Resume

Education
Solo Exhibitions
Group Exhibitions
Curriculum Vitae

Selected Public Sculpture
Performances
Selected Bibliography
Selected Catalogues

Awards and Honors
Professional Organizations
Teaching Experience
Public & Corporate Collections

Education

1973M.F.A., University of California, Los Angeles, CA
1969B.A., Bennington College, Bennington, VT

Solo Exhibitions

2015 “Maren Hassinger… Dreaming,” retrospective, Spelman College Museum of Art, Atlanta, GA
2014 “Maren Hassinger,” Reginald Ingraham Gallery, Los Angeles, CA
2010 “Maren Hassinger: Lives,” Schmucker Gallery, Gettysburg College, Gettysburg, PA
2005 “The River,” School 33, Baltimore, MD
2004 “Rainforest,” David Allen Gallery, Brooklyn, NY
2004 “Diaries,” Loyola College, Julio Art Gallery, Baltimore, MD
2001 “My hand, this leaf,” David Allen Gallery, Brooklyn, NY
1996 “Treachery and Consolation,” Trans-Hudson Gallery, Jersey City, NJ
1993 “Memory,” Benton Gallery, Southampton, NY
1992 “Bushes,” Fine Arts Gallery, LIU/Southampton Campus, Southampton, NY
1991 Gracie Mansion Gallery, New York, NY
1989 “Field,” Soho 20 Gallery, New York, NY
1986 “Blanket of Branches” and “Dancing Branches,” Contemporary Arts Forum and Alice Keck Park, Santa Barbara, CA
1985 “Focus: Environment, Maren Hassinger,” Art Gallery, California State University, Northridge, CA
1985 “Maren Hassinger,” Art Gallery, Los Angeles City College, Los Angeles, CA
1981 “Gallery Six: Maren Hassinger,” Los Angeles County Museum of Art, Los Angeles, CA
1980 “Beach,” Just Above Midtown/Downtown Gallery, New York, NY

Group Exhibitions

2016: "Impact! The Legacy of the Women’s Caucus for Art," American University Museum at the Katzen Arts Center, Washington, DC; "Descent," a Matriarch collaboration with Ava Hassinger, Institute of Contemporary Art, Philadelphia, PA
2015: “Body | Image,” Susan Inglett Gallery, New York, NY; "100 Portraits: Women Artists; Photographs by Barbara Yoshida," Salena Gallery at Long Island University, Brooklyn, NY; "Hand/Made," Decker Gallery, Maryland Institute College of Art, Baltimore, MD; Radical Presence," Yerba Buena Center for the Arts, San Francisco, CA
2014: "Poor Working Conditions," curated by Claire Grube, Martos Gallery, New York, New York; "Cultural Guerillas," Hudson Guild Gallery, New York, New York; "Radical Presence: Black Performance in Contemporary Art," Walker Art Center, Minneapolis, MN
2013: "American Beauty," curated by William Villalongo, Susan Inglett Gallery, New York, New York; "Hassinger & Clark: Boxes, Combs & Constellations," Mechanical Hall Gallery at University of Delaware, Newark, DE; "Now Dig This! Art and Black Los Angeles 1960–1980," Williams College, Williamstown, MA; "Radical Presence: Black Performance in Contemporary Art," Grey Art Gallery, NYC and The Studio Museum in Harlem, New York, New York; ”Artpark," Lewiston, NY; "Ashe to Amen," Reginald F. Lewis Museum of Maryland African American History and Culture, Baltimore, MD; "Selections from the Permanent Collection at the BWI Thurgood Marshall Airport," Organized by the Reginald Lewis Museum, Baltimore, MD; "Heavy Metal: Joseph Beckles, Charles Dickson, Melvin Edwards, Maren Hassinger, John Outterbridge," Garboushian Gallery, Beverly Hills, CA
2012: “Now Dig This!” PS1, Long Island City, NY, 2012-13; “Radical Presence: Black Performance in Contemporary Art,” Contemporary Arts Museum Houston, TX, 2012; “Material Girls,” Spelman College, Atlanta, GA; “Havana Biennial,” Havana, Cuba; “Romare Bearden Centennial,” Studio Museum in Harlem, New York, NY
2011: “Now Dig This!” Hammer Museum, Los Angeles; “Dance/Draw,” The Institute of Contemporary Art, Boston, MA, 2011-12; “Inti,” Curated by Clifford Owens, OnStellarRays Gallery, New York, NY; “Excerpt from In a Quiet Place,” from 1985 in “Sculpted Etched and Cut and Collected” and “Beige” and “Green,” two videos from the 1990's in “VideoStudio: Playback,” Spring Group Exhibition of the Studio Museum in Harlem, New York, NY.; “Material Girls,” The Reginald F. Lewis Museum, Baltimore, MD.
2010: “Global Africa Project” Museum of Arts and Design, New York City, New York. Will travel to Reginald Lewis Museum, Baltimore, MD. Jan. to June 2012; High Museum, Atlanta, GA, June to Sep. 2012; 3 Museums in the Seattle area Nov. to Feb. 2013.
2009: “30 Seconds Off an Inch,” The Studio Museum in Harlem, New York City, New York
2008: “Discursive Acts: African American Art at University of Delaware and Beyond.” University Museums, Newark, DE; “Faculty Show”, Decker Gallery, Maryland Institute College of Art, Baltimore, MD; “Slideshowpotluck” Democratic National Convention, Denver, CO; “Grimaldis @ Area 405" Area 405, Baltimore, MD; “The Sondheim Finalists,” Baltimore Museum of Art, Baltimore. MD
2007: “Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970,” Spelman College Museum of Fine Art, Atlanta, GA; “Celebrating Forty Years: Showcasing Forty Artists,” Maryland State Arts Council, Baltimore, MD.; “Mini-Curated-Micro-Books”, a project of the Baltimore Book Festival.; “Janet and Walter Sondheim Prize at MICA - Semi-Finalists Exhibition,” Meyerhof Gallery, Marylnd Institute College of Art, Baltimore, MD; “21st Annual Critics’ Residency Program,” Maryland Art Place, Baltimore, MD; "15th Annual Lotta Art Benefit” School 33 Art Center, Baltimore, MD; “Crossing the Line: African American Artists in the Jacqueline Bradley and Clarence Otis, Jr. Collection,” The Cornell Fine Arts Museum, Rollins College, Winter Park, FL; “AGENTS of Change: Women, Art and Intellect,” Ceres Gallery, New York, NY 2007; “At Freedom’s Door: Challenging Slavery in Maryland,” Maryland Historical Society, Baltimore, MD
2006: “181st Annual: An Invitational Exhibition of Contemporary Art,” National Academy Museum, New York, NY; "14th Annual Lotta Art Benefit" School 33 Art Center, Baltimore, MD; "Peace and Tranquility", Studio Magazine, a publication of the Studio Museum in Harlem. Spring 2006 Issue, p. 26-29.; “Riffs and Rhythms: Abstract Forms and Lived Realities,” James E. Lewis Museum of Art, Morgan State University, Baltimore, MD
2005: “Along the Way: MTA Arts for Transit, Celebrating 20 Years of Public Art,” UBS Art Gallery, New York, NY; “City Art: New York’s Percent for Art Program,” Center for Architecture, New York, NY

