Selected solo and collaborative exhibitions and performances

Let it GO!, tulip planting, public art project, Camp Washington Gateway, Cincinnati

Flower Boxes, public art project, Wave Pool Gallery, Cincinnati

Camp Street Corner, Wave Pool Gallery, Cincinnati
木timbreland木, with Yoshi Nakamura and Froghole?, public art project, Valley Park, Contemporary Arts Center Performance Festival, Cincinnati

Bad Music Seminar: Becoming Animal, The Carnegie, Covingington, KY, August 11
Music To Die To: Eno’s Music for Airports, performance Studio 94, A Side/B Side, London, March 12

Bad Music Seminar 10: Music From the Heartland, The Colloquium for Unpopular Culture, NYU, New York, April
Bad Music Seminar 9: Becoming Animal, MICA, Baltimore, April

Sparrow Come Back Home, Institute of Contemporary Arts, London
Sparrow Come Back Home, Clay Street Press Gallery, Cincinnati
A Purposeless Play, Wave Pool, Cincinnati, including Bad Music Seminar 7: Punk & DIY
Performance of John Cage’s Variations II, arranged for 5 turntables, The Carnegie, Covington, KY

Kosuth’s “One and Three Chairs” juxtaposed with The Dead Kennedys’ Holiday in Cambodia, Cherry & Lucic, Portland, OR

Sparrow Come Back Home, Delaware Center for Contemporary Arts, Wilmington (catalogue)    
Bad Music Seminar 2, performance, The Showroom, London

Mao Songs, Contemporary Museum, Baltimore, Maryland

Morning Star, Country Club Gallery, Cincinnati, Ohio

Rothko Chapel, University of Cincinnati Music Conservatory–paintings for performance of Morton Feldman’s Rothko Chapel

Mao Songs, Weston Art Gallery, Cincinnati, Ohio

State Fare, Wexner Center, Columbus, Ohio (catalogue)

Utopian-Bands, 2kolegas, Beijing

Streets of London, 1000000mph, London

Hippy, Trans Hudson Gallery, New York

Economist Building, London

Trans Hudson Gallery, Jersey City

TennisportArts, New York

Condeso/Lawler Gallery, New York

Marianne Deson Gallery, Chicago
Studio Carlo Grossetti, Milan

Juda Rowan Gallery, London

Marianne Deson Gallery, Chicago
Studio Carlo Grossetti, Milan

Studio Carlo Grossetti, Milan


Selected group exhibitions and performances

Monsieur Zohore: MZ.25 (My Condolences), M+B Gallery, Los Angeles, curated by Monsieur Zohore

Flower Box Community Project, Wave Pool Gallery
The Scripts Found in a Bottle, Found in Can, Found in a Discourse, The Green Gallery, Milwaukee, curated by Matt Morris

Speculative Magenta Hauntology, Ruschwoman, Chicago, curated by Matt Morris

Facts ‘n’ Figures, Kunstraum am Schauplatz, Vienna, Curated by Georg Freuenschuh
Flugblätter, Clay Street Press/Cincinnati, Düsseldorf/Germany, Kendall/England, Dordrecht/Holland,  Maebashi/Japan, Loitz/Germany, 2017-2020, curated by Birgit Jensen, (catalogue)

Songs the Plants Taught Us, Anytime Dept., Cincinnati
Words, Converso, Milan, curated by Zoe Stillpass

Plastilene, fluc, Vienna, April-May, curated by Gerlind Zeilner
“An old, mad, blind, despised and dying king,” Drawing in a Time of Fear and Lies, Hyperallergic, online exhibition, February 24 https://hyperallergic.com/427048/mark-harris-rulers-who-neither-see-nor-feel-nor-know/  

“Citoyens,” Drawing in a Time of Fear and Lies, Hyperallergic, online exhibition, June 17
The Nothing That Is, The Carnegie, Covington, KY, curated by Matt Distel

Bad Music Seminar 8: Plants and the Music of Utopia, UIC Chicago, Greenhouse and Plant Laboratory, Expanded Art History for Plants, “Talk no. 4: The Sound of Utopia     https://www.facebook.com/events/1023189157773103/
Mistaken Impressions, Root Division, San Francisco

After the Moment: Reflections on Robert Mapplethorpe, Contemporary Arts Center, Cincinnati, curated by Steven Matijcio
Bad Music Seminar 6: War, Wave Farm, NY, https://wavefarm.org/ta/schedule/578nak

Bad Music Seminar 3: Sex, Murder, Politics, 4: Song Poems and 5: Becoming-Animal, performances, The Horse Hospital, London

Dial Collect, SOMArts Cultural Center, San Francisco, curated by Cal Cullen

London Open, Whitechapel Art Gallery, London, curated by Kirsty Ogg (catalogue)
Pathway: Drawing In, On and Through the Landscape, at Drawing Now Paris, Carrousel du Louvre, curated by Claire Gilman, The Drawing Center, New York 

Utopia, OH, CS13, Cincinnati
Pathway: Drawing In, On and Through the Landscape, The Drawing Center
with The Big Screen Project, New York, curated by Claire Gilman
Aloha Means both Hello and Goodbye, U-turn, Cincinnati, curated by Matt Morris, (catalogue)
44, The Contemporary Art Center, Cincinnati (video screening), curated by Aaron Walker
Sculpture Key West 2011, Key West, Florida, curated by Lilly Wei

