BALTHUS
Le Cerisier (The Cherry Tree), 1940
A NEW SUBJECTIVITY 1979/2024
CHARLOTTE PARK
Untitled, c. 1955–1960
Gouache on paper
Parrish Art Museum, Water Mill, N.Y.,
Museum Purchase, Audrey McMahon Fund
Recent and upcoming projects:
A NEW SUBJECTIVITY 1979/2024
The Parrish Art Museum, Water Mill, N.Y.
(October 13, 2024 through April 6, 2025)
The exhibition pays tribute to the momentous exhibition NOUVELLE SUBJECTIVITÉ organized by Jean Clair in Brussels at the Palais des Beaux Arts in 1979. Works by BALTHUS, JORDAN CASTEEL, MARTÍ CORMAND, PETER DOIG, RACKSTRAW DOWNES, ROBERT GUINAN, JENNA GRIBBON, JANE FREILICHER, DAVID HOCKNEY, ALEX KATZ, HOWARD KANOVITZ, R. B. KITAJ, DANIELLE MCKINNEY, RAYMOND MASON, ARCMANORO NILES, PHILIPPE ROMAN, and SAM SZAFRAN
CHARLOTTE PARK: THE LIFE OF FORMS IN COLOR | WORKS FROM THE COLLECTION 1950–1985
The Parrish Art Museum, Water Mill, N.Y.
(October 13, 2024 through April 6, 2025)
YOUR MOST DEVOTED AND OBEDIENT SERVANT: THE LETTER OF NICOLAS POUSSIN LETTERS / IHR ERGEBENSTER UND GEHORSAMSTER DIENER: DIE BRIEFE VON NICOLAS POUSSIN (1639–1665), translated, annotated, and with an introduction by Klaus Ottmann (scheduled to be published in English and German in 2025–26)
Christian Wolff, FIRST PHILOSOPHY, OR ONTOLOGY (1730) (translator)
F.W.J. Schelling’s PHILOSOPHY OF REVELATION (1842–42) and Related Texts (editor and translator)
Photo: Rhiannon Newman
Klaus Ottmann is an independent curator, writer, and translator based in New York City. He is the Robert Lehman Curator at the PARRISH ART MUSEUM in Water Mill, N.Y. and Chief Curator Emeritus of THE PHILLIPS COLLECTION in Washington, D.C. He is also the publisher and editor of SPRING PUBLICATIONS, a small publishing press specializing in books on psychology, philosophy, religion, the history of ideas, mythology, classics, comparative literature, art, and ecology. From 1991 to 1995 he was the publisher and editor of the JOURNAL OF CONTEMPORARY ART. In 2016, Dr. Ottmann was conferred the insignia of chevalier of France’s Order of Arts and Letters by the French ministry of culture and communication. In 2023, he received the Extraordinary Contribution to The Phillips Collection Award.
At the Phillips he curated the exhibitions Nordic Impressions: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2018; George Condo: The Way I Think; Arlene Shechet: From Here On Now; Karel Appel: A Gesture of Color; Hiroshi Sugimoto: Conceptual Forms and Mathematical Models; Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet; and Per Kirkeby: Paintings and Sculpture. He also oversaw the installation of a second permanent installation at the Phillips, a Wax Room created by Wolfgang Laib. Dr. Ottmann has curated more than 50 international exhibitions, including Jennifer Bartlett: History of the Universe. Works 1970–2011; Still Points of the Turning World: SITE Santa Fe’s Sixth International Biennial; Life, Love, and Death: The Work of James Lee Byars; Wolfgang Laib: A Retrospective; and Strange Attractors: The Spectacle of Chaos.
His publications include Yves Klein by Himself: His Life and Thought; The Genius Decision: The Extraordinary and the Postmodern Condition; and The Essential Mark Rothko. In 2006, he translated and edited Yves Klein's complete writings from French into English, Overcoming the Problematics of Art: The Writings of Yves Klein. In 2010, he edited and translated F.W.J. Schelling’s Philosophy and Religion (1804) and in 2020, he edited and translated Schelling’s Philosophy of Revelation (1842–42) and related texts from German into English. In 2022, he translated the first part of Christian Wolff’s 1730 First Philosophy, or Ontology from Latin into English. He is currently working on the first complete translation of Nicolas Poussin’s correspondence from French and Italian into English and German.
contact:
ko at nyc.rr.com
With GEORGE CONDO at The Phillips Collection, Washington, D.C., 2017. Photo: Rhiannon Newman
Curated Exhibitions
HIROSHI SUGIMOTO
The Phillips Collection, 2015
TOBI KAHN
The Phillips Collection, 2022
BRIDGET RILEY/PIERRE-AUGUSTE RENOIR
The Phillips Collection, 2022
NORDIC IMPRESSIONS
Scandinavia House, 2019
front: Outi Pieski; back: Mamma Andersson, Hrafnhildur Arnardóttir (aka Shoplifter), and Poul Gernes
MAGGIE MICHAELS/ARTHUR DOVE
The Phillips Collection, 2019
ARLENE SHECHET
The Phillips Collection, 2016
KAREL APPEL
The Phillips Collection, 2016
PER KIRKEBY
Bowdoin College Museum of Art, 2013
CAROL BROWN GOLDBERG/HENRI MATISSE
The Phillips Collection, 2015
JENNIFER BARLETT:
IN AND OUT OF THE GARDEN
The Phillips Collection, Washington, D.C.
(February – April 2024)
JENNIFER BARLETT
The Phillips Collection, 2024
One on One:
UGO RONDINONE/LOUIS EILSHEMIUS
The Phillips Collection, Washington, D.C.
(November 2023 – January 2024)
UGO RONDINONE/LOUIS EILSHEMIUS
The Phillips Collection, 2023
JAMES BROOKS:
A PAINTING IS A REAL THING
Parrish Art Museum, Water Mill, N.Y. (August – October 2023)
JAMES BROOKS: PAINTING IS A REAL THING
The Parrish Art Museum, 2023
TOBI KAHN
Works from the Permanent Collection
The Phillips Collection, Washington, D.C.
(February – July 2022)
One on One:
BRIDGET RILEY/PIERRE-AUGUSTE RENOIR
The Phillips Collection, Washington, D.C.
(February – May 2022)
CONVERSATIONS
Works from the permanent collection by Mequita Ahuja, Bruce Davidson, Edgar Degas, Philip Guston, Paul Gauguin, Ralph Gibson, Frank Lobdell, Aaron Maier-Carretero, Malerie Marder, John Sloane, Andrea Way, and others.
