sasha archibald

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	<title>sasha archibald</title>
	<link>https://sashaarchibald.com</link>
	<description>sasha archibald</description>
	<pubDate>Sun, 23 Apr 2023 17:52:15 +0000</pubDate>
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		<title>short bio</title>
				
		<link>https://sashaarchibald.com/short-bio</link>

		<pubDate>Mon, 13 Mar 2023 21:27:34 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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Sasha Archibald writes and edits nonfiction. Her work&#38;nbsp; has been featured in&#38;nbsp;The New Yorker,&#38;nbsp;The New York Times,&#38;nbsp;The White Review, The Atlantic, 4Columns, The Point, and in many books and catalogs. Her biography of gay liberationist Carl Wittman (1943-1986) is forthcoming from Yale University Press.&#38;nbsp;She is an associate editor at Places Journal.&#38;nbsp; 


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		<title>Agnes Varda</title>
				
		<link>https://sashaarchibald.com/Agnes-Varda</link>

		<pubDate>Mon, 13 Mar 2023 21:27:36 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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Agnès&#38;nbsp;Varda: Director’s Inspiration (Academy Museum of Motion Pictures &#38;amp; DelMonico Books, 2023)With contributions by JR, Viva, Jane Birkin, Manohla Dargis, Peter Debruge, Lynne Littman, Martin Scorcese, Chloé Zhao, and others. Reviewed in Bookforum.&#38;nbsp;
My essay focuses on the three films Varda made in and about the city of Los Angeles. “End of the End of the End: Agnès Varda in Los Angeles” was originally published by East of Borneo, in conjunction with Agnès Varda in Californialand, a retrospective at the Los Angeles County Museum of Art.


	&#60;img width="1296" height="730" width_o="1296" height_o="730" data-src="https://freight.cargo.site/t/original/i/0fc3c1766389834f04d047b388bfaf4b13e65411d877b663a98ea68535d69740/htra120_vv077_h.jpg" data-mid="171642798" border="0"  src="https://freight.cargo.site/w/1000/i/0fc3c1766389834f04d047b388bfaf4b13e65411d877b663a98ea68535d69740/htra120_vv077_h.jpg" /&#62;
Agnès Varda with Viva, on the set of&#38;nbsp;Lions Love (…and Lies) (1969)
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		<title>The Photo Book JEB</title>
				
		<link>https://sashaarchibald.com/The-Photo-Book-JEB</link>

		<pubDate>Mon, 13 Mar 2023 21:27:36 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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The Photo Book that Let Lesbians See Themselves, The New Yorker, April 2021&#38;nbsp; About the Lesbian photographer JEB (Joan E. Biren), and the re-release of her 1979 Eye to Eye: Portraits of Lesbians. 

&#60;img width="545" height="654" width_o="545" height_o="654" data-src="https://freight.cargo.site/t/original/i/64e5459013e6e578cf88747e8686aa505c2a43aec0a72a64fddcb6755515134c/JEB_Gloria-and-Charmaine_from-Eye-to-Eye.jpg" data-mid="171641893" border="0"  src="https://freight.cargo.site/w/545/i/64e5459013e6e578cf88747e8686aa505c2a43aec0a72a64fddcb6755515134c/JEB_Gloria-and-Charmaine_from-Eye-to-Eye.jpg" /&#62;

Gloria and Charmaine. Baltimore, Maryland. 1979, JEB (Joan E. Biren)</description>
		
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		<title>Feline Darlings</title>
				
		<link>https://sashaarchibald.com/Feline-Darlings-1</link>

		<pubDate>Mon, 13 Mar 2023 21:27:35 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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Feline Darlings and the Anti-Cute, in&#38;nbsp;Documents in Contemporary Art: The Cute, edited by Sianne Ngai (MIT Press &#38;amp; Whitechapel Gallery, 2022)

 With contributions by Roland Barthes, Lauren Berlant, Stephen Jay Gould, Frances Richard, Peter Schjeldahl, and others.&#38;nbsp;

An homage to Carolee Schneemann, and a plea for cat dignity.&#38;nbsp;The essay was commissioned by the Walker Art Center for Cat is Art Spelled Wrong (Walker Art Center &#38;amp; Coffee House Press, 2017), and translated into Turkish for the inaugural issue of the Istanbul-based Calling Mag.  