High Society: Mind-altering drugs in history and culture, Wellcome Collection, London, curated by Mike Jay
Huxy: Modes of Masculinity, Museum Gallery/Gallery Museum, Cincinnati (performance)

The Text Show, CS13, Cincinnati
Star Maker, E:ventGallery, London, (catalogue), curated by David Burrows
Joy Divisions, Columbus Metropolitan Library, (catalogue)

Paperchasers, ArtWorks, Cincinnati
American Idyll, The Contemporary Art Center, Cincinnati, curated by Maiza Hixson
Fade To Black, Publico, Cincinnati, (video screening)

UNALINEACONTINUA, Studio Grossetti, Milan
the sneeze 80 x 80, Izilo South Africa National Gallery, Cape Town, and Durban Art Gallery, South Africa, (catalogue), curated by Peter Lloyd Lewis
Text, Image, Form, Hopkins Hall Gallery, Ohio State University
Skirting the Line, New Museum of Contemporary Art, Louisville, Ohio, curated by Steven Matijcio and Linda Schwartz
DePauw Biennial, Peeler Art Center, DePauw University, Greencastle, Indiana
Special Arrangements, Publico, Cincinnati

Year_06, Keith Talent Gallery, London
Bad Drawing: malevolent, misbehaving, misunderstood, University Galleries on Sycamore, Cincinnati
Ever and Over, Publico, Cincinnati

OMap, Modern Art Oxford, Oxford, curated by Jem Finer

Group exhibition, Studio Grossetti, Milan          
the sneeze 80 x 80, Gallery Gazon Rouge, Athens, curated by Peter Lloyd Lewis (catalogue)

Science Fiction–Double Feature, Icon Gallery and Mattress Factory, Birmingham
15/1(2), 1000000mph, London
Hair the Show, Tablet Gallery, London
LIFTARCHIVE, with Szuper Gallery, Kreisverwaltungsreferat, Munich, curated by Suzanne Clausen

Tabula Rasa, Croydon town centre video projections, curated by Skyline Projections
Critical Video Lounge, Artspace, Peterborough, Canada; Govett-Brewster Art Gallery;
Contemporary Art Museum, New Plymouth, New Zealand; York City Art Gallery (catalogue),
curated by David Mabb
Strike, Wolverhampton Art Gallery, (catalogue), curated by Gavin Wade
The Difference Between You & Us, Five Years, London
Song Poems, Rosamund Felsen Gallery, Los Angeles; Angstrom Gallery, Dallas; Cohan, Leslie & Browne, New York, (catalogue), curated by Steven Hull

Deadwall Reverie, Five Years, London
Big Blue, Century City, Tate Modern     

Dream Machines, Hayward Gallery touring exhibitions, Dundee Contemporary Arts Centre;
Mappin Gallery, Sheffield; Camden Arts Centre, London; Glynn Vivian Art Gallery, Swansea,  (catalogue), curated by Susan Hiller

Get Together–Art as Teamwork, Kunsthalle, Vienna, (catalogue), curated by Wolfgang Fetz
The Blood Show, Five Years, London, (catalogue), curated by Peter Lloyd Lewis
Dream Centenary, Aizu Wakamatsu City, Japan
Kunst in der Stadt—Naturally Art, Bregenz Kunstverein, (catalogue), curated by Wolfgang Fetz
The Manchurian Candidate, 30 Paris Street, London
Dumbfounded, BAC, London, (catalogue)
Stretching the Intimate, MOTA gallery, London

Educating Barbie, Trans Hudson Gallery, New York, (catalogue)
I’m Still in Love with You, 20th Century Women’s Club, Los Angeles, (catalogue), curated by Steven Hull
Host, Tramway, Glasgow, curated by Peter Lewis and Peter Fillingham
Estirando lo Intimo, Centro Cultural Salar, La Paz, Bolivia, curated by Fabian Cereijido

Quirk, Serge Sorokko Gallery, New York
Craft, Richard Salmon, London; Kettle’s Yard, Cambridge, (catalogue)
Variations of Structure, Trans Hudson Gallery, New York
recurrence, Gallery Korea, New York, curated by Theresa Chong
Bad August, Richard Salmon, London
Cereijido’s Summer Video Festival, Tricia Collins Grand Salon, New York; Gallery Idea, Mexico City
Centro Jacopo Borges, Buenos Aires
The Big Blue, Coins Cafe, London, Cafe Adler/Cafe Fix, Berlin, curated by Peter Lewis              
Group Show, Studio Carlo Grossetti, Milan
Irredeemable Skeletons, Shillam+Smith 3, London
After the Fall: Aspects of Abstract Painting since 1970, Snug Harbor Cultural Center, Staten Island, New York, (catalogue), curated by Lilly Wei
FHOH, Gasworks, London
Cause and Defect, Spencer Brownstone Gallery, New York

