Harriet F. Senie

Selected Writings

Journals Edited

Co-editor with Cher Krause Knight, Public Art Dialogue, peer review journal published twice a year by Routledge, starting 2011.

Co-editor with Sally Webster, Art Journal, Winter 1989 – Harriet F. Senie and Sally Webster, Guest Editors
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Selected Articles And Catalogues

“Epilogue: Reconsidering Failure.” In The Failures of Public Art and Participation, edited by Cameron Cartiere and Anthony Schrag. Routledge, 2022.

“How to think about a memorial,” The Boston Globe, May 10, 2022, https://www.bostonglobe.com/2022/05/10/opinion/how-think-about-memorial/.

“From the Tate to the MoMA: Cross-continental Perspectives of Matisse’s Cut-outs.” Interview with Fran Lloyd. The Conversation (blog), October 31, 2014. Accessed September 24, 2017. http://theconversation.com/from-the-tate-to-the-moma-cross-continental-perspectives-of-matisses-cut-outs-32931.

“Calder’s Public Art as Civic Sculpture: The Realization of a Modernist Ideal.” In Calder and Abstraction: From Avant-Garde to Iconic, edited by Stephanie Barron and Lisa Gabrielle Mark, 136-150. Los Angeles County Museum of Art, 2013.

“Commemorating the Oklahoma City bombing: Reframing Tragedy as Triumph,” Public Art Dialogue (Spring 2013): 80-109.

“Modest Actions and Big Impacts: A Conversation with Mary Miss.” In The New Earthwork: Art Action Agency, edited by Twylene and Glenn Harper, 294-301. Hamilton, NJ: ISC Press, 2011.

“Immediate Memorials: The Implicit Celebration of Communal Mourning.” Esse (Fall 2009): 56-63.

“Public Art in New York City Parks: Celebrating 40 Years.” Sculpture 27, no. 5 (June 2008): 18-21.

“A polemica em torno de Tilted Arc: um precedente perigoso?” Arte & Ensaios (December 2008): 148-166.

“Framing or Taming? Some Musings on Public Art as Collection.” Collections (Spring 2008): 143-44.

“Gendered in Stone: Women in New York City’s Public Art.” In Blaze: Discourse on Art, Women and Feminism, edited by Karen Frostig and Kathy A. Halamka, 153-62. Newcastle: Cambridge Scholars Publishing, 2007.

“Louise Nevelson’s Public Art.” In Sculpture of Louise Nevelson, edited by Brooke Kamin Rapaport, 49- 64. The Jewish Museum and Yale University Press, 2007.

“Art and Public Space.” In Encyclopedia of American Urban History, edited by David Goldfield. New York: Sage Publications, 2007.

“The Perils of Public Art: Louise Nevelson Plaza or Is It?” Sculpture 26, no. 6 (May 2007): 48-49.

“The Controversy that Wouldn’t Die: Tilted Arc and the Triumph of Spectacle,” Sculpture 26, no. 7 (September 2007): 10-11.

“Mourning in Protest: Spontaneous Memorials and the Sacralization of Public Space.” In Spontaneous Shrines and the Public Memorialization of Death, edited by Jack Santino, 41-56. New York: Palgrave MacMillan, 2006.

“Interview.” In City Art: New York’s Percent for Art Program, edited by Marvin Heffernan, 33. London and New York: Merrell, 2005.

“Memorial Complexes or Why Are Architects Getting the Big Commissions?” Sculpture (December 2005):10.

“Reframing Public Art: Audience Use, Interpretation, and Appreciation.” In Art and its Publics: Museum Studies at the Millennium, edited by Andrew McClellan, 185-200. Malden, MA: Blackwell Publishing, 2003.

“Road Work: Reconfiguring the American Highway,” Public Art Review (Spring 2002): 4-9.

“Perpetual Tension: Considering Richard Serra’s Jewish Identity.” In Complex Identities: Jewish Consciousness and Modern Art, edited by Matthew Baigell and Milly Heyd, 206-22. New Brunswick, NJ: Rutgers University Press, 2001.

“Implicit Intimacy: The Persistent Appeal of Henry Moore’s Public Art.” In Henry Moore: Sculpting the Twentieth Century, edited by Dorothy Kosinski, 277-86. Dallas Museum of Art and Yale University Press, 2001.

“Public Art in Transit(ion).” In Points of Departure: Art on the Line, edited by Julie Courtney, 34-67. Philadelphia: Main Line Art Center, 2001.

“Glimpses of Infinity: Nature and Science in Athena Tacha’s Public Art.” In Dancing in the Landscape: The Sculpture of Athena Tacha, 8-13. Washington, DC: Grayson Publishing, 2000.

“Aus der Mitte: Das Vietnam Veterans Memorial: Ein Mahnmal mit zentripetaler und zentrifugaler Wirkung.” In Denkmale und kulturelles Gedachtnis nach dem Ende der Ost-West Konfronatation, edited by Gabi Dolff- Bonekamper and Edward van Voolen, 251-64.  Berlin: Akademie der Kunste, Jovis Verlag, 2000.

“Mourning in Protest: Spontaneous Memorials and the Sacralization of Public Space.” In “Constructions of Memory.” Harvard Design Magazine (special issue) (Fall 1999): 23-27.

“Disturbances in the Fields of Mammon: Towards a History of Artists’ Billboards.” In Billboard: Art on the Road, exhibition catalogue, 14-31.  North Adams: MASS MoCA, and Cambridge: MIT Press, 1999.

“In Pursuit of Memory: Berlin, Bamberg, and the Specter of History.” Sculpture (April 1999): 45-61.