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Carolee Schneemann, Infinity Kisses II, detail; Brooklyn Museum</description>
		
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		<title>On Wimmin's Land</title>
				
		<link>https://sashaarchibald.com/On-Wimmin-s-Land</link>

		<pubDate>Tue, 14 Mar 2023 18:03:48 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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On Wimmin’s Land, Places Journal, April 2021

An illustrated history of the 1970s separatist lesbian community in rural Southern Oregon. 

Featured in roundups by The Browser, Lapham's Quarterly, Ann Friedman, and The Rumpus. I gave a public talk about the writing of the essay at the University of Oregon in October 2022, with co-presenters Linda Long, Carol Newhouse, Rae Root, and Carmen Winant.&#38;nbsp;


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photo Ruth Moutaingrove; Special Collections &#38;amp; Archives, University of Oregon Libraries via Oregon Digital</description>
		
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		<title>curating &#38; talks</title>
				
		<link>https://sashaarchibald.com/curating-talks</link>

		<pubDate>Thu, 16 Mar 2023 15:07:39 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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2026&#38;nbsp;Reexamining the 1960s through Biography, &#38;nbsp;a roundtable&#38;nbsp;at the annual conference of the Organization of American Historians in Philadelphia, with Michael Koncewicz, Teishan Latner, and Dave Zirin.&#38;nbsp;

2025&#38;nbsp;Listening to Our Elders: Preservation Practices, Art Making, and Research from Lesbian Spaces, a roundtable at the Sinister Wisdom Lesbian Lives conference, CUNY Graduate Center, with Sarah Cooper, Cassandre Di Lauro, Deborah Edel, Annelise Heinz, and Elana Santana.
2024 Good Bye to All That: The Origins of Lesbian Separatism, at the Lesbian Lands symposium, Université de Lille.
2024 The 1960s Politicos who Founded Wimmin’s Land, at the Western Association of Women Historians conference, a panel with Cassandre Di Lauro, Annelise Heinz, and Judith Raiskin.&#38;nbsp;
2022 On Wimmin’s Land, at the University of Oregon, a panel with Linda Long, Carol Newhouse, Rae Root, and Carmen Winant.

2015-2020&#38;nbsp;Cunt Art was the First Art, about vaginal iconography in early feminist art, at California Institute of the Arts, Veggie Cloud, UnionDocs Center for Documentary Art, and Williamette University-Pacific Northwest College of Art via Wikipedia’s Art+Feminism project.

2014-2016 Curator of Quarterly, an event series at Machine Project featuring talks by experts on curious topics—ice archives, the history of clapping, the properties of ‘bounce’—as well as the artworld’s first sports bar (large screens, beer, art videos about sports).&#38;nbsp;

2014 Co-Curator of&#38;nbsp;My Atlas at Clockshop, seven public events about solo women travellers, each pairing a film with an essayist.&#38;nbsp;


2007-2009 Curator of Air Kissing: Contemporary Art about the Art World, a group exhibition about art world malaise. Presented at Momenta Art Gallery in 2007, Arcadia University Gallery in 2008, and Kran Film Collective in 2009, with associated events. Discussed and reviewed in ArtForum, Art News, and NY Arts Magazine. Artists included Alex Bag, Andrea Fraser, Lee Lozano, Dynasty Handbag, David Hammons, Carl Pope Jr., William Powhida, and many others.&#38;nbsp;

2007 Printed Tour Guide to Strip Clubs in Lower Manhattan, commissioned by Artists Space for PERFORMA and published in PERFORMA: New Visual Art Performance, ed. RoseLee Goldberg.&#38;nbsp;

