Robin Holder

Lisa E. Farrington, Ph.D.

Endnotes

1 Robin Holder, quoted in Robert Henkes, The Art of Black American Women: Works of Twenty-Four Artists of the Twentieth Century (Jefferson, NC: McFarland, 1993), 133; Caffyn Kelly, "Robin Holder," in Leslie King-Hammond, et al., Gumbo Ya-Ya: Anthology of Contemporary African-American Women Artists (New York: Midmarch Arts Press, 1995), 107.

2 Ibid.

3 Ibid., The "good guys / bad guys" text is inscribed on a small exquisite assemblage by Holder, which includes a maquette of the artist as a youngster.

4 Website of the Art Students League, accessed 7 July 2008.

5 Mexicanidad aesthetics refers to the reconnection of Mexico's cultural identity to its past heritage and the artistic expression that evolved from it by artists such as Diego Rivera, Frida Kahlo, and David Alfaro Siquerios.

6 Holder, interview by Dorit Yaron, 28 March 1999, cited in "What's Black and White and Red All Over? The Work of the African-American Jewish Female Artist Robin Holder," Master of Arts Thesis, Graduate School, University of Maryland, College Park, 2000, p. 24, 32, 47.

7 Melanie Anne Herzog, Elizabeth Catlett: An American Artist in Mexico (Seattle and London: University of Washington Press, 2000), passim; Jeanne Zeidler, ed., Elizabeth Catlett: Works on Paper 1944-1992 (Hampton, VA: Hampton University Museum, 1993), passim.

8 Holder, quoted in Kelly, "Robin Holder," in King-Hammond, et al., Gumbo Ya-Ya, 107.

9 Holder to Farrington, electronic letter dated 8 January 2009.

10 From 1977-1987 Robin Holder wrote all municipal, state, federal, foundation and corporate grant applications and reports for the Printmaking Workshop. She represented the Workshop to prospective contributors, administered the outreach program, documented and cross referenced the guest artist, outreach, general workshop, editioning, print collection/exhibition and class programs. In addition Holder started the Fellowship Program, co-produced 2 portfolios, and coordinated several exhibitions and special events. For 14 years she created all her prints at the Printmaking Workshop until getting a press and setting up her own studio. Holder to Farrington, electronic letter dated 8 January 2009; Hildreth York, "Bob Blackburn and the Printmaking Workshop," Black American Literature Forum v.20, n.1/2 (Spring/Summer 1986): 80-95.

11 Yaron, "What's Black and White and Red All Over?" p. 51.

12 Holder, quoted in Kelly, "Robin Holder," in King-Hammond, et al., Gumbo Ya-Ya, 107; idem, interview with Lisa Farrington, 11 December 2008, West Milford, NJ.

13 Ibid., 138; Yaron, "What's Black and White and Red All Over?" p. 50.

14 Henkes, The Art of Black American Women, 131.

15 Ibid.

16 Holder, quoted in Kelly, "Robin Holder," in King-Hammond, et al., Gumbo Ya-Ya, 107; Holder letter to Henkes cited in idem., The Art of Black American Women, 131.

17 Ibid.

18 Yaron, "What's Black and White and Red All Over?"

19 Holder, interview by Yaron in idem, "What's Black and White and Red All Over? p. 11, 32.

20 Holder, interview by Farrington, 11 Dec 2008, West Milford, NJ.

21 Ibid.

22 Ibid.

23 Holder, "Behind Each Window, A Voice," undated Artist's Statement, typescript, unpaginated.

24 Ibid.

25 Holder, "Making Art: Artist Robin Holder," Mid Atlantic Arts Foundation Newsletter v.1, n. 3 (Summer 2002): 10.

26 Ibid.

27 Henkes cited in idem., The Art of Black American Women, 131.

28 "Artists for Transit: Robin Holder," posted on the State of New York Metropolitan Transit Authority [MTA] website New York City [NYC] Transit page, accessed 23 August 2008.

29 Holder, cited in Kelly, "Robin Holder," in King-Hammond, et al., Gumbo Ya-Ya, 107.

30 Ibid.

31 "Robin Holder: 2006 Collectors' Guild Commissioned Artist," Artists Biographies download page for the National Black Arts Festival, 2006, accessed 23 August 2008.

32 "Entitled: Black Women Artists" was disbanded after about five years. Mira Schor, Emma Amos, Susan Bee, Johanna Drucker, Maria Fern´ndez, Amelia Jones, Shirley Kaneda, Helen Molesworth, Howardena Pindell, Collier Schorr and Faith Wilding, "Contemporary Feminism: Art Practice, Theory, and Activism—An Intergenerational Perspective," Art Journal, v. 58, n. 4 (Winter 1999): 8-29, esp. 10; Robin Holder, interview by Yaron, cited in "What's Black and White and Red All Over?" p. 63, 65.

33 York, "Bob Blackburn and the Printmaking Workshop," 80-95.

34 Faith Ringgold, The Last Story Quilt, produced by Linda Freeman (Chappaqua, NY: L&S Video), video, 30 minutes.

35 Holder, interview with Farrington, 11 December 2008.

36 David C. Driskell, et al., African American Visual Aesthetics: A Postmodernist View (Washington, DC: Smithsonian, 1995), 36, 101.

37 Driskell, et al., African American Visual Politics, 84.

38 Nikos Stangos, et al., Concepts of Modern Art (London: Thames and Hudson, 1993), ch. 18; Driskell, et al., African American Visual Aesthetics," 115.

39 Ibid., 18; Driskell, et al., 84, 89, 112; Gibson; Calvin Reid, "How We Got To Now," International Review of African American Art 16, n. 4 (2000): 16.

40 Ibid.; Brockington, "After Representation," 42; Susan F. Rossen, et al., African Americans in Art: Selections from the Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1999), 109.

41 Holder, quoted in Kelly, "Robin Holder," in King-Hammond, et al., Gumbo Ya-Ya:), 107.