Lines and Dots, 450 Broadway Gallery
Continua, Studio Carlo Grossetti, Milan
Current Geometries in Abstraction, Trans Hudson Gallery, New York
The Great Pretender, Penine Hart Gallery, New York
Painting in an Expanding Field, Bennington College, Vermont, curated by Saul Ostrow

Ha!, Knotts Mill, Manchester

Painting and Sculpture, Studio Carlo Grossetti, Milan
Abstraction, discipline, freedom, Trans Hudson Gallery, Jersey City

The Radio Show, Four Walls at Artists’ Space, New York
Representing Death, Four Walls, Brooklyn, New York
Three installations, TennisportArts, New York, curated by Christian Haub

Art Fair, Los Angeles, Studio Carlo Grossetti
Today, Studio Carlo Grossetti, Milan

Quadriennale, Palazzo del Permanente, Milan
Condeso/Lawler Gallery, New York


 Selected Bibliography

Suhkdev Sandhu, The Wire, review of Sonic Wilderness: Wild Vinyl Records, February, 2022

The Guardian Guide, in print, “The 10: Your at-a-glance guide to the best in culture this week,” Sparrow Come Back Home, 31 December 2016 – 6 January 2017, page 5

Skye Sherwin, The Guardian Guide, in print, “Exhibitions,” review, Sparrow Come Back Home, 31 December 2016 – 6 January 2017, page 32.

Sophie Hastings, GQ British, in print, review, “Navigator: Set your cultural compass to this month’s pole stars,” section, “Carmel Buckley and Mark Harris: Sparrow Come Back Home at the ICA Reading Room,” January 2017, page 124

The Guardian Guide, online – Dec 30th 2016, Sparrow Come Back Home https://www.theguardian.com/culture/2016/dec/30/ten-best-things-this-week-culture

Gloria Nieto, Trinidad Express, “‘Calypso Dreams’ showcased in London,” December 17th, 2016

Peter Mason, Morning Star, “On the Record, Peter Mason recommends an exhibition of album covers by the legendary Mighty Sparrow which catalogues turbulent times,” Sparrow Come Back Home at the Institute of Contemporary Arts, London, December 17th, 2016,

Amar Ediriwira, Vinyl Factory, “Legendary calypso singer Mighty Sparrow celebrated in new exhibition at the ICA,” December 9th, 2016, http://thevinylfactory.com/news/mighty-sparrow-come-back-home-ica/

Bryony Stone, It’s Nice That, “Carmel Buckley and Mark Harris dissect the album covers of calypso singer Mighty Sparrow,” December 6th 2016, https://www.itsnicethat.com/articles/carmel-buckley-mark-harris-ica-sparrow-come-back-home-061216

Chris May, Jocks and Nerds, “Brief,” “Sparrow Come Back Home,” Winter 2016, page 23

Alina Cohen, February 24, 2016, HyperAllergic, review of After the Moment: Reflections on Robert Mapplethorpe, https://hyperallergic.com/278022/20-years-after-an-obscenity-trial-cincinnati-reflects-on-robert-mapplethorpe/

Matt Morris, April 2014,  Artforum.com, review of Sparrow Come Back Home, DCCA

Kirsty Ogg, 2012, The London Open, Whitechapel Gallery, London, catalogue

Nicholas Warner, September 2011, Art Monthly, London, review of The London Open, Whitechapel Art Gallery

Molly Donnermeyer, Matt Morris, Patricia Murphy, Zach Rawe and Eric Ruschman, Aloha Means both Hello and Goodbye, catalogue, U-turn, Cincinnati, 2011

C.S. Gilbert, Solares Hill, February 2011 issue, review of Sculpture Key West

Will Gompertz, November 10, 2010, BBC TV News at Ten, (High Society)

Johnny Davis, “Drugs: the highs and lows”, The Guardian, London, November 5, 2010, (High Society)

Maria Seda-Reeder, “Traditional Approaches to Radical Art”, AEQAI, September 2010

Jackie Demaline, “Painter preserves spirit of the psychedelic ‘60s”, Cincinnati Enquirer, August 13, 2010

Eva Ball, Joy Divisions, (catalogue), 2009

Melissa Starker, alive!, (Columbus, Ohio), May 28, 2009, (review of Joy Divisions)

Sue Spaid, review of Mao Songs, Weston Art Gallery exhibition, artUS, Summer 2008

State Fare, Wexner Center, Sean Foley, 2007

the sneeze 80 x 80, ARTicle Press, 2006

Drug Dealer, artist pages, Miser & Now, Issue 8, London, 2006

Jon Cambell, “Midnite in China”, Contemporary, November, 2005

Jon Cambell, “Singing the Praises of Chairman Mao”, Toronto Globe and Mail, November 1, 2005

Jon Cambell, “Stanzas of a Struggle”, South China Morning Post, July 19, 2005

Miser & Now, London, issue 2, 2004 spread on Streets of London project

Sally O’Reilly, review of 15/12 at 1000000mph, London, Art Monthly, September 2003

Critical Home Video (catalogue), Govett-Brewster Art Gallery, Contemporary Art Museum, New Plymouth, New Zealand, 2003

Gavin Wade, Strike (catalogue), Wolverhampton Art Gallery, 2002

Joe Hill, review of one-person show at Trans Hudson Gallery, Art in America, November 2001