“Objects Left, Individuals Remembered: `Making Memory Real’ at the Vietnam Veterans Memorial.” In Memory and Oblivion: Acts of the XXIXth International Congress of the History of Art, Amsterdam 1996, edited by Wessel Reinink and Jeroen Stumpel,1085-2000. Amsterdam: Erasmus Boekandel,1999.

“Public Art and the Legal System.” Public Art Review 6 (Fall/Winter 1994): 13.

“USA: Offentliche Kunst un republikanische Administration.” Orte 2 (1992): 40-45.

“Some Thoughts on the Memorial Redefined.” In The Memorial Redefined, edited by Linda Cunningham, 1-4. New York: College Art Association, 1989.

“Critical Issues in Public Art,” special issue, Art Journal, Winter 1989.  Includes “Richard Serra’s        Tilted Arc: Art and Non-Art Issues.”

Introduction, Projects and Proposals: The New York City Percent for Art Program. New York City Department of Cultural Affairs, 1988.

Phillips Simkin: Is It or Isn’t It a Real Estate Office? Exhibition Catalogue. Temple Gallery, Tyler School of Art, Philadelphia, October 1987.

“King’s Kingdom” (profile William King). Artnews (June 1986).

Monthly art reviews, Artnews (1986-1987).

Public Art Fund Newsletter (on Serra controversy) (Summer 1985).

“The Right Stuff” (cover story, Richard Serra), Artnews (March 1984): 50-59.

“Urban Sculpture in Barcelona.” Artnews (May 1984): 136-37.

“William King.” Arts (Sept 1982).

“The Architecture of the Metropolitan Museum’s Primitive Wing.” Artnews (February 1982).

“Urban Sculpture: Cultural Tokens or Ornaments to Life?” Artnews. Sept. 1979, 108-114.

“The Tomb of Leo XI by Alessandro Algardi,” Art Bulletin (March 1978): 89-95.

Book Reviews

Kamen, Michael. “Visual Shock.” Journal of American History (June 2009): 205.

Michele H. Bogart. The Politics of Urban Beauty: New York and Its Art Commission, Winterthur Portfolio (Winter 2007): 218.

Book reviews, Artnews. June 1981

Exhibition Reviews

“National Icon: The Transfiguration of the World Trade Center Towers (Max Protetch Gallery);”  “Renewing, Rebuilding, Remembering (Van Alen Institute);” “Sonsbeek 9: LocusFocus,” Sculpture. Oct. 2002, 81-82.

“Engaging the Off-Campus Audience.” Public Art Review (Spring/Summer 2006): 38-42.

“The Blue Stone Project: Public Art as Discourse, Ritual, and Symbol of Unity.” Sculpture (January/February 2006): 12-13.

“Andy Goldsworthy’s Garden of Stones.” Public Art Review (Spring/Summer 2004): 34-35.

“Absence vs. Presence: The 9/11 Memorial Design.” Sculpture (May 2004):10-11.

“A Difference in Kind: Spontaneous Memorials after 9/11.” Area (Sweden) (Spring 2003): 56-59.

“A Difference in Kind: Spontaneous Memorials after 9/11.” Sculpture (special web edition) (August/September, 2003). Accessed October 3, 2017. http://www.sculpture.org/documents/scmag03/jul_aug03/webspecial/senie.shtml.

“Re-approaching Tony Smith.” Sculpture (November 1998): 35-43.

“Public Art in Brazil.” Sculpture (February 1998): 38-44.

“Louise Nevelson.” In Dictionary of Women Artists. London: Fitzroy Dearborn Publishers, 1997.

“Eden Revisited: The Contemporary Garden as Public Art.” Urban Paradise, Public Art Issues, no.3 (1994).

Art critic, New York Post, weekly column, 1978-1979.

Contributor

“Monuments and Memorials.” In Encyclopedia of Genocide and Crimes Against Humanity, edited by Dinah Shelton. Detroit: Macmillan Reference, 2005.

Various entries, Encyclopedia of New York City. New Haven: Yale University Press, 1995.

Selected Curated Exhibitions

Re-Considering Color: Postmodern Classical II, Olympic Tower lobby, NYC, 21 April – 23 May 2008.

1. Arneson, N. Cherubini, I. de Obaldia, J. Dine, V. Frey, B. Kasten, A. Merback, A. Moore, K. Wiley.

(curated with MA students in museum studies at CCNY, catalog)

Re-Cast: Postmodern Classical, Olympic Tower lobby, NYC, 2002

1. Baron, M. Castanis, A.Flack, G. Koren, Y. Kusama, A. McCollum, M. McGill, D. Potami, J. Shea

(curated with MA students in museum studies at CCNY, catalog)

Memory as Metaphor, juried exhibition, Pleides Gallery, NYC, 1996.

George Rickey: Projects for Public Sculpture, Neuburger Museum, SUNY, Purchase, New York, October 1987 (curator and author).

Sculptures for Public Places: Maquettes, Models and Proposals, Marisa del Re Gallery, New York, January 1986 (curator and author).

A Decade of Visual Arts at Princeton: Faculty 1975-1985, The Art Museum, Princeton University, 1985.

Landscape/Sculpture: Nancy Holt, Patricia Johanson, Patsy Norvell, Michelle Stuart, Athena Tacha, Wallace Gallery, SUNY, Old Westbury, 1981 (curator and author).

South Africa-South Bronx: Photographs by Peter Magubane and Walter Rosenblum, Wallace Gallery, SUNY, Old Westbury, 1981 (curator and author).

Spaces V: Charles Abramson, David Hammons, Jorge Rodriguez, Wallace Gallery, SUNY, Old Westbury, 1981 (curator and author).

William King: Sculpture in Vinyl, Wood, and Aluminum, Wallace Gallery, SUNY, Old Westbury, 1980 (curator and author).

Fabric into Art, Wallace Gallery, SUNY, Old Westbury, 1980 (curator and author).