Curriculum Vitae

2005: "Double Consciousness: Black Conceptual Art Since 1970," Contemporary Arts Museum, Houston, TX
2004: "Sabbatical Exhibition," Decker Gallery, Maryland Institute College of Art, Baltimore, MD; “African-American Artists in Los Angeles, A Survey Exhibition: Fade (1990-2003),” California State University, Los Angeles
2003: “Living With Art: Modern and Contemporary African-American Art from the Collection of Alitash Kebede,” traveled nationally, venues in California, Colorado, and Texas
2002: “Faculty Show,” Maryland Institute College of Art, Baltimore, MD; “Unforgettable,” Chelsea Studio Gallery, New York, NY.; “Healing Arts/Art That Heals,” Maryland General Hospital, Baltimore, MD
2001: “Homecoming,” Thomas Segal Gallery, Baltimore, MD; 2001 Faculty Exhibition, Meyerhoff Gallery, Maryland Institute College of Art, Baltimore, MD
2000: “Snapshot,” Contemporary Museum, Baltimore, MD; “2000 Faculty Exhibition,” Decker Gallery, Maryland Institute College of Art, Baltimore, MD; “Artscape,” Baltimore, MD; “Sculpture at Evergreen,” Baltimore, MD; “Nature Trail,” Villa Julie College, Baltimore, MD
1999: “Passages,” The Studio Museum in Harlem, New York, NY; Traveled to Chicago’s Cultural Center and Miami Art Museum in 2000; “Through the Fire to the Limit: African-American Artists in Maryland,” Government House, Annapolis, MD; “Faculty Show,” Maryland Institute College of Art, Baltimore, MD
1998: “The Garden Path, Mediating Nature and Culture,” Stone Quarry Hill Art Park, Cazenovia, NY; “Footfalls,” The Village of Greenport, Greenport, NY; “Sculpture on Site, Sculpture Inside,” Harford Community College, Chesapeake Gallery, Bel Air, MD; “Faculty Show,” MICA, Baltimore, MD; “Out of Actions: Between Performance and the Object, 1949-1979,” Geffen Contemporary, Los Angeles Museum of Contemporary Art - traveled to Vienna and Tokyo
1997: “1997 New Faculty Exhibition,” Decker Gallery, Station Building, Maryland Institute College of Art, Baltimore, MD; “Faculty Show 1997,” University Art Gallery, Staller Center for the Arts, State University of New York at Stony Brook; “Introductions – New Faculty Exhibition,” Decker Gallery, Station Building, Maryland Institute College of Art, Baltimore, MD; “Eight by Eight,” Heckscher Museum of Art, Huntington, NY; “Neuberger Museum of Art 1997 Biennial Exhibition of Public Art,” on the campus of Purchase College, State University of New York; “Twentieth Century American Sculpture at the White House, Exhibition IV,” The First Lady’s Sculpture Garden, The White House, Washington, DC
1996: “4 Who Teach,” Omni Gallery, Uniondale, NY; “Whisper, Stomp, Shout! A Salute to African-American Performance Art,” Colorado Springs Fine Arts Center, Colorado Springs, CO
1995: “Required Nuance: Three Contemporary Sculptors,” The Studio Museum in Harlem, New York, NY; “Black Pearls: Treasures of African-American Women Artists,” Cinque Gallery, New York, NY; “Listening to the Earth: Artists and the Environment,” Emerson Art Gallery, Hamilton College, Clinton, NY; “Rainbow: Prints from Bob Blackburn’s Printmaking Workshop,” traveled to nine galleries in Sub-Saharan African cities
1994: “Robert Blackburn: Inspiration and Innovation in American Printmaking,” Kenkeleba Gallery, New York, NY; “Inspired by Nature,” Neuberger Museum of Art, Purchase, NY; “African-American Women Prints,” The Printed Image Galleries, Firehouse Art Center, Philadelphia, PA; “The Faculty Show ’94,” University Art Gallery, Staller Center for the Arts, State University of New York at Stony Brook; “27th Annual Artists of the Springs Invitational Exhibition,” Ashawagh Hall, East Hampton, NY; “Light and Lightness,” Trans-Hudson Gallery, Jersey City, NJ; “Sightings,” The Parrish Art Museum, Southampton, NY; “Maren Hassinger and Cynthia Hawkins,” Peg Alston Fine Arts, New York, NY; “Black Prints,” Elsa Mott Ives Gallery, New York, NY
1993: “Travel,” Benton Gallery, Southampton, NY; “Forms of Life?,” Trans-Hudson Gallery, Jersey City, NJ; “Multiples,” Benton Gallery, Southampton, NY; “Wall to Wall,” Benton Gallery, Southampton, NY
1992: “The Printmaking Workshop: Bob Blackburn’s Collection,” The Cleveland Institute of Art, Cleveland, OH; “5 Artists at the Airport, Insights into Public Art,” Wood Street Galleries, Pittsburgh Cultural Trust, Pittsburgh, PA; “Volume: 6 Contemporary Sculptors,” Guild Hall, East Hampton, NY. Aycock, Benglis, Hassinger, Holt, Kendrick, Newman; “Environmental Terror,” Fine Arts Gallery, University of Maryland, Baltimore County - Touring Maryland and Virginia
1991: “5 From Bennington,” Krasdale Foods Art Gallery, Bronx, NY; “Three Installations: Renee Green, Maren Hassinger, Greg Henry,” Jamaica; Art Center, Jamaica, NY
1990: “Out/In Queens: A Sculpted View,” Queensborough Community College Art Gallery, Bayside, NY; “In the Public Eye: Beyond the Statue in the Park,” Euphrat Gallery, De Anza College, Cupertino, CA; “The Decade Show,” New Museum of Contemporary Art, New York, NY; “New History: Beverly Buchanan, Mel Edwards, Maren Hassinger,” The Atlanta College of Art, Atlanta, GA; “Artists for Amnesty,” Blum Helman Gallery, New York, NY; “Nature & Humanity,” Borough of Manhattan Community College, New York, NY; “Hunt’s Point Sculptors: Gallery Works,” Krasdale Foods Art Gallery, Bronx, NY; “Benefit Sale,” Sculpture Center, New York, NY; “Hassinger, McCarthy, Rodgers, Ziegler,” The Sculpture Center, New York, NY
1989: “Artists at Hunter,” Voorhees Gallery, Hunter College, New York, NY; “Tropical Rain Forest,” Sundered Ground Gallery, New York, NY; “Hassinger, McKeown, Mancini,” Cyrus Gallery, New York, NY; “American Resources: Selected Works of African-American Artists,” Bernice Steinbaum Gallery, New York, NY – traveled to Nashville; “Outside the Clock: Beyond Good & Elvis,” Scott Hansen Gallery, New York, NY – curated by Robert Longo; “Lines of Vision: Drawings by Contemporary Women,” Blum Helman Warehouse, New York, NY – toured; “A Debate on Abstraction,” Hunter College, New York, NY – curated by Maurice Berger; “Transformations and Traditions: Contemporary Afro-American Sculpture,” The Bronx Museum, Bronx, NY; “Airlines,” Hillwood Art Gallery, Long Island University, C. W. Post Campus, Brookville, NY; “The Appropriate Object,” Albright-Knox Art Gallery, Buffalo, NY
1988: “Coast to Coast: A Woman of Color National Artist’s Book Project,” Center for Book Arts, New York, NY – in collaboration with Senga Nengudi – toured; “Art as a Verb,” Maryland Institute, College of Art, Baltimore, MD - traveled to the Studio Museum in Harlem and Metropolitan Life Insurance, New York, NY; “Workspace ’88,” Jamaica Arts Center, Jamaica, NY; “Unity: A Collaborative Process,” Goddard Riverside Community Center, New York, NY; “Lava,” onetwentyeight, New York, NY; “Who’s Uptown: Harlem ’87,” Schomburg Gallery, New York, NY
1987: “Blue Angel: The Decline of Sexual Stereotypes in Post-Feminist Sculpture,” Long-wood Art Gallery, Bronx, NY – traveled to Space 111, Birmingham, AL and A.I.R. Gallery, New York, NY; “Los Angeles Collects,” The Museum of African-American Art, Los Angeles, CA; “Art in Public Places,” The Museum of African-American Art, Los Angeles, CA; “P.S. 1, The Clocktower National & International Studio Artists’ Exhibition,” The Clocktower Gallery, New York, NY
1986: “Choosing: An Exhibition of Changing Perspectives in Modern Art and Art Criticism by Black Americans, 1925-1985,” The Chicago Museum of Science and Industry, Chicago, IL; “Visions of the World,” Women’s Center for Education and Career Advancement, New York, NY; “Artists Select: Contemporary Perspectives by Afro-American Artists,” Arizona State University Art Collections, Tempe, AZ; “Progressions: A Cultural Legacy,” The Clocktower, New York, NY
1985: “From the Studio: Artists-in-Residence, 1984-1985,” The Studio Museum in Harlem, New York, NY; “Beyond 1984: Contemporary Perspectives on American Art,” Ohio University, Athens, OH – traveled to the University of Palermo, Palermo, Sicily in 1990; “The Mattress Factory Show,” The Scripto Pen Factory, Atlanta, GA; “Artists and the Landscape,” Guggenheim Gallery, Chapman College, Orange, CA; “To the Astonishing Horizon,” Design Center of Los Angeles, The Theater Art Gallery, New York, NY – a collaborative project with Candida Alvarez
1984: “4th Holiday Invitational Exhibit,” A.I.R. Gallery, New York, NY; “Sticks and Stones: Modern/Post-Modern Sculpture,” Kenkeleba Gallery, New York, NY; “East/West: Contemporary American Art,” inaugural exhibition of the California Afro-American Museum, Los Angeles, CA; “The Cotton Exchange Show,” Cotton Exchange Building, sponsored by the LACE Gallery, Los Angeles, CA; “Transformation of the Minimal Style: Craft and Meaning,” The Sculpture Center, New York, NY
1983: “Visual Conversations – East Coast/West Coast,” Social and Public Arts Resource Center, Venice, CA; “At Home,” Long Beach Museum of Art, Long Beach, CA; “Beasley, Hassinger, Honeyword, Saar,” Los Angeles Southwest College Art Gallery, Los Angeles, CA; “Exchange of Sources: Expanding Powers,” California State University, Stanislaus, CA
1982: “Magnus/Hassinger,” Art Space Gallery, Los Angeles, CA; “Four,” Art Gallery, Los Angeles City College, Los Angeles, CA
1981: “Forever Free – Art by African-American Women, 1862-1980,” national tour opening at Illinois State University; “Ten California Artists,” California Museum of Science and Industry, Los Angeles, CA
1980: “Project Grand Central,” Waiting Room, Grand Central Station, New York, NY; “Outlaw Aesthetics,” Just Above Midtown/Downtown Gallery, New York, NY; “In-Sites,” The Woman’s Building, Los Angeles, CA; “Afro-American Abstraction,” P.S. 1, L.I.C., NY, national tour 1982-1984
1979: “Transformation: UCLA Alumni in Fiber,” Wight Art Gallery, University of California, Los Angeles, CA; “Secrets & Revelations II,” William Grant Still Community Arts Center, Los Angeles, CA
1978: “New Talent Show,” Zabriskie Gallery, New York, NY; “Pocket Art,” Just Above Midtown Gallery, New York, NY; “Double X Plus,” LACE Gallery, Los Angeles, CA; “Art,” California Museum of Science & Industry, Los Angeles, CA; “Abstract Concerns,” Art Space Gallery, Los Angeles, CA
1977: “Festival in Black,” Otis Art Institute, Los Angeles, CA; “Tension/Line,” Libra Gallery of the Claremont Colleges, Claremont, CA; “Studio Z,” Long Beach Museum of Art, Long Beach, CA
1976: “Hassinger/Mahan,” Arco Center for Visual Art, Los Angeles, CA
1975: “Group Show,” Newspace Gallery, Los Angeles, CA; “Artists Choose Artists,” Art Rental Gallery, Los Angeles County Museum of Art, Los Angeles, CA; “Fiberworks,” Lang Art Gallery, Scripps College, Claremont, CA