Mark Currah, review of Dead-wall Reverie, Five Years, London, Time Out, July 4–11, 2001

Stephen Hull, Song Poems (catalogue), group show at Cohan, Leslie & Browne, New York, June 2001

Oliver Karlin, review of one-person show at Trans Hudson Gallery, NY Arts, April, 2001

Kim Levin, review of one-person show at Trans Hudson Gallery, Village Voice, New York, Feb 28-March 6, 2001

Richard Cork, review of Dream Machines, The Times, October 4, 2000

Dream Machines, (catalogue) Hayward Galley, London, 2000

Get Together–Art as Teamwork, (catalogue) Kunsthalle, Vienna, 1999

The Blood Show, (catalogue) Five Years, London, 1999

Jonathan Jones, review of The Blood Show, The Guardian, August 6, 1999

Michael Wilson, review of The Blood Show, Art Monthly, September 1999

Polly Staple, review of The Blood Show, Time Out, August 18-25, 1999

Wendy Shillam and Contemporary Arts Society, (catalogue) Economist Building, London, 1999

Maria Walsh, review of Economist show, Art Monthly, September 1999

Martin Coomer, review of Economist show, Time Out, August 26-September 1, 1999

Jonathan Jones, Economist show, Thursday Guide, The Guardian, September 2, 1999

Dream Centenary, (catalogue) Aizu Wakamatsu City, Japan, 1999

Naturally Art, (catalogue) Kunst in der Stadt, Bregenz, 1999

Alison Green, (catalogue) Dumbfounded, BAC, London, 1999

Stephen Hull, (catalogue) I’m Still in Love with You, 20th Century Women’s Club, Los Angeles, 1999

Ken Johnson, review of Educating Barbie, The New York Times, September 11, 1998

Carol Kino, review of Educating Barbie, Time Out, New York, September 17-24, 1998

Elisabeth Mahoney, review of Host, Contemporary Visual Arts, London, issue 1998

Emmanuel Cooper, review of Craft, Crafts UK, London January/February, 1998

Joan Key, Simon Watney, Janis Jefferies and Roy Voss, catalogue for Craft, Richard Salmon Gallery, London, 1997

Tania Guha, review of Bad August, Time Out, London, August 20-27, 1997

Lilly Wei, After the Fall: Aspects of Abstract Painting since 1970, (catalogue), The Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Staten Island, NY, April 1997

Gilda Williams, review of curated show Irredeemable Skeletons, Art Monthly, May 1997

Vivien Raynor, review of curated show Material Abuse, The New York Times, March 1995

Paola Morsiani, review, Juliet, Trieste,  May/June 1991

Michael Brenson, review, The New York Times, February 1, 1991


Selected Publications

Sonic Wilderness: Wild Vinyl Records, AADR (Art Architecture Design Research, Spurbuchverlag), 240pp, 2022 https://aadr.info/product/sonic-wilderness-wild-vinyl-records/

“Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow,” Small Axe, 2021

“A Note on Hallucinatory Film,” Hungarian Journal of English and American Studies, 2020

“A great chaos of sound: alternative practices of working through madness, alienation, and the aesthetics of catastrophe in 60s Britain,” Counterculture Studies, 2020 https://ro.uow.edu.au/ccs/vol3/iss1/2/

“Rebellious Type: the visual acoustics of Kamau Brathwaite’s typographic derangements,” Manifold: Experimental Criticism, 2020

“Music to Die To,” Ambient@40, Univ. of Huddersfield, 2019, http://divergencepress.net/2019/04/15/2019-2-4-music-to-die-to/

“Evelyn Taocheng Wang,” CARLOS/ISHIKAWA, London, July 2019

“Paul Anthony Harford,” Sadie Coles Gallery, London, Artforum.com, October, 2018

“Faith Ringgold,” Pippy Houldsworth Gallery, London, Artforum.com,  April, 2018

“John Riddy,” Frith Street Gallery, London, Artforum.com, March 2018

“Age of Terror: Art Since 9/11,” Imperial War Museum, January 2018

“Dalí/Duchamp,” Royal Academy, London, December 2017

“Turntable Materialities,” Seismograf, Denmark, November 2017,  https://seismograf.org/fokus/sound-art-matters/turntable-materialities

“Melancholia. A Sebald Variation,” King’s College London, November 2017

“Nicola Tyson,” Drawing Room, Artforum.com, October 2017

“Sigrid Holmwood,” Annely Juda, London, Artforum.com, March 2017

“Dreamers Awake,” White Cube, Bermondsey, London, Artforum.com, August 2017

“Intoxicating Painting,” Journal of Contemporary Painting, London, January 2017

“Sharon Hayes,” Studio Voltaire, London, Critics Choice, Artforum.com, May 2016

“Frequent Long Walks,” Hannah Barry Gallery, London, Critics Choice, Artforum.com, April 2016

“Évasion: What Strategies Enable Women Artists’ Self-Determination Today?,” C21 RECENT HISTORY—An Archive of six collaborative projects by Alison Jones & Milly Thompson, LGP, Coventry, 2016, ISBN 978-1-84600-0591

