selected writings

i. catalogues and books (author, editor, or translator)

JENNIFER BARTLETT & PIERRE BONNARD: IN AND OUT OF THE GARDEN. Exh. cat. (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. Exh. cat. (Washington, D.C.: The Phillips Collection, 2017).

GEORGE CONDO: THE WAY I THINK. Exh. cat. (Washington, D.C.: The Phillips Collection; Humlebæk, Denmark: Louisiana Museum of Modern Art, 2017).

KAREL APPEL: A GESTURE OF COLOR — PAINTINGS AND SCULPTURES, 1947–2004. Exh. cat. (Washington, D.C.: The Phillips Collection; Munich/Berlin: Sieveking Verlag, 2016).

HIROSHI SUGIMOTO: CONCEPTUAL FORMS AND MATHEMATICAL MODELS. Exh. cat. The Phillips Collection, Washington, D.C. (Ostfildern: Hatje Cantz, 2015).

JENNIFER BARTLETT: HISTORY OF THE UNIVERSE (WORKS 1970–2011). Exh. cat. (Water Mill, N.Y.: Parrish Art Museum; New Haven: Yale University Press, 2013).

ANGELS, DEMONS, AND SAVAGES: POLLOCK, OSSORIO, DUBUFFET. Exh. cat. (Washington, D.C.: The Phillips Collection; New Haven: Yale University Press, 2013) (with Dorothy Kosinski).

PER KIRKEBY: PAINTINGS AND SCULPTURE. Exh. cat. (Washington, D.C.: The Phillips Collection; New Haven: Yale University Press, 2012) (with Dorothy Kosinski).

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. Exh. cat. (Southampton, N.Y.: Parrish Art Museum; London: D Giles Ltd./Parrish Art Museum, 2010).

FAIRFIELD PORTER: RAW — THE CREATIVE PROCESS OF AN AMERICAN MASTER. Exh. cat. (Southampton, N.Y.: Parrish Art Museum; London: D Giles Ltd./Parrish Art Museum, 2010).

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. Exh. cat. (Limerick, Ireland: Limerick City Gallery of Art, 2007).


THOUGHT THROUGH MY EYES: WRITINGS ON ART, 1977–2005 (Putnam, Conn.: Spring Publications, 2006).

THE REST IS SILENCE: JAMES LEE BYARS. Exh. cat. (New York: Mary Boone, Perry Rubenstein, and Michael Werner Galleries, 2006).

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. Exh. cat. (Frankfurt am Main: Schirn Kunsthalle; Ostfildern-Ruit: Hatje Cantz, 2004) (English/German).

THE ESSENTIAL MARK ROTHKO (New York: Harry N. Abrams/The Wonderland Press, 2003).

WOLFGANG LAIB: A RETROSPECTIVE. Exh. cat. (New York: American Federation of Art; Ostfildern-Ruit: Hatje Cantz, 2000).

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

“Milton Falling,” in MILTON RESNICK: HAWKEYE. Exh. cat. Van Doren Waxter, New York, 2022.

Yves Klein e la sua idea di azzurro dell’acqua e dell’aria,” in GNOSIS: RIVISTA ITALIANA DI INTELLIGENCE 3 (2020): 30–37.

“The Attended Moment: Arlene Shechet’s Mindful Installation at The Phillips Collection,” in ARLENE SHECHET: FROM HERE ON NOW. Exh. cat. The Phillips Collection, Washington, D.C., 2017.

“The Cloud of Unknowing: Jake Berthot's Paintings,” in JAKE BERTHOT: FROM THE COLLECTION AND PROMISED GIFTS. Exh. cat. The Phillips Collection, Washington, D.C., 2017

“Peindre le corps électrique,” in KAREL APPEL: L’ART EST UNE FÊTE! Exh. cat. Musée d’Art moderne de la Ville de Paris, 2017.

“The Museum as a Contemplative Space,” in CHANGING VIEWS: ART, CONTEMPLATION & WELLNESS, ed. Lindsey Helper. Charlottesville: OpenGrounds/University of Virginia, 2015.

“The Appel Effect,” in KAREL APPEL: RETROSPECTIVE. Exh. cat. Gemeentemuseum Den Haag, 2015.