2005 Co-curator of At the Mercy of Others: The Politics of Care, a group exhibition &#38;amp; event series at the City University New York Graduate Center about the power dynamics of care-based relationships. Artists included Eleanor Antin, AA Bronson, Sophie Calle, Alfredo Jaar, Mike Kelley, Annette Messager, Adrian Piper, and Felix Gonzalez-Torres. Events featured a talk by seabound abortion provider Women on Waves, Xaviera Simmons’s performance of Yoko Ono’s 1964&#38;nbsp;Cut Piece, and films by Frederick Wiseman and Ingmar Bergman.&#38;nbsp;

2003-2005, Project Director of the Robert Blanchon Estate Project at VisualAIDS, dedicated to preserving the legacy of a queer conceptual artist who died in 1999 of causes related to HIV. The archive was accessioned by New York University’s Fales Library &#38;amp; Special Archives, and made the subject of an exhibition and monograph.
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		<title>more writing</title>
				
		<link>https://sashaarchibald.com/more-writing</link>

		<pubDate>Thu, 16 Mar 2023 14:23:02 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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“The Unwritten Book,” Sinister Wisdom 143 (Winter 2027).

Oregon Wimmin’s Land, in Together in the World: Spatial Histories of Care, eds. Tara Bissett and Amari Peliowski (Santiago, Chile: Ediciones ARQ, 2026).Historical curios for The Public Domain Review, 2022-2024. 


Love and Longing in the Seaweed Album, in&#38;nbsp;The Public Domain Review, 2022. A valentine to Victorian seaweed albums and the collection of one particular seaweed enthusiast, Charles F. Durant. A Longread’s Best of 2022.&#38;nbsp;

Gestures of Care: The Domestic Novels of Magda Szabó, in The Point, 2021. An essay about reading the Hungarian novelist during the pandemic. Featured on LitHub.Against Stillness: The Life of Sara Kathryn Arledge, in Serene for the Moment: Sara Kathryn Arledge (Armory Center for the Arts, 2020). A biographical essay about the near-forgotten experimental filmmaker and painter, drawing on her papers at the Berkeley Art Museum &#38;amp; Pacific Film Archives. The essay was commissioned for a catalogue to accompany an Arledge restrospective at Armory Center for the Arts, with contributions by Terry Cannon, Johanna Hevda, Sarah McColl, and others.

Silvia Kolbowski, That Monster: An Allegory, in The White Review, January 2020. Kolbowski’s video pairs clips from The Bride of Frankenstein (1935) with quotes from Shelley’s classic, and manages to say something new about political animosity and shame.

The Exception: Restoring Lois Weber, in The Point,&#38;nbsp;print &#38;amp; online, Winter 2019. About the once-powerful silent film director and the “masculinization” of Hollywood. Featured on Lit Hub and Arts &#38;amp; Letters Daily.&#38;nbsp;

Beige Stage: How Technicolor Invented the Hollywood Palette, in Cabinet, Spring 2019. Natalie Kalmus’s bullish rules about color converted a reluctant Hollywood.

Lost and Found at Sea, in Radical Seafaring (Parrish Art Museum &#38;amp; Prestel, 2016). Reprinted in Alexis Rockman: Shipwrecks&#38;nbsp;(Peabody Essex Museum &#38;amp; Guild Hall, 2021). About the relationship between the uncharted sea and creative practice, and about shipwrecks, chronometers, and artists made famous by their ocean disappearance. 

Oily Camouflage, in Art Los Angeles Contemporary 2016. About the oil fields of urban Los Angeles.&#38;nbsp;

The Bad Archivist: Carrie Hott’s The Key Room, in&#38;nbsp;X-TRA Contemporary Art Quarterly, Fall 2016. Commissioned by Headlands Center for the Arts on the occasion of a new permanent installation.Stacy Hardy’s 52 N**gers and the Undoing of Julius Eastman, in&#38;nbsp;Three Letter Words [R.I.P.], February 2016.&#38;nbsp;

The Babypod: Intravaginal Hardware for the Pregnant Body, in Rhizome, May 2016. Consumer review of an intravaginal speaker.

