This catalogue is published on the occasion of the exhibition, Laura Anderson Barbata: Singing Leaf, the transdisciplinary Mexican artist’s first solo exhibition with Marlborough Gallery in 2023. The fully illustrated publication features over seventy color plates and new essays by Edward J. Sullivan, the Helen Gould Shepard Professor of Art History at New York University, and Madeline Murphy Turner, Ph.D., Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings, Harvard Art Museums.

Hardcover, 160 pages, 71 color plates

Publisher: Marlborough Gallery, Inc.

ISBN: 978-0-89797-455-4

Transcomunalidad examina el inicio de este proyecto en Trinidad y Tobago, y pone de relieve la forma en que Anderson Barbata ha trabajado con grupos zanqueros tradicionales y artesanos y artesanas en Trinidad y Tobago, Oaxaca-México y Nueva York. Con textos de Edward J. Sullivan, Melissa H. Potter, Juan García de Oteyza y Tim Rollins. Fotografía: Laura Anderson Barbata, Stefan Falke, Stefan Hagen, Alix Milne, Marco Pacheco, Frank Veronsky. Ed. Donna Wingate. Turner Libros.

Pastrana’s story highlights deeply relevant human issues related to science and racism, the nature of attraction and exploitation, indigenous rights, memory, and cultural sensitivity. The Eye of the Beholder: Julia Pastrana’s Long Journey Home brings together contributors from a wide variety of fields to explore these issues, providing the fullest account available of Pastrana’s remarkable life. Generously illustrated with photographs, historical documents, and contemporary artworks. With essays by> Laura Anderson Barbata, Jan Bondeson, Rosemarie Garland/Thomson, Grant H. Kester, Bess Lovejoy, and Nicholas Márquez-Grant. Ed. Laura Anderson Barbata and Donna Wingate. Lucia / Marquand Books.

Transcommunality is a visual chronicle of 10 years of the artist collaborating with stilt dancing communities and artisans in Trinidad and Tobago, Oaxaca Mexico and New York. With essays by Edward J. Sullivan, Melissa H. Potter, Juan García de Oteyza and Tim Rollins. Photography: Laura Anderson Barbata, Stefan Falke, Stefan Hagen, Alix Milne, Marco Pacheco, Frank Veronsky. Ed. Donna Wingate. Turner Libros.

Drawing insight from a range of disciplines and fields, the essays in this volume assess the effectiveness of protest movements that deploy bodies in urban space, and social projects that build communities while also exposing inequalities and presenting new political narratives. With sections exploring the built environment, artists, and activists and public space, the book brings together the diverse voices to reveal the complexities and politicization of public space within the United States. Section 2: Artists and Public Space. Chapter 6. Intervention: Indigo by Laura Anderson Barbata. Ed. Sally O´Driscoll and Kevin D. Murphy. Routledge, 2021

The Commissions Book brings together visual and written material from TBA21’s commissioning practice and vast history of exhibitions and programs, including artists and architects. The book also presents new works and commissions that interrogate institutional boundaries and connect with the complexities and urgencies of the age of the Anthropocene. Text on Laura Anderson Barbata´s Ocean Calling, by Annie Paul. Sternberg Press, 2020

Following the lifework (1960s to 2010) of visionary Singaporean architect William S. W. Lim, The Impossibility of Mapping (Urban Asia) is a compelling compilation of case studies and historical projects. This multifaceted publication takes Lim's ideas to a future Asia: a region defined by an irreducibly complex urban topography under constant flux. Artists, planners, activists, architects, scholars get together in this volume to respond to Lim's critical spatial practice. Research essays, artworks, visual and textual documentation, spatio-temporal maps grapple with the diversity of Southeast Asia, offering unexpected responses to planning, building, and living cities and urban spaces, but also put forward the question, "Who owns the city?". Includes Laura Anderson Barbata´s text: Activating our cities through transdisciplinary transnational projects. World Scientific, 2020

