Ph.D., University of Texas at Austin, 2002
Modern and Contemporary Art of the U.S. and Europe;
Feminist and Gender Theories
Dr. Richmond’s research and teaching focus on modern and contemporary art history, with a specific emphasis on feminist practices and the social and material histories of U.S. art and visual culture since 1945. Research for her first book, Lynda Benglis: Beyond Process (2013; paperback 2015), was supported by a fellowship through the Georgia O’Keeffe Research Center for American Modernism. It also received a SECAC Award for Excellence in Scholarly Research and Publication. Dr. Richmond has written numerous exhibition reviews and articles for journals including American Art, Journal of Modern Craft, Camera Obscura, Art Journal, Feminist Theory, and Art Papers. At GSU, she teaches a graduate methodology course as well as seminars on various topics on modern art, theory, and criticism.
Affiliations – Institute for Women’s, Gender, and Sexuality Studies
Lynda Benglis: Beyond Process. London: I.B. Tauris Press, 2013; reissued in paperback, 2015. http://www.ibtauris.com/Search%20Results.aspx?query=lynda+benglis*Recipient of the Award for Excellence in Scholarly Research and Publication, Southeastern College Art Conference, 2013.
“The Sentimentality of Ree Morton’s Signs of Love,” American Art (forthcoming fall 2016).
“Introduction” and co-edited forum, “Sexing Sculpture: New Approaches to Theorizing the Object.” Art Journal 72, no. 4 (Winter 2013). With Jillian Hernandez.
“‘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.
“Sizing Up the Dildo: Lynda Benglis’ Artforum Advertisement as a Feminist Icon.” n.paradoxa: international feminist art journal 15 (2005): 24-34.