The Difficult Bequest: A History of the Smithsonian, in Los Angeles Review of Books, Summer 2014. Followed by an interview on the Irish radio program Moncrieff. 

Giant Rock, in&#38;nbsp;Cabinet, Summer 2014. Translated for the Slovenian political journal Mladina and featured on Longform and Smithsonian.com.&#38;nbsp;

Women Cuddling Animals, in&#38;nbsp;The New Inquiry, January 2014. 

Indexes, in Praise of, in&#38;nbsp;Cabinet, Winter 2014. Reprinted in Key Words, the newsletter of the American Society for Indexing, and The Indexer, published by the UK Society of Indexers.&#38;nbsp;A Portuguese translation accompanied an exhibition by artist Helen Mirra at Culturgest, in Lisbon in 2014, and the essay was also adapted for an artist book by Daniel de Paula, produced in collaboration with Ikrek Press.

Making Up Hollywood: Max Factor and the Invention of Modern Cosmetics, in&#38;nbsp;Cabinet, Fall 2013. 

Womanhouse Revisited, in The Believer, November 2013. Revists the feminist art installation through the lens of a then little-known documentary film by Lynne Littman, Womanhouse is Not a Home (1972). The essay spurred an&#38;nbsp;event at UnionDocs featuring Littman in conversation with Feminist Art Program alum Mira Schor.
Book Reviews for The Rumpus (2012-2017): fiction &#38;amp; nonfiction by Michael Adams, Fleur Jaeggy, Mark Kingwell, Anne Helen Petersen, Tillie Olsen, Mary MacLane, and George Perec.
Book Review: Considering Forgiveness eds. Aleksandra Wagner &#38;amp; Carin Kuoni (Vera List Center, 2008), in&#38;nbsp;Modern Painters, May 2009.

Double Vision: The Work of Ryan &#38;amp; Trevor Oakes, in Modern Painters, April 2009.
Co-editor of Presidential Doodles: Two Centuries of Scribbles, Scratches, Squiggles, and Scrawls from the Oval Office (Basic, 2006). Reviewed by NPR, CNN, CBS, and The New York Times, excerpted in The Atlantic, and translated into Chinese.&#38;nbsp;Robert Blanchon’s Archive of Absence, in Robert Blanchon,&#38;nbsp;eds. Tania Duvergne and Amy Sadao, with contributors Mary Ellen Carroll and Gregg Bordowitz&#38;nbsp;(New York: Visual AIDS, 2006). The monograph was published in conjuction with a retrospective I co-curated at New York University‘s Fales Library and Special Collections.
Care and the Psyche, an essay and interview with artist Mary Kelly, published in At the Mercy of Others: The Politics of Care (Whitney Museum of American Art ISP, 2005), to accompany an exhibition I co-curated at the James Gallery of CUNY Graduate Center.&#38;nbsp;

more misc. writings for Cabinet... (2002-2020)</description>
		
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		<title>public domain review</title>
				
		<link>https://sashaarchibald.com/public-domain-review</link>

		<pubDate>Sun, 23 Apr 2023 17:52:15 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

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As a contributing editor at&#38;nbsp;The Public Domain Review, I write short essays about books and images in the public domain.&#38;nbsp;


True Crime: Allan Pinkerton’s Thirty Years a Detective (1884), December 2024.
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/5fef9b5c3584b5105aaa4d5dd26bda6174327dc629c228e73c99c2c93d13f31c/30yrsadetective00pinkrich_0111-edit.jpg" data-mid="222967564" border="0"  src="https://freight.cargo.site/w/1000/i/5fef9b5c3584b5105aaa4d5dd26bda6174327dc629c228e73c99c2c93d13f31c/30yrsadetective00pinkrich_0111-edit.jpg" /&#62;

