PRESS & PUBLISHED WRITING
PRESS
2024
Hyperallergic: Artists Alter Their Work, Protesting San Francisco Institution’s “Silence” on Gaza
48 Hills: Artists alter their own work at YBCA to protest Gaza silence and decry censorship
KQED: Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest
Square Cylinder: On YBCA’s Bay Area Now9
2023
Vanity Fair: Leisure, Adornment, and Beauty Are Radical Acts in “Resting Our Eyes”
The Cut: 'Resting Our Eyes': 10 Black Artists at ICA San Francisco’
2021
San Francisco Examiner: Questions of faith in art, self and religion by Max Blue
Artillery Magazine: Leila Weefur’s Hymns for Other Voices:Uncomfortable Questions by Barbara Morris
48 Hills: ‘New Labor Movements III’ continues stunning probe of Black identities by Genevieve Quick
2020
48 Hills: In ‘New Labor Movements,’ curator Leila Weefur traces the legacy of Frederick Douglass by Emily Wilson
2019
KQED: “Leila Weefur Renders Black Experience Dreamlike in ‘Between Beauty & Horror,” by Sarah Hotchkiss
Afterimage: “Exhibition Review: Leila Weefur: Between Beauty & Horror,” by Roula Seikaly
Art In America: “Dig Beneath the Beautiful” by Kevin Killian
2018
East Bay Express: “Futurescape Spells Project Brings Public Art Installation to Oakland Billboards” by Shukla
2017
Film Quarterly: “Death Grips”; a Black film dossier, Vol. 71, Number 2, by Michael Boyce Gillespie
PUBLISHED WRITING
2021 SEEN — Issue 003: Shaping Time on Isaac Julien’s Lessons of the Hour at McEvoy Foundation
2020 Baest Journal: Still Life in Black No. 2
California College of the Art: Subject to Change
This Is Not a Gun: Set of Keys for Joseph Fennell
2019 Between Beauty & Horror, Published by Sming Sming Books, Introduction by Elena Gross
Color Theory, White Cube, edited Maya Gomez and Vreni Castillo by published by Wolfman Books
2018 After The Internet, The Underbuilt, collaborative essay with Caroline Sinders and The Black
Aesthetic for, Living Room Light Exchange Publication
Percussive Ritual in Asma Kazmi’s City of Migrants: Indian Mangoes by the Red Sea, Essay on
Asma Kazmi, for “deep-time construction” exhibition by Contemp+orary & Wattis Institute
for Contemporary Arts