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Susan Richmond


Susan Richmond joined the Art History faculty as an assistant professor in 2006. In her research and teaching, she focuses on questions of gender, sexuality, and class in modern and contemporary U.S. art and visual culture. Her forthcoming book on Lynda Benglis (I.B. Tauris Press) provides the first in-depth, art historical analysis of the artist’s career and her vital contributions to contemporary sculptural practices. Dr. Richmond is currently at work on a project about the role of sentimentality and love in Ree Morton’ sculptural installations; this research forms part of a larger study on the gendering of aesthetic taste in post-war American art. In 2009, Richmond co-curated Losing Yourself in the 21st Century, an exhibition of new media works by emerging female artists that debuted at the Welch Art Gallery before travelling to Maryland Art Place in Baltimore in 2010.

Courses taught:
The Long Decade of the 1960s
Contemporary Art and Visual Culture
Gender Issues in Contemporary Art
Contemporary Art, Theory, and Criticism
Twentieth Century Painting and Sculpture
Introduction to Art Historical Methodology
Survey of Art Since 1900

Selected Publications:
“‘From Stone to Cloud:’ Mary Kelly’s Love Songs and Feminist Intergenerationality.” Feminist Theory 11, no. 1 (2010): 57-78.
“The Ins and Outs of Female Sensibility: A 1973 Video by Lynda Benglis.” Camera Obscura 23, no. 3, 69 (2008): 80-109.
“Stop Frame, Rewind, Push Forward: Mary Kelly’s Love Songs.” Art Papers 32, no. 4 (July/Aug 2008): 26-31.
“Sheila Pree Bright’s Suburbia: Where Nothing is Ever Wanting.” Art Papers 31, no. 4 (July/Aug 2007): 18-22.
“Impassioned Witnesses: Women Artists, The Body and The Shame of Censorship,” in Potentially Harmful: The Art of American Censorship, pp. 80-87. Ed. Cathy Byrd, with Susan Richmond. Ernest G. Welch School of Art & Design Gallery, Georgia State University, Atlanta, 2006. [Distributed by D.A.P.]
“Sizing Up the Dildo: Lynda Benglis’ Artforum Advertisement as a Feminist Icon.” n.paradoxa: international feminist art journal 15 (2005): 24-34.