Selected Public Sculpture

2004-05: “Art in the Garden,” Grant Park, Chicago Park District and the Department of Cultural Affairs, Chicago, IL
2001-07: “Message from Malcolm,” Arts for Transit, 110th Street IRT, New York, NY
2002: "Weeds and Nerves" for the exhibition “Healing Arts/Art That Heals,” Maryland General Hospital, Baltimore, MD
1996: “Ancestor Walk,” P.S. 176, Percent for Art Program, Department of Cultural Affairs, New York, NY
1995: “Fence of Leaves,” P.S. 8, Percent for Art Program, Department of Cultural Affairs, New York, NY; “The Forest People,” Set Design, Wendy Perron Dance Company, St. Mark’s Church, New York, NY
1993: “Evening Shadows,” University Art Museum, California State University, Long Beach, CA; “Window Boxes,” Whitney Museum at Philip Morris, New York, NY
1992: Commission for the Greater Pittsburgh International Airport, Pittsburgh, PA
1991: Installation of “Circle of Bushes” for C. W. Post, Long Island University, Brookville, NY
1989-90: “Hunt’s Point Sculptors,” Tall Grasses, Bronx, NY – moved to Roosevelt Island, New York, NY
1989: “Rend,” Set Design, Donald Byrd Dance Foundation, New York, NY
1988: “Bushes,” Socrates Sculpture Park, Astoria, Queens, NY
1987: “Oasis,” Artpark, Lewiston, NY
1986-90: Plaza Planters and Tree Grates, Commissions for Downtown Seattle Transit Project, Seattle, WA
1986: “Weeds,” The Houston Festival, Houston, TX
1985-86: “Necklace (of Trees),” Atlanta Festival for the Arts, Atlanta, GA
1982: “Pink Paths,” Foundation for Art Resources – Transitional Use, Lynwood, CA; “Pink Trash,” Art Across the Park, New York, NY; “Chorus,” Commission for Arco, elevator foyer of Anaconda Industries offices, Rolling Meadows, IL, relocated to California African American Museum, Los Angeles, CA
1980: “Forest,” Creative Time – Art on the Beach, Battery Park City, New York, NY
1979: “Twelve Trees #2,” Mulholland Drive off-ramp, San Diego Freeway, northbound, Los Angeles, CA
1978: “Twelve Trees,” Vermont Avenue on-ramp, Hollywood Freeway, southbound, Los Angeles, CA(destroyed)
1977: "Branches," storefront facade,1115 North La Brea Avenue, Inglewood, CA

Performances

2015: "Women's Work," with Rinehart graduate students, Walters Art Museum, Baltimore, MD, March 26, 2015; "Women's Work," as a part of "Radical Presence: Black Performance in Contemporary Art," Yerba Buena Center for Art, San Francisco, CA, June 13, 2015; "R.S.V.P." activating Senga Nengudi's work, as a part of "Radical Presence: Black Performance in Contemporary Art," Yerba Buena Center for Art, San Francisco, CA, June 13, 2015
2014: "Olympia's Maid: Reclaiming Black Female Subjectivity," performance of Lorraine O'Grady's writing as a part of "Future Feminism," The Hole, New York, NY, September 21.; "R.S.V.P." activating Senga Nengudi's work, as part of "Senga Nengudi: Alt," White Cube, London, UK, November 26, 2014
2013: "Dancing Outside the Box," collaborative dance with Kimberly Schroeder as a part of "Hassinger and Clark: Boxes, Combs and Constellations," University of Delaware Museums, Mechanical Hall Gallery, Newark, Delaware, September 18.; "Women's Work," performed as a part of "Radical Presence: Black Performance in Contemporary Art," Grey Art Gallery, New York, NY, September 10. Video Here; "Together," performed as a part of the "Now Dig This! From Los Angeles to New York Symposium," Museum of Modern Art, New York, NY, February 8. Video Here; "Kiss," with Ulysses Jenkins and Senga Nengudi, ongoing performance project by Ulysses Jenkins, MoMA PS1, Long Island City, NY, February 10.
2012: "Women's Work," as a part of "Radical Presence: Black Performance in Contemporary Art," Contemporary Arts Museum Houston, TX, November 17.; “Boxes”, Performed as a part of a day of performance curated by Clifford Owens. PS1, Long Island City, NY
2011: “Kiss;" A collaboration with Ulysses Jenkins and Senga Nengudi in Senga's Remake of Kiss from the 1980s,” Hammer Museum, Blackbox Theater, October 2.; “Dancing in the Street.” A Matriarch project for “Be Black Baby,” Recess Gallery, New York. NY. April 1st.; “See Life.” A Matriarch project for “Flux This!” Curated by Pope L. Museum of Modern Art Education Department, New York, NY. March 25.; “Africa.” four 30-second performances at the opening of “Material Girls”, Reginald Lewis Museum, Baltimore, MD.
2010: Contributed "score" to performance artist Clifford Owens called "Repose."; LACE gallery, taped and transcribed interview and map of performance experience in Los Angeles.
2009: “Africa ”, three 30-second performances at the opening of "30 seconds Off an Inch", The Studio Museum, Harlem, NY.; “Quiet as Kept: Change” A performance ritual written and directed by Ulysses Jenkins. California African American Museum, Los Angeles, CA
2006: “Side by Side,” mixed media performance with Senga Nengudi, “Les Soirées Nomades, cycle Nuits Noires,” Fondation Cartier pour l’art contemporain, Paris, France
2004: Film: “Daily Mask,” first shown at Loyola College, Julio Art Gallery, Baltimore, MD
2002: Participatory survey of 9/11 at MICA and Chelsea Studio Gallery, New York, NY called “Why Did This Happen?”
2000: Untitled Presentation for “Golden Door, Golden Floor,” Evergreen House, Baltimore, MD
1997: “Herd,” an evening with trustees at Rinehart School of Sculpture, Maryland Institute, College of Art, Baltimore, MD
1995: “More Notes,” for The Studio Museum in Harlem, New York, NY; “A Day at the Beach,” for The Victor D’Amico Institute of Art, Amagansett, NY; “Where’s Mommy?” for opening of “Sightings” at the Parrish Art Museum, Southampton, NY; “Reir is to Laugh,” for the series “Conversation with Contemporary Artists, the Museum of Modern Art, New York, NY
1993: “Notes,” for the Whitney Museum at Philip Morris, New York, NY
1986: “Nature’s Way,” a piece by Senga Nengudi performed for the Contemporary Arts Forum, Santa Barbara, CA
1985: “Solitude,” SPARC Gallery, Venice, CA; “Voices,” L.A. City College, and The Women’s Building, Los Angeles, CA in 1984
1983: “The Spooks Who Sat by the Door,” Long Beach Museum of Art, Long Beach, CA; “At Home,” videotape, Long Beach Museum of Art, Long Beach, CA
1982: “Flying,” Barnsdall Municipal Art Gallery, Los Angeles, CA; “Still Wind,” Just Above Midtown/Downtown Gallery at Stilwende, New York, NY
1980: “Games,” I.D.E.A., Santa Monica, CA
1979: “Lives,” and “Vanities,” Vanguard Gallery, Los Angeles, CA
1977: “Diaries,” Vanguard Gallery, Los Angeles, CA; “Ten Minutes,” Studio Z, Los Angeles, CA
1976: “High Noon,” Arco Center for Visual Art, Los Angeles, CA

