Gallery, 1975
Richard, Paul, “Gilliam: Artful Drapery,” The Washington Post, April 28, 1975, pp. B1-B9
Forgey, Benjamin, “D.C. Artist Aids Philadelphia,” Washington Star, April 25, 1975, p. B-3
Hammer, Gail, “Gilliam Art Exhibit a ‘Family Affair,'” Afro-American, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, March 8, 1975
Forgey, Benjamin, “Corcoran Show Is Mostly Big,” Washington Star, February 21, 1975, pp. B1-B2

1974
Richard, Paul, “Art and Energy,” The Washington Post, November 13, 1974, p. B13
Serwer, Jacquelyn Days, Gilliam/Edwards/Williams: Extensions, Hartford: Wadsworth Atheneum, 1974

1973
Lewis, Jo Ann, “Wherefore Art…,” Washington Start, December 4, 1973, pp. C1-C2
Richard, Paul, “Gilliam: Mellow and Calm,” The Washington Post, November 30 1973, pp. B1, B7
Bourdon, David, “Washington Revisited,” Art in America, July-August, 1973, pp. 95-99
Lewton, Val, “Art Now 74 Art Then 66,” Washington Review, June 1974
Forgey, Benjamin, “The 34th Corcoran Biennial,” ARTnews, May 1975, p. 38
*Honig Fine, Elisa, The Afro-American Artist: A Search for Identity, New York: Holt, Rinehart and Winston, 1973
Bourdon, David, “Washington Letter,” Art International, February 1973, pp. 20-23
Albright, Thomas, “Required: Perception by the Viewer,” San Francisco Chronicle, February 10, 1973, p. 35
Miller, Donald, “Hanging Loose: And Interview with Sam Gilliam,” ARTnews, January 1973, pp. 42-43

1972
Forgey, Benjamin, “News From Europe…,” Washington Star, December 12, 1972, p. C-8
Richard, Paul, “Paint a Vision,” The Washington Post, December 1, 1972, pp. D1, D15
Miller, Donald, “Gilliam Art is Advanced,” Pittsburg Post-Gazette, Sam Gilliam Papers: Archive of American Art, Smithsonian Institution, February 17, 1972
Pincus-Witten, Robert, “Sam Gilliam, Museum of Modern Art,” Artforum, February 1972, pp. 80-84
*Cruz, Emilio, Edwards, Gilliam, Williams: Interconnections, Chicago: Wabash Transit Gallery, School of the Art Institute of Chicago, 1972
*Hopps, Walter, XXXVI International Biennial Exhibition of Art, Venice, Washington, D.C.: National Collection of Fine Arts, 1972

1971
Stich, Sidra, “Five New Washington Artists,” Art International, December, 1971, p. 48
Lansdell, Sarah, “Sam Gilliam Drapes a New York Museum,” The Courier-Journal & Times, Sam Gilliam Papers, Archives of American Art, Smithsonian Institution, November 28, 1971
Jensen, Dean, “Public Seeking Awakening to Works by Black Artists,”Milwaukee Sentinel, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, June 14, 1971
Appell, Frederick W., “Works for New Spaces,” Minnesota Daily, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, May 21, 1971
Kramer, Hilton, “Minneapolis Museum Opens Today,” The New York Times, May 18, 1971, p. 44
“Gilliam Gets Art Grant,” The Washington Post, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, May 4, 1971
Glueck, Grace, “15 of 75 Black Artists Leave AS Whitney Exhibition Opens,”The New York Times, April 6, 1971, p. 50
Naimer, Lucille, “Projects: Sam Gilliam at MoMA,” Arts Magazine, December 1971-January 1972, p. 56
*Lastra, Luis, An Exhibition of Washington Area Artists, Wisconsin: Madison Arts Center, 1971
*Bradley, Peter, The Deluxe Show, Houston: Menil Foundation, 1971
*Danese, Renato G., Washington Art, Potsdam and Albany: Art Gallery, Brainerd Hall, State University College at Potsdam, and University Art Gallery, State University of New York at Albany, 1971
Pleynet, Marcelin, “Paris,” Art International, January 1971, pp. 53-58
Applegate, Judith, “Paris Letter,” Art International, January 20, 1921, pp. 33-36
Horwitz, Elinor Lander, “The Uncommon Shopper,” Washington Sunday Star Magazine, January 10, 1971, pp. 20-22
*Eight Artists, Milwaukee: Milwaukee Art Center, 1971
*Rose, Barbara, The Vincent Melzac Collection: Modernist American Art Featuring New York Abstract Expressionism, Washington, D.C.: Corcoran Gallery of Art, 1971

