Exhibitions
Selected solo and collaborative exhibitions and performances
2023
Let it GO!, tulip planting, public art project, Camp Washington Gateway, Cincinnati
2022
Flower Boxes, public art project, Wave Pool Gallery, Cincinnati
2020
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
2018
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
2017
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
2016
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
2015
Kosuth’s “One and Three Chairs” juxtaposed with The Dead Kennedys’ Holiday in Cambodia, Cherry & Lucic, Portland, OR
2014
Sparrow Come Back Home, Delaware Center for Contemporary Arts, Wilmington (catalogue)
Bad Music Seminar 2, performance, The Showroom, London
2011
Mao Songs, Contemporary Museum, Baltimore, Maryland
2010
Morning Star, Country Club Gallery, Cincinnati, Ohio
2009
Rothko Chapel, University of Cincinnati Music Conservatory–paintings for performance of Morton Feldman’s Rothko Chapel
2008
Mao Songs, Weston Art Gallery, Cincinnati, Ohio
2007
State Fare, Wexner Center, Columbus, Ohio (catalogue)
2006
Utopian-Bands, 2kolegas, Beijing
2003
Streets of London, 1000000mph, London
2001
Hippy, Trans Hudson Gallery, New York
1999
Economist Building, London
1996
Trans Hudson Gallery, Jersey City
1993
TennisportArts, New York
1991
Condeso/Lawler Gallery, New York
1988
Marianne Deson Gallery, Chicago
Studio Carlo Grossetti, Milan
1986
Juda Rowan Gallery, London
1985
Marianne Deson Gallery, Chicago
Studio Carlo Grossetti, Milan
1983
Studio Carlo Grossetti, Milan
Selected group exhibitions and performances
2023
Monsieur Zohore: MZ.25 (My Condolences), M+B Gallery, Los Angeles, curated by Monsieur Zohore
2022
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
2021
Speculative Magenta Hauntology, Ruschwoman, Chicago, curated by Matt Morris
2020
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)
2019
Songs the Plants Taught Us, Anytime Dept., Cincinnati
Words, Converso, Milan, curated by Zoe Stillpass
2018
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/
2017
“Citoyens,” Drawing in a Time of Fear and Lies, Hyperallergic, online exhibition, June 17
https://hyperallergic.com/385843/to-the-barricades/
The Nothing That Is, The Carnegie, Covington, KY, curated by Matt Distel
2016
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
2015
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
2014
Bad Music Seminar 3: Sex, Murder, Politics, 4: Song Poems and 5: Becoming-Animal, performances, The Horse Hospital, London
2013
Dial Collect, SOMArts Cultural Center, San Francisco, curated by Cal Cullen
2012
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
2011
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
2010
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)
2009
The Text Show, CS13, Cincinnati
Star Maker, E:ventGallery, London, (catalogue), curated by David Burrows
Joy Divisions, Columbus Metropolitan Library, (catalogue)
2008
Paperchasers, ArtWorks, Cincinnati
American Idyll, The Contemporary Art Center, Cincinnati, curated by Maiza Hixson
Fade To Black, Publico, Cincinnati, (video screening)
2007
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
2006
Year_06, Keith Talent Gallery, London
Bad Drawing: malevolent, misbehaving, misunderstood, University Galleries on Sycamore, Cincinnati
Ever and Over, Publico, Cincinnati
2005
OMap, Modern Art Oxford, Oxford, curated by Jem Finer
2004
Group exhibition, Studio Grossetti, Milan
the sneeze 80 x 80, Gallery Gazon Rouge, Athens, curated by Peter Lloyd Lewis (catalogue)
2003
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
2002
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
2001
Deadwall Reverie, Five Years, London
Big Blue, Century City, Tate Modern
2000
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
1999
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
1998
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
1997
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
1996