Review of Rose English: A Premonition of the Act, Camden Arts Centre, London, Critic’s Choice, Artforum.com, February 2016

Review of Another Minimalism: Art after California Light and Space, Fruitmarket Gallery, Edinburgh, Art Monthly, February 2016

“Raoul De Keyser: Drift”, David Zwirner Gallery, London, Critic’s Choice, Artforum.com, January 2016

“Brian Griffiths: a story of distance, size and sincerity,” BALTIC, Gateshead, Critic’s Choice, Artforum.com, January 2016

“The Materiality of Water”, Aesthetic Investigations, Volume 1, Number 1, 2015,            http://www.aestheticinvestigations.eu/index.php/journal/issue/view/5

Review of Magic Mirror:Sarah Pucill and Claude Cahun, Nunnery Gallery, London, Art Monthly, June 2015

“Catherine Opie”, Wexner Center, Columbus OH, Critic’s Choice, Artforum.com, June 2015

“Ryoji Ikeda: supersymmetry”, Vinly Factory, London, Critic’s Choice, Artforum.com, May 2015

“Mighty Sparrow’s Calypsos”, Sparrow Come Back Home, Delaware Center for the Contemporary Arts, Wilmington, 2015, ISBN 0-9785927-6-X

“Cinema, Studio, Tools”, Proto-tools I, edited by Colm Lally, Event Media Projects Ltd., 2013, ISBN 9780957662711

Review of The Universal Addressability of Dumb Things, Hayward Travelling Show, Art Monthly, September 2013

Review of Circle of Fifths, Reactor Space, Nottingham, Art Monthly, August 2013

“Theresa Chong”, catalogue essay for Holly Johnson Gallery, Dallas, March 2013

Review of “The Sacred Modernist: Joseph Albers as a Catholic Artist”, Lewis Glucksman Gallery, Cork, Art Monthly, June 2012

Review of “The Indisicipline of Painting”, Tate St. Ives, Art Monthly, February 2012

“Countercultural Intoxication: an Aesthetics of Transformation”, book chapter in West of Center: Art and the Counterculture Experiment in American Art, 1965-1977, University of Minnesota Press, 2011, (to accompany exhibition West of Center at the Museum of Contemporary Art, Denver, Colorado)

“A Local Culture: Tradition and Risk in Cincinnati,”  AEQAI, Cincinnati, November issue, http://aeqai.com/main/2011/11/

“A Local Culture: Tradition and Risk in Cincinnati,” catalogue essay for here., Pennsylvania Academy of Fine Arts, Philadelphia, 2011

Marcia Hafif: Glaze Paintings, catalogue essay for U-turn, Cincinnati, 2011

“Thirty-billon years from now…,” catalogue essay for Star Maker, E:vent Gallery, London, 2009

“Chelsea Hotel: March 14, 2008,” book chapter in Marcia Farquhar–12 Shooters, South London Art Gallery, 2009

“Pipilotti Rist’s Music”, catalogue essay for Pipilotti Rist at Contemporary Arts Museum, Houston, 2009

“Heather Phillipson–The City Rings”, catalogue essay, University of the Arts, London College of Fashion, 2009

Review of Sympathy For The Devil, MCA, Chicago, Art Monthly, November 2007

“Tony Luensman, Arenas”, catalogue essay for Cincinnati Art Museum, 2007

“Porn, Performance and Objectification: New Forms of Desire”, book chapter in Frozen Tears 3, ARTicle Press, 2007

Book review of Charles Harrison, Painting The Difference: Sex and Spectator in Modern Art, Alyce Mahon Surrealism and the Politics of Eros, 1938-1968, and Alyce Mahon Eroticism & Art, Art Monthly, 2006

Review of Mary Jo Bole solo exhibition, Weston Art Gallery, Cincinnati, Untitled magazine, Spring 2006

Review of Part Object Part Sculpture, Wexner Center, Columbus, Art Monthly, February 2006

Review of John Stezaker solo exhibition at The Approach, London, Art in America, May 2005

“Walter Benjamin’s Hashish Intoxications”, /seconds, www.slashseconds.org, 2005

Review of Go Between, Palais Thurn & Taxis and Magazin 4, Bregenz, Art Monthly, October 2005

Review of seminar “Sculpting in Time and Space: New Approaches to Sculpture and Film,”
Henry Moore Institute Newsletter, Issue No. 59, April 2005

Interview with SIMPARCH, Miser & Now, 2005

Mel Jackson: Made in China, catalogue essay for Matt’s Gallery, London, 2005

Review of Mel Jackson solo exhibition at Matt’s Gallery, London, Art in America, February, 2004

“Suite Amerika: Kafka, Kippenberger and Furniture Row,” Miser & Now, 2004

“Christopher Wool: Image as Noise”, catalogue essay for Camden Art Centre, 2004

Review of Mike Kelley and Tony Oursler exhibition, The Curve Gallery, Barbican Art Centre, London, Art Monthly, July/August 2003

Review of Blinky Palermo solo exhibition, Serpentine Gallery, London, Art Monthly, May 2003

Review of Milena Dragicevic solo exhibition at ArtLab, Imperial College, London, Art in America, December 2003