1970
Richard, Paul, “Sam Gilliam: More ‘Melodic,'” The Washington Post, December 19, 1970, p. B6
Carper, Elsie, “Gilliam’s Giants in a Paris Show,” The Washington Post, November 6, 1970, p. B1
Benson, LeGrace G., “Sam Gilliam: Certain Attitudes,” Artforum, September 1970, pp. 56-58
*Milad, Ben, “A Travers Les Galeries,” Combat, Paris: Galerie Darthea Speyer, November 9, 1970
Rose, Barbara, “Black Art in America,” Art in America, September/October 1970, pp. 54-67
Taylor, Kimberly, “Art Notes: Black Artist Fault Writers…,” New Art Examiner, Summer 1970, p. 56
Davis, Douglas, “What Is Black Art?,” Newsweek, June 22, 1970, p. 90
Hopps, Walter, and Nina Felshin Osnos, “Three Washington Artists: Gilliam Krebs McGowin,” Art International, May 20, 1970, pp. 32-42
*Gaither, Edmund B., Afro American Artists: New York and Boston, Boston: Museum of the National Center of Afro-American Artists, School of the Museum of Fine Arts, 1970
*Hudson, Andrew, Ten Washington Artists: 1950-1970, Edmonton: Edmonton Art Gallery, 1970
*Johnson, Diane F., Washington: Twenty Years, Baltimore: Baltimore Museum of Art, 1970

1969
Wagstaff, Samuel J., Other Ideas, Detroit: Detroit Institute of Arts, 1969
Richard, Paul, “A Local Exhibition with International Appeal: In the Tradition of Washington’s Color Painters,” The Washington Post, November 9, 1969, pp. F1, F6
Forgey, Benjamin, “The Third Wave,” Washington Sunday Star Magazine, October 12, 1969, pp. 8-13
Christmas, Anne, “Art of Risk and Courage,” Washington Star, Sam Gilliam Papers: Archive of American Art, Smithsonian Institution, October 4, 1969
Richard, Paul, “Corcoran’s Stunning Show,” The Washington Post, October 4, 1969, pp. F1, F4
Glueck, Grace, “Whitney Museum Plans Show by Black Artists for Next Year,”The New York Times, October 2, 1969, p. 53
Lawlor, Jean G., “Nesta Dorrance and the Jefferson Place Gallery,” The Washington Post, September 21, 1969, pp. 15-19, 21-23
Davis, Douglas, “This Is the Loose-Paint Generation,” National Observer, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, August 4, 1969
Mellow, James R., “The Black Artist, the Black Community, the White Art World,” The New York Times, June 29, 1969, p. 23
Glueck, Grace, “Into the Mainstream, Everbody,” The New York Times, June 15, 1969, p. 24
Kramer, Hilton, “The Age of Mondernism,” The New York Times, May 18, 1969, p. 27
Richard, Paul, “Breaking Free,” The Washington Post, April 7, 1969, pp. B1-B2
Donaldson, Jeff, “The Role We Want for Black Art,” College Board Review, Spring 1969, pp. 15-18
Davis, Douglas, “Washington on the Rise,” Arts, February 1969, pp. 50-51
Bearden, Romare, “The Black Artist in America: A Symposium,” Bulletin of the Metropolitan Museum of Art, January 1969, pp. 245-260
Davis, Douglas, “Washington Letter,” Arts Magazine, December 1969-January 1970, pp. 53-54
Benson, Legrace G., “The Washington Scene: Some Preliminary Notes on the Evolution of Art in Washington, D.C.,” Art International, 1969, pp. 21-23, 36-42
*Harithas, James, The Washington Painters, Sarasota: Ringling Museum of Art, 1969