The Phillips Collection, Washington, D.C. (February – June 2022)
CONVERSATIONS
The Phillips Collection, 2022
top: Aaron Maier-Carretero, Philip Guston, Paul Gauguin; bottom: Malerie Marder, Ralph Gibson, Bruce Davidson, Edgar Degas
NATURE UNFRAMED. Unframed paintings from the permanent collection by Paul Cézanne, Vincent van Gogh, Gustave Courbet, Claude Monet, Augustus Vincent Tack, and Julian Alden Weir. The Phillips Collection, Washington, D.C. (Spring 2021)
One on One: MAGGIE MICHAELS/ARTHUR DOVE—DEPTH OF FIELD. The Phillips Collection, Washington, D.C. (February – May 2019)
NORDIC IMPRESSIONS: ART FROM ÅLAND, DENMARK, THE FAROE ISLANDS, FINLAND, GREENLAND, ICELAND, NORWAY, AND SWEDEN, 1821–2018. The Phillips Collection, Washington, D.C. (October 2018 – January 2019); Scandinavia House, New York (February – June 2019)
THE GIFTS OF TONY PODESTA (co-curated with Jennifer Sakai). Katzen Arts Center, American University Museum, Washington, D.C. (January – March 2019)
THE GIFTS OF TONY PODESTA
Katzen Arts Center, 2019
left to right: Margi Geerlinks, Jone Kvie
REGINA PILAWUK WILSON: NANGI/YERRDAGARRI (Traveling Message Stick) and FI (String Game). Two courtyard murals. The Phillips Collection, Washington, D.C. (since 2018).
REGINA PILAWUK WILSON
The Phillips Collection, 2018
GEORGE CONDO: THE WAY I THINK. The Phillips Collection, Washington, D.C. (March – June 2017); Louisiana Museum of Modern Art, Humlebæk, (November 2017 – February 2018)
GEROGE CONDO
The Phillips Collection, 2017
ARLENE SHECHET: FROM HERE ON NOW The Phillips Collection, Washington, D.C. (October 2016 – May 2017)
With Arlene Shechet at The Phillips Collection, October 2016
JAKE BERTHOT: FROM THE COLLECTION AND PROMISED GIFTS. The Phillips Collection, Washington, D.C. (November 2016 – April 2017)
JAKE BERTHOT
The Phillips Collection, 2016
One on One: ENRIQUE MARTÍNEZ CELAYA/ALBERT PINKHAM RYDER. The Phillips Collection, Washington, D.C. (October 2016 – April 2017)
KAREL APPEL: A GESTURE OF COLOR. The Phillips Collection, Washington, D.C. (June – September 2016)
POSTWAR GERMANIC EXPRESSIONS: GIFTS FROM MICHAEL WERNER. Works by Markus Lüpertz, Jörg Immendorff, A. R. Penck, Georg Baselitz, and Per Kirkeby. The Phillips Collection, Washington, D.C. (September 2015 – April 2016)
POSTWAR GERMANIC EXPRESSIONS
The Phillips Collection, 2015
One on One: CAROL BROWN GOLDBERG/HENRI MATISSE. The Phillips Collection, Washington, D.C. (June 2015 – September 2015)
HIROSHI SUGIMOTO: CONCEPTUAL FORMS AND MATHEMATICAL MODELS. The Phillips Collection, Washington, D.C., (February – May 2015)
FELLOWS CONVERGE: THE MORAL OF THE STORY—SHARING INSPIRATION. Works by Amy Boone-McCreesh, Milana Braslavsky, Lisa Dillin, Billy Friebele, Annette Isham, Joshua Haycraft, Eric Gottesman, and Will Schneider-White. Hamiltonian Gallery, Washington, D.C. (November – December 2014)
FELLOWS CONVERGE: THE MORAL OF THE STORY
Hamiltonian Gallery, 2014
MUHSANA ALI, FODÉ CAMARA, VIYÉ DIBA, AND PINIANG (IBRAHIMA NIANG): DIOCCO. Courtyard mural. The Phillips Collection, Washington, D.C. (2014 – 2021)
Muhsana Ali, Fodé Camara, Viyé Diba, and Piniang (Ibrahima Niang) in front of their mural at The Phillips Collection, 2014
ANGELS, DEMONS, AND SAVAGES: POLLOCK, OSSORIO, DUBUFFET (co-curated with Dorothy Kosinski). The Phillips Collection, Washington, D.C. (February – May 2013); Parrish Art Museum, Water Mill, N.Y. (July – October 2013)
JENNIFER BARTLETT: HISTORY OF THE UNIVERSE (WORKS 1970–2011). Pennsylvania Academy of Fine Arts, Philadelphia (June – October 2013); Parrish Art Museum, Water Mill, N.Y. (Summer 2014)
JENNIFER BARTLETT
Parrish Art Museum, 2014
WOLFGANG LAIB: ”Wohin bist Du gegangen—Wohin gehst Du? (Where Have You Gone—Where Are You Going?).” Permanent Beeswax Room. The Phillips Collection, Washington, D.C. (established in 2013)
LAIB WAX ROOM
The Phillips Collection, Washington, D.C. 2013
PER KIRKEBY: PAINTINGS AND SCULPTURE (co-curated with Dorothy Kosinski). The Phillips Collection, Washington, D.C. (October 2012 – January 2013); Bowdoin College Museum of Art, Brunswick, Maine (March – July 2013)
CONTROLLED CHAOS. Works from the permanent collection by Georges Braque, Anthony Caro, Robert Courtright, Morris Graves, Fairfield Porter, Robert Mangold, Brice Marden, Catherine Murphy, Nicolas de Stael, Myron Stout, Brett Weston, and others. The Phillips Collection, Washington, D.C. (Summer 2012)
CONTROLLED CHAOS
The Phillips Collection, 2012
front: Morris Graves; back: Anthony Caro, Myron Stout, Brice Marden
SELECT 2012: WPA EXHIBITION & AUCTION (co-curator). Works by Kate Boone, Michael Borek, Mia Feuer, James Hyde, Dale Loy, Jean Maisel, and Margot McLean. Washington Projects for the Arts, Washington, D.C. (February 2012)
One on One: PETER DOIG/GEORGES BRAQUE. The Phillips Collection, Washington, D.C. (March– April 2011)
With Peter Doig at The Phillips Collection, March 2011.