Reviews of Aristocracy at Gallery Westland Place, and Euthanasia at Plummet, for 100 Reviews Backwards, ed. Matthew Arnatt, Alberta Press, 2002

Review of Oliver Herring solo exhibition, Rhodes + Mann Gallery, London, Art Monthly, October 2002

Review of Helio Oiticica/Liam Gillick exhibition, The Whitechapel Gallery, London, Art Monthly, June 2002

Review of Merlin Carpenter solo exhibition at Magnani, London, Art in America, July 2001

Review of Mary Heilmann solo exhibition, Camden Arts Centre, London, Art Monthly, May 2001

Review of Multiple Store (at Central St. Martins College) and HOAX (at Lux and The Juggler Cafe), Art Monthly, May 2001

Review of Simon Starling solo exhibition, Camden Arts Centre, London, Art in America, May 2001

Review of Jemima Stehli solo exhibition, Chisenhale Gallery, London, Art in America, April 2001

Review of Ian Breakwell and Nick Stewart video projects for the BFI, Art Monthly, December 2001

Introduction to 100 Reviews, by Matthew Arnatt and David Mollin, 2001

“London pats itself on the back”, NY Arts, April 2001

Review of Robert Melee solo exhibition, White Cube, London, Art Monthly, September 2000

Review of Conrad Atkinson solo exhibition, Bluecoat Gallery, Liverpool, Art Monthly, February 2000

Review of Intimate House exhibition, South London Art Gallery, London, Art Monthly, December 1999

Book review of Performing the Body/Performing the Text, Eds. Amelia Jones and Andrew Stephenson, Art Monthly, November 1999

Review of BANK exhibition, Galerie Poo-Poo, London, Art in America, February 1999

“Introducing Nick Bolton, video artist”, exhibition essay for The Harris Museum, Preston, 1999

“The Press Release and Alternative Spaces”, essay in Who’s Afraid of Red, White and Blue?, ARTicle Press, 1998

“Noises Off”, Art Monthly, September 1998

Review of Accelerator exhibition, Southampton Art Gallery, London, Art Monthly, December 1998

Review of Rose Finn-Kelcey solo exhibition, Camden Arts Centre, London, Art in America, July 1998

Review of Tim Noble and Sue Webster exhibition, 20 Rivington Street, London, Art in America, July 1998

Review of Keith Edmier solo exhibition, Sadie Coles HQ, London, Art Monthly, June 1998

“BANK’s Death”, New Observations, #117, New York, 1998

“Like a dog biting its own tail”, Make, the magazine of Women’s Art, March-May, 1998

Review of Sarah Lucas solo exhibition, St. John’s Lofts and Sadie Coles HQ, London, Art in America, January 1998

Review of Charles Long solo exhibition, London Projects, London, Art Monthly, July 1997

“Immaterial Culture”, Art Monthly, June 1997

Review of Angela Bulloch solo exhibition, Robert Prime, London, Art in America, May 1997

Review of Joan Key solo exhibition, Richard Salmon, London, Art in America, March 1997

“Trading Up or Selling Out”, Art Monthly, February 1997

“On your bike!”, Untitled, Spring 1997

Review of Sally Heard solo exhibitions, 12 Aberdeen Road and Whitechapel Public Library, London, Art Monthly, December 1996

Review of Angus Fairhurst solo exhibition, White Cube, London, Art Monthly, December 1996

Review of Jake and Dinos Chapman exhibition, I.C.A., London, Art in America, October 1996

“Possessed in a most puzzling way of intelligibility, yet very hard to grasp”, catalogue essay on Roxy Walsh, Shillam + Smith 3, London, 1996

Review of Chris Burden solo exhibition, London Projects, London, Art Monthly, October 1996

Book review of Gargantua by Julian Stallabrass, Art Monthly, September 1996

Review of Simon Patterson solo exhibition at the Lisson Gallery, London, Art in America, July 1996

“Putting on the Style: avant-garde style in New British art”, Art Monthly, February 1996

Review of Robert Wilson/Hans Peter Kuhn exhibition, Clink Street, Art Monthly, November 1995

“Material Abuse”, catalogue essay, Trans Hudson Gallery, Jersey City, 1995

“Uncovering the Visible”, Yoon Gallery, Seoul, catalogue essay on Beom Kim, 1995


Selected Grants and Fellowships

Ohio Arts Council Excellence Award: Non-fiction

University Research Council award, University of Cincinnati

Ohio Arts Council Excellence Award: Interdisciplinary Media
Faculty Development Award, University of Cincinnati

Third Century Research Award, for Mighty Sparrow exhibition at ICA, London
Faculty Development Award, University of Cincinnati: Sound Art conferences, England and Denmark

Ohio Arts Council Excellence Award: Interdisciplinary Media

Ohio Arts Council Excellence Award: Critical Writing

Principal Investigator for Getty Foundation Grant–to research the best methods of video art conservation in relation to restoration of University of Cincinnati Nam June Paik installation

Faculty Development Award, University of Cincinnati: College Art Association Conference, New York

Warhol Foundation Creative Capital Art Writers Grant–research article on artist-run space Publico

