Andrianna Campbell-Lafleur is a globally recognized historian, art critic, and curator specializing in modern and contemporary art.
Campbell-Lafleur studied at the Rhode Island School of Design (RISD), where she received her BFA degree in printmaking in 2001.[1] While at RISD, the RISD Museum awarded her a Andrew Mellon Fellowship. She then worked on the curatorial team at Forbes, where she managed an international art collection.[2]
She received a doctorate from the Department of Art History at the Graduate Center, CUNY in 2020, with her research focused on the artist Norman Lewis and Abstract Expressionism.[3] [4] [5]
While working on a book project, Campbell-Lafleur taught at Yale University from 2016-2023. Her essays have appeared in publications in award winning catalogues for Norman Lewis and Julie Mehretu. Her curatorial projects at the Dia Art Foundation, Forbes Galleries, James Cohan Gallery, and Abrons Art Center have gained favorable press in the New Yorker, Brooklyn Rail, and the New York Times. Campbell-Lafleur has authored essays on contemporary art for Artforum, Art in America, and Vanity Fair. In 2016, she co-edited an edition of the International Review of African American Art dedicated to Norman Lewis.
Following the election of President Donald Trump in November 2016, Campbell-Lafleur collaborated with MoveOn.org to encourage artists to protest by creating graphics, signs, and slogans to support the 2017 Women's March and, in her own words, "promote positive change, not perpetuate the negative rhetoric coming from the President-elect."[6]
In October 2017, Campbell-Lafleur opened a pop-up shop named Anger Management inside of the Brooklyn Museum, with visual artist Marilyn Minter. The shop aimed to serve as an outlet of protest for more than 70 artists, of which Campbell-Lafleur and Minter recruited as vendors for the shop. Its proceeds would be distributed between Planned Parenthood, the American Civil Liberties Union, or a different charity of artists's choice. Celebratory articles in Vogue, W Magazine, Garage, French 24 television and the New York Times T Magazine soon appeared. Discussing the show, Campbell-Lafleur commented that "circulating images, like those created by the Anger Management vendors, contributes to a feeling of solidarity".[7] [8] [9]