“No Ethics Without Aesthetics,” in CONVERSATIONS WITH JAMES HILLMAN: CITY & SOUL, ed. R. Sardello. The Dallas Institute of Humanities & Culture, 2015.

“Yves Klein’s Ethics of Immateriality,” in YVES KLEIN/DAVID HAMMONS. Exh. cat. Aspen Art Museum, 2014.

“Schelling’s Fragile God,” in MODELS OF GOD AND ALTERNATIVE ULTIMATE REALITIES, ed. Jeanine Diller and Asa Kasher. New York/Heidelberg: Springer, 2013.

“Tirar a Renda e Soprar na Flor,” in JULIÃO SARMENTO: WHITE NIGHTS. Exh. cat. Museu de Arte Contemporanea de Serralves, Porto, 2012.

“Yves Klein: FC 1 (1962),” in FC 1. New York: Christie’s, 8 May 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. Exh. cat. MAMAC, Nice, 2011.

“The Human Form Divine: Wangechi Mutu’s ‘Enceptual’ Art/Götter in Menschengestalt: Wangechi Mutus ‘enzeptionelle’ Kunst” in WANGECHI MUTU. Exh. cat. Deutsche Guggenheim, Berlin, 2010.

“A Conversation with Wolfgang Laib,” in WOLFGANG LAIB. Exh. cat. Fondazione Merz, Turin, 2010.

“YVES le philosophe,” in YVES KLEIN: WITH THE VOID, FULL POWERS. Exh. cat. Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Walker Art Center, Minneapolis, 2010.

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.

“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. Exh. cat. Museum of Biblical Art, New York, 2009.

“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.

“From Grief to Spring,” in JOAN SNYDER: ... AND SEEKING THE SUBLIME. Exh. cat. Nielsen Gallery, Boston, 2008.

“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, Exh. cat. Blaffer Gallery, University of Houston, Houston, 2008.

“(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. Exh. cat. Salomon Contemporary, East Hampton, N.Y., 2007.

“Somewhere in the 20th Century,” in CARSTEN NICOLAI: STATIC FADES. Exh. cat. Haus Konstruktiv, Zurich, 2007.

“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. Exh. cat. IVAM, Valencia, 2005.

“Turning Banality into Magic,” in ANDREI ROITER. Exh. cat. Galerie Anhava, Helsinki, 2005.

“Robert Grosvenor as an American,” in ROBERT GROSVENOR. Exh. cat. Museu Serralves, Porto, 2005.

“Gateways of the Now: Remarks on the Drawings of Wolfgang Laib,” in THE ESSENCE OF THE REAL: WOLFGANG LAIB – DRAWINGS AND PHOTOGRAPHS. Exh. cat. Kunstmuseum, Bonn, 2005.

“James Lee Byars: A Lifetime’s Death in Love,” in JAMES LEE BYARS: THE PERFECT SILENCE. Exh. brochure. Whitney Museum of American Art, New York, 2004.

“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. Exh. cat. Contemporary Arts Museum, Houston, 2001.

“’Certitude is the Imaginary’: The Drawings of Wolfgang Laib,” ART ON PAPER (November-December 2000): 61–65.

“Io Sono: un’nuovo umanesimo nell’arte e nel design americani / I am: A New Humanism in American Art and Design,” DOMUS 816 (June 1999): 108-109.

“Criticism and the Common Consciousness,” ACME JOURNAL, Vol 1, No. 1 (Spring 1992): 61-67.

“Heidegger, Beuys, and the Consequences,” FLASH ART 154 (October 1990): 123–124.

“Cady Noland. La mort en action,” ART PRESS (Paris) 148 (June 1990).

“L’activité fractaliste,” ART PRESS (Paris) 144 (February 1990): 31–33.

“The New Spiritual,” ARTS (October 1989): 44–46.

“The Reinvention of Painting,” ARTS Magazine (January 1989): 40–42.

“The Spectacle of Chaos,” FLASH ART 135 (Summer 1987): 60–61.

“The World According to ... Byars, Beuys, Dokoupil,” FLASH ART 125 (December 1985/January 1986): 55–56.

“The Solid and the Fluid: Bartlett, Laib, Kiefer,” FLASH ART 123 (Summer 1985): 48–49.

“Painting in an Age of Anxiety,” FLASH ART 118 (Summer 1984): 32–35.