Critic in Residence at the Bau Foundation, Otranto, Italy
Ohio Arts Council Excellence Award: Video and New Media

University Research Council Faculty Award, University of Cincinnati: Utopian-Bands event, Beijing
Faculty Development Grant, University of Cincinnati: research on contemporary art in New York

Arts Council England Fellowship, Long March Project Space, Beijing


Selected Conferences and Talks

“minnie root gullyroot lignum vitae: the African plant diaspora in Caribbean song and poetry” at the Society for Caribbean Studies, 2021

Green activism, permaculture, and community gardens, coordinated outdoor seminar in Camp Washington Urban Farm, including urban gardeners, farmers, horticulturalists: Cary Brodie, Deborah Grayson, Aliesha Hildebrand, Sophie Revis, Chris Smyth, Tanner Yess, and Peter Huttinger, 2021

“The Literary Visual” with Madeleine Longman, Peter Szendy, and Tatina Vásquez Estrada, Manifold: Experimental Criticism, https://www.youtube.com/watch?v=aq-oEMXJO-4, 2021

“Offshore conceptual art: a first world luxury or critically engaged practice?”, Rex Nettleford Conference, Edna Manley College of Art, Kingston, Jamaica, 2019

“Caribbean linguistic and sonic inventions as models for DIY resistance,” Deskilling in the Age of Donald Trump, CAA conference, New York, February 2019

“Songs the Plants Taught Us”, The Hothouse Archives: Plants, Pods and Panama Red, School of Visual Arts, New York, November 2018

 “Rebellious Type: lived temporalities of historical memory and the visual acoustics of Kamau Brathwaite’s typographic derangements”, Memory and Performance in African-Atlantic Futures, University of Leeds, August/September, 2018

“Rebellious Type: the visual acoustics of Kamau Brathwaite’s typographic derangements”, University of London, 42nd Annual Conference of the Society for Caribbean Studies, July, 2018

“Music To Die To: a performance seminar on bad music about plane crashes,” Eno’s Music for Airports, Ambient@40, Huddersfield University, February, 2018

“Machine-gun sonics and whispering tides: how sound and language in the work of Kamau Brathwaite and Mighty Sparrow provide acoustic inoculation against insecurities”, Caribbean Insecurities Conference, University of the West Indies, Mona Campus, Kingston, Jamaica, January 2018

“The Imagery of Intoxicating Music,” Sound-Image Colloquium, University of Greenwich, London November 2017

 “Shimmer,” Painters Out of Work, RCA, London, April 2017, https://www.youtube.com/watch?v=iAK66-tBVgA

“Calypso Soundscapes: intimate acoustics and defiant language in Kamau Brathwaite and Mighty Sparrow,” Caribbean Insecurities Conference, The British Library, June 2017

“Painters Out of Work: Remodeling Late Modernism,” with Alison Green and Michael Corris, Royal College of Art, February 2017

Sound Art Matters, Aarhus, Denmark, “Turntable Materialities”, June 2016

International Zizek Studies Conference, Materialism and Materiality, University of Cincinnati, May 2016

American Society for Aesthetics, Philadelphia, 2015, paper titled “Orpheus in the Artworld: the consensus of jumbled intentionalities in contemporary practice”

CRISAP conference, LCC, London, 2014, paper titled “The Materiality of Water: Annea Lockwood, Hildegard Westerkamp and Jana Winderen”

Proto-tools I seminar, Flat-Time House, London, 2014, paper titled “Cinema, Studio, Tools”

Art Monthly Talk Show on Resonance FM, April 8, 2013, Duchamp at the Barbican Art Gallery http://www.artmonthly.co.uk/magazine/site/events/reuben-fowkes-mark-harris-paul-okane-talk-show-april-2013

The Herbert Museum, Évasion conference, 2012, Coventry, paper on post-feminism

College Art Association Annual Conference, 2010, Chicago, session title Practice-Based Research; Paper: “Creative Research Literature”

South Eastern Graphics Conference, 2008, Richmond, speaker on keynote panel Command Print, Paper: “Thirty-billon years from now…”

College Art Association Annual Conference, 2007, New York, session title: The Field of Abstraction and the Thickness of Paint; Paper: “Electric Orange Paisley”

Royal Academy of Art, London, 2006, speaker on panel discussing exhibition USA Today

Speed Art Museum, Louisville, Kentucky, 2005, speaker on panel discussing television series Art21

Midwest Art Historians Society Conference, Cincinnati, 2005, Paper: “Intoxicated alienation as aesthetic strategy: from Diderot to young British artists”

Whitworth Gallery, Manchester, 2003, conference Fantasy Space: Surrealism and Architecture, Paper: “Aragon in the Arcades”

Camden Arts Centre, London, 2001, gallery talk on Gordon Matta-Clark and Mary Heilmann in the context of 1970s New York


Selected Panels chaired or organized

ICA, London, December 2016, Sparrow Calypso Genius, speakers: Joan Anim-Addo, Anthony Joseph, Mykaell Riley

University of Cincinnati, 2011, organizer and principal investigator for symposium Nam June Paik and the Conservation of Video Sculpture; speakers included Tobias Berger, Lisa Dorin, Chrissie Iles, Joanna   Phillips, Glenn Wharton, Alan Rath, Julia Scher, Siebren Versteeg