Selected Bibliography

Meyers, William. "Portraits of Children Left Behind Plus the Real Lives of Gypsies Culture- 100 Portraits: Women Artists, Photographs by Barbara Yoshida," Wall Street Journal. April 3, 2015.
Feaster, Felicia. "Sculptural work has lyrical effect in 'Dreaming' exhibition." Atlanta Journal-Constitution, print edition. March 20, 2015. p. D3
Watts, Gabbie. ’Artist Maren Hassinger On the Evolution Of 'Women's Work,’ 90.1 WABE-Atlanta's NPR Station. Radio interview. March 27, 2015.
Jones, Mary. "Maren Hassinger by Mary Jones," BOMB Magazine, February 23, 2015.
Overby, Jayson."Review: Maren Hassinger. . . Dreaming." The Maroon Tiger blog, February 20, 2015.
Arthur, Audrey. "New Dreaming Exhibition Becomes Reality." Inside Spelman blog. February 10, 2015.
Hall, Floyd. "WonderRoot Artist Feature - MAREN HASSINGER." Audio blog post. WonderRoot. February 8, 2015.
Hutchinson, Christopher. "Postcolonial Thoughts: Material & Spirit—Maren Hassinger at Spelman Museum,"Creative Thresholds blog, February 26, 2015.
O'Neil, Gail. . "Maren Hassinger transforms nature into sensory meditations in "Dreaming," at Spelman,"Arts Atl blog, March 12, 2015.
Maren Hassinger. . . Dreaming YouTube. March 10, 2015
Holland Cotter, "American Beauty," New York Times, January 24, 2014, p. C29
Maren Hassinger,"Rock Steady Baby," [B.A.R.] Digital publication in conjunction with B.A.R.(Black Artists' Retreat), Chicago, IL, August 22nd and 23rd, 2013
Robin Cembalest, "Ten Tough Women Artists Who Stand Up to the Bad Boys," ArtNews, October 29, 2013
Charles Giuliano, "Now Dig This! Art and Black Los Angeles 1960-1980 at Williams College," Berkshire Fine Art, October 2, 2013
Sally Frater, "Critic's Picks: 'Radical Presence: Black Performance in Contemporary Art," Artforum.com, February 11, 2013
Amanda Parmer, "Critic's Picks: 'Material Girls: Contemporary Black Women Artists," Artforum.com, October 25, 2012
Stephanie Cash, "Review: Tires, love letters, hair combs and more are stuff of art or Spelman's seven 'Material Girls,'" artsatl.com, September 28, 2012
Felicia Feaster, "Material Girls show strong works of art," accessAtlanta.com, September 13, 2012
Peggy Phelan, “Live Art in LA: Performance in Southern California, 1970-1983,” Routledge, NY, 2012
Dr. Tukufu Zuberi, “Now Dig Kellie Jones Talking About Black Art and Los Angeles,” Huffington Post, January 12, 2012 Here
Helen Molesworth, "Dance/Draw" The Institute of Contemporary Art, Boston,2011Page 88-9.
Kamau Daáood. “Poet Kamau Daáood Explains the Rhyme and Reason of Art in Black Los Angeles,” Neon Tommy, Annenberg Digital News, December 30, 2011 Here
Constance Malinson, “Inside the Artist’s Studio—Maren Hassinger,” Times Quotidian, October 19, 2011 Here
"The Bearden Project" The New Yorker; Goings on About Town, January 16, 2012. Here
Sandra Bertrand, "The One Hundred Children of Romare Bearden." Galo Magazine, December 29, 2011. Here
Linda Yablonsky, "Close Encounters/NOW DIG THIS!" artnet.com, Here
Holland Cotter, "A Griot for a Global Village" New York Times, December 8, 2011 Here
Jori Finkle, "Their Past Is Now Present." Los Angeles Times/Calender, November 27, 2011, Page E-9.
Roberta Smith, "A New Pin on the Art Map." New York Times/Arts and Leisure, November 13, 2011, Page 22.
Christopher Knight, "Putting LA in the Front Seat," Los Angeles Times/calendar, September 18, 2001. Page E-11.
Constance Mallinson, "Now Dig Into This" http://www.timesquotidian.com/, October 19 2011. Here
Dylan Rodgers, "Art of Harlem: Maren Hassinger" http://marcussamuelsson.com/. September 22 2011. Here
Jacqueline Trescott, "3 ‘Material Girls’: 8 African American artists update a tradition." Washington Post. Augest 12 2011. Reprinted online Here
Allison Channing Jones, "Studio Visit - Maren & Ava Hassinger," Studio(a publication of the Studio Museum in Harlem), Summer-Fall 2011, Page 47 & 48.
Alex Castro, "Eye to Eye: Maren Hassinger." Urbanite, September 10, 2010, Page 98.
Lyn Kienholz, "LA Rising: SoCal Artists Before 1980." an encyclopedia, The California/International Arts Foundation, 2010.
Siri Lise Doub and Wayne Arnold, "Baltimore Counts." Collaboration with Ava Hassinger on "15" highlighting lacrosse. Holland Brown Books, LLC, 2010.
Ara H. Merjian, "30 Seconds off an Inch." Frieze Magazine. Issue 130, April 2010. Reprinted online http://www.frieze.com/issue/review/30_seconds_off_an_inch/
Thelma Golden, "30 Seconds off an Inch." The Studio Museum in Harlem Magazine. Winter-Spring 2010, page 2.
Roberta Smith, "A Beating Heart of Social Import." The New York Times. December 10, 2009, page C29.
Kate Noonan, "Grimaldis @ 405." The Baltimore City Paper, July 23, 2008. p. 32. Reprinted online http://classifieds.citypaper.com/arts/story.asp&id=16032
Martin L. Johnson, "The Sondheim Prize." The Baltimore Citypaper, July 9, 2008
Mike Giuiliano, "Artscape makes a detour to BMA." The Baltimore Messenger, July 3, 2008, p 10.
Edward Gunts, “Sondheim Finalsts’ Work Reflect Changing World.” The Baltimore Sun, June 29, 2008
Jessica Novak, "Answer the $25,000 question." The Baltimore Examiner, June 21, 2008. Reprinted online http://www.citypaper.com/arts/story.asp&id=15963
Jessica Choi, "Natural Works of Art." The Baltimore Sun, June 19, 2008
Hassinger, Maren and Leslie King-Hammond. "Arlene Raven: Critic, Advocate, Arts Activist, and Friend," Critical Matrix: The Princeton Journal of Women, Gender and Culture, Arlene Raven's Legacy (2008) Volume 17 Spring 2008, pages 132-135.
Bret McCabe, "Top 10: The Year in Art," The Baltimore City Paper, December 12, 2007. Reprinted online http://www.citypaper.com/special/story.asp&id=14961
Rebecca Cochran, "Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970." Artforum.com, October 17, 2007.
Max Weiss, et al, "Best of Baltimore 2007." Baltimore Magazine, August 2007, p 222
Deborah McLeod, "MAP's Annual Reidency Program Offers a Nuanced Chance to Look at The Thinking That Shapes Looking," The Baltimore City Paper May 30, 2007, reprinted online www.citypaper.com/printStory.asp&id=13683.
Jessica Novak, "We've come a long way baby… to get where?" The Baltimore Examiner, April 28, 2007. p. 33.
Deborah McLeod, “Never Forget,” The Baltimore City Paper, March 21, 2007, reprinted online www.citypaper.com/printStory.asp&id=13407.
Holland Cotter, “Remembrance of Downtown Past,” The New York Times, Weekend Arts, Friday, September 1, 2006, pages 21 and 26.
Ken Johnson, “For a Broad Landscape, an Equally Wide Survey,” The New York Times, May 31, 2006, page B5.
Violet Glaze. “The River, New Work, Ex Libris: Rethinking the Library,” The City Paper, July 27, 2005, page 34.
Glen McNatt, “River flows with heavy burdens of a family’s past,” The Baltimore Sun, July 17, 2005, page 3F.
Eleanor Heartney, City Art: New York's Percent for Art Program, Merrell, May 30, 2005
Jonathan Goodman, “Maren Hassinger,” Sculpture Magazine, April 2005, Volume 24, Number 3, pages 73 and 74.
