Next: 28 Art Curators to Watch Who Took on New Appointments in 2018". 30 December 2018 . Retrieved 2020-06-17.

In 2019, The Carl & Marilynn Thoma Art Foundation awarded Russell the Arts Writing Award in Digital Arts, which offers awardees a spot in the Rauschenberg Residency fellowship. [8] Mitter, Siddhartha (2019-07-10). "Studio Museum in Harlem Names Artists in Residence". The New York Times. ISSN 0362-4331 . Retrieved 2020-06-17. a b Armstrong, Annie (2018-08-09). "Studio Museum in Harlem Names Legacy Russell Associate Curator". ARTnews.com . Retrieved 2020-06-17. I wondered if that was part of the symbolic work that “glitch” was doing, taking the argument beyond Cyberfeminism. In one of its strands, Cyberfeminism was very utopian, claiming technology as a vehicle of liberation. The glitch seems to be about inhabiting contradiction: you’re in those spaces, but also looking for the moments where you can turn them against themselves, where they break down.a b Mitter, Siddhartha (8 June 2021). "Legacy Russell Is Named Next Leader of the Kitchen". The New York Times . Retrieved 22 August 2021. You write in the book, “Glitch is anti-body, resisting the body as a coercive social and cultural architecture.” That brought to mind all the discussions since the pandemic about what it means to be an “essential worker,” that it’s actually a privilege to have access to digital work and not have to show up as a body for work. That’s a question that your manifesto opens up for me: How do you balance embracing the liberating possibilities of cyber identity with the realities that some people’s means of survival make those inaccessible? Glitch Feminism is a monumental publication in its (re)framing of glitch as feminist and as the power of “no.” It’s a timely release with well-chosen artists spotlighted (Russell is a curator after all!), with Russell’s art criticism angle bringing a fresh focus to thinking about the space of potential between intersectionality, data capitalism, and digital technology. Many of the themes Russell brings up greatly overlap with trans literature, such as the dilemma of visibility, (il)legibility, ethics of the archive and (mis)labelling, and the body; there is room here to further bring trans perspectives into Glitch Feminism. These essays hold great relevance to women and gender studies, queer and trans studies, anti-racism, critical encounters with archives, digital humanities, contemporary art, new media and visual/screen cultures, community-engaged arts, and so forth. If you’re interested in any of these areas or looking to read an intersectional take on embodiment, what it means to have a body in a digital age, and what it means to be connected, Glitch Feminism is highly recommended. Embodiment is time and time again positioned as parallel to glitch — both are ongoing, both hold potential for expansion and reconceptualization in tandem with each other: “One is not born, but rather becomes, a body. And one is not born, but rather becomes, a glitch”. [8] a b "Legacy Russell wins 2019 Arts Writing Award in Digital Arts". Contemporary And (in German) . Retrieved 2020-06-17.

Gugliotta, Bobette (1971). Nolle Smith: Cowboy, Engineer, Statesman. Dodd, Mead. ISBN 9780396063902.Legacy Russell named Executive Director of the Kitchen". Artforum. 8 June 2021 . Retrieved 22 August 2021. Russell worked at the online platform Artsy, expanding the company's gallery relations across Europe. [10] She has worked at The Metropolitan Museum of Art, The Whitney Museum of Art, the Brooklyn Museum, and CREATIVE TIME. [ citation needed] She is a contributing editor at BOMB Magazine. [10] Writing edit Russell, Legacy. "Prayer? Or Practice? Social Shrines and the Ritualized Performance of Reality in Contemporary Art". Academia.edu.