Widely recognized for her collaborative community-directed projects, Laura Anderson Barbata’s work finds expression in the service of cultural exploration and group participation. Ms. Barbata works within a variety of cultures to create art that has meaning and relevance for her collaborators. This exhibition documents Barbata’s collaborations with these communities through books, handmade paper, printworks, sculpture, video, installation and photographs. The exhibition includes projects with an indigenous people of Venezuela, the Yanomami; the GRAS project in Trinidad; and Moko Jumbies, a multidimensional project involving brightly-costumed stilt walkers in locations ranging from Trinidad to Brooklyn. Born in Mexico City, currently living in New York and Mexico, Barbata has shown at the Metropolitan Museum of Art, the Museum of Modern Art in Mexico City, The Modern Art Museum of Fort Worth, and the Museum of Modern Art in Rio de Janeiro. Among Tender Roots was curated by Melissa Potter. 2010

by Laura Anderson Barbata

Latin American and Latin Visual Culture (2020) 2 (2): 90-98.

University of California Press

The Isabella Stewart Gardner Museum's Artist-In-Residence Program is one of the oldest in the country. Gardner's friend John Singer Sargent stayed and painted there. In 1992, the Museum began inviting artists to stay on the premises and respond to the collection. Artists-in-Residence: include: Andrea Anastasio • Laura Anderson Barbata • Ambreen Butt • Maurizio Cannavacciuolo • Martín Espada • Carla Fernández • Vadim Fishkin •Mona Higuchi • Susan Howe • Joan Jonas • Bharti Kher • Joseph Kosuth • Lee Mingwei • Liz Lerman • Steve Locke • David Ludwig • Barbara Lynch • Gregory Maguire • Alicia Hall Moran • Victoria Morton • Melvin Moti • Juan Muñoz • OpenEnded Group • Jean-Michel Othoniel • Laura Owens • Olivia Parker • Zhang Peili • Adam Pendleton • Raqs Media Collective • • Jennifer Tipton • Su-Mei Tse • Nari Ward • Charmaine Wheatley • David Wilson. Texts and essays by Claire Barliant, Pieranna Cavalchini, Audrey Hsia, Casey Riley, Tiffany York. ISGM, 2019

In 1981, Chicana feminist intellectuals Cherríe Moraga and Gloria Anzaldúa published what would become a touchstone work for generations of feminist women of color—the seminal This Bridge Called My Back: Writings by Radical Women of Color. To celebrate and honor this important work, editors gloria j. wilson, Joni B. Acuff, and Amelia M. Kraehe offer new generations A Love Letter to This Bridge Called My Back.

In A Love Letter, creators illuminate, question, and respond to current politics, progressive struggles, transformations, acts of resistance, and solidarity, while also offering readers a space for renewal and healing. The central theme of the original Bridge is honored, exposing the lived realities of women of color at the intersections of race, class, gender, ethnicity, and sexuality, advancing those early conversations on what it means to be Third World feminist conscious.

Laura Anderson Barbata´s chapter on Julia Pastrana was created in collaboration with Director Tamilla Woodard. Julia Pastrana and The Eye of the Beholder (work in progress) offers a multidisciplinary and transdisciplinary performance mash-up about exposing automatic responses of judgment; it combines a lecture format style, performance script, audience prompts, and drawings.

Editors Dr. Trish Biers and Katie Stringer Clary offer a comprehensive examination of death, dying, and human remains in museums and heritage sites around the world with contributions from scholars, practitioners, and artists. Chapters appraise collection practices and their historical context, present global perspectives and potential resolutions, and suggest how death and dying should be presented to the public. Acknowledging that professionals in the galleries, libraries, archives, and museums (GLAM) fields are engaging in vital discussions about repatriation and anti-colonialist narratives, the book includes reflections on a variety of deathscapes that are at the forefront of the debate. Most important, perhaps, the book highlights best practices and calls for more ethical frameworks and strategies for collaboration, particularly with descendant communities.

Laura Anderson Barbata´s chapter, Julia Pastrana´s Long Journey Home illustrated chapter describes the ways in which Pastrana´s gender, race, nationality, and congenital conditions were used to justify her exploitation and deny her rights. Highlighting the dehumanizing Victorian systems of thought and how they continue to operate today. Routledge, 2023