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
1995
Ha!, Knotts Mill, Manchester
1994
Painting and Sculpture, Studio Carlo Grossetti, Milan
Abstraction, discipline, freedom, Trans Hudson Gallery, Jersey City
1992
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
1991
Art Fair, Los Angeles, Studio Carlo Grossetti
Today, Studio Carlo Grossetti, Milan
1989
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,
https://morningstaronline.co.uk/a-6efe-on-the-record-1
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
2021
Ohio Arts Council Excellence Award: Non-fiction
2019
University Research Council award, University of Cincinnati
2017
Ohio Arts Council Excellence Award: Interdisciplinary Media
Faculty Development Award, University of Cincinnati
2016
Third Century Research Award, for Mighty Sparrow exhibition at ICA, London
Faculty Development Award, University of Cincinnati: Sound Art conferences, England and Denmark
2015
Ohio Arts Council Excellence Award: Interdisciplinary Media
2012
Ohio Arts Council Excellence Award: Critical Writing
2008–11
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
2010
Faculty Development Award, University of Cincinnati: College Art Association Conference, New York
2009–10
Warhol Foundation Creative Capital Art Writers Grant–research article on artist-run space Publico
2008
Critic in Residence at the Bau Foundation, Otranto, Italy
Ohio Arts Council Excellence Award: Video and New Media
2006
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
2005
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
https://www.anytimedept.com/songs-the-plants-taught-us-mark-harris
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
2023
Artist in Residence, Lloyd Library, Cincinnati
2008
Critic in Residence, Bau Foundation, Otranto, Italy
2005
Long March Project International Residency, Beijing
1997
Art Omi, New York
1994
Triangle Workshop, Pine Plains, New York
Professional Experience
2014-
Professor, School of Art, DAAP, University of Cincinnati
2014-
Artist in Residence, Mount Royal Interdisciplinary MFA, MICA, Baltimore
2017-18
Coordinator Critical Studies Digital Arts Computing, BSc, Goldsmiths College, London
2013-14
Coordinator Critical Studies MFA, Goldsmiths College, London
2012-18
Lecturer, Critical Studies, Fine Art BA, Goldsmiths College, London
2004-11
Director, School of Art, College of Design, Architecture, Art, & Planning, University of Cincinnati, Ohio
2003-04
Visiting Artist, F/T, Sculpture, Painting and Printmaking Departments, Virginia Commonwealth University, Richmond
2002-04
Programme Leader, F/T, Fine Art BA, Loughborough University
2000-02
Programme Leader, F/T, Painting and Printmaking BA, Loughborough University
2000
Visiting Artist, F/T 3 months, Ohio State University, Columbus
1997-2000
Senior Lecturer, 0.5, BA Art & Aesthetics, University of Wales Institute, Cardiff,
1998-99
Seminar lecturer, MA Fine Art, Goldsmiths College of Art, London
1995
Visiting Artist, F/T 3 months, Ohio State University, Columbus
1989
Visiting Artist, P/T 3 months, BA Painting, Princeton University, New Jersey
1987
Visiting Artist, F/T 3 months, BA Painting, East Carolina University, Greenville, North Carolina
Education
Degree studies
1998-2006
Goldsmiths College, University of London: PhD in Philosophy, Thesis: “Radical Intoxications: Theory of the Avant-Garde in the Aesthetics of Nietzsche and Benjamin”
1995-97
University of Warwick, Coventry: MA in Continental Philosophy, Dissertation: “Adorno’s Aesthetics in relation to Kant and Heidegger”
1979-82
Royal College of Art, London: MA in Painting
1977-78
Edinburgh College of Art, Edinburgh: Postdiploma in Painting
1973-77
Edinburgh College of Art, Edinburgh: Diploma in Painting
Further studies
1994-95
Hunter College, New York: non-matriculating courses in Kant and Heidegger
1986-87
New York Studio School, New York: Fulbright Award
1984
Academia de San Carlos, Mexico City: Mexican Government Scholarship
1982-83
Brera Accademia di Belle Arti, Milan: Italian Government Scholarship