Rhea Anastas (given birth to March 11, 1969, in Gloucester, Massachusetts) can be an artwork historian, critic, curator and a co-employee professor in the Division of Art, College or university of California, Irvine. She was also among the founding people of Orchard, an experimental artist-run gallery in the low East Part in NY. Previously Anastas has taught in the Art and Curatorial Practices in the general public Sphere program in the Roski School of Art and Style, University of Southern California, THE GUTS for Curatorial Studies and Art in Modern Culture at Bard College, and was a lecturer in the Mason Gross School from the Arts at Rutgers University. Anastas received her B.A. and M.A. in Artwork Background from Columbia College or university in 1990 and 1995 respectively, and her PhD in Artwork History through the Graduate Middle of the town University of NY in 2004. Her dissertation was entitled The Whole Designer: Dan Graham and Robert Smithson, Functions and Writings, 1965–69.
Anastas, Rhea; Ledare, Leigh (2015). Increase Bind. A.R.T. Press. Anastas, Rhea (2012). Allan McCollum. JRP-Ringier. Anastas, Rhea; Brenson, Michael (2006). See to Her Artwork: Artwork and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne. Middle for Curatorial Research, Bard University. Anastas, Rhea; Brouwer, Marianne; Verlag, Richter (2001). Dan Graham: Functions 1965-2000.
New Slashes, K8 Hardy, January 10-March 20, 2015, School Art Galleries, School of California, Irvine. Artwork in Embassies Exhibition, Curator, with Barbara Piwowarska, U.S. Embassy Home, Warsaw, Poland (for Ambassador Lee A. Feinstein), Oct 2010 through 2011. Performers exhibited: Jo Baer, Melvin Edwards, Louise Lawler, Zoe Leonard, Jadwiga Maziarska, Lorraine O’Grady, Włodzimierz Pawlak, R. H. Quaytman, Allan Sekula, Jack port Whitten, Petra Wunderlich. Orchard, 2005-2008, Co-founder, organizer of varied exhibitions and applications.
Articles and essays
Language may be the social clothe themselves in Josephine Pryde, The Pleasure of Pictures. Zurich: JRP Ringier and Kunsthalle Bern, 2015. Types of the Feminist Everyday in Jennifer Bornstein. Berlin: Buchhandlung Walther König and Berliner Künstlerprogram der DAAD, 2015. The Designer Is a Money Rhea Anastas, Gregg Bordowitz, Andrea Fraser, Jutta Koether, Glenn Ligon, in Reading/Sense, eds. Tanja Baudoin, Frédérique Bergholtz and Vivian Ziherl. Amsterdam: EASILY Can’t Dance, I Don’t DESIRE TO BE A PART OF Your Trend, 2013. Reprint of 2006 roundtable for Gray Space no. 24 and Documenta 12. Person and Unreal: Agnes Martin’s Writings in 1973 in Agnes Martin, eds. Lynne Cooke, Karen Kelly and Barbara Schröder. New Haven: Yale University or college Press as well as the Dia Artwork Foundation, NY, 2011, pp. 132–152. Minimal Difference: The John Daniels Gallery as well as the First Functions of Dan Graham in Dan Graham: Beyond, eds. Bennett Simpson and Chrissie Iles. LA: Museum of Modern Artwork; Cambridge, Mass.: The MIT Press, 2009, pp. 110–126. ‘Not really in eulogy not really in praise however in reality': Ruth Vollmer yet others, 1966–70 in Nadja Rottner and Peter Weibel, eds. Ruth Vollmer 1961–1978 Considering the Range. Ostfildern: Hatje Cantz, 2006, pp. 71–85. The Reconstruction Procedure: Barry Le Va, 1968–1975 in Ingrid Schaffner, ed. Barry Le Va: Accumulated Eyesight. Philadelphia: The Institute of Modern Artwork, 2005, pp. 36–53.