1968
Hudson, Andrew, “Washington,” Artforum, December, 1968, pp. 64-66
Wasserman, Emily, “New York,” Artforum, September 1968, pp. 61-62
Glueck, Grace, “A Very Own Thing in Harlem,” The New York Times, September 15, 1968, p. 34
Hess, Thomas B., “Editorial: The Studio Museum in Harlem,” ARTnews, Summer 1968, p. 23
Richard, Paul, “Around the Galleries,” The Washington Post, July 21, 1968, p. E7
“Sam Gilliam,” Time Magazine, Sam Gilliam Papers: Archive of American Art, Smithsonian Institution, June 7, 1968
Canaday, John, “Sam Gilliam,” The New York Times, June 1, 1968, p. 23
Forgey, Benjamin, “Art,” Washington Sunday Star, May 19, 1968, p. E13
Eagle, Joanna, “How the Gallery Hopps, Hopps, Hopps,” The Washington Post, May 5, 1968, p. 45
Rose, Barbara, “A Gallery Without Walls,” Art in America, March/April 1968, p. 60-71
Hudson, Andrew, “Washington,” Artforum, March 1968, pp. 60-63
*Kozloff, Max, “The Poetics of Softness,” Renderings: Critical Essays on a Century of Modern Art, New York: Thames and Hudson, 1968, pp. 223-235

1967
Forgey, Benjamin and Frank Getlein, “Jefferson Place,” Washington Sunday Star, Sam Gillian Papers: Archives of American Art, Smithsonian Institution, December 17, 1967
Rose, Barbara, “Washington Scene,” Artforum, November 1967, pp. 56-57
Richard, Paul, “Fine Young Color Painter Has a One-Man Show,” The Washington Post, November 5, 1967, p. K8
Rose, Barbara, “Abstract Illusionism,” Artforum, October 1967, pp. 33-37
Harney, Tom, “When He Paints, He Pours,” Washington Daily News, October 13, 1967, p. 30
*Rose, Barbara, American Art Since 1900: A Critical History, New York: Frederick A. Praeger, 1967
Richard, Paul, ” Sam Gilliam’s Restless Art Cuts a Trail of Its Own,” The Washington Post, August 6, 1967, p. C1
Getlein, Frank, “Jefferson Place,” Washington Sunday Star, Sam Gilliam Papers: Smithsonian Institution, June 15, 1967
Hudson, Andrew, “Washington: An ‘American Salon’ of 1967,” Art International, April 20, 1967, pp. 73-79
*Green, Eleanor, Scale as Content, Washington, D.C.: Corcoran Gallery of Art, 1967
*Phillips Collection, Paintings by Sam Gilliam, Washington, D.C.: Phillips Collection, 1967

1966
Howard, Pamela, “A Switch to Fuzzy Edges,” Washington Daily News, Sam Gilliam Papers, Archives of American Art, Smithsonian Institution, November 18, 1966
Eckhardt, Wolf Von, “Council Grants Promote Art and a Broad Front,” The Washington Post, December 20, 1966, pp. C2
Hornig, Roberta, “Two D.C. Artists Win Council’s First Awards,” Washington Evening Star, December 20, 1966, p. 33
Hudson, Andrew, “Two Shows Her Demonstrate the Evolution of Art,” The Washington Post, Sam Gilliam Papers: Archives of American Art, Smithsonian Institution, December 11, 1966
Forgey, Benjamin, “Jefferson Place,” Washington Sunday Star, November 20, 1966, p. G1
Hudson, Andrew, “A Rewarding Look Backwards,” The Washington Post, Sam Gilliam Papers: Archive of American Art, Smithsonian Institution, July 24, 1966, p. F1

1965
Hudson, Andrew, “Letter from Washington,” Art International, December 20, 1965, pp. 56-57
Stevens, Elizabeth, “The Washington Color Painters,” Arts Magazine, November 1965, pp. 29-33
Noland, Cornelia, “Meet an Artist: Sam Gilliam,” Washington Magazine, October 1965, pp. 24-25, 69
*Norland, Gerald, The Washington Color Painters, Washington, D.C.: Washington Gallery of Modern Art, 1965

1964
Coplans, John, “Greenberg’s ‘Post Painterly Abstraction in L.A. County,”Artforum, Summer 1964, pp. 4-6
*Greenberg, Clement, Post Painterly Abstraction, Los Angeles: Los Angeles County Museum of Art, 1964

1962
Judd Ahlander, Leslie, “The Emerging Art Of Washington,” Art International, November 25, 1962, pp. 30-33
“Marriage Announcement,” The Washington Post, September 2, 1962, p. F2

1961
Truitt, James McC., “Art: Arid D.C. Harbors Touted ‘New Painters’,” The Washington Post, December 21, 1961, p. A20

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