Jan Razauskas, “Maren Hassinger,” Radar Review, December 2004, Issue 12 (Inside/Outside), page 49.
John Dorsey, “Maren Hassinger, Artist,” Roland Park News, Summer 2002, Volume 6, pages 3 and 4.
Donna M. Owens, “An Artful Legacy,” Baltimore Magazine, June 2002, pages 78 and 79.
Judith Page, “New York Maren Hassinger,” Sculpture Magazine, May 2002, page 71.
Marty Stewart, Launching the Imagination, ed 1, 2, & 3. McGraw-Hill Higher Education Publishers, New York, NY.
Glenn McNatt, “African-American Art’s ‘Old Masters’ Meet in Exhibit,” The Baltimore Sun, November 18, 2001, page 3E.
Peter Plagens, “Harlem Goes ‘Freestyle’,” Newsweek, May 14, 2001, page 60.
National Endowment for the Arts, A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program, Abrams, Inc., New York, 2001, page 176.
Gatto, Porter, and Selleck, Exploring Visual Design, The Elements and Principles, 3rd Edition, Davis Publications, Inc., Worcester, MA, 2000, page 31.
Vincent L. Wimbush, editor, African-Americans and The Bible, Sacred Texts and Social Textures, Continuum, New York, 2000, page 428, colorplate #13.
Sherri Winston, “Passport to Expression,” Sun-Sentinel, South Florida, Lifestyle Section, October 7, 2000, page 1, 5D.
Elisa Turner, “Images in Transition,” The Miami Herald, Sunday, September 17, 2000, pages 5M and 12M.
Holly Selby, “Hide and Seek…,” The Baltimore Sun, Sunday, September 17, 2000, page 6F.
Karen Hayes, Freedom On Our Minds, An Educational Resource, The Education Department of the California African-American Museum, Los Angeles, CA, 1999, Lesson 10, pages 139-151.
John Dorsey, “Cutting Up With: Maren Hassinger, Chief of Sculpture at MICA,” The Baltimore Sun, Sunday, December 20, 1998, Section F, page 3F.
Sharon F. Patton, African-American Art, Oxford University Press, Oxford, New York, 1998, pages 250; 253-254.
Sherry Chayat, “Is It Art or Nature?,” Syracuse Herald American, July 5, 1998, Stars Section, page 1, 14.
Arlene Raven, “New York Story,” Sculpture Magazine, January 1998, page 22.
Judith H. Dobrzynski, “Anonymous Gifts, So Women Artists Won’t Be,” New York Times, Sunday, October 12, 1997, pages 1 and 24.
Rhonda Cooper, “Faculty Artists Exhibit New Works at the Staller Center Art Gallery,” The Stony Brook Statesman, Monday, September 22, 1997, page 8.
John Dorsey, “Sizing up New Faculty, Sizing up Their Art,” The Baltimore Sun, September 2, 1997, Section D, page 1.
Maureen Megerian, “Entwined with Nature—The Sculpture of Maren Hassinger,” Woman’s Art Journal, Fall 1996/Winter 1997, pages 21-25.
Eric Maisel Affirmations for Artists, G. P. Putnam’s Sons, 1996, page on “Identity.”
Patsy Southgate, “Maren Hassinger, Sculpting Life’s Fibers,” The East Hampton Star, August 29, 1996, pages III-1 and III-8.
Lilly Wei, “Maren Hassinger at TransHudson,” Art in America, June 1996, pages 106-107.
Vivien Raynor, “Contradictions and Questions, Unresolved,” The New York Times, Sunday, February 11, 1996, N.J., page 12.
Daniel Goldman, “Whisper, Stomp, Shout! Black Performance Art at the Colorado Springs Fine Arts Center,” The Independent, January 10-16, 1996, page 26.
Abbeville Press, We Wear the Mask: The Ethos of Spirituality in African-American Art, 1994.
Dr. Leslie King-Hammond, Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists, 1994.
Marion Wolberg Weiss, “Art Commentary,” Dan’s Papers, August 12, 1994, page 91.
Marjory Jacobson, Art for Work, Harvard Business School Press, 1994.
Paul Gardner, “Who Are the Most Underrated and Overrated Artists?,” ARTnews, February 1994, page 115.
Curtia James, “Interview with Maren Hassinger,” Artpapers, Atlanta, GA, January and February 1994, pages 6-8.
Vivien Raynor, “Galleries That Art Neighbors,” The New York Times, Sunday, November 21, 1993, N.J., page 17.
Phyllis Braff, “Four Artists,” The New York Times, Sunday, September 12, 1993, L.I., page 18.
Rose C. S. Slivka, “From the Studio,” The East Hampton Star, September 9, 1993, page II-8.
Marlena Donohue, “Spray Can Art…” San Pedro News Pilot, August 13, 1993.
Kate Hensler, “Pittsburgh International Airport,” Sculpture, July-August 1993, pages 18-19.
Becky Godwin, Interview, Quadrille, Spring, 1993, page 39.
Mary Jean Kenton, “Lines, Forms, Colors and Planes,” (Pittsburgh’s New Midfield Terminal) New Art Examiner, April 1993, pages 23-25.
“Happy Landings,” Artnews, November 1992, page 46.
“Airport Art for Pittsburgh,” Art in America, October 1992, page 176.
Jennifer Cross, “Nature Coaxed Out of a Cable,” The Southampton Press, October 8, 1992, pages B1 and B7.
Phyllis Braff, “6 East End Sculptors at Mid-career,” The New York Times, Sunday, July 26, 1992, L.I., page 11.
Elizabeth Hess, “Say Good Night, Gracie,” The Village Voice, May 21, 1991, page 40.
Kim Levin, “Choices,” The Village Voice, April 9, 1991, page 96.
Elizabeth Hess, “Get Rid of ‘Political Art’?,” The Village Voice, April 9, 1991, page 16.
Michael Brenson, “Maren Hassinger,” The New York Times, March 29,1 991, page C19.
Anna M. Bloomfield, “New History: Beverly Buchanan, Mel Edwards, Maren Hassinger,” Art Papers, November/December 1990.
Eric Reyes, “Art in the Open,” Metro, Santa Clara Valley’s Weekly Newspaper, November 15-21, 1990, volume 6, number 37.
Joe Aytch, “What Does My Eye See? Public Art at the De Anza College’s Euphrat Gallery,” The Buffalo Soldier, November 15-30, 1990, Arts section, page 1.
Curtia James, “New History, Artnews, October 1990, page 203.
Esther Inverem, “Art in Unexpected Places,” Newsday, October 30, 1990, Part II, pages 11, 14.
John Garcia, “Studios, Artists will be Accessible,” Daily News, October 19, 1990, page 4XQ.
Judith Berdy, “Tall Grasses Installed at Garage,” The Main Street Wire, October 12, 1990, volume XI, number 2, frontpage.
Maurice Berger, “Are Art Museums Racist,” Art in America, September 1990, pages 69-77.
Michael Brenson, “Taking on the World from 125th Street,” The New York Times, Sunday, September 23, 1990, pages 35, 40.
Catherine Fox, “Form, Materials Unit ‘New History’ Exhibition,” The Atlanta Journal and Constitution, August 10, 1990, page E-2.
Vivien Raynor, “A Show of Shapes from 10 Sculptors,” The New York Times, Sunday, July 8, 1990, Westchester ed., Art Section.
Lilly Wei, “Making Art, Making Money – 13 Artists Comment,” Art in America, July 1990, pages 133-141.
Ann Butler, “Up in the Clouds,” The Pittsburgh Press, June 29, 1990.
Donald Miller, “Models of Art Unveiled at Airport,” Pittsburgh Post-Gazette, June 29, 1990.
Ken Johnson, “Maren Hassinger at Soho 20,” Art in America, May 1990, pages 244-245.
Michael Kimmelman, “The Force of Conviction Stirred by the 80s,” The New York Times, May 27, 1990, pages H25, 34.
Roberta Smith, “Three Museums Collaborate to Sum up a Decade,” The New York Times, May 25, 1990.
Holland Cotter, “Black Artists: Three Shows,” Art in America, March 1990, page 164.
Joanne Milani, “Artists’ Work Reflects Black Life,” The Tampa Tribune, Monday, February 12, 1990.
Gretchen Faust, “Review,” Arts Magazine, February 1990, page 96.