Photo: Patti Favero
FAIRFIELD PORTER: RAW – THE CREATIVE PROCESS OF AN AMERICAN MASTER. Parrish Art Museum, Southampton, N.Y. (April – June 2010)
RACKSTRAW DOWNES: ONSITE PAINTINGS, 1972–2008. Parrish Art Museum, Southampton, N.Y. (June – August 2010)
ANTHONY McCALL
EV+A, Limerick, 2007
NATURE UNFRAMED
The Phillips Collection, 2018–19
left to right: Julian Alden Weir, Vincent van Gogh, and Claude Monet
NORDIC IMPRESSIONS
The Phillips Collection, 2018–19
right: Tori Wrånes; left: Akseli Gallen-Kallela
GEORGE CONDO
The Phillips Collection, 2017
ENRIQUE MARTÍNEZ CELAYA/
ALBERT PINKHAM RYDER
The Phillips Collection, 2016
HIROSHI SUGIMOTO
The Phillips Collection, 2015
ANGELS, DEMONS, AND SAVAGES
The Phillips Collection, 2013
PER KIRKEBY
The Phillips Collection, 2012–13
PETER DOIG/GEORGES BRAQUE
The Phillips Collection, 2011
FAIRFIELD PORTER
Parrish Art Museum, 2010
RACKSTRAW DOWNES
Parrish Art Museum, 2010
Pouring a milkstone by Wolfgang Laib,
The Phillips Collection, March 2011
top: Thorns Ltd., “Piece for King John’s Castle, Limerick” (generative audio installation); bottom: Jon Wesseltoft, Snorre Ruch (Thorns Ltd.)
EVA INTERNATIONAL, King John's Castle, Limerick, 2007
PATTY CHANG live performance
SITE Santa Fe Biennial, 2006
JAMES LEE BYARS
Musée d’art moderne et contemporain, Strasbourg, 2004–05
Performing JAMES LEE BYARS’s “The Perfect Smile”
Musée d’art moderne et contemporain, Strasbourg, 2004
WOLFGANG LAIB
Dallas Museum of Art, 2001
OTTO KÜNZLI
Ezra and Cecile Zilkha Gallery, 1992
EXOTISM: David Hammons
Ezra and Cecile Zilkha Gallery, 1990
MARY KELLY
Ezra and Cecile Zilkha Gallery, 1992
TRUE PICTURES
John Good Gallery, 1987
top: Wolfgang Laib; bottom: Moira Dryer, Peter Hopkins
EVA INTERNATIONAL 2007: A SENSE OF PLACE. Works by Shelley Corcoran, Patrick Corcoran, David Dunne, Melissa Earley, Barry Foley, Eric Glavin, Tony Gunning, Amy Hauft, Ashley Holmes, Ronnie Hughes, Eithna Joyce, Jesper Just, Orla Keeshan, Miriam Lohan, Sean Lynch, Enrique Martínez Celaya, Vanessa Marsh, Anthony McCall, Conor McGarrigle, Margot McLean, Marie Louise O’Dwyer, Eamon O’Kane, Alix Pearlstein, Christopher Reid, Andrei Roiter, Aura Rosenberg, Matthew Schenning, Wolfgang Staehle, Siobhán Tattan, Thorns Ltd., Suzannah Vaughan. Limerick, Ireland (March – June 2007).
ALIX PEARLSTEIN
EVA INTERNATIONAL, Limerick 2007
BODIES OF DESIRE: WORKS ON PAPER BY WILLEM DE KOONING AND CHLOE PIENE. Locks Gallery, Philadelphia (January – February 2007)
THE MATERIALIZATION OF SENSIBILITY: ART & ALCHEMY. Works by Edgar Arceneaux, Lynda Benglis, James Lee Byars, Dean Byington, John Chamberlain, Walter de Maria, Teresita Fernández, Spencer Finch, Roni Horn, Yves Klein, Larry Miller, Man Ray, Dario Robleto, Beverly Semmes, Andy Warhol, Robert Watts, Lawrence Weiner, James Welling. Leslie Tonkonow Artworks + Projects, New York (September – October 2006)
THE MATERIALIZATION OF SENSIBILITY
Leslie Tonkonow Artworks + Projects, 2006
STILL POINTS OF THE TURNING WORLD:
SITE SANTA FE'S SIXTH INTERNATIONAL BIENNIAL. Works by Miroslaw Balka, Jennifer Bartlett, Patty Chang, Stephen Dean, Peter Doig, Robert Grosvenor, Cristina Iglesias, Jonathan Meese, Wangechi Mutu, Carsten Nicolai, Wolfgang Laib, Catherine Opie, and Thorns Ltd. SITE Santa Fe (July 2006 – January 2007).
CARSTEN NICOLAI
SITE Sante Fe Biennial, 2006
THE REST IS SILENCE: JAMES LEE BYARS
Mary Boone, Perry Rubenstein, and Michael Werner Galleries, New York (April – June 2006)
JAMES LEE BYARS
Perry Rubenstein Gallery, 2006
LIFE, LOVE, AND DEATH:
THE WORKS OF JAMES LEE BYARS
Schirn Kunsthalle Frankfurt am Main, Germany (May – July 2004); Musée d’art moderne et contemporain, Strasbourg, France (December 2004 – March 2005)
JAMES LEE BYARS
Schirn Kunsthalle, 2004
SOCIAL STRATEGIES: REDEFINING SOCIAL REALISM (co-curated with Pamela Auchincloss). Works by Edgar Arceneaux, Richard Billingham, Jeremy Blake, Tracy Emin, Rainer Ganahl, Gilbert & George, Nan Goldin, Felix Gonzalez-Torres, Jenny Holzer, Mary Kelly, Barbara Kruger, Wolfgang Laib, Julie Mehretu, Glexis Novoa, Paul Pfeiffer, Jack Pierson, Thomas Ruff, Paul Shambroom, Kim Sooja, Beat Streuli, Sam Taylor-Wood, and Sue Williams. University Art Museum, University of California at Santa Barbara (March – May 2003); University Galleries, Illinois State University, Normal, Ill. (August – October 2003); The Richard E. Peeler Art Center, DePauw University, Greencastle, Ind. (November 2003 – February 2004); The Schick Gallery, Skidmore College, Saratoga Springs, N.Y. (March – April 2004); The Newcomb Art Gallery, Tulane University, New Orleans (August – October 2004).
EXTREME EXISTENCE. Works by Bill Viola, Chantal Akerman, Marc Quinn, Patty Chang, Tania Bruguera, Andrei Roiter, Hirsch Perlman, Lucy Gunning, William Kentridge, and Lotte Konow Lund. Pratt Manhattan Gallery, Pratt Institute, New York (September – November 2002).
EXTREME EXISTENCE: Tania Bruguera
live performance
Pratt Manhattan Gallery, 2002
WOLFGANG LAIB: A RETROSPECTIVE. Hirshhorn Museum and Sculpture Garden, Washington, D.C. (October 2000 – January 2001); Henry Art Gallery, Seattle (February 2001); Dallas Museum of Art (May – September 2001); Scottsdale Museum of Contemporary Art (October – December 2001); Museum of Contemporary Art San Diego, La Jolla (January – April 2002); Haus der Kunst, Munich, Germany (October 2002 – January 2003)
WOLFGANG LAIB
Haus der Kunst, Munich, 2002
MARK MORRISROE: MY LIFE. POLAROIDS 1977–1989. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (September – October 1996); Museum of Contemporary Art, Los Angeles (1997); the Neue Gesellschaft für Bildende Kunst, Berlin, Germany (1997)
ANDREI ROITER. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (January – March 1995)
SHOOTING BLIND (co-curated with Vik Muniz). Works by Paul Strand, Nicholas Nixon, Sophie Calle, Evgen Bavcar, Barbara Bloom, Joel Sternfeld, Adam Fuss, Tim Maul, Mary Frey, Michael Scott, Eileen Hohmuth-Lemonick, Gaylen Gerber, and Ariane Lopez Huici. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (January – March 1994)
KUNIÉ SUGIURA / TOM FRIEDMAN. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (August – October 1993)
JAMES HYDE. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (May – June 1993)
CONCRETE JUNGLE. Works by Mark Dion, Alexis Rockman, and Bob Braine. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (October – December 1993).