“Light from the Darkness”: Paul Nash’s Genesis (1924), November 2024.&#60;img width="2243" height="2872" width_o="2243" height_o="2872" data-src="https://freight.cargo.site/t/original/i/565cc9974bcb470e70ac3b9a934fec12db3a55a1d0d323a14dcdce537c6ba046/8-The-Stars-Also.jpg" data-mid="221828594" border="0"  src="https://freight.cargo.site/w/1000/i/565cc9974bcb470e70ac3b9a934fec12db3a55a1d0d323a14dcdce537c6ba046/8-The-Stars-Also.jpg" /&#62;

Vanity of Vanities: Fool’s Cap Map of the World (ca. 1585), co-authored with Hunter Dukes, October 2024.
&#60;img width="1128" height="850" width_o="1128" height_o="850" data-src="https://freight.cargo.site/t/original/i/66541afb1b0240a9ae29519aa00de1439392f9fa6651ae95fb67482cae28b9e1/Fool-s_Cap_Map_of_the_World-edit.jpg" data-mid="220078742" border="0"  src="https://freight.cargo.site/w/1000/i/66541afb1b0240a9ae29519aa00de1439392f9fa6651ae95fb67482cae28b9e1/Fool-s_Cap_Map_of_the_World-edit.jpg" /&#62;

The Lens of Desire: Eye Miniatures (ca. 1790–1810), June 2024.
&#60;img width="1500" height="1177" width_o="1500" height_o="1177" data-src="https://freight.cargo.site/t/original/i/9e4592967010a361d97e7606ef2d20ce749b8c002b3bc3a4bf940131540f92ed/1935-17-11-ov.jpg" data-mid="212856029" border="0"  src="https://freight.cargo.site/w/1000/i/9e4592967010a361d97e7606ef2d20ce749b8c002b3bc3a4bf940131540f92ed/1935-17-11-ov.jpg" /&#62;


A Family Tree: Hippolyte Hodeau’s Trench Art (ca. 1917), co-authored with Hunter Dukes, March 2024.

&#60;img width="648" height="850" width_o="648" height_o="850" data-src="https://freight.cargo.site/t/original/i/3a86805e0c0e697b52c98ab1057083a20c443511bc1ff77304021b50a60de8d4/15595.164740.originaledit.jpg" data-mid="208199358" border="0"  src="https://freight.cargo.site/w/648/i/3a86805e0c0e697b52c98ab1057083a20c443511bc1ff77304021b50a60de8d4/15595.164740.originaledit.jpg" /&#62;


Lithographs from Franz Wilhelm Junghuhn’s Java Album (1854), February 2024.&#60;img width="1082" height="850" width_o="1082" height_o="850" data-src="https://freight.cargo.site/t/original/i/f7265a95cea9e3bca8be6e02cf8f8dd793efb6d491948d03b8168ec831b7ae86/02-RP-P-2018-1025-edit.jpg" data-mid="208199230" border="0"  src="https://freight.cargo.site/w/1000/i/f7265a95cea9e3bca8be6e02cf8f8dd793efb6d491948d03b8168ec831b7ae86/02-RP-P-2018-1025-edit.jpg" /&#62;

Books Fatal to Their Authors (1895), January 2024.
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The Landlord’s Game: Lizzie Magie and Monopoly’s Anti-Capitalist Origins (1903), December 2023.&#38;nbsp;
&#60;img width="850" height="850" width_o="850" height_o="850" data-src="https://freight.cargo.site/t/original/i/04402392ec89fcb9bb6802e4ddde7f63c884cefa3d7a496c11e4acf82df045e3/Landlords_Game_1906_image_courtesy_of_T_Forsyth_owner_of_the_registered_trademark_20151119.jpeg" data-mid="200572215" border="0"  src="https://freight.cargo.site/w/850/i/04402392ec89fcb9bb6802e4ddde7f63c884cefa3d7a496c11e4acf82df045e3/Landlords_Game_1906_image_courtesy_of_T_Forsyth_owner_of_the_registered_trademark_20151119.jpeg" /&#62;