Blanche Hubbert, “A Sculptress Molds Her Own Career,” New York Voice, Inc., volume XXX, number 43, Saturday, January 20, 1990, page 26.
Michael Brenson, “Quiet Art Need Not Be Boring or Wimpish,” The New York Times, November 26, 1989, pages 35, 43.
“Review,” The New York Times, September 29, 1989, page C30.
“Choice,” on “Outside the Clock: Beyond Good and Elvis,” The Village Voice, July 25, 1985.
“Bold Sculpture for Wide Open Space,” The New York Times, Friday, July 21, 1989, pages C1, C24.
Helen A. Harrison, “Drawing: A Term Rich in Meanings,” The New York Times, Sunday, June 11, 1989, L.I., page 30.
Joy Hakanson Colby, “Object Lessons,” Accent, June 5, 1989, pages 1B, 5B.
Marsha Miro, “Freedom Theme Unifies Show by Seven Black Artists,” Detroit Free Press, Sunday, June 4, 1989, pages 1, 7C.
“Maren Hassinger in DIA’s ‘Appropriate Object’ Exhibition,” The Michigan Chronicle, June 3, 1989, page 6C.
Angela Wibking, “Color of Skin Overshadows Color of Canvas,” Nashville Business Journal, May 29-June 2, 1989.
Phyllis Braff, “Lines Redefining Space,” The New York Times, Sunday, April 9, 1989, L.I., page 22.
Michael Brenson, “Split Show of Black Artists Using Nontraditional Media,” The New York Times, April 7, 1989, page C23.
Patricia Failing, “Black Artists Today, A Case of Exclusion,” Artnews, March 1989, pages 124-131.
Arlene Raven, “Mojotech,” The Village Voice, March 28, 1989, page 93.
“Goings on About Town,” The New Yorker, March 27, 1989, page 14.
Vivien Raynor, “Modern Sculpture of 11 Black Artists at Bronx Museum,” The New York Times, Sunday, March 26, 1989, Westchester Art Section.
Michael Brenson, “Black American Art: Overlooked Essential,” The International Herald Tribune, March 17, 1989, page 9.
Kathie Beals, “Tradition and Beyond,” Gannett Westchester Newspapers, March 16, 1989, E Section, page 3.
Michael Brenson, “Black Artists: A Place in the Sun,” The New York Times, March 12, 1989, pages C1, C36.
Katie Seiden, “Air Lines’ Exhibit at Hillwood Art Gallery,” Boulevard, March 4, 1989.
Michael Brenson, “Going Beyond Slickness: Sculptors Get Back to the Basics,” The New York Times, March 3, 1989.
Steve Purchase, “13 Artists Act Out Their Work,” The Sun, Thursday, November 24, 1988.
John Dorsey, “Works Unfettered by Tradition Boldly Explore Experiences of Racism and Sexism,” The Sun, November 21, 1988, pages 1D, 8D.
Arlene Raven, “Geography and Genealogy,” The Village Voice, April 12, 1988, page 104.
Michael Brenson, “Blue Angel: The Decline of Sexual Stereotypes in Feminist Sculpture,” The New York Times, April 1, 1988, page C32.
“Blue Angel Opens at Longwood,” Bronx Arts, October 1987, volume 2, number 2, pages 1-2.
“Sculpture Tests its Muscles Outdoors,” The New York Times, Sunday, September 6, 1987, pages H25, H27.
Richard Huntington, “Artpark Sculpture Needs Direction,” The Buffalo News, Sunday, August 16, 1987, pages G1, G3.
Josine Ianco-Starrels, “Art News,” Los Angeles Times, calendar, Sunday, July 13, 1986, page 99.
Josef Woodward, “Aura of Audacity in Installations ‘Blanket of Branches’,” Santa Barbara, California, News-Press, Saturday, July 12, 1986.
Carrie Radio, “Contemporary Arts Forum: Hanging Around,” The Weekly, June 25, 1986, page2.
Bill Anderson, “A Poem as Lovely as a Tree,” Santa Barbara News & Review, June 25, 1986.
“Sculpture, Performance at Arts Forum,” Santa Barbara, California, News-Press, Saturday, June 14, 1986, page D4.
“CAF Announces Sculptural Installations,” Santa Barbara Arts, June 1986.
“Wire Rope Trees Grow in Houston,” Wire Rope News & Sling Technology, June 1986, pages 16-17, cover.
Maren Hassinger, “Preserving Rose Leaves,” Issue, A Journal for Artists, Spring 1986, volume 6, pages 36-37
Photo of “Weeds” with lengthy caption, Quadrille, Winter 1986, volume 19, number 2, page 12.
Howard Pousner, “Artist Hopes Tree Sculpture to Leave a Lasting Imprint at Piedmont Park,” The Atlanta Constitution, April 5, 1985, page 14A.
“Arizona State University: Other Exhibits Explore Blacks’ Artistic Past Present,” The Phoenix Gazette, Saturday, February 15, 1986, page 21.
Marge Bulmer, “The Gardens of Winter,” Artweek, February 11, 1985.
Haleemon Z. Anderson and Linda McLaughlin, “Nature’s Design Inspires Artist,” Los Angeles City College Collegian, February 8, 1985, volume CXII, number 2, page 5.
Brent Novick, “Environment Becomes Art Medium,” Daily Sundial, February 7, 1985.
“Maren Hassinger,” The International Review of African-American Art, volume 6, number 1, 1984, pages 34-41.
Amy Slaton, “Sticks & Stones at Kenkeleba,” East Village Eye, November 1984, page 35.
Suzanne Muchnic, “California Afro-American Museum Striving to Show High Profile,” Los Angeles Times, calendar section, November 10, 1984, pages 1, 7.
Robert L. Pincus, “A Downtown Building’s Last Hurrah,” Los Angeles Times, May 10, 1984, Part VI, page 2.
Judith Hart-Stone, “An Artist Looking for Dangerous Ground,” The Museum of California, November/December, 1982.
Black Currant, Volume 2, number 1, Published by Just Above Midtown, Inc., New York, NY, Fall, 1982.
Constance Mallinson, “Nature Gone Mad,” Images & Issues, November/December, 1982, page 53.
D. Francine Farr, “Civilization and Nature,” Artweek, September 4, 1982.
Suzanne Muchnic, “Creativity Transforms Century Freeway Ruins,” Los Angeles Times, September 4, 1982, Part V, pages 1, 2.
Christopher Knight, “Afro-American Abstraction: More Abstract than African,” Los Angeles Herald Examiner, July 14, 1982, page D6.
Katherine Hart, “Gallery Six – Maren Hassinger: On Dangerous Ground,” Los Angeles County Museum of Art, brochure, May 1981.
William Wilson, “Of Cables & Collages in Artists’ Wonderland,” Los Angeles Times, May 27, 1981, Part VI, page 1.
Judith Wilson, “Advanced Placement Tests,” The Village Voice, December 24, 1980, page 79.
William Zimmer, “Not So Grand Central,” The Soho News, October 1, 1980, page 64.
Kay Larson, “Beached at Battery Park: Creative Time’s Second Biennial Beach Art Show,” The Village Voice, July 23-29, 1980, pages 3, 71.
Judith Wilson, “Afro-American Abstraction,” Art in America, Summer 1980.
Lawrence Alloway, “Afro-American Abstraction,” The Nation, April 12, 1980.
Carrie Rickey, “Singular Work, Double Bind, Triple Threat,” The Village Voice, March 3, 1980, page 71.
“Sculptor’s Trees Are Forged,” Independent Press-Telegram, Combined News Services, December 3, 1979, page A2.
Mark Stein, “Steel Trees Grow Along Freeways,” Los Angeles Times, November 22, 1979.
“I Think That I Shall Never See…” Evening Outlook, October 18, 1979, page B1, photo by Bob Smith.
Dinah Portner, “Evidence of Illusion,” Artweek, November 11, 1978.
Peter Frank, “Prepositional Space,” The Village Voice, October 2, 1978, page 12.
Ruth Askey, “Double X Curates Women’s Show,” Artweek, July 29, 1978, page 4.
Sandy Ballatore, “Hassinger and Mahan: Works in Transition,” Artweek, September 4, 1976, page 4.
William Wilson, “Sculpture with a Poetic Fiber,” Los Angeles Times, August 16, 1976, page IV, page 6.

