SELECTED ESSAYS ABOUT ART
Previous
Next
While most of Beardsley’s essays on art relate to his abiding interests in land art and what is commonly called self-taught or outsider art, some explore connections between landscape and photography, site-specific sculpture, or contemporary painting and sculpture more largely.
| Date | |
|---|---|
| 2022 | “Art in the Garden,” in Garden as Art: Beatrix Farrand at Dumbarton Oaks, Thaisa Way, ed. Washington, D.C.: Dumbarton Oaks Research Library and Collection, 2022. - A brief account of the institution’s contemporary art installation program. |
| 2010 | “Foreword,” in The Andy Goldsworthy Project, by Molly Donovan and Tina Fisk. Washington, D.C.: National Gallery of Art, 2010. |
| 2008 | “Topologies of Place,” in Edgar Martins: Topologies. New York: Aperture, 2008. - A monograph on the landscape photography of Edgar Martins, focused on several series of works created in Iceland and Portugal, and on beaches and airport runways. |
| 2006 | “Hidden in Plain View: The Land Art of Maya Lin,” in Maya Lin: Systematic Landscapes. Seattle: Henry Art Gallery with Yale University Press, 2006. |
| 2006 | “Salvage/Salvation: Recent African American Yard Shows,” in American Sanctuary: Understanding Sacred Spaces, Louis P. Nelson, ed. Bloomington: Indiana University Press, 2006. |
| 2005 | “Filling a Void: Creating Contemporary Spaces for Contemplation” in Contemporary Landscapes of Contemplation, Rebecca Krinke, ed. London and New York: Routledge, 2005. |
| 2003 | “New Art, Familiar Grounds,” in Siting Jefferson: Contemporary Artists Interpret Thomas Jefferson’s Legacy, Jill Hartz, ed. Charlottesville, University of Virginia Press, 2003 |
| 2002 | “Democratic Delirium,” in Red Grooms. Hamilton, N.J.: Grounds for Sculpture, 2000. |
| 1999 | “Protest on Canvas” (Robert Gwathmey: The Life and Art of a Passionate Observer by Michael Kammen). The New York Times Book Review (October 17, 1999), p. 16. |
| 1999 | “Eyesore or Art?” (Tyree Guyton’s Heidelberg Project). Harvard Design Magazine (Winter/Spring 1999), pp. 4-9. Reprinted in Judging Architectural Value: A Harvard Design Magazine Reader,William S. Saunders, ed. Minneapolis and London: University of Minnesota Press, 2007, pp. 87-95. |
| 1997 | "The Joy Zone (A Bit of Heavenly Architecture)," in A.G. Rizzoli: Architect of Magnificent Visions. New York: Harry N. Abrams, 1997. “This catalogue of an exhibition of the newly discovered outsider artist Achilles G. Rizzoli is full of wonders.”—Laughlin Fawcett, Landscape Architecture Magazine (1998) “Another extraordinary recent find.”—N.F. Karlins, Art Journal, Winter 1997 |
| 1996 | “Untitled (Two Men),”in NO: Works by Norris Embry. Baltimore: Scios Nova, 1996; published in conjunction with an exhibition at the annual meeting of the American Psychiatric Association, New York. A catalogue of the work of an artist who struggled with mental illness for much of his adult life. |
| 1996 | "The Hand's Obligations," in Manuel Neri: Early Work, 1953-1978. New York: Hudson Hills Press in association with Corcoran Gallery of Art, Washington, D.C., 1996. |
| 1995 | "Hybrid Dreams" (recent sculpture by Charles Simonds). Art in America 83 (March 1995), pp. 92-97. |
| 1994 | “Gardens of History, Sites of Time,” in Visions of America: Landscape as Metaphor in the Late 20th Century, with Martin Friedman, et. al. Denver: Denver Art Museum, and Columbus: Columbus Museum of Art, 1994. Distributed by Harry N. Abrams, New York. |
| 1991 | "Earthworks: The Landscape After Modernism," in Denatured Visions: Landscape and Culture in the Twentieth Century, Stuart Wrede and William Howard Adams, eds. New York: The Museum of Modern Art, 1991. |
| 1991 | "The Poetics and Politics of Hispanic Art: A New Perspective," with Jane Livingston, in Exhibiting Cultures, Ivan Karp and Steven D. Lavine, eds. Washington, D. C.: Smithsonian Institution Press, 1991. |
| 1991 | “Then and Now,” in Sam Gilliam: Of Fireflies or Ferris Wheels. Washington, D.C., Arts America Program, United States Information Agency, 1991. Revisiting the drape paintings of the 1970s and early 1990s, this essay offers a critical perspective revised from the catalogue of the exhibition “Modern Painters at the Corcoran: Sam Gilliam.” |
| 1991 | “Hallowed Ground,” in Elyn Zimmerman. Tampa: Contemporary Art Museum, University of South Florida, 1991. Reprinted in Elyn Zimmerman: Places + Projects; Forty Years. Hamilton, NJ: Grounds for Sculpture, 2017. |
| 1990 | “Essay,” in The Landscape as Resource: Four Contemporary American Photographers. Charlottesville, Second Street Gallery, 1990. |
| 1982 | "Traditional Aspects of New Land Art." Art Journal 42 (Fall 1982): 226-32. |
| 1982 | "Paradigms in Public Sculpture." The Public Interest no.66 (Winter 1982): 24-27. |
| 1981 | Personal Sensibilities in Public Places." Artforum 19 (Summer 1981): 43-45. |
| 1981 | “On the Loose with the Little People: A Geography of Simonds’s Art,” in Charles Simonds, John Hallmark Neff, ed. Chicago: Museum of Contemporary Art, 1981. |
| 1981 | "Art and Authoritarianism: Walter De Maria's Lightning Field." October 16 (Spring 1981): 35-38. |
| 1979 | "James Pierce and the Picturesque Landscape." Art International 23 (November/December 1979): 6-15. |
| 1978 | "Robert Smithson and the Dialectical Landscape." Arts Magazine 52 (May 1978): 132-35 |