Your Flannelette Cure: Fire Tests with Textiles (1910), October 2023.
&#60;img width="958" height="1019" width_o="958" height_o="1019" data-src="https://freight.cargo.site/t/original/i/45c42ca4917a22547a7ae3d24c90110e337925d342002ac407e9d6a47e00fb34/flannette_garments_fire_tests-compressed.jpeg" data-mid="195368998" border="0"  src="https://freight.cargo.site/w/958/i/45c42ca4917a22547a7ae3d24c90110e337925d342002ac407e9d6a47e00fb34/flannette_garments_fire_tests-compressed.jpeg" /&#62;


Käthe Kollwitz’s Peasants’ War Series (ca. 1901-1908), October 2023.
&#60;img width="1400" height="1201" width_o="1400" height_o="1201" data-src="https://freight.cargo.site/t/original/i/d13a99d702e5d04ff952872bb9f831850eb76266e5c7b16185792b7218c83d9e/Kollwitz-Peasants-War-sheet-5.jpeg" data-mid="193507869" border="0"  src="https://freight.cargo.site/w/1000/i/d13a99d702e5d04ff952872bb9f831850eb76266e5c7b16185792b7218c83d9e/Kollwitz-Peasants-War-sheet-5.jpeg" /&#62;


The “Madame B Album” (ca. 1870s), September 2023.
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In the Mind of Marie: A Haunting Encounter at the Gardens of Versailles (1913), about the Moberly-Jourdain incident, June 2023.

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Eyewitness Accounts of the 1906 San Francisco Earthquake, May 2023.
&#60;img width="1331" height="907" width_o="1331" height_o="907" data-src="https://freight.cargo.site/t/original/i/fe76d5a879f1491bdcbaa8d65d15452b965b31261fbe6ccf697a359ab9ce50b2/1906-SF-Earthquake-and-Fire-from-Disaster-Analytics-for-Society.jpg" data-mid="181236074" border="0"  src="https://freight.cargo.site/w/1000/i/fe76d5a879f1491bdcbaa8d65d15452b965b31261fbe6ccf697a359ab9ce50b2/1906-SF-Earthquake-and-Fire-from-Disaster-Analytics-for-Society.jpg" /&#62;


“Though Silent, I Speak”: A Book of Sundial Mottoes (1903), April 2023.
&#60;img width="1200" height="773" width_o="1200" height_o="773" data-src="https://freight.cargo.site/t/original/i/8be28851063f0a41fdd60cca0ba722cafe4ed2a1309545bfcf8b78fb3cf3cddd/sundial-covers.jpg" data-mid="176635124" border="0"  src="https://freight.cargo.site/w/1000/i/8be28851063f0a41fdd60cca0ba722cafe4ed2a1309545bfcf8b78fb3cf3cddd/sundial-covers.jpg" /&#62;


C. P. Cranch’s “Transparent Eyeball” and other Emerson Illustrations, April 2023.&#38;nbsp;
&#60;img width="2221" height="3632" width_o="2221" height_o="3632" data-src="https://freight.cargo.site/t/original/i/6c80f53fc27fe00ec9a9adf3437e868f2caa64b49c8e806e2640c9cebc667e4f/cranch-philosophy-5.jpg" data-mid="176363791" border="0"  src="https://freight.cargo.site/w/1000/i/6c80f53fc27fe00ec9a9adf3437e868f2caa64b49c8e806e2640c9cebc667e4f/cranch-philosophy-5.jpg" /&#62;


Fraktur Folk Art (ca. 1750-1820), March 2023.
&#60;img width="1203" height="1500" width_o="1203" height_o="1500" data-src="https://freight.cargo.site/t/original/i/2f9cb0ae3dd9a1f7b0f3309d32b0f56b6c4c6784401f324278ec6a2e4fd2b439/fraktur-art-24.jpg" data-mid="176363578" border="0"  src="https://freight.cargo.site/w/1000/i/2f9cb0ae3dd9a1f7b0f3309d32b0f56b6c4c6784401f324278ec6a2e4fd2b439/fraktur-art-24.jpg" /&#62;