Selected Catalogues

Valerie Cassel Olivier, ed. Radical Presence: Black Performance in Contemporary Art," Contemporary Arts Museum Houston, New York: DAP, 2012.
Harrell Fletcher, 2012 Hammer Yearbook, Hammer Museum, 2012, pages 134-135.
“The Louis Comfort Tiffany Foundation: 2011 Awards in Painting, Sculpture, Printmaking, Photography, Video and Craft Media,” Louis Comfort Tiffany Foundation, New York, NY, 2012 pages 26-27.
Helen Molesworth, "Dance/Draw" The Institute of Contemporary Art, Boston,2011 Page 88-9.
Kellie Jones, "Now Dig This!: Art and Black Los Angeles, 1960-1980," Hammer Museum, October 2011.
Connie Rogers Tilton and Lindsay Charlwood, "L.A. Object & David Hammons Body Prints," Tilton Gallery, September 2011, Page 44, 48-53, 49, 58, 75.
Abbe Schriber, “VideoStudio: Playback.” the Studio Museum in Harlem, NY, 2011.
Lowery Stokes Sims, Leslie King-Hammond, "The Global Africa Project." Museum of Arts and Design, NY, et al, 2010. Page 6.
Shannon Egan, Ph.D., Director, Schmucker Art Gallery, Gettysburg College, Maren Hassinger: Lives. Gettysburg College, Gettysburg, PA, 2010.
Samir S. Patel, 30 Seconds Off an Inch, The Studio Museum in Harlem, 2009.
Anne Swartz, editor, Women's Caucus for Art: Honor Awards for Lifetime Achievement in the Visual Arts. WCA publisher Karin Luner, 2009, pages 4-7
Olga Garay, African American Artists in Los Angeles, A Survey, City of Los Angeles Department of Cultural Affairs, 2009.
Dr. Andrea Barnwell Brownlee and Valerie Cassel Oliver, Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970, Contemporary Arts Museum Houston, Spellman College Museum of Fine Arts, Atlanta, 2008.
Johanna Burton and Anne Swartz, Arlene Raven's Legacy, Critical Matrix, Princeton Journal of Women, Gender, and Culture, Volume 17, Spring 2008, pages 132-135
Heartney, Sandler, Miner, and Ren, Art Today in Words and Images, 21st Annual Critics' Residency Program, Maryland Art Place, Baltimore, MD, 2007.
Franklin Sirmans, Crossing the Line: African American Artists in the Jacqueline and Clarence Otis, Jr. Collection. Cornell Fine Arts Museum, Rollins College, Winter Park, FL, 2007.
Eleanor Heartney and Irving Sandler, Maryland Art Place: Art Today in Words and Images. Maryland Art Place, Baltimore, MD.,April 2007, pages 10-12, 21, 37
Sandra Bloodworth and William Ayres, Along the Way: MTA Arts for Transit, Monacelli Press, New York, NY, 2006.
Marvin Heiferman, editor, City Art: New York’s Percent for Art Program, Merrell, NY, 2005.
Chicago Park District, Art in the Garden, Chicago, IL, 2004.
Cindy Kelly, Sculpture at Evergreen, Evergreen House, The Johns Hopkins University, Baltimore, MD, 2000.
Valerie Cassel Oliver and Franklin Sirmans, Double Consciousness: Black Conceptual Art Since 1970. Contemporary Arts Museum, Houston, TX, 2005.
Mary E. Murray, The Garden Path: Mediating Nature and Culture, Stone Quarry Hill Art Park, Cazenovia, NY, 1998.
Paul Schimmel, Kristine Stiles, and Museum of Contemporary Art, Out of Actions: Between Performance and the Object: 1949-1979, The Museum of Contemporary Art, Los Angeles, CA and Thames and Hudson, NY, 1998.
Susana Torre, Footballs, Site Specific Sculptures, “Footfalls 98: Mapping the Walk,” Greenport, NY, 1998.
Dr. Judy Collischan, Neuberger Museum of Art 1997 Biennial Exhibition of Public Art, Purchase College, State University of New York, 1997.
Ann Cohen De Pietro, Eight by Eight, Heckscher Museum of Art, Huntington, NY, 1997.
Marcia Tucker, Twentieth Century American Sculpture at the White House, Exhibition IV, The White House, Washington, D.C., 1996.
Carl E. Hazlewood, Guest Curator, Required Nuance: Three Contemporary Sculptors, The Studio Museum in Harlem, New York, NY, 1995.
Dr. Judy Collischan, Exhibition Director and Noah Jemisin, Exhibition Curator, Rainbow: Prints from Bob Blackburn’s Printmaking Workshop, A Cultural Presentation of the United States of America, Printmaking Workshop, New York, NY, 1994, page 48.
Constance W. Glenn, ed., Reconfiguring Boundaries/Defining Spaces, “Insite/Centric,” University Art Museum, California State University, Long Beach, CA, 1994, pages 6-9.
Hatch-Billops Collection, Artist and Influence, Lorraine O’Grady, interviewer, March 12, 1993, pages 20-32.
Elaine A. King, Five Artists at the Airport, Insights into Public Art from the show of the same name at the Wood Street Galleries of the Pittsburgh Cultural Trust, Pittsburgh, PA, 1992.
Christina M. Strassfield, “Volume: 6 Contemporary Sculptors,” from the show of the same name at Guild Hall Museum, East Hampton, NY, 1992.
Maurice Berger, Environmental Terror, from show of the same name at the University of Maryland, Baltimore, MD, 1992.
Judy Collischan Van Wagner, Maren Hassinger, published by Long Island University, C. W. Post Campus, Hillwood Art Gallery, 1991, 48 pages.
Peraza, Tucker & Conwill, The Decade Show, from show of the same name at the Museum of Contemporary Art and The Studio Museum in Harlem, 1990, page XXXIII.
Robert L. Douglas, African-American Contemporary Art, from show of the same name at Universita di Palermo, Cibellina, Museo Civico d’Arte Contemporanea, 1990, pages 78-79.
Beryl Wright, The Appropriate Object from show of the same name, as seen at Albright-Knox Gallery, Buffalo, NY, Detroit Institute of the Arts, Detroit, MI, San Jose Museum of Art, San Jose, CA, and the J. B. Speed Museum, Louisville, KY, 1989, pages 1, 12-19.
Bernice Steinbaum, American Resources: Selected Works of African-American Artists, from show of the same name at Bernice Steinbaum Gallery, New York, NY, and Fisk University, Downtown Arts Gallery and Vanderbilt University, Nashville, TN, from June 18-August 18, 1989, Published in 1989.
John Yau, Air Lines, from show of the same name, Hillwood Art Gallery, Long Island University, C. W. Post Campus, Brookville, NY, March 1-April 16, 1989, pages 7, 9-10, 25.
Philip Verre, Traditions and Transformations: Contemporary Afro-American Sculpture, from show of the same name at The Bronx Museum of The Arts, February 21-May 27, 1989, pages 7, 9, 12, 30-33, 59, 62, 70.
Dierdre L. Bibby, Who’s Uptown: Harlem ’87, show of the same name, The Schomburg Center for Research in Black Culture, March 11-April 16, 1988, pages 17,52,54.
Edwards, Longo, Berger, Krauss, A Debate on Abstractions, 4-part abstraction exhibition at The Bertha and Karl Leubsdorf Art Gallery, Hunter College, NYC, published in 1988, pages 47-61 (“Anti-Simulation: Materialism and Abstraction”).
Leslie King-Hammond and Lowery Stokes Sims, Art As a Verb, show of the same name, Maryland Institute College of Art, Baltimore, MD, November 21, 1988-January 8, 1989.
Enrico Martignoni, Sculptors Working Socrates Sculpture Park, ay 22, 1988-March 15, 1989.
Juli Carson, Howard McCalebb, Blue Angel: The Decline of Sexual Stereotypes in Post-Feminist Sculpture, show of the same name, October 10-November 14, 1987, Longwood Arts Gallery, Bronx, NY and January 2-31, 1988, Space 111, Birmingham AL, 1987, pages 11, 16-17.
Alanna Heiss, National and International Studio Programs 1986-1987, The Institute for Art and Urban Resources, Inc., P.S. 1 and The Clocktower, NYC, published 1987, pages 36, 37.
Museum of African-American Art, Art in Public Places, April 15-August 30, 1987.
Judd Tully, ’87 Artpark Visual Arts Program, summer, 1987.
Lucinda H. Gedeon, Artists Select: Contemporary Perspectives by Afro-American Artists, Arizona State University Art Collections, Tempe, AZ, published 1986, page 16.
Ronald J. Onorato, 33rd Arts Festival of Atlanta 1986, summer 1986 (see chapter “NEA site works”), pages 5, 8, 9, 13.
Ethel Moore and William D. Paul, Jr., 32nd Arts Festival of Atlanta 1985, summer 1985 (see chapter “NEA site works”), pages 9, 16, 17, 27.
Robert L. Douglas and Jeff Donaldson, Beyond 1984: Contemporary Perspectives on American Art , show of the same name, Trisolini Gallery, Ohio University, Athens, OH, October 19-November 15, 1985.
Jacqueline Fonvielle-Bontemps, Choosing: An Exhibit of Changing Perspectives in Modern Art and Art Criticism by Black Americans, 1925-1985, show of the same name, published 1985, pages 42, 89.
Howard McCalebb, Sticks & Stones, Modern/Post-Modern Sculpture, show of the same name, October 14-November 25, 1984, Kenkeleba Gallery, New York City, published 1984.
Sharon F. Patton, East/West: Contemporary American Art, show of the same name, California Afro-American Museum, July 22, 1984-January 15, 1985, published 1984.