University of Cincinnati, 2010, organizer and principal investigator for Nam June Paik Round Table; speakers included Bill Horrigan, Bruce Jenkins, Paola Morsiani, Raphaela Platow, Carl Solway, Jud Yalkut

Wexner Center, Columbus, 2004, keynote session Chair for Barnett Symposium, It’s More Than the Making: Educating Artists in the 21st Century

Tate Gallery, (now Tate Britain) London, 1999, panel Chair for Pollock and Automatism; speakers included Mike Bidlo and Susan Hiller

I.C.A., London, 1998, panel Chair for Space and Installation; speakers included John Frankland, Michael Petry, Tomoko Takahashi

I.C.A., London, 1998, panel Chair for Alternative Spaces, speakers included Malcolm Dixon, Mark Hutchinson, Stefan Kálmar, Kim Sweet


Exhibitions Curated

Songs the Plants Taught Us, Anytime Dept., Cincinnati, artists and poets included Britni Bicknaver, Carol Bove, Ken Gonzales-Day, Miyori Hayashi, Birgit Jensen, Future Retrieval, Mark Patsfall, Heather Phillipson, Jochen Saueracker, Roxy Walsh, Elese Daniel, Mark Flanigan, Matt Hart, Katie Numi Usher, Sylvia Plath, Angus MacLise, 2019

here., Pennsylvania Academy of Fine Art, Philadelphia, 2011 (curated Cincinnati region selection)

Star Maker, E:vent Gallery, London, 2009 (curated with David Burrows)

Once Upon A Time In The Midwest, University of Cincinnati, Reed Gallery, 2007

Bad Drawing: malevolent, misbehaving, misunderstood, University Galleries on Sycamore, Cincinnati, 2006

Dumbfounded, Battersea Arts Centre, London, 1999, artists included Yinka Shonibare, Susan Hiller, Nick Bolton, Janette Parris, Leila Galloway, Phyllida Barlow, (curated with Alison Green and Carmel Buckley)

Educating Barbie, Trans Hudson Gallery, New York, 1998, artists included Mary Ellen Carroll, Cheryl Donegan, Graham Durward, Kirten Mosher, Louise Lawer, Jim Shaw, (curated with Peter Lloyd Lewis)

Irredeemable Skeletons, Shillam+Smith 3, London, 1997, artists included Simon Patterson, Charles Long, Christine & Irene Hohenbüchler, Susan Hiller, Fred Wilson (curated with Carmel Buckley and Peter Lloyd Lewis)

Material Abuse, Trans Hudson Gallery, Jersey City, 1995, artists included James Hyde, Drew Dominick, Elana Herzog, Beom Kim, Suzanne McClelland, Lauren Szold, Dominique Figarella



Artist Residencies

Artist in Residence, Lloyd Library, Cincinnati

Critic in Residence, Bau Foundation, Otranto, Italy        

Long March Project International Residency, Beijing

Art Omi, New York

Triangle Workshop, Pine Plains, New York



Professional Experience

Professor, School of Art, DAAP, University of Cincinnati

Artist in Residence, Mount Royal Interdisciplinary MFA, MICA, Baltimore

Coordinator Critical Studies Digital Arts Computing, BSc, Goldsmiths College, London

Coordinator Critical Studies MFA, Goldsmiths College, London

Lecturer, Critical Studies, Fine Art BA, Goldsmiths College, London

Director, School of Art, College of Design, Architecture, Art, & Planning, University of Cincinnati, Ohio

Visiting Artist, F/T, Sculpture, Painting and Printmaking Departments, Virginia Commonwealth University, Richmond

Programme Leader, F/T, Fine Art BA, Loughborough University

Programme Leader, F/T, Painting and Printmaking BA, Loughborough University

Visiting Artist, F/T 3 months, Ohio State University, Columbus

Senior Lecturer, 0.5, BA Art & Aesthetics, University of Wales Institute, Cardiff,

Seminar lecturer, MA Fine Art, Goldsmiths College of Art, London

Visiting Artist, F/T 3 months, Ohio State University, Columbus

Visiting Artist, P/T 3 months, BA Painting, Princeton University, New Jersey

Visiting Artist, F/T 3 months, BA Painting, East Carolina University, Greenville, North Carolina



Degree studies

Goldsmiths College, University of London: PhD in Philosophy, Thesis: “Radical Intoxications: Theory of the Avant-Garde in the Aesthetics of Nietzsche and Benjamin”

University of Warwick, Coventry: MA in Continental Philosophy, Dissertation: “Adorno’s Aesthetics in relation to Kant and Heidegger”

Royal College of Art, London: MA in Painting

Edinburgh College of Art, Edinburgh: Postdiploma in Painting

Edinburgh College of Art, Edinburgh: Diploma in Painting


Further studies

Hunter College, New York: non-matriculating courses in Kant and Heidegger

New York Studio School, New York: Fulbright Award

Academia de San Carlos, Mexico City: Mexican Government Scholarship

Brera Accademia di Belle Arti, Milan: Italian Government Scholarship