CONCRETE JUNGLE: Mark Dion
Ezra and Cecile Zilkha Gallery, 1993
IRONY & ECSTASY: CONTEMPORARY AMERICAN PAINTINGS AND DRAWINGS. Works by Mary Beyt, Jessica Diamond, Peter Hopkins, Catherine Howe, James Hyde, Fabian Marcaccio, Suzanne McClelland, Carl Ostendarp, Raymond Pettibon, Jack Pierson, Jim Shaw, Megan Williams, and Adrian Piper. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (September – October 1992). An extended version traveled to the Salama-Caro Gallery, London, in April 1993
GEGEN DEN STRICH/AGAINST THE GRAIN (co-curated with Josef Ramaseder). Works by Mary Beyt, Suzanne McClelland, David Diao, Glenn Goldberg, Peter Hopkins, Carl Ostendarp, and others. Galerie Theuretzbacher, Vienna, Austria (December 1992 – January 1993).
OTTO KÜNZLI: OH SAY. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (May – June 1992)
OTTO KÜNZLI
Ezra and Cecile Zilkha Gallery, 1992
MARY KELLY: GLORIA PATRI. Herbert F. Johnson Museum of Art at Cornell University, Ithaca, N.Y. (March – April 1992); Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (October – December 1992;
ASTRID KLEIN. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (May – June 1991)
ASTRID KLEIN
Ezra and Cecile Zilkha Gallery, 1991
THE GOOD, THE BAD & THE UGLY: KNOWLEDGE AND VIOLENCE IN RECENT AMERICAN ART. Works by Nayland Blake, Larry Clark, John Currin, Lydia Dona, Kenneth Goldsmith, Cady Noland, and Andres Serrano. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (September – October 1991)
THE GOOD, THE BAD & THE UGLY: John Currin, Cady Noland
Ezra and Cecile Zilkha Gallery, 1991
EXOTISM. Works by Carlos Ginsburg, David Hammons, Ana Mendieta, Gerry Morehead, Blinky Palermo, Adrian Piper, Elaine Reichek, and Robert Watts. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (January – March 1990)
THE BROKEN MIRROR. Three site-specific installations by Amy Hauft, Eve Andrée Laramée, and Jessica Stockholder. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (September 1990 – March 1991).
THE BROKEN MIRROR
Ezra and Cecile Zilkha Gallery
Top: Jessica Stockholder: “Untitled Seepage: Sandwashed Sundried & Shrinkwrapped,” 1991;
bottom: Amy Hauft: “A Reasonable Facsimile,” 1990
DAVID DEUTSCH. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (November – December 1989)
KIKI SMITH. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (May – June 1989)
ARDELE LISTER: “SPLIT” (1981) AND “IT HAPPENS TO THE BEST OF US” (1989). Two single-channel videos. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (May – June 1989)
ROTRAUT, UECKER, KLEIN. Works by Yves Klein, Günther Uecker, and Rotraut (Klein-Moquay). Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (August 30 through – October 1989)
CARY SMITH: “WHAT CAN I TELL YOU.”
Painting installation
WOLFGANG STAEHLE: “REQUIEM.”
Video installation
Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (January – March 1989)
STRANGE ATTRACTORS: THE SPECTACLE OF CHAOS (co-curated with Suzan Rezac). Works by Richard Artschwager, Hirsch Perlman, Ellen Carey, Tony Robbin, Holt Quentel, Otto Künzli, Joyce Kozloff, Nachume Miller, and others. 1440 N. Dayton, Chicago, Ill. In association with the New Museum of Contemporary Art, New York (September 1989).
FISCHLI & WEISS: “THE WAY THINGS GO.” Single-channel video. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (September – October 1988)
ALVIN LUCIER. Sound Installations. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (November 1988)
FRANZ ERHARD WALTHER. Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Conn. (August – October 1988)
FATAL STRATEGIES (co-curated with Leslie Tonkonow). Works by Judith Barry, Glenn Branca, Hanne Darboven, Holt Quentel, Dena Shottenkirk, Wolfgang Staehle, William Stone, Mark Tansey, and others. Stux Gallery, New York (January – February 1988).
FATAL STRATEGIES
Stux Gallery, 1988
left to right: William Stone, Mark Tansey, Holt Quentel
HYPERSPACES (co-curated with Leslie Tonkonow). Works by John Dogg, Louise Lawler, Lawrence Weiner, Michele Zalopany, and others. Art City, New York (April 1987).
s
HYPERSPACES
Art City, 1987
top: Michele Zalopany; bottom: John Dogg, Lawrence Weiner
TRUE PICTURES. Works by Moira Dryer, Daniel Faust, Peter Hopkins, Jeff Koons, Wolfgang Laib, John Lamka, and Richard Prince. John Good Gallery, New York (January – February 1987).
PHOTOMANNERISMS. Works by Marina Abramović and Ulay, Mac Adams, Jennifer Bolande, Ellen Brooks, Ellen Carey, Dan Devine, John Lamka, Ange Leccia, Tim Maul, Hirsch Perlman, Josef Ramaseder, Mike and Doug Starn, and James Welling, and others. Lawrence Oliver Gallery, Philadelphia (1987).
PHOTOMANNERISMS
Lawrence Oliver Gallery, 1987
SUPERMANNERISM. Works by Mike Bidlo, Nina Beaty, Moira Dryer, John Dogg, Hal Meltzer, and Peter Hopkins. Davies Long Gallery, Los Angeles (1986).
