Faculty Profiles

Tarver, G. M. (2024). Mordacious Humor and Happy Oblivion in Colombia: Bernardo Salcedo’s Distinguishing Features. In Humor in Global Contemporary Art. New York, NY: Bloomsbury.

Tarver, G. M. (2023). Oscar Muñoz: El Coleccionista. In 25+. Houston: Sicardi Ayers Bacino.

Tarver, G. M. (2022). We Must Fight: Feliza Bursztyn and Colombian Women in the Arts. In M. Dziewańska & A. Winograd (Eds.), Feliza Bursztyn: Welding Madness (pp. 70–83). Milan, Italy: Skira, for the Muzeum Susch.

Tarver, G. M. (2020). ‘The roar of the river grows ever louder’: Polluted Waters in Colombian Eco-art, from Alicia Barney to Clemencia Echeverri. In L. Gómez-Popescu & L. Blackmore (Eds.), Liquid Ecologies in Latin American and Caribbean Art. New York: Routledge.

Tarver, G. M. (2020). Transparency and Ecocritical Art: Seeing Art History through (to) Alicia Barney’s Yumbo. In Seminário Internacional: Contra o Cânone: Arte, Feminismo(s), e Ativismos Séculos XVIII a XXI / International Seminar: Against the Canon: Art, Feminism(s) Activisms XVIII to XXI Centuries. Retrieved from https://bit.ly/3o7xdcQ

Tarver, G. M., & Duganne, E. (2020). Advertisement Extraction: Interview with Juan David Laserna Montoya. In Global Photography: A Critical History (p. 198). London, United Kingdom: Routledge.

Tarver, G. M. (2020). The Vision to Demand That Which Is Good: Alicia Barney, María Evelia Marmolejo, and the Origins of Colombian Eco-art. AWARE: Archives of Women Artists, Research, and Exhibitions. Retrieved from https://awarewomenartists.com/en/magazine/la-penetration-necessaire-pour-exiger-le-bon-alicia-barney-maria-evelia-marmolejo-et-les-origines-de-lart-ecologique-colombien/

Tarver, G. M. (2019). Antagonistic Environments: Gendered Spaces and the Kinetic Installations of Colombian Artists Feliza Bursztyn, Jacqueline Nova, and Julia Acuña. In A. M. Franco & M. Álvarez (Eds.), New Geographies of Abstract Art in Postwar Latin America. New York, United States: Routledge.

Greet, M., & Tarver, G. M. (Eds.). (2018). Art Museums of Latin America: Structuring Representation. New York, United States of America: Routledge.

Montoya, J. D. L., Tarver, G. M., & Duganne, E. D. (2017). Advertisement Extraction: Interview with Juan David Laserna Montoya. photographies (3rd ed., Vol. 10, pp. 329–345). https://doi.org/10.1080/17540763.2017.1340735

Tarver, G. M. (2016). The New Iconoclasts: From Art of a New Reality to Conceptual Art in Colombia, 1961–1975. Bogotá, Colombia: Ediciones Universidad de los Andes.

Tarver, G. M. (2016, October 5). Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940–1978. CAA Reviews. College Art Association. Retrieved from http://www.caareviews.org/reviews/3093

Tarver, G. M. (2015). Antonio Caro: La obra inacabada. In J. Bejarano, G. M. Tarver, & I. Ramrez (Eds.), Antonio Caro: La obra inacabada. Medellín, Colombia: Museo de Arte Moderno Medellín.

Tarver, G. M. (2015). Adolfo Bernal: Efmero y eterno/Adolfo Bernal: Ephemeral and Eternal. In Señales: Adolfo Bernal. Bogotá, Colombia: La Oficina del Doctor, Casas Riegner.

Tarver, G. M. (2014). Liberating History: New Museography at the Casa Museo Quinta de Bolƒvar. The International Journal of the Inclusive Museum, 6.

Tarver, G. M. (2014). Antonio Caro: El poder de miopa/Antonio Caro: The Power of Myopia. In Antonio Caro: Sí­mbolo nacional/Antonio Caro: National Symbol. Bogotá, Colombia: Seguras Bolívar.

Tarver, G. M. (2013). The Art of Feliza Bursztyn: Confronting Cultural Hegemony. Artelogie. Retrieved from www.artelogie.fr

Tarver, G. M. (2013). Diego Rivera’s Nude Frida Kahlo. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). Feliciano Centurion’s Luz divino del alma. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). Josephina Guilisasti’s La vigilia. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). José Luis Cuevas’s Still. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). Marcelo Pombo’s Pinacoteca de los pobres. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). Matias Duville’s Espiritu guardian. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). Oscar Muñoz’s Narcissos. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2013). Yoshua Okón’s Poli IV. In Blanton Museum of Art: 110 Favorites from the Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2012). Art Does Not Fit Here: Colombian Conceptual Art between the International “New Avant-Garde” and Colombian Politics. Third Text, 26(6), 729–744.

Tarver, G. M. (2011). ¿Por qué palabras? Hacia una teoría de arte conceptual colombiano, 1970–1975. In Encuentro de Investigaciones Emergentes: Reflexiones, Historias y Miradas. Bogotá, Colombia: Instituto Distrital de las Artes.

Tarver, G. M. (2009). The New York Graphic Workshop, 1964–1970. (G. Perez-Barreiro & U. Davila-Villa, Eds.). Austin, TX, United States of America: Blanton Museum of Art, The University of Texas at Austin.

Tarver, G. M. (2009). The Trepadori Project. In G. Perez-Barreiro, U. Davila-Villa, & G. M. Tarver (Eds.), The New York Graphic Workshop, 1964-1970. Austin, TX, United States of America: Blanton Museum of Art, The University of Texas at Austin.

Tarver, G. M. (2009, April). Where Art, Politics, Poetry, and Pedagogy Converge [Review of Conceptualism in Latin American Art: Didactics of Liberation, by L. Camnitzer]. A Contracorriente: A Journal on Social History and LIterature in Latin America.

Tarver, G. M. (2009). Bernardo Salcedo’s Internationalist Double-Speak. Retrieved from http://utexasclavis.org/forums/

Tarver, G. M. (2007). Alejandro Otero’s Estudio 2, Estudio 3, and Tablón de Pampatar. In G. Pérez-Barreiro (Ed.), The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection. Austin, TX, United States of America: Blanton Museum of Art, The University of Texas at Austin.

Tarver, G. M. (2006). Cildo Meireles. In G. Pérez-Barreiro (Ed.), Blanton Museum of Art: Latin American Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2006). Eugenio Dittborn. In G. Pérez-Barreiro (Ed.), Blanton Museum of Art: Latin American Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (2006). Gonzalo Díaz. In G. Pérez-Barreiro (Ed.), Blanton Museum of Art: Latin American Collection. Austin, TX, United States of America: Blanton Museum of Art, University of Texas Press.

Tarver, G. M. (1999, January). The True Poetry: The Art of María Izquierdo by Elizabeth Ferrer [Review of The True Poetry: The Art of María Izquierdo, by E. Ferrer]. New Mexico Historical Review.