Awards and Honors

2014: Panelist with Dawoud Bey, Torkwase Dyson, Jennie C. Jones, Richard Hunt, Tameka Norris and William Villalongo, "The Past is Present: Black Artists and the Issue of Abstraction," Black Artists Retreat, Chicago, IL; Presenter, "Carrie Mae Weems LIVE: Past Tense/Future Perfect," Solomon R. Guggenheim Museum, New York, NY
2013: Panelist with Ken Johnson, Michael Brenson and Joan Waltemath, "The Position of the Critic," Maryland Institute College of Art, Baltimore, MD; Artist in Residence, University of Delaware, Newark, DE; Juror, Target Gallery, Alexandria, VA
2012: Juror, Fulbright Foundation; Visiting Lecturer, Queens College, New York, NY
2011: The Louis Comfort Tiffany Foundation.; “Opportunities for Sculpture,” Lecture about my work at Arttable, New York, NY. March 18.
2010: Presenter, Education Panel, Second Transformations Conference, Maryland Institute College of Art
2009: Lifetime Achievement Award, Women's Caucus for the Arts; Ten Best Baltimore Artists of 2008, Bmoreart.blogspot; Juror, Baltimore Sculpture Project, Office for Promotion and the Arts, Baltimore, MD
2008: "African American Avant-Gardes 1965-1990," panel and oral history project, Getty Research Institute, Los Angeles, CA; Lecture and slide presentation for the Joshua Johnson Council at the Baltimore Museum of Art, Baltimore, MD; Lecture and critique, Bennington College, Bennington, VT
2007: Juror, Baltimore Sculpture Project, Office of Promotion and the Arts, Baltimore, MD; Pollock-Krasner Foundation, Artist's Grant; Panelist, “Modern Art in Los Angeles: Feminist Art in Southern California,” Getty Research Institute, Los Angeles, CA; Presenter, “Education Panel,” International Sculpture Center Conference, Cincinnati, Ohio; “Figure It Out: Interpreting Form in a Public Space,” led tour of the Hirschhorn Museum Sculpture Garden, Washington, DC
2006: Lecture and critique, Otis Art Institute, Los Angeles, CA; Juror, Fulbright National Screening Committee, Sculpture Panel, New York, NY; Panelist, Arts Education Round Table, International Sculpture Center Conference, Cincinnati, OH; Panelist, 36th Annual Meeting of the Jean Piaget Society on “The Arts and Human Development,” Baltimore, MD; Conducted Residents’ Critiques, Creative Alliance, Baltimore, MD
2005: Residency ASAP (Arcadia Summer Art Program, Kippy’s Kamp), Bar Harbor, ME Judge, “Images: A Festival of the Arts,” for the Atlantic Center for the Arts, New Smyrna Beach, FL; Judge, “Images: A Festival of the Arts,” for the Atlantic Center for the Arts, New Smyrna Beach, FL
2004: Co-Curator with Chezia Thompson, “Phenomenology,” Artscape, Baltimore, MD; Panel lecture/discussion for The Art Seminar Group, “David Smith’s Workstream: Integrating Art and Life,” Suburban Club of Baltimore County, MD; Artist in Residence, Nature Conservancy/Andy Warhol Estate, East Hampton, NY
2003: Adolph and Esther Gottlieb Foundation Individual Support Grant
2002: Member External Review Team for the Art Department of the State University of New York at Stony Brook
2001: Panel discussion: “The Love/Hate Relationship of Art Schools and the Art World Blur,” National Council of Arts Administrators, Virginia Commonwealth University, VA; MacDowell Colony Residency, Peterborough, NH Presentation of work to Art Department, University of Maryland, College Park, MD; Presentation of work to Art Department, University of Maryland, College Park, MD
2000: Selection Panel, NAACP ACT-SO Competition, Baltimore, MD
1999: Selection Panel, Maryland Art Place (MAP), Baltimore, MD
1998: Selection Panel, MacDowell Colony, New York, NY
1997: Artists’ Grant, Anonymous Was A Woman, New York, NY; Panelist, “Abstraction or Essence: Three African-American Perspectives,” The Museum of Modern Art, New York, NY; Selection Panel, Mid-Atlantic States Arts Federation: Sculpture, Baltimore, MD; Visiting Artist, Randolph-Macon College, Lynchburg, VA; Visiting Artist, Mason Gross School of the Arts (Graduates), Rutgers University, New Brunswick, NJ; Inclusion in the National Endowment for the Arts permanent archive
1996: International Association of Art Critics Award, Best Show by an Emerging Artist (Second Place) for solo show at Trans-Hudson Gallery; Joan Mitchell Foundation, Grant for Artists; Selection Panel, Alliance for Young Artists and Writers, Inc., New York, NY
1995: Panel discussion: “Nature, Landscape, and Contemporary Sculpture” (Moderator Michael Brenson), The New School, New York, NY; Discussion: “Rubber Bob,” video short film by filmmakers Peter and Maren Hassinger, The Southampton Cultural Center, Southampton, NY; Panel discussion: “Feminism and Art Production,” The Parrish Art Museum, Southampton, NY; Selection Panel, WESTAF/NEA, Santa Fe, NM; Selection Panel, Alliance for Young Artists and Writers, Inc., New York, NY
1994: Visiting Artist Fellowship, The Brandywine Workshop, Philadelphia, PA; Panel discussion: “Opportunities for the Future – Careers for Women Artists,” State University of New York at Stony Brook
1993: Selection Panel, Mid-Atlantic States Arts Federation/NEA, Baltimore, MD
1991: Visiting Artist, University of Iowa, Iowa City; Visiting Artist, Southern Illinois University at Carbondale
1990: Lecture Panel, “Shifting the Mainstream: Multi-Cultural Identity in the Arts,” San Jose Museum of Art, San Joe, CA; Artist-in-Residence, The Printmaking Workshop, New York, NY
1989-88: Artist’s Fellowship, New York Foundation for the Arts
1988: Artist’s Grant, Artist’s Space, New York, NY
1987-86: Studio, P.S. 1, Long Island City, NY
1986: Selection Panel, Community Redevelopment Agency, Los Angeles, CA
1985: Selection Panel, New York Foundation for the Arts; Slide Presentation, “Artists Who Work in Public Places,” M.O.M.A., New York, NY - sponsored by City Arts Workshop, Inc.
1985-84: Artist-in-Residence, Studio Museum in Harlem, New York, NY
1984: Artist’s Fellowship, National Endowment for the Arts
1983-84: Artist-in-Residence, Schools, California Arts Council
1983: Prize in Sculpture, Betty Brazil Memorial Fund
1981: Selection Panel, National Endowment for the Arts
1980: Artist’s Fellowship, National Endowment for the Arts
1977: Special Projects Grant, California Arts Council; Commission to build public sculpture for the City of Los Angeles, CETA, Title VI

Professional Organizations

2009: Member, College Art Association, New York, NY; Member, Women's Caucus for the Arts
1993: Board of Directors, Hamptons International Film Festival Selection Panel, Mid-Atlantic States Arts Federation/NEA, Baltimore, MD
1980-82: Board of Directors, Los Angeles Contemporary Exhibitions (LACE Gallery)

Teaching Experience

1997 - Present: Director, Rinehart School of Graduate Sculpture, Maryland Institute, College of Art, Baltimore, MD
1992-97: Part-time Lecturer, Art Department, State University of New York at Stony Brook
1992: Associate Adjunct Professor of Art, Long Island University, Southampton Campus, NY
1988-91: Adjunct Professor of Art, Hunter College, New York, NY
1990: Adjunct Professor of Art, School of Visual Art, New York, NY
1985-88: “Mini Museum,” Arts Partners, Studio in a School Association, New York, NY
1985: “Sculpture Studio,” Parsons Art Institute, New York, NY (for Alice Adams)
1983-84: “Artist in Residence: Schools,” Visual Arts Classes funded by the California Arts Council at the Community School, Los Angeles, CA; “The Figure in Clay – Sculpting from the Live Model,” University of California, Extension, Los Angeles, CA
1981: “Beginning Clay Sculpture,” Otis/Parsons Institute, Los Angeles, CA; “Site Sculpture,” Pasadena Art Workshops, Pasadena, CA
1980: “Summer Art Scholarship Class in Sculpture,” Otis/Parsons Institute, Los Angeles, CA
1979: “Basic Sculpture,” California State University, Los Angeles, CA
1978: “Sculpture for the Very Young,” Los Angeles County Museum of Art, Los Angeles, CA
1977: “The Pharaoh Tutankhamen,” Los Angeles County Museum of Art, Los Angeles, CA
1975-77: “Sculpture,” “Art Experience” and “textiles,” Barnsdall Junior Art Center, Los Angeles, CA
1974-76: “Introduction to Textiles and Weaving,” California State University, Los Angeles, CA
1973-74: “Non-Loom Fiber Techniques,” California State University, Long Beach, CA

Public & Corporate Collections

Hammer Museum, Los Angeles, CA
Reginald F. Lewis Museum of Maryland African American History and Culture, Baltimore, MD
AT&T
Brown Capital Management, Baltimore, MD
Caltrans, Los Angeles, CA
California African American Museum, Los Angeles, CA
University Gallery, California State University, Long Beach Campus
Greater Pittsburgh International Airport, Pittsburgh, PA
James E. Lewis Museum of Morgan State University, Baltimore, MD
Mobil Oil
Portland Museum of Art, Portland, OR
Seattle Transit Authority, Seattle, WA
The Studio Museum in Harlem, New York, NY
Williams College Art Museum, Williamstown, MA
San Francisco Museum of Modern Art, San Francisco, CA

Downloadable Resume

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Resume

Education

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Group Exhibitions

Curriculum Vitae

Selected Public Sculpture

Performances

Selected Bibliography

Selected Catalogues

Awards and Honors

Professional Organizations

Teaching Experience

Public & Corporate Collections