SUPERMANNERISM
Davies Long Gallery, 1986
from to right: Hal Meltzer, John Dogg
BODIES OF DESIRE
Locks Gallery, 2007
ENRIQUE MARTÍNEZ CELAYA
EVA INTERNATIONAL, Limerick Cathedral, 2007
MARGOT McLEAN
EVA INTERNATIONAL, The Hunt Museum, Limerick, 2007
JAMES LEE BYARS
Mary Boone Gallery, 2006
ROBERT GROSVENOR
SITE Santa Fe Biennial, 2006
WOLFGANG LAIB pouring a Milkstone,
San Diego Museum of Contemporary Art, 2002
JAMES HYDE
Ezra and Cecile Zilkha Gallery, 1993
ROTRAUT, UECKER, KLEIN,
Ezra and Cecile Zilkha Gallery, 1989
KIKI SMITH
Ezra and Cecile Zilkha Gallery, 1989
STRANGE ATTRACTORS:
1440 N. Dayton, Chicago, 1989
top: Holt Quentel, Tony Robbin; bottom: Eve Andrée Laramée
FRANZ ERHARD WALTHER,
Ezra and Cecile Zilkha Gallery, 1988
Published Writings
I. Catalogues and Books (authored, edited, or translated)
JAMES BROOKS: A PAINTING IS A REAL THING (Water Mill, N.Y.: Parrish Art Museum; New York: DelMonico Books/D.A.P, 2023). Exhibition catalog
JENNIFER BARTLETT & PIERRE BONNARD: IN AND OUT OF THE GARDEN (Washington, D.C.: The Phillips Collection; London: D Giles Ltd., 2020)
NORDIC IMPRESSIONS: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2018 (Washington, D.C.: The Phillips Collection, 2017). Exhibition catalog
GEORGE CONDO: THE WAY I THINK (Washington, D.C.: The Phillips Collection; Humlebæk, Denmark: Louisiana Museum of Modern Art, 2017). Exhibition catalog
KAREL APPEL: A GESTURE OF COLOR — PAINTINGS AND SCULPTURES, 1947–2004 (Washington, D.C.: The Phillips Collection; Munich/Berlin: Sieveking Verlag, 2016). Exhibition catalog
HIROSHI SUGIMOTO: CONCEPTUAL FORMS AND MATHEMATICAL MODELS (The Phillips Collection, Washington, D.C.; (Ostfildern: Hatje Cantz, 2015). Exhibition catalog
JENNIFER BARTLETT: HISTORY OF THE UNIVERSE. WORKS 1970–2011 (Water Mill, N.Y.: Parrish Art Museum; New Haven: Yale University Press, 2013). Exhibition catalog
ANGELS, DEMONS, AND SAVAGES: POLLOCK, OSSORIO, DUBUFFET (Washington, D.C.: The Phillips Collection; New Haven: Yale University Press, 2013) (with Dorothy Kosinski). Exhibition catalog
PER KIRKEBY: PAINTINGS AND SCULPTURE (Washington, D.C.: The Phillips Collection; New Haven: Yale University Press, 2012) (with Dorothy Kosinski). Exhibition catalog
CHARLES ROSS: THE SUBSTANCE OF LIGHT (Santa Fe: Radius Books, 2012) (with Thomas McEvilley)
YVES KLEIN BY HIMSELF: HIS LIFE AND THOUGHT (Paris: Éditions Dilecta, 2010)
YVES KLEIN: WORKS, WRITINGS (Barcelona: Ediciones Polígrafa, 2010)
RACKSTRAW DOWNES: ONSITE PAINTINGS, 1972–2008 (Southampton, N.Y.: Parrish Art Museum; London: D Giles Ltd./Parrish Art Museum, 2010). Exhibition catalog
FAIRFIELD PORTER: RAW—THE CREATIVE PROCESS OF AN AMERICAN MASTER (Southampton, N.Y.: Parrish Art Museum; London: D Giles Ltd./Parrish Art Museum, 2010). Exhibition catalog
F.W.J. Schelling, PHILOSOPHY AND RELIGION (1804), translated, annotated, and with an introduction by KLAUS OTTMANN (Putnam, Conn.: Spring Publications, 2010)
THE HUMAN ARGUMENT: THE WRITINGS OF AGNES DENES, edited and with an introduction by KLAUS OTTMANN (Putnam, Conn.: Spring Publications, 2008)
OVERCOMING THE PROBLEMATICS OF ART: THE WRITINGS OF YVES KLEIN, translated and with an introduction by KLAUS OTTMANN (Putnam, Conn.: Spring Publications, 2007)
OPEN EV+A 2007: A SENSE OF PLACE (Limerick, Ireland: Limerick City Gallery of Art, 2007). Exhibition catalog
STILL POINTS OF THE TURNING WORLD: SITE SANTA FE’S SIXTH INTERNATIONAL BIENNIAL (Santa Fe: SITE Santa Fe, 2006). Exhibition catalog
THOUGHT THROUGH MY EYES: WRITINGS ON ART, 1977–2005 (Putnam, Conn.: Spring Publications, 2006)
THE REST IS SILENCE: JAMES LEE BYARS (New York: Mary Boone, Perry Rubenstein, and Michael Werner Galleries, 2006). Exhibition catalog
Gershom Scholem, ALCHEMY AND KABBALAH, translated and with an introduction by KLAUS OTTMANN (Putnam, Conn.: Spring Publications, 2006)
COLOR SYMBOLISM: THE ERANOS LECTURES, edited, translated, and with an introduction by KLAUS OTTMANN (Putnam, Conn.: Spring Publications, 2005)
THE GENIUS DECISION: THE EXTRAORDINARY AND THE POSTMODERN CONDITION, second, revised and expanded edition (Putnam, Conn.: Spring Publications, 2015)
JAMES LEE BYARS: LIFE, LOVE, AND DEATH (Frankfurt am Main: Schirn Kunsthalle; Ostfildern-Ruit: Hatje Cantz, 2004) (English/German). Exhibition catalog
THE ESSENTIAL MARK ROTHKO (New York: Harry N. Abrams/The Wonderland Press, 2003)
WOLFGANG LAIB: A RETROSPECTIVE (New York: American Federation of Art; Ostfildern-Ruit: Hatje Cantz, 2000). Exhibition catalog
THE ESSENTIAL MICHELANGELO (New York: Harry N. Abrams/The Wonderland Press, 2000)
MARK MORRISROE (Santa Fe: Twin Palms Publishing, 1999)
II. Essays, Articles, and Interviews
”Yves Kleins tilegnelse af rum og tid/Yves Klein’s Co-Optation of Space and Time” (in Danish and English), in YVES KLEIN: DET UENDELIGE RUM/THE INFINITE SPACE (Silkeborg: Museum Jorn, 2023). Exhibition catalog
“New York: Die 1980er Jahre und das Journal of Contemporary Art. Ein persönlicher Bericht (New York: The Eighties and the Journal of Contemporary Art. A Personal Account” (in German), in KUNSTFORUM INTERNATIONAL 288 (April 2023): 182–89
“Honor Titus’s Moral Imaginations,” in HONOR TITUS: BOURGEOISIE IN BLOOM (London: Timothy Taylor, 2022). Exhibition catalog
“Milton Falling,” in MILTON RESNICK: HAWKEYE (New York: Van Doren Waxter, 2022). Exhibition catalog
“Prométhée délivré/Prometheus Unbound” (in French and English), in YVES KLEIN: LES ÉLÉMENTS ET LES COULEURS/ELEMENTS AND COLORS (Paris: Éditions ARTEOS; Massignac: Domaine des Étangs, 2020). Exhibition catalog“Yves Klein e la sua idea di azzurro dell’acqua e dell’aria” (in Italian), in GNOSIS: RIVISTA ITALIANA DI INTELLIGENCE 3 (2020): 30–37.