Levi Walter Yaggy’s Geographic Maps &#38;amp; Charts (1887/93), February 2023.&#38;nbsp;&#60;img width="1422" height="940" width_o="1422" height_o="940" data-src="https://freight.cargo.site/t/original/i/da3e76abcdc893fd81d1ab0b8ceaad1c8e004af2ba9a70e91bc39edfe797b74f/yaggy_10200003_featured.jpg" data-mid="176363772" border="0"  src="https://freight.cargo.site/w/1000/i/da3e76abcdc893fd81d1ab0b8ceaad1c8e004af2ba9a70e91bc39edfe797b74f/yaggy_10200003_featured.jpg" /&#62;


The Tanzmasken of Lavinia Shulz &#38;amp; Walter Holdt (ca. 1924), November 2022.
&#60;img width="850" height="1200" width_o="850" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fe33e341fb6541cf7bfc6b02ac5af6eb4eccc7df77822d85b3aa7de4cb161bac/tanzmaske-11.jpg" data-mid="176364090" border="0"  src="https://freight.cargo.site/w/850/i/fe33e341fb6541cf7bfc6b02ac5af6eb4eccc7df77822d85b3aa7de4cb161bac/tanzmaske-11.jpg" /&#62;
	
	
The Blood Collages of John Bingley Garland (ca. 1850-60), September 2022.
&#60;img width="1137" height="850" width_o="1137" height_o="850" data-src="https://freight.cargo.site/t/original/i/33bd746f54fdf6feeb790f0605ef1f28333ffcae61b3f40ad97fbd232f1ce237/blood-book-feature-1.jpg" data-mid="176364310" border="0"  src="https://freight.cargo.site/w/1000/i/33bd746f54fdf6feeb790f0605ef1f28333ffcae61b3f40ad97fbd232f1ce237/blood-book-feature-1.jpg" /&#62;
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		<title>info</title>
				
		<link>https://sashaarchibald.com/info</link>

		<pubDate>Wed, 15 Mar 2023 17:07:54 +0000</pubDate>

		<dc:creator>sasha archibald</dc:creator>

		<guid isPermaLink="true">https://sashaarchibald.com/info</guid>

		<description>


Sasha Archibald writes about art, books, and cultural iconoclasts. Her writing has appeared in 4Columns,&#38;nbsp;The New Yorker, Places Journal, Los Angeles Review of Books,&#38;nbsp;The Point, White Review, The Believer&#38;nbsp;and in books published by the Academy Museum of Motion Pictures, PERFORMA, Walker Art Center, Whitechapel Gallery, and other institutions. Her current project, a biography of gay liberationist Carl Wittman (1943-1986), is supported by a Silvers Grant for Work in Progress and will be published by Yale University Press in 2027. Her agent is Max Moorhead at Massie McQuilkin &#38;amp; Altman.Archibald is an associate editor at Places Journal and a contributing editor to The Public Domain Review. She worked for many years at Cabinet magazine, where she remains an editor-at-large.&#38;nbsp;
She also teaches, and has taught and guest-lectured—on art criticism, critical studies, feminist art, and nonfiction craft—at the University of California-Berkeley, California Institute of the Arts, Portland State University, Willamette University/Pacific Northwest College of Art, and Oklahoma State University. In 2021, she was co-instructor of the Summer Writing + Editorial Workshop of Places Journal. She occasionally gives talks.
Archibald’s background is non-profit arts administration. She’s worked as a freelance curator and held staff positions at&#38;nbsp;Clockshop, Oakland Museum of California, Bronx Museum of the Arts, Visual AIDS, and the studio of artist Fred Wilson. She was a mentee in the Andy Warhol Arts Writing Workshop with critic Holland Cotter, and a Helena Rubinstein Curatorial Fellow in the Whitney Museum Independent Study Program. Raised in small-town Oregon, she attended Lewis &#38;amp; Clark College and New York University, and now lives in Portland.She is not on social media; reach her at sasha.archibald@gmail.com.

︎homepage background is a celestial-design wallpaper, maker unknown, ca. 1880; from the collection of Historic New England</description>
		
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