Dr. Sheila Dickinson is an art critic and art historian based in St. Paul. She wrote regularly for Circa: Irish and International Contemporary Art in Ireland and for Quodlitbetica, she currently writes for MN Artists, Temporary Art Review and Hyperallergic. She is Visiting Assistant Professor in Art and Art History at Macalester College.
Ana Mendieta Comes to Life in Her Films,” Hyperallergic, December 1, 2015, Web
“A Nighttime Journey Through Minneapolis in Search of Art,” Hyperallergic, June 19, 2015, Web.
“A Novel Comes to Life as a Warped Sculptural Wonderful,” Hyperallergic, May 28, 2015, Web
"Artists Serve up the Radical Power of Eating," Hyperallergic, April 9, 2015, Web.
"The Push and Pull of Claiming an Irish Heritage," Hyperallergic, April 1, 2015, Web.
"Artists Serve up the Radical Power of Eating," Hyperallergic, April 9, 2015
"The Push and Pull of Claiming an Irish Heritage," Hyperallergic, April 1, 2015
"In Heavy Rotation," MN Artists, March 23, 2015
"Recap: Lane Relyea on DIY Culture, Alternate Art Spaces and Making Objects into Subjects," Walker Art Center blog, November 25, 2014
"An Art Historian Asks: Why do I Like the Internet Cat Video Festival so much?" Walker Art Center Blog, August 22, 2014
"Review: Post Physical: Visual Reactions to the Post Internet Age at SooLocal," Temporary Art Review, July 25, 2014
"Dance the Body Electric: Art historian Sheila Dickinson watched NYC-based choreographer Netta Yerushalmy's intimate, living room dance-and-spoken word performance in F.D. 13," MN Artists, May 7 2014
“Alice Maher.” The Art and Architecture of Ireland, Vol V. Dublin: Royal Irish Academy and Yale University Press, 2014
“Digital Culture and Art(ists) on the Verge.” mnartists.org (May 2013).
“Nina Cannell: Stray Warmings at Midway Contemporary Art.” Circa. Recirca.com (March 2013)
“The Art of Play: Review of Why We Do This by Andy DuCett.” mnartists.org (Oct 2012).
“Paint, Blood and Tears.” Artic Circus: Rita Duffy. Banbridge, N. Ireland: F. E. McWilliam Gallery, 2012.
“Relational Aesthetics, A Debate: Thomas O. Haakenson and Sheila Dickinson.” Quodlitbetica: Writing, Arts, Criticism 11 (Dec 2010)
“City Drawings as Spatial Grotesque.” Quodlitbetica: Writing, Arts, Criticism 10 (Oct 2010) www.quodlitbetica.com.
“Posers and Pranksters: Getting serious on the art of The Yes Men and Hasan Elahi.” Quodlitbetica: Writing, Arts, Criticism 7 (April 2010)
“Contemporary Manifestations of Irish Oral Culture: Four performance and new media artworks from Ireland.” In Anail an Bheal Bheo: Orality in Modern Irish Culture. Edited by Nessa Cronin, Sean Crossin, and John Eastlake. Cambridge: Cambridge Scholars Publishers, 2009: 99-112.
“The State of Art History in Ireland: Replies and Response to James Elkins.” Circa 118 (Winter 2006): 36-47.
“Review of Linda Quinlan: It’s good that life has many circles, Fenton Gallery, Cork. Circa 117 (Autumn 2006): 66-67.
“Review of Alice Maher: Rood, Green on Red Gallery, Dublin. Circa 114 (Winter 2005): 86-87.
“Book Review of 'Dialogues: Women Artists from Ireland,' by Katy Deepwell, London & New York: IB Taurus, 2005.” Circa 111 (Spring 2005): 104-105.
“Review of Medusae: A site-specific installation by Dorothy Cross on Valentia Island, Co. Kerry. Circa 104 (Summer 2003):82-83.
“Review of Lorna Simpson, Irish Museum of Modern Art.” Sculptors’ Society of Ireland Newsletter June/July/August 2003: 48.
“West: Review of Galway art exhibitions during Autumn 2001.” Circa 99 (Spring 2002): 58-59.
I write about contemporary art, mostly visual art, but also performance art and art with social practice.
Ph.D., History of Art, University College Dublin, Ireland
M.Phil. in Irish Studies, National University of Ireland, Galway
B.A., St. Olaf College
My doctorate is on gender and art practice in contemporary Irish art, focusing on the alternative use of media by Alice Maher, Dorothy Cross and Kathy Prendergast.