“The Life of Words,” in BRIAN DAILEY: WORDS (Washington, D.C.: Katzen Arts Center, American University Museum, 2018). Exhibition brochure
”Material Presences,” in THE GIFTS OF TONY PODESTA (Washington, D.C.: Katzen Arts Center, American University Museum, 2018). Exhibition catalog
“The Attended Moment: Arlene Shechet’s Mindful Installation at The Phillips Collection,” in ARLENE SHECHET: FROM HERE ON NOW (Washington: The Phillips Collection, 2017). Exhibition catalog
“The Cloud of Unknowing: Jake Berthot's Paintings,” in JAKE BERTHOT: FROM THE COLLECTION AND PROMISED GIFTS (Washington: The Phillips Collection, 2017). Exhibition catalog
“Peindre le corps électrique” (in French), in KAREL APPEL: L’ART EST UNE FÊTE! (Paris: Musée d’Art moderne de la Ville de Paris, 2017). Exhibition catalog
“Yves Klein’s Utopia of Enthusiasm,” in YVES KLEIN (Liverpool: Tate Liverpool, 2016). Exhibition catalog
“The Museum as a Contemplative Space,” in CHANGING VIEWS: ART, CONTEMPLATION & WELLNESS, edited by Lindsey Helper (Charlottesville: OpenGrounds/University of Virginia, 2015)
“The Appel Effect,” in KAREL APPEL: RETROSPECTIVE (The Hague: Gemeentemuseum, 2015). Exhibition catalog
“No Ethics Without Aesthetics,” in CONVERSATIONS WITH JAMES HILLMAN: CITY & SOUL, edited by Robert Sardello (Dallas: The Dallas Institute of Humanities & Culture, 2015)
“Yves Klein’s Ethics of Immateriality,” in YVES KLEIN/DAVID HAMMONS (Aspen: Aspen Art Museum, 2014). Exhibition catalog
“Schelling’s Fragile God,” in MODELS OF GOD AND ALTERNATIVE ULTIMATE REALITIES, edited by Jeanine Diller and Asa Kasher (New York/Heidelberg: Springer, 2013)
“Tirar a Renda e Soprar na Flor,” in JULIÃO SARMENTO: WHITE NIGHTS (Porto: Museu de Arte Contemporanea de Serralves, Porto, 2012). Exhibition catalog
“Yves Klein: FC 1 (1962),” in FC 1 (New York: Christie’s, 2012)
“Action and Spatial Engagement: A Conversation with Frank Stella,” SCULPTURE (April 2011): 24–29
“In the Zero of Form: Klein, Byars, Kapoor” in KLEIN BYARS KAPOOR (Nice: MAMAC, 2011). Exhibition catalog
“The Human Form Divine: Wangechi Mutu’s ‘Enceptual’ Art/Götter in Menschengestalt: Wangechi Mutus ‘enzeptionelle’ Kunst” (in German and English), in WANGECHI MUTU (Berlin: Deutsche Guggenheim, 2010). Exhibition catalog
“A Conversation with Wolfgang Laib,” in WOLFGANG LAIB (Turin: Fondazione Merz, 2010). Exhibition catalog“YVES le philosophe,” in YVES KLEIN: WITH THE VOID, FULL POWERS (Washington, D.C.: Hirshhorn Museum and Sculpture Garden; Minneapolis: Walker Art Center, 2010). Exhibition catalog
Entries on “James Lee Byars, Janine Antoni, Roni Horn, Ann Hamilton, Christian Marclay, Agnes Martin, Larry Poons, Richard Prince, Mike and Doug Starn, Rackstraw Downes, Peter Voulkos, David Wojnarowicz, Neil Jenney, Dorothy Miller, and the American Federation of Arts,” in GROVE ENCYCLOPEDIA OF AMERICAN ART, Oxford University Press, 2011
“Turin Goes Vedic,” ART IN AMERICA (November 2009): 166–69
“The Ethos of Tobi Kahn’s Sacred Spaces,” in TOBI KAHN: SACRED SPACES FOR THE 21ST CENTURY (New York: Museum of Biblical Art, 2009). Exhibition catalog
“A Sense of Place,” in SPRING: A JOURNAL OF ARCHETYPE AND CULTURE 79 (2008): 219–28
“Cristina Iglesias’s Metaphysical Forests,“in THE ARCHITECTURE OF DESIRE (Colorado Springs: Colorado College, 2008). Exhibition catalog
“From Grief to Spring,” in JOAN SNYDER: … AND SEEKING THE SUBLIME (Boston: Nielsen Gallery,2008). Exhibition catalog
“A Sense of Place,” SPRING: A JOURNAL OF ARCHETYPE AND CULTURE 79 (2008): 219–228
“From the Other Side (De l’autre côte),” in CHANTAL AKERMAN: MOVING THROUGH TIME AND SPACE, Houston: Blaffer Gallery, University of Houston, 2008). Exhibition catalog
“(Un)Holy Grounds: The Floor Sculptures of Carl Andre and Wolfgang Laib,” SCULPTURE (March 2008): 30–35
“Sundry Pragmatic Thoughts on Lawrence Weiner’s A MEANS TO AN END,” in SUMMER 2007. (East Hampton, N.Y.: Salomon Contemporary,2007). Exhibition catalog
“Somewhere in the 20th Century” (in German and English), in CARSTEN NICOLAI: STATIC FADES (Zurich: Haus Konstruktiv, 2007). Exhibition catalog
“Experience or Interpretation: What You See Is Not What You Read,” THE JOURNAL OF AESTHETIC EDUCATION, vol. 41, no. 2 (Summer 2007)
“Robert Grosvenor in His Own Place,” SCULPTURE (October 2005): 38–43
“Painting Heads,” in TONY BEVAN (Valencia: IVAM, Valencia, 2005). Exhibition catalog
“Turning Banality into Magic,” in ANDREI ROITER (Helsinki: Galerie Anhava, 2005). Exhibition catalog
“Robert Grosvenor as an American,” in ROBERT GROSVENOR (Porto: Museu Serralves, 2005). Exhibition catalog
“Gateways of the Now: Remarks on the Drawings of Wolfgang Laib,” in THE ESSENCE OF THE REAL: WOLFGANG LAIB—DRAWINGS AND PHOTOGRAPHS (Bonn, Kunstmuseum, 2005). Exhibition catalog
“James Lee Byars: A Lifetime’s Death in Love,” in JAMES LEE BYARS: THE PERFECT SILENCE (New York: Whitney Museum of American Art, 2004). Exhibition brochure
“The Strange Life of Andrei Roiter’s Objects/Das kuriose Leben der Objekte von Andrei Roiter” (in German and English), in ANDREI ROITER: INSCAPES (Recklinghausen: Kunsthalle, 2004). Exhibition catalog
