Press

 

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