“Frank Stella’s Prince of Ambiguity,” SCULPTURE (June 2004): 35–39
“The Art of Happenstance: The Performative Sculptures of James Lee Byars,” SCULPTURE (November 2002): 32–37
“Spiritual Materiality: Contemporary Sculpture and the Responsibility of Forms,” SCULPTURE (April 2002): 36–41
“Beyond Transcendence,” in THE INWARD EYE: TRANSCENDENCE IN CONTEMPRARY ART (Houston: Contemporary Arts Museum, 2001). Exhibition catalog
“ ‘Certitude is the Imaginary’: The Drawings of Wolfgang Laib,” ART ON PAPER (November–December 2000): 61–65
“Rotraut’s Miraculous Life-Forms,” in ROTRAUT (Cologne: Galerie Gmurzynska, 2001). Exhibition catalog
“ ‘Certitude is the Imaginary’: The Drawings of Wolfgang Laib,” Art On Paper (November–December 2000); 61–65
“L’uomo e il suo ambiente alla Biennale di Kwangju/Man and his Environment at the Kwangju Biennial” (in Italian and English), DOMUS 827 (June 2000): 91–96
“Io Sono: un’nuovo umanesimo nell’arte e nel design americani / I am: A New Humanism in American Art and Design” (in Italian and English), DOMUS 816 (June 1999): 108–9
“The World As Picture: Image Production at the End of the Twentieth Century,” POIESIS: A JOURNAL OF THE ARTS AND COMMUNICATION (1999): 14–15
“The Polaroids of Mark Morrisroe,” in MARK MORRISROE: MY LIFE. POLAROIDS 1977–1989 (Middletown: Ezra and Cecile Zilkha Gallery, Wesleyan University, 1997). Expanded version published in the catalogue for the exhibition at the Neue Gesellschaft für Bildende Kunst, Berlin
“Effetto Chelsea/The Chelsea Effect” (in Italian and English), DOMUS 791 (March 1997): 96–97
“Agnes Martin,” “Larry Poons,” and “Neil Jenney,” in THE DICTIONARY OF ART (London/New York: Macmillan/Grove, 1996)
“Peter Hopkins” (in German), in Positionen (Essen: Museum Folkwang, 1996)
“James Hyde, Serge Spitzer, Peter Hopkins,” in 44th BIENNIAL EXHIBITION OF CONTEMPORARY AMERICAN PAINTING (Washington, D.C.: The Corcoran Gallery of Art, 1995). Exhibition catalog
“Deceiving Appearances/Trügerische Erscheinungen” (in English and German), in JOAN FONTCUBERTA: WUNDERGARTEN DER NATUR (Salzburg: Rupertinum, 1995). Exhibition catalog
“A. R. Penck" (Interview), JOURNAL OF CONTEMPORARY ART 7, no. 1 (Summer 1994): 80–88.
“Evgen Bavcar‘s Mnemonic Images,” THE PRINT COLLECTOR‘S NEWSLETTER 25, no. 4 (September–October 1994).
“Leon Golub, Catherine Howe, David Humphrey,” in 43RD BIENNIAL EXHIBITION OF CONTEMPORARY AMERICAN PAINTING (Washington, D.C.: The Corcoran Gallery of Art, 1993). Exhibition catalog
”Mary Kelly” (Interview), JOURNAL OF CONTEMPORARY ART 5, no. 2 (Fall/Winter 1992): 15–22. Reprinted in Margaret Iversen, Douglas Crimp, Homi K. Bhabha, MARY KELLY (London: Phaidon Press, 1997)
”Photography and the Common Consciousness," in MULTIPLE EXPOSURE: THE GROUP PORTRAIT IN PHOTOGRAPHY (Middletown: Ezra and Cecile Zilkha Gallery, Wesleyan University, 1992). Exhibition catalogue.
”Jewelry and its Relation to the Unconscious,” in OTTO KÜNZLI: OH SAY (Middletown: Ezra and Cecile Zilkha Gallery, Wesleyan University, 1992). Exhibition catalog.
“Criticism and the Common Consciousness,” ACME JOURNAL 1, no. 1 (Spring 1992): 61–67
“Juan Uslé: The Absolute of Passage,” in JUAN USLÉ (Madrid: Soledad Lorenzo, 1991). Exhibition catalog
”Joe Andoe” (Interview), JOURNAL OF CONTEMPORARY ART 4, no. 2 (Fall/Winter 1991): 5–8
”Lydia Dona” (Interview), JOURNAL OF CONTEMPORARY ART 4, no. 2 (Fall/Winter 1991): 26–36
“Astrid Klein’s Phenomenology of Absence,” in ASTRID KLEIN (Middletown, Conn.: Ezra and Cecile Zilkha Gallery, Wesleyan University, 1991). Exhibition catalog
“Mimmo Rotella” (Interview), JOURNAL OF CONTEMPORARY ART 4, n. 1 (Spring/Summer 1991): 101–106
“Jessica Stockholder” (Interview), JOURNAL OF CONTEMPORARY ART 4, n. 1 (Spring/Summer 1991): 96–100
“Heidegger, Beuys, and the Consequences,” FLASH ART 154 (October 1990): 123–24
“Mike & Doug Starn: Entretien avec Klaus Ottmann,” in MIKE & DOUG STARN (Paris: Éditions Antoine Candau, 1990).“Cady Noland. La mort en action,” ART PRESS 148 (June 1990): 48–50
“L’activité fractaliste,” ART PRESS 144 (February 1990): 31–33
“Cady Noland” (in Japanese), THE FABULOUS 1, no. 0 (May 1990): 86–87
“Wolfgang Staehle” (Interview), JOURNAL OF CONTEMPORARY ART 3, no. 2 (Fall/Winter 1990): 55–62
”Mike and Doug Starn” (Interview), JOURNAL OF CONTEMPORARY ART 3, no. 1 (Spring/Summer 1990): 66–78
“The Dialectic of Modernism,” in HELLENIKON (New York: City Gallery, New York City Department of Cultural Affairs, 1990)
“De Natura Rerum,” in JOE ANDOE (New York: Blum Helman Gallery, 1989). Exhibition catalog
”Domes of the World," in DAVID DEUTSCH: NEW WORK (New York: Blum Helman Gallery, 1989). Exhibition catalog
“The New Spiritual,” ARTS (October 1989): 44–46
“Moira Dryer" (Interview), JOURNAL OF CONTEMPORARY ART 2, no. 1 (Spring 1989): 50n.57. Reprinted in MOIRA DRYER: PAINTINGS 1989–1992 (Toronto: Art Gallery of York University, 2000). Exhibition catalog
“Günther Förg" (Interview), JOURNAL OF CONTEMPORARY ART 2, no. 1 (Spring 1989).
“The Re-Invention of Painting,” ARTS Magazine (January 1989): 40–42
“Foreword,” in RANDOLFO ROCHA (Boston: Stux Gallery, 1988). Exhibition catalog
“The Gaze of Orpheus,” FLASH ART 143 (November/December 1988): 74–75
“The Art of the Deal,” FLASH ART 140 (May/June 1988): 86–87
”Jeff Koons” (Interview), JOURNAL OF CONTEMPORARY ART 1, no. 1 (Spring/Summer 1988): 18–23
“Wolfgang Laib” (Interview), JOURNAL OF CONTEMPORARY ART 1, no. 1 (Spring/Summer 1988): 90–96. Reprinted in FLASH ART 138 (January/February 1988): 100–101
“Neo-Geo” (in Japanese), BIJUTSU TECHO 588 (December 1987): 30–31; 34–37
“Photomannerisms,” FLASH ART 137 (November/December 1987): 70–72
“The Spectacle of Chaos,” FLASH ART 135 (Summer 1987): 60–61
“Berlin: A Place for Painting,” HARPER’S BAZAAR (June 1987): 136–37; 158
“Rosemarie Trockel,” FLASH ART 134 (May 1987): 38–39
”True Pictures,” FLASH ART 132 (February/March 1987): 90–91
“Mannerism Anti-Mannerism,” FLASH ART 131 (December 1986/January 1987): 64–65
”Supermannerism,” FLASH ART 127 (April 1986): 59–61
”Who Paints Abstractly?” FLASH ART 126 (February/March 1986): 47
“The World According to … Byars, Beuys, Dokoupil,” FLASH ART 125 (December 1985/January 1986): 55–56
“Die Malerei im Zeitalter der Angst: Die Kunst der Achtziger Jahre—Eine Beschreibung” (in German), KUNSTFORUM INTERNATIONAL 80 (July – September 1985): 46–49
”Art and Masquerade,” ART & TEXT 19 (1985): 47–55
“The Solid and the Fluid: Bartlett, Laib, Kiefer,” FLASH ART 123 (Summer 1985): 48–49
”Artists in Exile,"” FLASH ART 122 (April/May 1985): 26–29
“Painting in an Age of Anxiety,” FLASH ART 118 (Summer 1984): 32–35. Reprinted in THE HUMAN CONDITION (San Francisco: San Francisco Museum of Modern Art, 1984). Exhibition catalogue
III. Reviews
“Bill Seaman/David Winton Bell Gallery, Brown University, Providence, RI,” ARTUS 3 (June–August 2004): 52
“Glexis Novoa/Worcester Art Museum,” ARTUS 2 (April–May 2004): 23
“Douglas R. Weathersby/ICA Boston,” ARTUS 2 (April–May 2004): 28
“Mark Tansey,” ARTNEWS (June 2000): 144
“Works On Paper,” ARTNEWS (May 2000): 232
“Kwangju Biennale 2000,” ARTNEWS (June 2000): 154
“Robert Grosvenor,” ARTNEWS (May 2000): 228
“Renée Green,” C MAGAZINE (February–May 2000)
“Jackson Pollock at The Museum of Modern Art,” C MAGAZINE (February-April 1999): 47.
“Michael Schmidt,” C MAGAZINE (July–September 1996): 50
“Marcel Broodthaers,” C MAGAZINE (January–March 1996): 58
“Larry Clark,” Flash Art 156 (January/February 1991): 130–31
“Georg Baselitz,” FLASH ART 156 (January/February 1991): 122p
“Betsy Kaufman,” FLASH ART 150 (January/February 1990): 136–37
“Edward Kienholz and Nancy Reddin Kienholz,” FLASH ART 150 (January/February 1990): 125
“Inge Mahn,” FLASH ART 149 (November/December 1989): 141
“Lorna Simpson,” FLASH ART 149 (November/December 1989): 142
“Louise Bourgeois,” FLASH ART 148 (October 1989): 130
“Gerhard Hoehme,” FLASH ART 148 (October 1989): 133
“James Lee Byars,”FLASH ART 147 (Summer 1989): 141
“Dreamings: The Art of Aboriginal Australia,” FLASH ART 145 (March/April 1989): 116–17
“Anselm Kiefer,” FLASH ART 144 (January/February 1989): 107
“Joe Andoe,” FLASH ART 144 (January/February 1989): 124
“Sol LeWitt,” FLASH ART 142 (October 1988): 133
“Tony Tasset/James Welling,” FLASH ART 141 (Summer 1988): 138
“European Sculpture—Made in USA,” FLASH ART 141 (Summer 1988): 136
“William Stone,” FLASH ART 141 (Summer 1988): 136–37
“Thomas Locher/Thomas Grünfeld,” Flash Art 140 (May/June 1988): 104–5
“Peter Halley,” FLASH ART 138 (January/February 1988): 123
“Doug and Mike Starn,” FLASH ART 138 (January/February 1988): 126
“Elaine Sturtevant,” FLASH ART 137 (November/December 1987): 105–6p
“Europe, Europe,” FLASH ART 136 (October 1987): 74
“Gerhard Richter,” FLASH ART 136 (October 1987): 98
“Lydia Dona,” FLASH ART136 (October 1987): 100
“Sandro Chia,” FLASH ART 136 (October 1987): 102
“Heavenly Embrace,” FLASH ART 136 (October 1987): 107
“James Van Der Zee,” FLASH ART 136 (October 1987): 107–8p
“Donald Judd,” FLASH ART 136 (October 1987): 108
“The Art of the Real,” FLASH ART 136 (October 1987): 117
“Gerhard Merz,” FLASH ART 135 (Summer 1987): 96
“Jennifer Bartlett,” FLASH ART 134 (May 1987): 83
“Vito Acconci,” FLASH ART 134 (May 1987): 88
“Jennifer Bolande/Moira Dryer/Annette Lemieux,” FLASH ART 133 (April 1987): 94
“Francis Bacon,” FLASH ART 119 (November 1984): 40–41
“Wake Up, Kynaston McShine!” FLASH ART 118 (Summer 1984): 63
“Maler in Kreuzberg: Zu einer Ausstellung von Bildern Rainer Fettings” (in German), BERLIN-TELEGRAMM 21 (November 7–11, 1977): 6–7
“Transformer Salomé” (in German), INZEIT 13 (September 1977)
“LOVA RIMINI” (in German), INZEIT 11 (July 1977): 41–43